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https://w.atwiki.jp/dvdfeatures/pages/28.html
DVD情報 シーズン1 シーズン2（最終シーズン） 出演 Bret McKenzie, Jemaine Clement, Rhys Darby, Kristen Schaal, Arj Barker ほか
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【登録タグ L Stack VENTEN 暁Records 曲 神社から見える月】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); 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https://w.atwiki.jp/hmiku/pages/18909.html
【登録タグ A Ryuuuu 巡音ルカ 曲】 作詞：Ryuuuu 作曲：Ryuuuu 編曲：Ryuuuu 唄：巡音ルカ 曲紹介 なにかメッセージ的なものを込められれば思い作ってみましたが、いつものごとく詩がよくわかりません。。笑 みなさまに一筋の希望が、、、僕に卒業という希望が、、、←爆（作者コメ転載） 歌詞 雲ひとつ無い空 ビルの隙間 のぞく日差しに 思わず顔に手を当て 隠した I wish it were raining そう、僕は自分で 自分の腕を離すんだ 見捨てていくのかな？ それとも前へ？ それも僕次第 I'm shoutin' like I'm singing, the voice goin' downtown All the dancers here are waitin' 4 the time 2 countdown You and me 始めよう You and us 終わったなら You and you 無限の0 You and I have got ready 2 fly Here in the dark No lights above So we're sure to catch a ray of light There in the bright But they don't know What it feels like to catch a ray of light たどり着く場所なら 無くたっていい 今日と同じでも 君が変わればいい 「あの頃はよかった」 じゃあ一体誰が これからはよくないって 決めたっていうの？ Oh just let me go higher 自分で自分の腕を離すんだ Oh just let me go higher 弾く鼓動が 僕を動かすよ I'm shoutin' like I'm singing, the voice goin' downtown All the dancers here are waitin' 4 the time 2 countdown You and me 始めよう You and us 終わったなら You and you 無限の0 You and I have got ready 2 fly Here in the dark No lights above So we're sure to catch a ray of light There in the bright But they don't know What it feels like to catch a ray of light 間違いだらけな 毎日でよかった もう全部なにもかも なにもかも希望でしかない Look up and see the beautiful sky Say yeah-i-ehh All the lights are holding us Say yeah-i-ehh I'm shoutin' like I'm singing, the voice goin' downtown All the dancers here are waitin' 4 the time 2 countdown Say yeah-i-ehh!!... Here in the dark No lights above So we're sure to catch a ray of light There in the bright But they don't know What it feels like to catch a ray of light たどり着く場所なら 無くたっていい 今日と同じでも 君が変わればいい Oh just let me go higher コメント おおお！！！待ってた！ -- 名無しさん (2011-10-30 19 24 34) 名前 コメント
https://w.atwiki.jp/gamemusicbest100/pages/6740.html
Night in the Woods(ナイト・イン・ザ・ウッズ) 機種：Win, Mac, Linux, PS4, Nintendo Switch 作曲者：Alec Holowka 開発元：Infinite Fall 発売元：Finji 発売年：2017 概要 大学を中退した猫のメイ(Mae Borowski)が主人公の、サイドビュー型アドベンチャーゲーム。 かつては炭鉱で賑わっていた故郷の町に戻ってきた彼女が巻き込まれる事件を主軸とした物語が展開される。 登場人物のすべてが擬人化された動物（ただし、動作は人間とほとんど変わりがない）であり、モダンアートのような描写が特徴的である。 メインストーリーと並行して、主人公の旧友たちとの日常や、夢の中での奇妙な出来事を体験しながら物語を進めていく。 作曲は『TowerFall Ascension』などを担当したカナダの著名なゲームクリエイター、Alec Holowka氏が担当。 2018年2月1日に、海外でのNintendo Switchでの配信が開始。それから1年後の2019年3月28日には日本語版の配信も開始された。 また、外伝的な位置付けのゲームとして、「LONGEST NIGHT」、「LOST CONSTELLATION」の2作品が公開されており、2017年12月にリリースされたディレクターズカット版 (WEIRD AUTUMN EDITION)にて同梱されるようになった。 収録曲 曲名 作・編曲者 補足 順位 Soundtrack Vol. I At The End Of Everything Trailer Alec Holowka トレーラームービー1（本編未使用） Title タイトル Garbo and Malloy コメディ番組 Fiasco Fox Vending Machine 自動販売機 Playground プロローグ：遊び場 Come Home プロローグ：帰宅 Sleeping 就寝（～PART 2） Waking Up 起床（～PART 2） Home Again メイの家（PART 1） Back to the Holler 町（PART 1） Gregg グレッグのテーマ Snack Falcon スナック・ファルコン Die Anywhere Else バンド練習曲1 Where's Casey? ケイシーについての会話 The Arm 腕発見現場 Video Outpost "Too" ビデオレンタルTOO The Intercom インターフォン Angus at Home アンガスの家 Ol' Pickaxe ピックアックス Durkillesburg 夢の中1 Mae's House メイの家（PART 2） Possum Springs 町（PART 2） Dusk Stars 星座観測 Pierogies in the Dark 地下道 Shoplifting プレッツェル調達 Weird Autumn バンド練習曲2 Gregg! グレッグルート導入 Food Donkey グレッグルート1 Robot Heads Pierogi Toss Bea! ビールート導入 The Fort Lucenne Mall ビールート1 Witch Dagger Underwater Waltz MaeBea Astral Alley 夢の中2 Crimes グレッグルート2 Sharkle Dream Robot Builder Crimes II Nighttime Housecall ビールート2 Miss Miranda Clanky Must Live Clanky Must Die Fireflies on the Porch Astral Coal Town 夢の中3 Batter Up Cycles グレッグルート3 Knife Fight Knife Fight Defeat Knife Fight Victory On the Hunt Gregg's Woods Grocery Shopping ビールート3(dinner at bea's) Dinner at Bea's Mrs Santello's Old Records Outskirts 郊外 Mallard's Tomb 物置き場 Astral Train 夢の中4 Harfest 収穫祭 What?! 誘拐現場目撃 Eide 幽霊に遭遇 Soundtrack Vol. II Hold On To Anything Trailer II Alec Holowka トレーラームービー2（本編では未使用） Waking Up II 起床（PART 3） Mae's House II メイの家（PART 3） The Long Fall 町（PART 3） Pumpkin Head Guy バンド練習曲3 Investigation! 探索イベント導入 Library Investigations 探索：図書館 Microfiche Poetry Society Church Hill 教会前 Church of The First Coalescence 教会内部 Sleeping II 就寝（PART 3） Astral Fish 夢の中5 Angus Climbs the Hill 探索：ポッサム・ジャンプ Angus' Story God? 