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https://w.atwiki.jp/fertilize/
Fertilizeの作戦とか立ち回りとかを書くためのwiki 使えそうな攻め方守り方とかあったらみんなでかこね どうも。lockonheadとかいう臭い名前付けちゃってるものです。正直言うとあなたのクランはとても居心地が悪いです。悪口は言う、声があまりにもブサイクな奴がいる。人間としてありえない発言、行動をする。 -- lockonheadとかいう糞雑魚 (2016-03-22 18 58 59) なりすまし粘着のお前の方が臭いから安心しとけゴミ^^ -- ぽぉさん (2016-03-25 22 52 14) ちなみに俺はお前のこと知らんけど30代にもなって他人に粘着してそいつが入ったクランのwikiにまで書き込むのは恥ずかしいからやめたほうがいいぞ -- ぽぉさん (2016-03-25 22 56 55) 名前 コメント
https://w.atwiki.jp/scrollsjp/pages/45.html
screen?name=Fertile%2BSoil size=small スペル G4 レア 対象の自分のクリーチャーを破壊してScrollを3枚ドローする キーワード ドロー 強力なドロースペル。 Growthは生贄にするクリーチャーには困らないので 使い勝手が良い。
https://w.atwiki.jp/fertcg/pages/13.html
FERTCGとはファイアーレヴォリューションというトレーディングカードゲームのことである。 原作であるFETCGの続編に当たる。 正式な続編ではなく、同人作品である。 名称はFERTCGだが、Eはどこからきたのだろうか? FIR"E"のEとは考えにくい。 通常ファイアーエムブレムはFEと略すので、FERTCGという名称になっていると思われる。
https://w.atwiki.jp/saigonotubasa/pages/194.html
StabiLizerの詳しい紹介 Job 最強ポイントマン(Kriss,ベネリ)ライフルマン(M4)安心のスナイパー(TPG) 称号:虚言の報告者 よく空を飛んでいることがある でも動きが早くて見えないことが多い カメラに映ることはよくあるらしい 俺変なこと言ってないし!が口癖 我らがVCは深夜になるとがさごそ音が聞こえてくるのだが そのうちの7割がこいつがクリームパンかポテチを食ってる音 しかし最近クリームパンより焼きそばパンのほうが好きだと言う事実が発覚した 口に物入れたまま喋ってることが多いが大阪人なので民度が低いんです 許してあげてください 人の事をAVAに誘う割にはVCに入ってくるのがいつも遅い。遅漏野郎。 基本的には愛されボディ スカイフィッシュがいなきゃAVAしない!と公言する人たちも多数 部屋では全裸を貫く スカイフィッシュのことをもっと知りたい方はこちらをどうぞ 2010/3/25 キャラクター名を「スカイフィッシュ」から「天から降り注ぐ者」にしました(η^^w)η 各メンバーの反応 えびえり→大爆笑、5分ぐらい笑ってた なない→ノーコメント のみお→かっこよすぎわろた。俺も名前変えるわ。 すなけ→あほすなぁ 2010/7/25 またまた名前変えました。 メンバーの反応は言わずもがな、総じてディスってました。
https://w.atwiki.jp/fertilize/pages/4.html
ニュース @wikiのwikiモードでは #news(興味のある単語) と入力することで、あるキーワードに関連するニュース一覧を表示することができます 詳しくはこちらをご覧ください。 =>http //www1.atwiki.jp/guide/pages/266.html#id_542badf7 たとえば、#news(ゲーム)と入力すると以下のように表示されます。 社会人向けゲームイベント“ゲムコミュ #1”が2022年1月28日に渋谷で開催 - 4Gamer.net ゲームの開発現場 のぞいてみたら|サイカルジャーナル|NHK NEWS WEB - NHK NEWS WEB クリーク・アンド・リバー社による「ゲームデザイン塾 仕様書ビルドアップ講座」が1月26日から3か月にわたって開講 - 4Gamer.net 『ワン ハンド クラッピング』ゲーム内容&最新トレーラー公開。声や歌でキャラクターを操作するパズルアクションゲーム - ファミ通.com ファミコンの最新ゲームが2022年2月25日に発売されるぞ! - GIZMODO JAPAN 『洞窟物語』のスピンオフ『Cave Story s Secret Santa』Steamなどで期間限定無料配布中。クリスマス・ステルスゲーム - AUTOMATON 『題名のない音楽会』ゲーム音楽の特集回が12月11日に放送。“東京交響楽団”による演奏が楽しめるほか、『モンハン』シリーズの作曲家・甲田雅人がゲスト登場 - ファミ通.com 『プロジェクトセカイ カラフルステージ! feat. 初音ミク』ゲーム内イベント「MOREMOREMakingXmas」、「聖夜のチェックメイトガチャ」開催!:時事ドットコム - 時事通信 ステージ型謎解きゲーム「恋愛リアリティSHOW」が本日リリース - 4Gamer.net 好評につき第2弾開催!オンライン・クレーンゲームで自宅から全国を旅する、全国ご当地ラーメンフェア開催 - PR TIMES ゲームの時も一緒だニャン……愛猫がポッケに入るパーカを発売(朝日新聞デジタル) - Yahoo!ニュース - Yahoo!ニュース 任天堂、ゲーム開発拠点を拡張 旧本社跡地にビル新設 - 日本経済新聞 4Xリアルタイムストラテジーゲーム『Dune Spice Wars』発表。フランク・ハーバート氏のSF小説の金字塔『DUNE』をゲーム化(電ファミニコゲーマー) - Yahoo!ニュース - Yahoo!ニュース スマートフォンゲーム「ひぐらしのなく頃に 命」にて新限定カードが登場!『【魔法少女】バレットミユキ』『【魔法少女】フェアリーハニュ』をGETしよう!! - PR TIMES 「リネージュW」プレイレポート。オンラインゲーム黎明期の名作が,世界中のプレイヤーと遊べる新作スマホゲームとなった - 4Gamer.net アニメイトがボードゲームを制作!? 次世代ボードゲームプロジェクト「ヨフカシプロジェクト」の「ゲームマーケット2021秋」出展の模様をレポート - アニメイトタイムズ カジュアルボードゲームブランド 「TERIYAKI GAMES」のPR大使にVtuberの服巻有香が就任 - 4Gamer.net Acer,360Hz表示対応パネル搭載の15.6インチゲームノートPCを発売 - 4Gamer.net 音楽ゲーム『ビートセイバー』にレディー・ガガのミュージックパックが登場。『Poker Face』など全10曲がラインアップ - ファミ通.com ゲーム業界向けオンラインフォーラム「Game of Dreams」が開催へ。第1回は12月14日,ゲストは國光宏尚氏 - 4Gamer.net 『ワンダーウーマン』の新作ゲームが発表。『シャドウ・オブ・モルドール』シリーズに実装されたNPCの人格形成システム「ネメシスシステム」を搭載(電ファミニコゲーマー) - Yahoo!ニュース - Yahoo!ニュース IGN JAPAN ゲームオブザイヤー2021 今年のベストゲームTOP 10 - IGN Japan <新作アナログゲーム3作品>シティコネクト、かぐや姫はカンヨークを覚えたい、寿しロワイヤル、一般販売開始! - Newsweekjapan アニメ「あはれ!名作くん」の公式カードゲームが発売中 - 4Gamer.net レトロアニメ風ゲーム『Cuphead』、待望のDLCは2022年6月30日に配信 - Engadget日本版 70年代に大ヒットしたシューティングゲームの元祖「スペースインベーダー」とのコラボ時計『タイメックス 80 × スペースインベーダー ウォッチ』を12月10日(金)予約開始、1月21日(金)発売予定 - PR TIMES 「Google Play ゲーム」がWindows PCに対応 2022年から提供予定 - - ITmedia PC USER 上村さん、いつまでも飽きないゲームはできますか?|サイカルジャーナル|NHK NEWS WEB - NHK NEWS WEB エアロセンス、プロ野球オールスターゲーム2021で、有線ドローンシステムで4時間半の連続空撮を実現 - DRONE ゲームで憧れのユーチューバーに! 『Youtubers Life 2』プレイレビュー。ゲームだとわかっていても自分の動画の再生数が伸びたらやっぱりうれしい!(ファミ通.com) - Yahoo!ニュース - Yahoo!ニュース Epic Gamesストア、来週『シェンムーⅢ』ほか13本の無料ゲーム配布の噂 - Engadget日本版 パズルゲームアプリ 『スヌーピードロップス』が、『ケンタッキーフライドチキン』とのコラボイベントを開催! - PR TIMES 独ゲーム会社、中国を「西台湾」と表記…「中国市場は必要ないのか」猛反発(中央日報日本語版) - Yahoo!ニュース - Yahoo!ニュース イカゲーム、今年のグーグル検索ランキングで9位…BTSのButterは歌部門7位(ハンギョレ新聞) - Yahoo!ニュース - Yahoo!ニュース 横浜ランドマークタワーで「パックマンのゲーム博物館」80年代ゲームの展示や実機が遊べるゲームセンター - Fashion Press ブロックチェーン技術を導入したゲームを展開するプラットフォーム 「NEOPIN」が近日リリース - 4Gamer.net 「初音ミク -TAP WONDER-」を支えるクラウド基盤 “PaaS初心者”のゲーム企業が挑んだ、アクセス集中に耐えるインフラ構築 - ITmedia テンセント新作PvPvEゲーム『SYNCED Off-Planet』敵に焦点を当てたトレイラー公開【TGA 2021】 - Game*Spark 新作対戦格闘ゲーム『KOF XV』の第2回オープンβテストが、PS5/PS4を対象に12月18日から開催決定!(アスキー) - Yahoo!ニュース - Yahoo!ニュース ウエスタンスーパーヒーローACT『Evil West』ゲームプレイトレイラー公開【TGA 2021】 - Game*Spark マトリックス新作ゲーム『Matrix Awakens』の新映像が公開。PS5、Xbox Series X|S向けのダウンロードも開始【The Game Awards 2021】 - GameWith 『スーサイド・スクワッド:キル・ザ・ジャスティス・リーグ』ゲームプレイの様子も確認できる最新映像が公開【The Game Awards 2021】(ファミ通.com) - Yahoo!ニュース - Yahoo!ニュース 無料の40人乱闘ゲーム『Rumbleverse』が発表。PS5/PS4/XSX|S/XB1/PCでクロスプレイ可能で、2022年2月8日に先行アクセス開始【The Game Awards 2021】 - ファミ通.com ノベルゲーム3作品をセットにした「A YEAR OF SPRINGS」のコンシューマ版が配信開始 - 4Gamer.net 疫病をテーマとしたアドベンチャーゲーム『A Plague Tale Requiem』の最新映像が公開。前作から成長した姉弟の姿や、建物さえ飲み込む悪夢のようなネズミの大群も(電ファミニコゲーマー) - Yahoo!ニュース - Yahoo!ニュース かわいいモンスターを収集するポップなオープンワールドゲーム『ドケビ』の新たなPVが公開。テーマソング『ROCKSTAR』にあわせてキュートなキャラクターたちが生き生きとしたダンスを披露(電ファミニコゲーマー) - Yahoo!ニュース - Yahoo!ニュース TVやスマホの平面的ゲームだけでなく、「サイコロキャラメル」で空間的に遊ぼう!(朝日新聞EduA) - Yahoo!ニュース - Yahoo!ニュース 【滋賀レイクスターズ】子ども虐待防止啓発試合「オレンジリボンゲーム」を開催 - PR TIMES MicrosoftがiPhoneでクラウドゲームを展開しようとしていたことが関係者の非公開メールで判明 - GIGAZINE アイテム探しゲーム『Zoo Seeker』PC版の早期アクセスが本日(12月10日)開始。モノや動物に化けてしまったスライムを探し出そう - ファミ通.com ハッピーセット「パーティーゲーム by HASBRO」12月17日発売! - GAME Watch 『スター・ウォーズ』新作ゲーム『Star Wars Eclipse』発表、予告編 ─ 『Detroit Become Human』のような選択型ゲームか - THE RIVER 【アメフト】日テレジータス 全米王座決定戦などカレッジボウルゲームを生中継(BBM Sports) - Yahoo!