夢の中6 Unknowable 夢の中7 Rainy Day 町（雨の日） Car Radio ドーナツウルフにて Donut Wolf I'm Going to Break Something Dance Party パーティ会場 Cycles II Finding Bea ビー捜索 Proximity The Bridge 町外れ The Husker Bee Ballroom Graveyard Investigations 探索：墓地 Little Joe The Historical Society 探索：歴史協会本部 Ancient History The Map Room Someone's Coming Lori M. ローリ・Mのテーマ Skate Wolf Thryy Wyrd Tyyns 三人の若者 Ghost Hunt 幽霊追跡 Run! Urban Prairie PART 4 Sanctuary Shapes The Hole At The Center Of Everything Eide Fight Climb Aftermath Vignettes Snow 町（EPILOGUE） Early Longest Night End Credits スタッフロール Soundtrack Vol. III Demontower Title Alec Holowka デーモンタワー（ミニゲーム） Level 1 The Hole Level 2 The Cellar Boss Level 3 Skellie Outskirts Level 4 Skellie City Level 5 Library Level 6 Church Level 7 Rivers of Blood Level 8 Leafy Graves Level 9 Cemetery Grounds The Blood Thief Ending WEIRD AUTUMN EDITION 追加曲 Space Dragon Alec Holowka ベース練習曲 Tick Tock Cycles III Germ's Trampoline サウンドトラック Night in the Woods Vol. I At The End Of Everything Soundtrack Vol. II Hold On To Anything Night in the Woods Vol. III Demontower
https://w.atwiki.jp/pathofexile12/pages/83.html
入手方法 詳説・特徴 関連リンク Badge of the Brotherhood Turquoise Amulet ステータス要求値：LEVEL60 +(16-24) to Dexterity and IntelligenceDexterityとIntelligenceに+(16-24) (7-10)% increased Cooldown Recovery of Travel Skills per Frenzy ChargeFrenzy ChargeごとにTravelスキルのクールダウン回復速度が(7-10)%増加 (7-10)% increased Effect of Elusive on you per Power ChargePower ChargeごとにあなたにかかるElusiveの効果が(7-10)%増加 (20-25)% chance to lose a Frenzy Charge when you use a Travel Skillスキルの使用時、(20-25)%の確率でFrenzy Chargeを失う (20-25)% chance to lose a Power Charge when you gain ElusiveElusiveを得た時、(20-25)%の確率でPower Chargeを失う Your Maximum Frenzy Charges is equal to your Maximum Power ChargesFrenzy Chargeの最大値はPower Chargeの最大値と等しくなる Greater than any blade, agility and intellect will be your weapons. 入手方法 Blightリーグ限定品。 カード等のドロップ以外の入手方法 アイテム 必要数 備考 Time-Lost Relic 10 Jack in the Box 4 Arrogance of the Vaal 8 詳説・特徴 関連リンク 英wiki https //pathofexile.gamepedia.com/Badge_of_the_Brotherhood Unique Amulets 一覧
https://w.atwiki.jp/vocaloidenglishlyric/pages/507.html
【Tags Hitoshizuku-P Len Miku Rin tM tT A】 Original Music title 雨夢楼 English music title The Multistoried House of the Dream of Rain Romaji music title Amayume Rou Music Lyrics written, Voice edition by ひとしずくP(Hitoshizuku-P) Music arranged by ひとしずくP(Hitoshizuku-P) Main Singer(s) 鏡音リン (Kagamine Rin), 初音ミク (Hatsune Miku), Voice by 鏡音レン (Kagamine Len) Click here for the original Japanese Lyrics English Lyrics (translated by blacksaingrain)： They're fragile words, aren't they? "I'll come to take you away... Wait for me." Though time has passed by and seasons have turned, still I believe your word and I'm waiting Gently falling snow danced in the night sky Wearing kimono with open seams Poor lonely young children shivered with their shoulders huddled together The brightly smiling eyes The melancholy downcast eyes Reflected the wounds of each other and they pledged to live on Those who beckon at evening twilight are flowers of courtesans Butterflies of night fly around for sweet honey dews Fluttering beautiful kimono I lose myself, I bloom myself I'll be the brightest blossom than anyone else and enchant them Hey, they're fragile word, aren't they? "Let’s be together forever" Though seasons have turned and we have grown up, still, Can I believe your word? Everything began on that day The setting sun shined our promise Not to let anyone notice my loneliness I'm drown in a dream that never ends On a street shined by the setting glow, I secretly fell in love I couldn’t even tell my feelings and I just gaze Before the tenderly smiling eyes was the blossom who has a smile With noise the hidden love broke up To be in love with each other is a tone of the endless night Ah, it's a fantasy of the colourless darkness If "TO BELOVED" is "HAPINESS" I should be… You should be… Happier than anyone else Ah, it's a fragile word, isn't it? "I’ll come to take you out of here... Wait for me." Every time I am told "I love you" I felt I could believe life was worth living But, then, why don’t you take me away with you at once…? A meaningless cry swelled But I couldn’t put it into words and it disappeared Corpses of pseudo love disappear as the dawn breaks If everything had been a dream, I wouldn’t have had to cry "I’ll wait for you forever" I pledged that and made the promise at evening twilight With the fragile blossom It was gone It was at dusk of the bygone day Do you remember the promise? "Let the two of us be side by side" Surely, someday