ニュース - Yahoo!ニュース 今冬配信予定『進撃の巨人』のスマートフォンゲーム最新作「進撃の巨人Brave Order」 - PR TIMES 新作サバイバルゲーム「Nightingale」発表。ヴィクトリア朝をベースにしたファンタジー世界が舞台 - 4Gamer.net カードゲーム「モリモン」話題 身近な植物組み合わせモンスターに 印刷まで能力分からずドキドキ(神戸新聞NEXT) - Yahoo!ニュース - Yahoo!ニュース 新作スマートフォンゲーム『カイジ -闇の黙示録-』12月10日より事前登録開始! - PR TIMES オープンワールドソニックか?! ゲーム最新作「Sonic Frontiers」2022年冬発売 - GAME Watch 外山圭一郎氏が描く新たなホラーゲーム。「野狗子 SLITTERHEAD」発表! - GAME Watch SFマルチプレイシューティングゲーム『Destiny 2』の大型DLC『漆黒の女王』が2022年2月23日に配信決定(電ファミニコゲーマー) - Yahoo!ニュース - Yahoo!ニュース 『Frogger in Toy Town』にアメリカのリアルゲーム番組とタイアップしたランキングモード「Frogger Game Show」が登場! - PR TIMES 中世マルチプレイ剣術対戦ゲーム『Chivalry 2』が無料トライアルの実施を開始。クリスマス仕様のアップデートなど追加コンテンツの発表も(電ファミニコゲーマー) - Yahoo!ニュース - Yahoo!ニュース 「ペルソナ4G」のその後を描く対戦格闘ゲーム「ペルソナ4U2」がPS4/Switch/Steam向けに発売決定(Impress Watch) - Yahoo!ニュース - Yahoo!ニュース SFリアルタイムストラテジー『Homeworld 3』のゲーム映像が公開、2022年末に発売を予定。18年ぶりのシリーズ最新作(電ファミニコゲーマー) - Yahoo!ニュース - Yahoo!ニュース 『It Takes Two』が大賞の「ゲーム・オブ・ザ・イヤー」を含む2部門を受賞。世界最大級のゲームアワード「The Game Awards 2021」受賞結果まとめ世界最大級を誇るゲームアワード「The Game Awards 2021」受賞結果まとめ(電ファミニコゲーマー) - Yahoo - Yahoo!ニュース 映画「悪魔のいけにえ」がマルチホラーゲームに!「The Texas Chainsaw Massacre」発表(Impress Watch) - Yahoo!ニュース - Yahoo!ニュース 岐阜バスで巡るリアル謎解きゲーム 謎解き物語の結末に迫る、11日から(岐阜新聞Web) - Yahoo!ニュース - Yahoo!ニュース 里崎智也氏提唱 捕手クオリティー・ゲームどうですか? 女房役にも評価軸 - ニッカンスポーツ 2021年、世界的に急成長したアプリとは? ゲームカテゴリでは原神やウマ娘が台頭(リアルサウンド) - Yahoo!ニュース - Yahoo!ニュース 【1997年12月10日】24年前、コナミ「beatmania」が稼働開始(bizble) - Yahoo!ニュース - Yahoo!ニュース FC版初代『ファミスタ』が発売35周年。野球ゲームブーム巻き起こした超定番ソフト。3900円というお手ごろ価格も魅力だった【今日は何の日?】(ファミ通.com) - Yahoo!ニュース - Yahoo!ニュース こんなげーむにまじになっちゃってどうするの。『たけしの挑戦状』35周年。理不尽すぎる謎解きで伝説となったタレントゲーム【今日は何の日?】(ファミ通.com) - Yahoo!ニュース - Yahoo!ニュース 現実と連動するホラーゲーム『パルフォン』がSteamでリリース - 電撃オンライン オンラインゲームの中も“いじめ”に注意 小学生同士が議論〈宮城・角田市〉(仙台放送) - Yahoo!ニュース - Yahoo!ニュース ドット絵SFノワールADV『Lacuna』の家庭用ゲーム機版が12月23日に配信!未来の世界で捜査官になり、惑星間戦争を防げ(IGN JAPAN) - Yahoo!ニュース - Yahoo!ニュース 「Xゲーム」日本初開催 来年4月ZOZOマリンで 五輪金の四十住さくら「驚きと興奮」(日本テレビ系(NNN)) - Yahoo!ニュース - Yahoo!ニュース 「出川哲朗の充電させてもらえませんか?ゲーム」1周年記念イベントを開催 - 4Gamer.net 知る人ぞ知る傑作インディーゲーム「OneShot」が家庭用移植決定 「絶対に移植不可能」と言われた作品がついに(ねとらぼ) - Yahoo!ニュース - Yahoo!ニュース ゲーム・ネット依存症を防げ 家庭・学校が取り組むメディアコントロール(BSN新潟放送) - Yahoo!ニュース - Yahoo!ニュース 「ゲームセンターCX」でゲームキューブ初登場! 「スーパーモンキーボール」回は12月9日24時放送(Impress Watch) - Yahoo!ニュース - Yahoo!ニュース ゲーム業界、NFT採用に賛否両論? 転売目的が主な市場は1兆ドルに成長(リアルサウンド) - Yahoo!ニュース - Yahoo!ニュース なぞって集めるパズルゲーム『あつまれモルカー!PUI PUI パズル』iOS/Android向けにリリース。可愛いモルカーたちを集めてお世話しよう(電ファミニコゲーマー) - Yahoo!ニュース - Yahoo!ニュース ラウンドワンが「クレーンゲーム500台」に社運懸ける理由(会社四季報オンライン) - Yahoo!ニュース - Yahoo!ニュース 「バイオハザード」新作、ゲームとの関連性を示唆する場面写真 プロデューサー「かなり忠実」(映画.com) - Yahoo!ニュース - Yahoo!ニュース 手越祐也がゲーム専用チャンネルを開設 YouTuberとしての1年半の歩みを振り返る(リアルサウンド) - Yahoo!ニュース - Yahoo!ニュース Facebook Gamingに「PAC-MAN」登場、ゲーム配信者と一緒にプレイできる新機能も - TechCrunch Japan かつて子どもの“通過儀礼”だったゲーセン文化…苦境に立つ老舗ゲームニュートン代表の想い「年齢、学歴、社会的地位が関係ない唯一の場所」(オリコン) - Yahoo!ニュース - Yahoo!ニュース ゲーム・ネットばかりの子どもにイライラしない、「ちょうどよい」約束の作り方とは?専門家に聞きました(ベネッセ 教育情報サイト) - Yahoo!ニュース - Yahoo!ニュース 『日本最大級のアナログゲームの祭典! ゲームマーケットがアツい!』〜Hikaru//の自由綴文 9頁目〜 - http //spice.eplus.jp/ ゲーム・エンタメの歴史を振り返る横スクアクションがIGNグループ25周年を記念してリリース! - IGN Japan ライトセーバーを振り回す姿も!「Star Wars Hunters」公式ゲームプレイトレーラーが公開(Impress Watch) - Yahoo!ニュース - Yahoo!ニュース ドイツ産の江戸ステルス戦略ゲーム『Shadow Tactics』スタンドアロン拡張『Aiko s Choice』配信開始!(Game Spark) - Yahoo!ニュース - Yahoo!ニュース 月額1000円程度の「ゲームのサブスク」を満喫できないユーザーたちの声(マネーポストWEB) - Yahoo!ニュース - Yahoo!ニュース ゲームの代わりにTikTok?厳しすぎる中国ゲーム規制で起きたこと(JBpress) - Yahoo!ニュース - Yahoo!ニュース スイッチなどで「幻のアーケードゲーム」ラッシュ!? いわくつきの作品や20年越しの新作も…(インサイド) - Yahoo!ニュース - Yahoo!ニュース 旅館やジャスコにあったゲームコーナー筐体の今。懐かしサウンドが聞けるチャンスは?(マグミクス) - Yahoo!ニュース - Yahoo!ニュース ゲーセンの経営を支えるクレーンゲーム マニアも知らない「グレーな実態」(NEWSポストセブン) - Yahoo!ニュース - Yahoo!ニュース 2度とこんなゲームは現れない? 『十三機兵防衛圏』奇跡の立体構造体験(インサイド) - Yahoo!ニュース - Yahoo!ニュース 「ガンダム」初の戦略アーケードカードゲーム「アーセナルベース」最新情報一挙公開! 第1弾参戦作品やPVなど(アニメ!アニメ!) - Yahoo!ニュース - Yahoo!ニュース 【2021年】おすすめの人気カードゲーム5選と遊び方を解説!おうち時間を楽しもう♪ - CHINTAI
https://w.atwiki.jp/farmstory/pages/22.html
Enhancements Expansion ※CoinかGemのどちらかで購入することができます。 ※neighbors=ご近所さんの数(数字以上のご近所さんが必要と言うことです)。 ※Expandは1段階ずつでしか適用出来ません。 名前 Lv で買う場合 で買う場合 画像 金額 その他条件 画像 金額 Expand to 11x11 ? 10,000 20 Expand to 12x12 ? 20,000 1 neighbors 20 Expand to 13x13 ? 50,000 4 neighbors 20 Expand to 14x14 ? 100,000 7 neighbors 20 Expand to 15x15 ? 200,000 10 neighbors 40 Expand to 16x16 ? 200,000 15 neighbors 40 Expand to 17x17 21 300,000 20 neighbors 40 Expand to 18x18 25 300,000 25 neighbors 40 Expand to 19x19 30 400,000 30 neighbors 40 Expand to 20x20 35 500,000 35 neighbors 40 Expand to 21x21 40 600,000 40 neighbors 40 Expand to 22x22 50 700,000 45 neighbors 40 Expand to 23x23 60 800,000 50 neighbors 40 Expand to 24x24 75 900,000 55 neighbors 40 (21x21までの必要レベルは修正が入ってるかも知れません) Special 名前 金額 画像 備考 Magic Basket 24 Discovery Chestページがあります Valentine s Box 24 Discovery Chestページがあります Holiday Surprise 24 Discovery Chestページがあります Halloween Chest 24 Discovery Chestページがあります Discovery Chest 24 Discovery Chestページがあります 5,000 Coins 10 50,000 Coins 100 Fertilizer 1 収穫できるまで成長させたり、枯れたものを復活できる Fertilize Entire Farm 20 コメント欄 Fertilizerを手に入れると作物が一つ復活、もしくはすぐに成長することは確かめましたが、Fertilize Entire Farmをゲットした場合、GEM20個ということは作物は20だけ作用されるんでしょうか?それとも、Entire Farmと名前がついているからには農場全体に効果ありなのでしょうか?って、誰も使ったことなさそうな気はしますが、知っていれば答えお願いします。 -- 名無しさん (2010-09-29 16 00 29) ↑作物をすべて枯らしてしまったとき,ポップアップが出てきて間違ってタップしてしまったことがあります…。数に制限はなく,農場全体に効果がありますよ。成長でも同じだと思います。 -- 名無しさん (2010-09-29 17 13 05) ハロウィン系のやつ追加されてますね、何に使うの、あれ? -- 名無しさん (2010-10-14 22 54 43) ハロウィンの宝箱ですね( ̄▽ ̄)私は四等の墓石出しましたけど効果は謎(−_−;) -- Efta (2010-10-15 00 18 40) 22×22は700,000でした。 -- 名無しさん (2010-10-15 09 32 32) 22×22 neighbors 45でした -- 名無しさん (2010-10-17 19 16 28) ↑サンクスです。表に追加しました。23*23も記入しました。 -- 名無しさん (2010-10-21 04 08 19) Fertilizerは成長速くするのと、枯れたものを復活させるのと、あとひとつ、枯れさせないようにする性能もあります。 -- 名無しさん (2010-10-21 18 28 25) 宝箱売ってないんだけどなぜ?ID Bowtin (Farmer name も)だれかどこで買えるか教えてTT -- 名無しさん (2010-11-20 20 47 48) 21x21のレベルを50→40に修正しました。 -- 名無しさん (2011-01-04 15 38 12) Fertilizerは、消耗品でしょうか。 -- ナナシ (2011-02-14 13 34 09) •Fertilizerは、消耗品 -- 名無しさん (2011-02-14 23 07 00) Fertilizerは、消耗品 -- 名無しさん (2011-02-14 23 07 30) 名前 コメント
https://w.atwiki.jp/vandalize/
CROSSFIREで活動していたクラン「VANDALIZE(CF名:alize)」のHP(仮)跡地です。 合計: - 今日: - 昨日: -
https://w.atwiki.jp/free-gaming/pages/129.html
+メニュー 概要 スクリーンショット 動画 プレイ ダウンロード ゲーム名 Portalizer/Portalize リリース日 2012/06/21 開発元 Heavel パブリッシャー - 公式サイト http //heaval.com/ 使用ゲームエンジン Unity ジャンル パズル/FPS マルチプレイ/シングルプレイ シングルプレイ OS ブラウザ/Android/iOS 概要 Valveが開発したPortalのクローンゲーム。 すごく出来がよい (PC版)このゲームをプレイするには、最新のUnity Web Playerをインストールする必要があります。 スクリーンショット 動画 プレイ プレイ ダウンロード ダウンロード - Android ダウンロード - iOS
https://w.atwiki.jp/fertilize/pages/32.html
非常に攻めが面倒臭いマップ。はよ削除しろ。 攻めでは特に連携が必要になるので熟読すること。 SRで削ると楽に攻めれるので、一人はFRやASW等の長距離スナ。もう一人はモシンやM1903等の歩きスナの2SR体制もあり。 基本的に敵が詰めてくるなら1SR。引き守りなら2SRがいいと思ってる。 攻めFHベーシック FHのSR FH2攻め FH1攻め
https://w.atwiki.jp/matchmove/pages/78.html
Stabilization In this section, we’ll go into SynthEyes’ stabilization system in depth, and describe some of the nifty things that can be done with it. If we wanted, we could have a single button “Stabilize this!” that would quickly and reliably do a bad job almost all the time. If that s what you’re looking for, there are some other software packages that will be happy to oblige. In SynthEyes, we have provided a rich toolset to get outstanding results in a wide variety of situations. You might wonder why we’ve buried such a wonderful and significant capability quite so far into the manual. The answer is simple in the hopes that you’ve actually read some of the manual, because effectively using the stabilizer will require that you know a number of SynthEyes concepts, and how to use the SynthEyes tracking capabilities. If this is the first section of the manual that you’re reading, great, thanks for reading this, but you’ll probably need to check out some of the other sections too. At the least, you have to read the Stabilization quick-start. Also, be sure to check the web site for the latest tutorials on stabilization. We apologize in advance for some of the rant content of the following sections, but it s really in your best interest! Why SynthEyes Has a Stabilizer The simple and ordinary need for stabilization arises when you are presented with a shot that is bouncing all over the place, and you need to clean it up into a solid professional-looking shot. That may be all that is needed, or you might need to track it and add 3-D effects also. Moving-camera shots can be challenging to shoot, so having software stabilization can make life easier. Or, you may have some film scans which are to be converted to HD or SD TV resolution, and effects added. People of all skill levels have been using a variety of ad-hoc approaches to address these tasks, sometimes using software designed for this, and sometimes using or abusing compositing software. Sometimes, presumably, this all goes well. But many times it does not a variety of problem shots have been sent to SynthEyes tech support which are just plain bad. You can look at them and see they have been stabilized, and not in a good way. We have developed the SynthEyes stabilizer not only to stabilize shots, but to try to ensure that it is done the right way. How NOT to Stabilize Though it is relatively easy to rig up a node-based compositor to shift footage back and forth to cancel out a tracked motion, this creates a fundamental problem Most imaging software, including you, expects the optic center of an image to fall at the center of that image. Otherwise, it looks weird—the fundamental camera geometry is broken. The optic center might also be called the vanishing point, center of perspective, back focal point, center of lens distortion. For example, think of shooting some footage out of the front of your car as you drive down a highway. Now cut off the right quarter of all the images and look at the sequence. It will be 4 3 footage, but it s going to look strange—the optic center is going to be off to the side. If you combine off-center footage with additional rendered elements, they will have the optic axis at their center, and combined with the different center of the original footage, they will look even worse. So when you stabilize by translating an image in 2-D (and usually zooming a little), you’ve now got an optic center moving all over the place. Right at the point you’ve stabilized, the image looks fine, but the corners will be flying all over the place. It s a very strange effect, it looks funny, and you can’t track it right. If you don’t know what it is, you’ll look at it, and think it looks funny but not know what has hit you. Recommendation if you are going to be adding effects to a shot, you should ask to be the one to stabilize or pan/scan it also. We’ve given you the tool to do it well, and avoid mishap. That s always better than having someone else mangle it, and having to explain later why the shot has problems, or why you really need the original un-stabilized source by yesterday. In-Camera Stabilization Many cameras now feature built-in stabilization, using a variety of operating principles. These stabilizers, while fine