Ah, what fleetingly disappeared are The lovely blossom and the first love Though seasons have turned and we have grown up A permanent scar remains At dusk of a summer day, now, the promise will never come true I'm alone, all alone I keep on waiting without any reasonable prospect As we pledged it at dusk I wish everything had been a dream... Romaji lyrics (transliterated by )： Hakanai kotoba ne "Mukae ni iku yo... Mattei te" Toki wo kasane kisetsu ga megutte mo, mada Shinjite matteru... Harari yuki ga mau yozora Hokorobita kimono wo kite Furueru kata wo yose au Mazushii kodoku na osanago Akaruku warau hitomi wa Utsumuki ureu hitomi wa Tagai no kizu wo utsushite ikiru koto wo chikatta Yoiyami ni sasou wa oiranzou Amai mitsu ni mau yoru no chou Kirei na kimono nabikasete Midarete sakasete Dare yori kagayaku hana ni natte miseru Nee, hakanai kotoba ne "Zutto, issho ni iyou ne" Kisetsu ga megutte, otonani natte mo mada Shinjite ii no? Ano hi kara subete, hajimatta Yuugure ni somaru yakusoku Samishii kokoro, kizukarenu you ni Samenai yume ni oboreteru Tasogare ni somaru machi de Hitoshirezu ni koi wo shita Omoi wo tsugeru koto sae kanawazu ni tada mitsumeru Yasashiku warau hitomi no saki ni hohoemu sono hana Hisoyakana koigokoro wa Oto wo tatete kuzureta Omoi-omoware ga tokoyo no shirabe Iro naki yami no gensou yo "'Aisareru' no ga 'shiawase'" nara ba Watashi wa... Anata wa... Dare yori zutto shiawase na hazu nano ni Aa hakanai kotoba ne Mukae ni ikuyo... Matteite" "Aishiteiru" to iwareru tabi ni Ikiru kachi, tashikamete "Demo, sorenara naze imasugu ni Saratte ittekurenai no..." Komiagetekita munashii sakebi wa Kotoba ni dekizu kieteitta Aa yoake to tomo ni kieteku Aa subete ga yume datta nara Nisemono no ai no mukuro Nakanai de irareta no ni Aa yoiyami ni chikatta yakusoku wa hakanai hana to tomo ni kieta... "Itsumademo matteru kara" Tooi hi no yuugure Yakusoku oboeteru? "Futari de naran de arukou ne" Kitto, itsuka... Aa hakanaku kietetta Karen na hana to hatsukoi yo Kisetsu ga megutte otona ni natte mo naoranai kizuato nokoshite Yuugure no natsu no hi kanawanai yakusoku wo ima Watashi wa hitori tatta hitori de Atemo naku machi tsuzukeru Aa yuugure ni chikatta mama Aa subete ga yume datta nara... [Hitoshizuku-P, HitoshizukuP]
https://w.atwiki.jp/matchmove/pages/43.html
Opening the Shot ショットを開く ショットのトラッキングを始めるには、起動後File/New（ファイル/新規）やFile/Import/Shot（ファイル/入力/ショット）を選択します。 AVI、QTムービー、MPEGファイル、連番ファイルの最初のフレームのJPEG、TIFF、BMP、SGI、Cineon、SMPTE DPX、Targaファイルなどを選択する必要があります。 Macでは、正しく書き出されていれば、ファイルの種類は拡張子が無くとも自動的に決められます（OSXで定められている拡張子に限ります）。 PCかMacで、もしイメージファイルに拡張子がなかったりファイルの種類が判らないときには、Open File（ファイルを開く）ダイアログボックスで、Just Open It（それを開く）を選択して、それで表示されたファイルを選択すると、SynthEyesが自動的に種類を判定します。 注意 SynthEyesは、セキュリティの確立された環境で、既知のイメージ上での使用を前提としています。インターネットまたは他の未知の要因から得られたイメージによってもたらされるウィルスに対抗するようにアップデートされることはありません。そのようなイメージは、SynthEyesまたはコンピュータを破壊する原因になったり、あるいは、危険なソフトウェアによって不正にのっとられる原因になるかもしれません。 SynthEyesは、通常ファイル・シーケンスごとに1つのIFL(画像ファイルリスト)ファイルを作成し、イメージと同じフォルダに、それを書き出します。 IFLは全体のシーケンスのための信頼できるプレースホルダとして機能し、SynthEyesが全てのシーケンスを再チェックする必要がないので、特にネットワークを介してのシーケンスの開き直す時間を節約します。IFLファイルがあなたの画像管理システムと相性が悪い、もしくはあなたが異なったマシンから同じ画像シーケンスを頻繁に開くなら、各コンピュータから異なったファイル名の、同じ画像シーケンスを作り出して、あなたはWriteをオフにすることができます。 preferenceの Match image-sequence frame # s は,シーケンスの初めに余分なフレームを生成するよう、設定されます。そのため、SynthEyesフレーム番号はファイルのフレーム番号に合います。（全体のショットが既にありましたらこの必要は全くありません。）。この設定はいつもこのマッチング(シーケンスの番号を合わせる事)を必要とするある他のプログラムとの相互作用を簡素化できます。そして、ショットの‘in ポイントの周りで編集が変化した時の変更をより簡単にすることができます。 （下記のPrepend Additional Frames setting（前もって付加フレームを設定する）を参照。） このpreferenceが、全く他のアプリケーションまたはそれらのエクスポーターと必ずしも互換性を持つというわけではありません。 それを使用する前に、このpreferenceをテストして、影響を必ず熟知しておいてください。 Basic Open-Shot Settings 次の設定があなたのショットと一致するように調整してください。 あなたはこれらの設定をShot/Edit Shotの後に変えることができます。 もしあなたが始めるときに全ての設定を理解していなくても、うろたえないでください；多くは高度な状況の時だけに提供します。 Image Aspect は正しい結果を得る上で最も重要になる設定です。 Maya ユーザーが Maya プリセットに対応しているプリセットを使うことを望むかもしれません。 Image Preprocessingボタンが、もう１つのパネルを起動することに注意してください；私たちは、基本的なオープンショット・ダイアログの後にそれらを設定します。 Start Frame, End Frame フレームの範囲を調整します。このパネル、またはタイムバーの枠の端の「+-」をshift+ドラッグすることで調整できます。 Frame rate 通常1秒当たりのフレーム数は、24、24.98、または29.97です。NTSCは米国と日本、PALはヨーロッパで使用されます。 一般に、フィルムは24fpsです。 高(低)フレームレートショットやマルチメディアプロジェクトの為に、他のレートを設定することもできます。ソフトウェアによっては25か30fpsに、(小数点を)丸めるかもしれません。 SynthEyesは、あなたが正確であるか大体の値を使用するかどうか気にかけません。 Interlacing フィルムかプログレッシブ・スキャンDVの時はNone。25/30fpsはYesを(常に他のフィールドをスキップします)。 急速なぶれをトラッキングする能力をいくらか損失しますが、必要なトラッキングの量を最小にします。 同じものにYesとButを使用してください。Butは、他のフィールドを保つときに使用してください。インターレースビデオの最初のフィールドによって、Starting OddかStarting Evenを使用してください。