for shooting baby s first steps, may not be fine at all for visual effects work. Electronic stabilization uses additional rows and columns of pixels, then shifts the image in 2-D, just like the simple but flawed 2-D compositing approach. These are clearly problematic. One type of optical stabilizer apparently works by putting the camera imaging CCD chip on a little platform with motors, zipping the camera chip around rapidly so it catches the right photons. As amazing as this is, it is clearly just the 2-D compositing approach. Another optical stabilizer type adds a small moving lens in the middle of the collection of simple lens comprising the overall zoom lens. Most likely, the result is equivalent to a 2-D shift in the image plane. A third type uses prismatic elements at the front of the lens. This is more likely to be equivalent to re-aiming the camera, and thus less hazardous to the image geometry. Doubtless additional types are in use and will appear, and it is difficult to know their exact properties. Some stabilizers seem to have a tendency to intermittently jump when confronted with smooth motions. One mitigating factor for in-camera stabilizers, especially electronic, is that the total amount of offset they can accommodate is small—the less they can correct, the less they can mess up. Recommendation It is probably safest to keep camera stabilization off when possible, and keep the shutter time (angle) short to avoid blur, except when the amount of light is limited. Electronic stabilizers have trouble with limited light so that type might have to be off anyway. 3-D Stabilization To stabilize correctly, you need 3-D stabilization that performs “keystone correction” (like a projector does), re-imaging the source at an angle. In effect, your source image is projected onto a screen, then re-shot by a new camera looking in a somewhat different direction with a smaller field of view. Using a new camera keeps the optic center at the center of the image. In order to do this correctly, you always have to know the field of view of the original camera. Fortunately, SynthEyes can tell us that. Stabilization Concepts Point of Interest (POI). The point of interest is the fixed point that is being stabilized. If you are pegging a shot, the point of interest is the one point on the image that never moves. POI Deltas (Adjust tab). These values allow you to intentionally move the POI around, either to help reduce the amount of zoom required, or to achieve a particular framing effect. If you create a rotation, the image rotates around the POI. Stabilization Track. This is roughly the path the POI took—it is a direction in 3-D space, described by pan/tilt/roll angles—basically where the camera (POI) was looking (except that the POI isn’t necessarily at the center of the image). Reference Track. This is the path in 3-D we want the POI to take. If the shot is pegged, then this track is just a single set of values, repeated for the duration of the shot. Separate Field of View Track. The image preparation system has its own field of view track. The image prep s FOV will be larger than main FOV, because the image prep system sees the entire input image, while the main tracking and solving works only on the smaller stabilized sub-window output by image prep. Note that an image prep FOV is needed only for stabilization, not for pixel-level adjustments, downsampling, etc. The Get Solver FOV button transfers the main FOV track to the stabilizer. Separate Distortion Track. Similarly there is a separate lens distortion track. The image prep s distortion can be animated, while the main distortion can not. The image prep distortion or the main distortion should always be zero, they should never both be nonzero simultaneously. The Get Solver Distort button transfers the main distortion value (from solving or the Lens-panel alignment lines) to the stabilizer, and begs you to let it clear the main distortion value afterwards. Stabilization Zoom. The output window can only be a portion of the size of the input image. The more jiggle, the smaller the output portion must be, to be sure that it does not run off the edge of the input (see the Padded mode of the image prep window to see this in action). The zoom factor reflects the ratio of the input and output sizes, and also what is happening to the size of a pixel. At a zoom ratio of 1, the input and output windows and pixels are the same size. At a zoom ratio of 2, the output is half the size of the input, and each incoming pixel has to be stretched to become two pixels in the output, which will look fairly blurry. Accordingly, you want to keep the zoom value down in the 1.1-1.3 region. After an Auto-scale, you can see the required zoom on the Adjust panel. Re-sampling. There s nothing that says we have to produce the same size image going out as coming in. The Output tab lets you create a different output format, though you will have to consider what effect it has on image quality. Re-sampling 3K down to HD sounds good; but re-sampling DV up to HD will come out blurry because the original picture detail is not there. Interpolation Filter. SynthEyes has to create new pixels “in-between” the existing ones. It can do so with different kinds of filtering to prevent aliasing, ranging from the default Bi-Linear to the most complex 3-Lanczos. The bi-linear filter is fastest but produces the softest image. The Lanczos filters take longer, but are sharper—although this can be drawback if the image is noisy. Tracker Paths. One or more trackers are combined to form the stabilization track. The tracker s 2-D paths follow the original footage. After stabilization, they will not match the new stabilized footage. There is a button, Apply to Trkers, that adjusts the tracker paths to match the new footage, but again, they then match that particular footage and they must be restored to match the original footage (with Remove f/Trkers) before making any later changes to the stabilization. If you mess up, you either have to return to an earlier saved file, or re-track. Overall Process We’re ready to walk through the stabilization process. You may want to refer to the Image Preprocessor Reference. · Track the features required for stabilization either a full auto-track, supervised tracking of particular features to be stabilized, or a combination. · If possible, solve the shot either for full 3-D or as a tripod shot, even if it is not truly nodal. The resulting 3-D point locations will make the stabilization more accurate, and it is the best way to get an accurate field of view. · If you have not solved the shot, manually set the Lens FOV on the Image Preprocessor s Lens tab (not the main Lens panel) to the best available value. If you do set up the main lens FOV, you can import it to the Lens tab. · On the Stabilization tab, select a stabilization mode for translation and/or rotation. This will build the stabilization track automatically if there isn’t one already (as if the Get Tracks button was hit), and import the lens FOV if the shot is solved. · Adjust the frequency spinner as desired. · Hit the Auto-Scale button to find the required stabilization zoom · Check the zoom on the Adjust tab; using the Padded view, make any additional adjustment to the stabilization activity to minimize the required zoom, or achieve desired shot framing. · Output the shot. If only stabilized footage is required, you are done. · Update the scene to use the new imagery, and either re-track or update the trackers to account for the stabilization · Get a final 3-D or tripod solve and export to your animation or compositing package for further effects work. There are two main kinds of shots and stabilization for them shots focusing on a subject, which is to remain in the frame, and traveling shots, where the content of the image changes as new features are revealed. Stabilizing on a Subject Often a shot focuses on a single subject, which we want to stabilize in the frame, despite the shaky motion of the camera. Example shots of this type include · The camera person walking towards a mark on the ground, to be turned into a cliff edge for a reveal. · A job site to receive a new building, shot from a helicopter orbiting overhead · A camera car driving by a house, focusing on the house. To stabilize these shots, you will identify or create several trackers in the vicinity of the subject, and with them selected, select the Peg mode on the Translation list on the Stabilize tab. This will cause the point of interest to remain stationary in the image for the duration of the shot. You may also stabilize and peg the image rotation. Almost always, you will want to stabilize rotation. It may or may not be pegged. You may find it helpful to animate the stabilized position of the point of interest, in order to minimize the zoom required, see below, and also to enliven a shot somewhat. Some car commercials are shot from a rig that shows both the car and the surrounding countryside as the car drives they look a bit surreal because the car is completely stationary—having been pegged exactly in place. No real camera rig is that perfect! Stabilizing a Traveling Shot Other shots do not have a single subject, but continue to show new imagery. For example, · A camera car, with the camera facing straight ahead · A forward-facing camera in a helicopter flying over terrain · A camera moving around the corner of a house to reveal the backyard behind it In such shots, there is no single feature to stabilize. Select the Filter mode for the stabilization of translation and maybe rotation. The result is similar to the stabilization done in-camera, though in SynthEyes you can control it and have keystone correction. When the stabilizer is filtering, the Cut Frequency spinner is active. Any vibratory motion below that frequency (in cycles per second) is preserved, and vibratory motion above that frequency is greatly reduced or eliminated. You should adjust the spinner based on the type of motion present, and the degree of stabilization required. A camera mounted on a car with a rigid mount, such as a StickyPod, will have only higher-frequency residual vibration, and a larger value can be used. A hand-held shot will often need a frequency around 0.5 Hz to be smooth. Note When using filter-mode stabilization, the length of the shot matters. If the shot is too short, it is not possible to accurately control the frequency and distinguish between vibration and the desired motion, especially at the beginning and end of the shot. Using a longer version of the take will allow more control, even if much of the stabilized shot is cut after stabilization. Minimizing Zoom The more zoom required to stabilize a shot, the less image quality will result, which is clearly bad. Can we minimize the zoom, and maximize image quality? Of course, and SynthEyes provides the controllability to do so. Stabilizing a shot has considerable flexibility the shot can be stable in lots of different ways, with different