推測でなら、いったんショットを開いた後、いくつかのフレームをコマ送りしてください。2ステップで次のコマに行くなら、一旦戻ってShot/Edit Shotメニューの項目を選択し、設定を修正してください。JPEGシーケンスなどのnon-field-savvyコーデックで圧縮されたソースビデオにはYesかNoneを使用してください。 Apply Preset 異なったフィルム形式のリストをドロップダウンからクリックしてください。それらの1つを選択すると、 Image Aspect ・ Back Plate ・ Anamorphic Squeeze や、大部分のパラメーターがプリセットによって設定されるでしょう。あなたは、自分のプリセットを、作成・変更・消去できます。プリセットリストの一番下の、 Save As や Delete を使用して、登録します。 Image aspect ratio(縦横比) 画像の幅を高さで割った値。1.333はビデオ,1.777はHDTV, 2.35や他の値はフィルムです。注意 通常、これはimage preprocessorへの縦横比入力です。 右下に示された“Final aspect”は、 image preprocessor から出て来る縦横比です。 ひずみを適用し、 image preprocessor がモードを適用するように設定されるなら、このスピナーの値は出力された縦横比です。(その比は、オリジナルのショットの縦横比です)。 右下で“Final aspect”を見る代わりに、“source aspect.”とラベルされて、入力されたイメージの縦横比は出てくるでしょう。 Pixel aspect ratio それぞれの画素の縦横比。 (画素の縦横比は最終的なイメージのためのもので、アナモルフィック・ネガの画素の、細い幅ではない。) Back Plate Width バーチャルカメラの焦点距離の解析を決定し、“film”の幅を設定します。 特定のカメラにおいて、焦点距離とバックプレート幅の実際の値が、“book values” といつもわずかに異なっていることに注意してください。注意 Mayaはこの値に関して、非常に気難しいです。 Back Plate Height 幅、イメージ比率および縮尺から計算された、フィルムの高さ。 Back Plate Units. in が表示されている時はインチ、 mm の時はミリメートルです。 クリックして、希望する方に変更してください。 Anamorphic Squeeze アナモルフィック・レンズがフィルム・カメラで使用されているとき、ワイドスクリーンイメージをより細長いネガまで絞ります。 圧縮要素は多くの絞りがどうかかわるかを反映します。2の値は、最終的なイメージがマイナス2倍広いことを意味します。 圧縮を便利に提供します。それは全体的なSynthEyesシーンで必要ではありません。 Negative s Aspect アナモルフィックな圧縮が存在していない場合、最終的なイメージと同じ値の、マイナス縦横比。 イメージの比率と圧縮要素から計算されています。 Prepend Extra Frames shot/Change Shot Imageryメニューアイテムの間だけ、選択可能です。 このスピナーは、追加フレームがショットの始めに加えられるのを示し、それは全てのトラッカー、 オブジェクトのパス、スプラインなどは後でショットにかほど移行するべきです。 Exposure Adjustment 読まれた、多くの絞り値による、ショットの露出の増減の調節。 値を変えると、メインウィンドウが更新されます。 これは、CineonやDPXなどの特定の画像形式だけに反応します。浮動小数点形式のOpenEXRは特に重要です。 HiRez 手動トラッキングのための、画素間の再サンプリングと補間法の量のプリセット。 いくらかトラッキングが遅くなりますが、より大きい値とより高度なタイプはより鮮明なイメージを与え、 より良いトラッキングデータになるかもしれない。 デフォルトのLinear x 4で、大概十分でしょう。 より高度なタイプは、高品質の圧縮されていないソース場面のために検討することができます。 Queue Length RAMに格納する(全てのフレームが望ましい)、フレームの数。 関連しているディスプレイには、どのくらいのメモリがコンピュータに残っているかを示しています。 Photoshopや3Dアプリケーションの様なRAMが必要な他のアプリケーションは蓄えたメモリー容量を減少させるかもしれません。 とにかく、SynthEyesを稼働している間、それらの他のアプリケーションを一時的に遅くなるのを気にしないならば、マシンの多くの物理メモリ(RAM)を必要とする、キューの長さを要求できます。 比較的わずかなメモリー容量だけが、1,000個以上のフレーム、または大きい・動作中・フィルムスキャンのショットを除いた、自動トラッキングのために必要です。 16 Bit/Channel 入力ファイルが1チャンネルあたり16bitなら、16bitで処理されるか8bitに減らすかを、このチェックボックスで制御します。 8bitのイメージは多少正確ではありませんが、軽く、16bitと比べると速いです。 逆に、16bitのイメージは正確ですが、重く、8bitに比べると遅いです。 あなたは、16bitで自動トラッキングをし、そして、ショットを素早くスクラブするために、8bitに落とすことができます。 Keep Alpha チェックすると、ファイルを開くときに、SynthEyesはアルファチャンネル付きで処理します(ロトスコープするために、アルファチャンネルの使用が無いように見えても)。 レンズディストーションやスタビライズのために image preprocessor を使い、アルファチャンネルも一緒に書き出したいとき、チェックしてください。 Image Preprocessing 様々なイメージレベル調整で、トラッキングをよりやり易くする、画像前処理(準備)ダイアログがあります (マシンよりも、人間の為のもの)。 色やガンマなどの調節ができ、シングルチャンネルや表示領域を制限するなど、メモリの使用を抑えるオプションもあります。 また、このダイアログは、スタビライズ機能も提供します。 Memory Status 画像の解像度・画像のRAMに取り込まれるサイズ(MB表記)・ショットのスレーム数・ マシンが使える残りのRAMの量と、シーケンスを取り込むのに必要なメモリー容量の見積もりが表示されます。 最後の必要メモリー容量が、目安に過ぎないことに注意してください。この後の(トラッキング等の)処理によって、 変わってきます。1フレーム目のサイズで必要なメモリー量を計算しているので、 Image Preprocessing システムで表示領域を変更した場合、 非常に不正確になります。 また、 Image Preprocessing 処理後から出てくる、最終的な縦横比もここに示されています。 それは Image Preprocessing によって実行された、再サンプリング、パディング(空白部分の埋め合わせ)、 およびクロッピング(必要な領域を指定し、画像を切り取ること)を反映します。 ロードした後に ショットをロードするためにOKを押すと、素早くアクセス出来るように、RAMにシーケンスを読み込み始めます。 ショットを通して、再生やスクラブをするのに、プレイバーとタイムバーを使用できます。注意! この処理は、RAIDディスクなどの高速処理量装置を利用して出来るだけ速くすべてをロードしようとし、プロセッサに負荷を掛けます。 しかしながら、フッテージが低帯域幅のリモートドライブの状態だと、OSがデータを得ようとして、マシンは一時的に鈍くなるかもしれません。 これを避けたいなら、 Shot メニューで Enable Prefetch をオフにするか、または preference の Prefetch enable をオフに変更してください。 下記のような、RAMにイメージを読み込むのに役立つ、 Image Preprocessing を使用できます。 ショットがRAMをうまく読み込まなくても、timebarの小さい緑色の、赤い再生マーカーを使用することでショットの一部のRAM再生を得ることができます。 あなたはループにしたい部分をドラッグすることができます。 時々、全体のショットを開きたくなるかもしれませんが、読み込んでいる部分だけをトラッキング・解析してください。 タイムバーのショットの両端をshift+ドラッグして、再生範囲を変更できます。 ここで、座標系タイプ(MAX, Maya, Lightwaveなどに適したもの)を選んでください。 必要なら、 scene setting や preference の調整をしてください。 Changing the Imagery You may need to replace the imagery of a shot, for example, with lower- or higher-resolution versions. Use theShot/Change Shot Imagesmenu item to do this. The shot settings dialog will re-appear, so you can adjust or correct settings such as the aspect ratio. When activated as part of Change Shot Images, the shot settings dialog also features aPrepend Extra Framessetting. If you have tracked a shot, but suddenly the director wants to extend a shot with additional frames at the beginning, use the Change Shot Images selection, re-select the shot with the additional images, and set the Prepend Extra Frames setting to the number of additional frames. This will shift all the trackers, splines, object paths, etc later in the shot by that amount. You can extend the trackers or add additional ones, and re-solve the shot. Note that if frames from the beginning of the shot are no longer needed, you should leave them in place, but change the shot start value by shift-dragging it in the time bar. あなたは例えば、ショットの画質を低い、あるいはより高い解像度のバージョンで置き換える必要があるかもしれません。 