amounts of zoom required. We want a shot that everyone agrees is stable, but minimizes the effect on quality. Fortunately, we have the benefit of foresight, so we can correct a problem in the middle of a shot, anticipating it long before it occurs, and provide an apparently stable result. Animating POI The basic technique is to animate the position of the point-of-interest within the frame. If the shot bumps left suddenly, there are fewer pixels available on the left side of the point of interest to be able to maintain its relative position in the output image, and a higher zoom will be required. If we have already moved the point of interest to the left, fewer pixels are required, and less zoom is required. Earlier, in the Stabilization Quick Start, we remarked that the 28% zoom factor obtained by animating the rotation could be reduced further. We’ll continue that example here to show how. Re-do the quick start to completion, go to frame 178, with the Adjust tab open, in Padded display mode, with the make key button turned on. From the display, you can see that the red output-area rectangle is almost near the edge of the image. Grab the purple point-of-interest crosshair, and drag the red rectangle up into the middle of the image. Now everything is a lot safer. If you switch to the stabilize tab and hit Autoscale, the red rectangle enlarges—there is less zoom, as the Adjust tab shows. Only 15% zoom is now required. By dragging the POI/red rectangle, we reduced zoom. You can see that what we did amounted to moving the POI. Hit Undo twice, and switch to the Final view. Drag the POI down to the left, until the Delta U/V values are approximately 0.045 and -0.035. Switch back to the Padded view, and you’ll see you’ve done the same thing as before. The advantage of the padded view is that you can more easily see what you are doing, though you can get a similar effect in the Final view by increasing the margin to about 0.25, where you can see the dashed outline of the source image. If you close the Image Prep dialog and play the shot, you will see the effect of moving the POI a very stable shot, though the apparent subject changes over time. It can make for a more interesting shot and more creative decisions. Too Much of a Good Thing? To be most useful, you can scrub through your shot and look for the worst frame, where the output rectangle has the most missing, and adjust the POI position on that frame. After you do that, there will be some other frame which is now the worst frame. You can go and adjust that too, if you want. As you do this, the zoom required will get less and less. There is a downside as you do this, you are creating more of the shakiness you are trying to get rid of. If you keep going, you could get back to no zoom required, but all the original shakiness, which is of course senseless. Usually, you will only want to create two or three keys at most, unless the shot is very long. But exactly where you stop is a creative decision based on the allowable shakiness and quality impact. Auto-Scale Capabilities The auto-scale button can automate the adjustment process for you, as controlled by the Animate listbox and Maximum auto-zoom settings. With Animate set to Neither, Auto-scale will pick the smallest zoom required to avoid missing pieces on the output image sequence, up to the specified maximum value. If that maximum is reached, there will be missing sections. If you change the Animate setting to Translate, though, Auto-scale will automatically add delta U/V keys, animating the POI position, any time the zoom would have to exceed the maximum. Rewind to the beginning of the shot, and control-right-click the Delta-U spinner, clearing all the position keys. Change the Animate setting to Translate, reduce the Maximum auto-zoom to 1.1, then click Auto-Scale. SynthEyes adds several keys to achieve the maximum 10% zoom. If you play back the sequence, you will see the shot shifting around a bit—10% is probably too low given the amount of jitter in the shot to begin with. The auto-scale button can also animate the zoom track, if enabled with the Animate setting. The result is equivalent to a zooming camera lens, and you must be sure to note that in the main lens panel setting if you will 3-D solve the shot later. This is probably only useful when there is a lot of resolution available to begin with, and the point of interest approaches the boundary of the image at the end of the shot. Keep in mind that the Auto-scale functionality is relatively simple. By considering the purpose of the shot as well as the nature of any problems in it, you should often be able to do better. Tweaking the Point of Interest This is different than moving it! When the selected trackers are combined to form the single overall stabilization track, SynthEyes examines the weight of each tracker, as controlled from the main Tracker panel. This allows you to shift the position of the point-of-interest (POI) within a group of trackers, which can be handy. Suppose you want to stabilize at the location of a single tracker, but you want to stabilize the rotation as well. With a single tracker, rotation can not be stabilized. If you select two trackers, you can stabilize the rotation, but without further action, the point of interest will be sitting between the two trackers, not at the location of the one you care about. To fix this, select the desired POI tracker in the main viewport, and increase its weight value to the maximum (currently 10). Then, select the other tracker(s), and reduce the weight to the minimum (0.050). This will put the POI very close to your main tracker. If you play with the weights a bit, you can make the POI go anywhere within a polygon formed by the trackers. But do not be surprised if the resulting POI seems to be sliding on the image the POI is really a 3-D location, and usually the combination of the trackers will not be on the surface (unless they are all in the same plane). If this is a problem for what you want to do, you should create a supervised tracker at the desired POI location and use that instead. If you have adjusted the weights, and later want to re-solve the scene, you should set the weights back to 1.0 before solving. (Select them all then set the weight to 1). Resampling and Film to HDTV Pan/Scan Workflow If you are working with filmed footage, often you will need to pull the actual usable area from the footage the scan is probably roughly 4 3, but the desired final output is 16 9 or 1.85 or even 2.35, so only part of the filmed image will be used. A director may select the desired portion to achieve a desired framing for the shot. Part of the image may be vignetted and unusable. The image must be cropped to pull out the usable portion of the image with the correct aspect ratio. This cropping operation can be performed as the film is scanned, so that only the desired framing is scanned; clearly this minimizes the scan time and disk storage. But, there is an important reason to scan the entire frame instead. The optic center must remain at the center of the image. If the scanning is done without paying attention, it may be off center, and almost certainly will be if the framing is driven by directorial considerations. If the entire frame is scanned, or at least most of it, then you can use SynthEyes s stabilization software to perform keystone correction, and produce properly centered footage. As a secondary benefit, you can do pan and scan operations to stabilize the shots, or achieve moving framing that would be difficult to do during scanning. With the more complete scan, the final decision can be deferred or changed later in production. The Output tab on the Image Preparation controls resampling, allowing you to output a different image format then that coming in. The incoming resolution should be at least as large as the output resolution, for example, a 3K 4 3 film scan for a 16 9 HDTV image at 1920x1080p. This will allow enough latitude to pull out smaller subimages. If you are resampling from a larger resolution to a smaller one, you should use the Blur setting to minimize aliasing effects (Moire bands). You should consider the effect of how much of the source image you are using before blurring. If you have a zoom factor of 2 into a 3K shot, the effective pixel count being used is only 1.5K, so you probably would not blur if you are producing 1920x1080p HD. Due to the nature of SynthEyes’ integrated image preparation system, the re-sampling, keystone correction, and lens un-distortion all occur simultaneously in the same pass. This presents a vastly improved situation compared to a typical node-based compositor, where the image will be resampled and degraded at each stage. Changing Shots, and Creating Motion in Stills You can use the stabilization system to adjust framing of shots in post-production, or to create motion from still images (the Ken Burns effect). To use the stabilizing engine you have to be stabilizing, so simply animating the Delta controls will not let you pan and scan without the following trick. Delete any the trackers, click the Get Tracks button, and then turn on the Translation channel of the stabilizer. This turns on the stabilizer, making the Delta channels work, without doing any actual stabilization. You must enter a reasonable estimate of the lens field of view. If it is a moving-camera or tripod-mode shot, you can track it first to determine the field of view. Remember to delete the trackers before beginning the mock stabilization. If you are working from a still, you can use the single-frame alignment tool to determine the field of view. You will need to use a text editor to create an IFL file that contains the desired number of copies of your original file name. Stabilization and Interlacing Interlaced footage presents special problems for stabilization, because jitter in the positioning between the two fields is equivalent to jitter in camera position, which we’re trying to remove. Because the two different fields are taken at different points in time (1/30th or 1/25th of a second apart, regardless of shutter time), it is impossible for man or machine to determine what exactly happened, in general. Stabilizing interlaced footage will sacrifice a factor of two in vertical resolution. Best Approach if at all possible, shoot progressive instead of interlace footage. This is a good rule whenever you expect to add effects to a shot. Fallback Approach stabilize slow-moving interlaced shots as if they were progressive. Stabilize rapidly-moving interlaced shots as interlaced. To stabilize interlaced shots, SynthEyes stabilizes each sequence of fields independently. Note that within the image preparation subsystem, some animated tracks are animated by the field, and some are animated by the frame. Frame levels, color/hue, distortion/scale, ROI Field FOV, cut frequency, Delta U/V, Delta Rot, Delta Zoom When you are animating a frame-animated item on an interlaced shot, if you set a key on