これを行うために、Shot/Change Shot Imagesmenu項目を使用してください。 shot settings dialog が再び表示されるでしょう、それであなたはアスペクト比のような設定を調整したり修正することができます。 Change Shot Imagesの一部として作動するるとき、shot settings dialogは同じくPrepend Extra Framessetting として起用します。 もしあなたがショットを追跡した、しかし突然ディレクタが始めに追加のフレームでショットを拡張することを望むなら、Change Shot Images セレクションを使って、ショットの追加のイメージを再び選択して、Prepend Extra Framesで追加のフレームをセットしてください。 これはその量によってショットすべてのトラッカー、スプライン、オブジェクトパスなどを変えるでしょう。 あなたはトラッカーを延長するか、あるいは追加を加えて、ショットを解決することができます。 もしショットの最初からのフレームがもう必要とされないなら、実施されているままにしておくべきであることに注意してください、しかし、タイムバーにそれをシフト - ドラッグで、ショットのスタート値を変えてください。 Image Preprocessing Basics The image preparation dialog provides a range of capabilities aimed at the following primary issues · Stabilizing the images, reducing wobbles and jiggles in the source imagery, · Making features more visible, especially to you for supervised tracking, · Reducing the amount of memory required to store the shot in RAM, to facilitate real-time playback, · Correcting image geometry distortion or the optic axis position. You can activate the image preprocessing panel either from the Open-Shot dialog, or from the Shot menu directly. The individual controls of the image preprocessor are spread among several tabbed subpanels, much like the main SynthEyes window. These include Rez, Levels, Cropping, Stabilize, Lens, Adjust, Output, and ROI. As you modify the image preprocessing controls, you can use the frame spinner and assorted buttons to move through the shot to verify that the settings are appropriate throughout it. Fetching and preprocessing the images can take a while, especially with film-resolution images. You can control whether or not the image updates as you change the frame# spinner, using the control button on the right hand side of the image preprocessor. The image preprocessing engine affects the shots as they are read from disk, before they are stored in RAM for tracking and playback. The preprocessing engine can change the image resolution, aspect ratio, and overall geometry. Accordingly, youmust take care if you change the image format---if you change the image geometry, you may need to use theApply to Trackersbutton, or you will have to delete the trackers and do them over, since their positions will no longer match the image currently being supplied by the preprocessing engine. (The apply/remove lens distortion script can also help recover.) The image preprocessor allows you to create presets within a scene, so that you can use one preset for the entire scene, and a separate preset for a small region around a moving object, for example. Image Adjustments As mentioned, the image adjustments allow you to fix up the image a bit to make it easier for you and SynthEyes to see the features to be tracked. The preprocessor s image adjustments encompass the basic saturation and hue, level adjustments, and channel selection. The level adjustments map the specified Low level to blackest black out (luma=0), and specified High level to whitest white (luma=1), so that you can select a portion of the dynamic range to examine. The Mid level is mapped to 50% gray (luma=0.5) by performing a gamma-type adjustment; the gamma value is displayed and can be modified. You should be a bit careful that in the interests of making the image look good on your monitor, you don’t compress the dynamic range into the upper end of brightness, which reduces that actual contrast available for tracking. The level adjustments can be animated to adjust over the course of the shot, see the section on animated shot setup below. It may be worthwhile to use only one of the R, G, or B channels for tracking, or perhaps the basic luminance, as obtained using the Channel setting. (The Alpha channel can also be selected, mainly for a quick check of the alpha channel.) If you think selecting a single channel might be a good idea, be sure to check them all. If you are tracking small colored trackers, especially on video, you will find they often aren’t very colorful. Rather than trying to increase the saturation, use a different channel. For example, with small green markers for face tracking, the red channel