one field (say 10), you will see the same key on the other field (say 11). This simplifies the situation, at least on these items, if you change a shot from interlaced to progressive or “yes” mode or back. Avoid Slowdowns Due to Missing Keyframes While you are working on stabilizing a shot, you will be re-fetching frames from the source imagery fairly often, especially when you scrub through a shot to check the stabilization. If the source imagery is a QuickTime or AVI that does not have many (or any!) keyframes, random access into the shot will be slow, since the codec will have to decompress all the frames from the last keyframe to get to the one that is needed. This can require repeatedly decompressing the entire shot. It is not a SynthEyes problem, or even specific to stabilizing, but is a problem with the choice of codec settings. If this happens (and it is not uncommon), you should save the movie as an image sequence (with no stabilization), and Shot/Change Shot Images to that version instead. Alternatively, you may be able to assess the situation using the Padded display, turning the update mode to Neither, then scrubbing through the shot. After Stabilizing Once you’ve finished stabilizing the shot, you should write it back out to disk using the Save Sequence button on the Output tab. It is also possible to save the sequence through the Perspective window s Preview Movie capability. Each method has its advantages, but using the Save Sequence button will be generally better for this purpose it is faster; does less to the images; allows you to write the 16 bit version; and allows you to write the alpha channel. However, it does not overlay inserted test objects like the Preview Movie does. You can use the stabilized footage you write for downstream applications such as 3dsmax and Maya. But before you export the camera path and trackers from SynthEyes, you have a little more work to do. The tracker and camera paths in SynthEyes correspond to the original footage, not the stabilized footage, and they are substantially different. Once you close the Image Preparation dialog, you’ll see that the trackers are doing one thing, and the now-stable image doing something else. You should always save the stabilizing SynthEyes scene file at this point for future use in the event of changes. You can then do a File/New, open the stabilized footage, track it, then export the 3-D scene matching the stabilized footage. But… if you have already done a full 3-D track on the original footage, you can save time. Click the Apply to Trkers button on the Output tab. This will apply the stabilization data to the existing trackers. When you close the Image Prep, the 2-D tracker locations will line up correctly, though the 3-D X s will not yet. Go to the solver panel, and re-solve the shot (Go!), and the 3-D positions and camera path will line up correctly again. (If you really wanted to, you could probably use Seed Points mode to speed up this re-solve.) Important if you later decide you want to change the stabilization parameters without re-tracking, you must not have cleared the stabilizer. Hit the Remove f/Trkers button BEFORE making any changes, to get back to the original tracking data. Otherwise, if you Apply twice, or Remove after changes, you will just create a mess. Also, the Blip data is not changed by the Apply or Remove buttons, and it is not possible to Peel any blip trails, which correspond to the original image coordinates, after completing stabilization and hitting Apply. So you must either do all peeling first; remove, peel, and reapply the stabilization; or retrack later if necessary. Flexible Workflows Suppose you have written out a stabilized shot, and adjusted the tracker positions to match the new shot. You can solve the shot, export it, and play around with it in general. If you need to, you can pop the stabilization back off the trackers, adjust the stabilization, fix the trackers back up, and re-solve, all without going back to earlier scene files and thus losing later work. That s the kind of flexibility we like. There s only one slight drawback each time you save and close the file, then reopen it, you’re going to have to wait while the image prep system recomputes the stabilized image. That might be only a few seconds, or it might be quite a while for a long film shot. It s pretty stupid, when you consider that you’ve already written the complete stabilized shot to disk! Approach 1 do a Shot/Change Shot Images to the saved stabilized shot, and reset the image prep system from the Preset Manager. This will let you work quickly from the saved version, but you must be sure to save this scene file separately, in case you need to change the stabilization later for some reason. And of course, going back to that saved file would mean losing later work. Approach 2 Create an image prep preset (“stab”) for the full stabilizer settings. Create another image prep preset (“quick”), and reset it. Do the Shot/Change Shot Images. Now you’ve got it both ways fast loading, and if you need to go back and change the stabilization, switch back to the first (“stab”) preset, remove the stabilization from the trackers, change the shot imagery back to the original footage, then make your stabilization changes. You’ll then need to re-write the new stabilized footage, re-apply it to the trackers, etc. Approach 1 is clearly simpler and should suffice for most simple situations. But if you need the flexibility, Approach 2 will give it to you.