is probably the best choice. The blue channel is usually substantially noisier than red or green. The hue adjustment can be used to tweak the color before the channel selection; by making yellows red, you can have a virtual yellow channel, for example. Note that you can change the image adjustments in this section without having to re-track, since the overall image geometry does not change. Minimizing Grain The grain in film images can perturb tracking somewhat. Use the Blur setting on the image preparation panel to slightly filter the image, minimizing the grain. This tactic can be effective for compression artifacts as well. SynthEyes can stabilize the images, re-size them, or correct for lens distortion. As it does that, it interpolates between the existing pixels. There are severalinterpolation modesavailable. You can produce a sharper image when you are re-sampling using the more advanced modes, but you increase the grain as you do so. Handling Strobes and Explosion Shots Quickly varying lighting can cause problems for tracking, especially supervised tracking. You can reduce the lighting variations by hi-pass filtering the image with the Hi-Pass setting. The image will turn into a fairly monotonous gray version (consider using only the Luma channel to save memory). The Hi-Pass setting is also a Gaussian filter size, but it is generally much larger than a 2-pixel blur to compensate for grain, say around 10 pixels. The larger the value, the more the original image will “show through,” which is not necessarily the objective, and the longer it will take to process. You can increase the hi-pass image contrast using the Levels settings, for example low=0.25, high=0.75. You can use a small blur for grain/compression in conjunction with the high-pass filtering. It will also reduce any slight banding if you have used the Levels to expand the range. Memory Reduction It is much faster to track, and check tracking, when the shot is entirely in the PC s RAM memory, as fetching each image from disk, and possibly decompressing it, takes an appreciable amount of time. This is especially true for film-resolution images, which take up more of the RAM, and take longer to load from disk. SynthEyes offers several ways to control RAM consumption, ranging from blunt to scalpel-sharp. Starting from the basic Open-Shot dialog, if your source images have 16 bit data, you can elect to reduce them to 8 bit for storage, by unchecking the 16-bit checkbox and reducing memory by a factor of two. Of course, this doesn’t help if the image is already 8 bit. If you have a 2K or 4K resolution film image, you might be able to track at a lower resolution. The DeRez control allows you to select ½ or ¼ image resolution selections. If you reduce resolution by ½, the storage required drops to ¼ the previous level, and a reduction by ¼ reduces the storage to 1/16ththe prior amount, since the resolution reduction affects both horizontal and vertical directions. Note that by reducing the incoming image resolution, your tracks will have a higher noise level which may be unacceptable; this is your decision. If you can track using only a single channel, such as R, G, or luma, you obtain an easy factor of 3 reduction in storage required. The most precise storage reduction tool is theRegion Of Interest (ROI), which preserves only a moving portion of the image that you specify, and makes the rest black. The black portion does not require any RAM storage, so if the ROI is only 1/8ththe width and height of the image, a reduction by 1/64thof storage is obtained. The region of interest is very useful with object-type shots, such as tracking a face or head, a chestplate, a car driving by, etc, where the interesting part is comparatively small. The ROI is also very useful in supervised tracking, where the ROI can be set up for a region of trackers; once that region is tracked, a different ROI can be configured for the next group. A time savings can be achieved even though the next group will require an image sequence reload. (See the section on presets, below, to be able to save such configurations.) The ROI is controlled by dragging it with the left mouse button in the Image Preprocessing dialog s viewport. Dragging the size-control box at its lower right of the ROI will change the ROI size. The next section describes animating the preprocessing level and ROI. It can also be helpful to adjust the ROI controls when doing supervised tracking of shots that contain a non-image border as an artifact of tracking. This extra border can defeat the mechanism that turns off supervised trackers when they reach the edge of the frame, because they run out of image to track before reaching the actual edge. Once the ROI has been decreased to exclude the image border, the trackers will shut off when they go outside the usable image. As with the image adjustments, changing the memory controls does not require any re-tracking, since the image geometry does not change. Animated Shot Setup The Level, Saturation/Hue, lens Field of View, Distortion/Scale, stabilizer adjustment, and Region of Interest controls may be animated, changing values over the course of the shot. Normally, when you alter the Level or ROI controls, a key at the first frame of the shot is changed, setting a fixed value over the entire shot. To animate the controls, turn on the Make Keys checkbox () at lower right of the image prep dialog. Changes to the animated controls will now create keys at the current frame, causing the spinners to light up with a red outline on keyframes. You can delete a keyframe by right-clicking a spinner. If you turn off Make Keys after creating multiple keys, subsequent changes will affect only the keyframe at the start of the shot (frame zero), and not subsequent keys, which will rarely be useful. You can navigate within the shot using the next frame and previous frame buttons, the next/previous key buttons, or the rewind and to-end buttons. Temporarily Disabling Preprocessing Especially when animating a ROI, it can be convenient to temporarily turn off most of the image preprocessor, to help you find what you are looking for. The enable button (a stoplight) at the lower right will do this. The color modifications, level adjustment, blur, down-sampling, channel selection, and ROI are all disabled by the enable button. The padding and lens distortion are not affected, since they change the image geometry—you do not want that to change or you can not then place the ROI in the correct location. Disabling Prefetch SynthEyes reads your images into RAM using a sophisticated multithreaded prefetch engine, which runs autonomously much of the time when nothing else is going on. If you have a smaller machine or are maybe trying to run some renders in the background, you can turn off theShot/Enable prefetchsetting on the main menu. Get Going!You don’t have to wait for prefetch to finish after you open a shot. It doesn’t need courtesy. You can plough ahead with what you want to do; the prefetcher is designed to work quietly in the background. Correcting Lens Distortion Most animation software assumes that the camera is perfect, with no lens distortion, and the camera s optic axis falls exactly in the center of the image. Of course, the real world is not always so accommodating. SynthEyes offers two methods to determine the lens distortion, either via a manual process that examines the image curvature of lines that are straight in the real world, or as a result of the solving process, if enough reliable trackers are available. SynthEyes accommodates the distortion, but your animation package probably will not. As a consequence, a particular workflow is required that we will introduce shortly and in the section on Lens Distortion. The image preprocessing system lets distortion be removed, though after doing so, any tracking must be repeated or corrected, making the manual distortion determination more useful for this purpose. The image preprocessing dialog offers a spinner to set the distortion to match that determined. A Scale spinner allows the image to be scaled up or down a bit as needed to compensate for the effect of the distortion removal. You can animate the distortion and scale to correct for varying distortion during zoom sequences. Image Centering The camera s optic axis is the point about which the image expands or contracts as objects move closer or further away. Lens distortion is also centered about this point. By convention of SynthEyes and most animation and compositing software, this point must fall at the exact center of the image. Usually, the exact optic center location in the image does not greatly affect the 3-D solving results, and for this reason, the optic center location is notoriously difficult to determine from tracking data without a laboratory-grade camera and lens calibration. Assuming that the optic axis falls in the center is good enough. There are two primary exceptions when an image has been cropped off-center, or when the shot contains a lot of camera roll. If the camera rolls a lot, it would be wise to make sure the optic axis is centered. Images can be cropped off-center during the first stages of the editorial process (when a 4 3 image is cropped to a usable 16 9 window), or if a film camera is used that places the optic axis allowing for a sound channel, and there is none, or vice versa (none is allowed for, but there is one). Image stabilization or pan/scan-type operations can also destroy image centering, which is why SynthEyes provides the tools to perform them itself, so they can be done correctly. Of course, shots will arrive that have been seriously cropped already. For this reason, the image preprocessing stage allows images to be padded up to their original size, putting the optic axis back at the correct location. Note that padding up is necessary, not even further cropping! It will be important to identify the degree of earlier cropping, to enable it to be corrected. The Fix Cropping (Pad) controls have two sets of three spinners, three each for horizontal and for vertical. Both directions operate the same way. Suppose you have a film scan such that the original image, with the optic axis centered, was 33 mm wide, but the left 3 mm were a sound track that has been cropped. You would enter 3 mm into the Left Crop spinner, 30 mm into the Width Used spinner, and 0 mm into the Right Crop spinner. The image will be padded back up to compensate for the imagery lost during cropping. The Width Used spinner is actually only a calculation convenience; if you later reentered the image preprocessing dialog you would see that the Left Crop was 0.1 and the Width Used 1.0, ie that 10% of the final width was cropped from the left. The Fix Cropping (Pad) controls change the image aspect ratio and image resolution values on the Open Shot dialog, since the image now includes the padded regions. The padding region will not use extra RAM, however. Image Preparation Preset Manager It can be helpful to have several different sets of image preprocessor settings, tailored to different regions of the image, or to different moving objects, or different sections of the overall shot. A preset manager permits this; it appears as a drop-down list at the center-bottom of the image preparation dialog. You can create a preset by selecting the New Preset item from the list; you will be prompted for the name (which you can later change via Rename). The new preset is created with the current settings, your new preset name appears and is selected in the preset manager listbox, and any changes you make to the panel continue to update your new preset. (This means that when you are creating several presets in a row, create each preset before modifying the controls for that preset.) Once you have created several presets, you can switch among them using the preset manager list. All changes in the image preprocessor controls update the preset active at that time. If you want to play for a bit without affecting any of your existing presets, switch to thePreset Mgr.setting, which acts as a catchall (it disconnects you from all presets). If you then decide you want to keep the settings, create a new preset. To reset the image preprocessor controls (and any active preset) back to the initial default conditions, which do nothing to the incoming image, select the Reset item from the preset manager. When you are creating several presets, this can be handy, allowing you to start a new preset from scratch if that is quicker. Finally, you can delete the current preset by selecting the Delete item. Rendering Sequences for Later Compositing The tracking results provided by SynthEyes will not produce a match within your animation or compositing package unless that package also uses the same padded, stabilized, resampled, and undistorted footage that SynthEyes tracked. This is also true of SynthEyes s perspective window. Use the Save Sequence button on the Image Preparation dialog s Output tab to save the processed sequence. If the source material is 16 bit, you can save the results as 16 bit or 8 bit. You can also elect whether or not to save an alpha channel, if present. If the source has an alpha channel, but you are not given the option to save it, open the Edit Shot dialog and turn on the Keep Alpha checkbox. Output file formats include Quicktime, BMP, Cineon, DPX, JPEG, OpenEXR, PNG, SGI, Targa, TIFF(Mac only). Details of supported number of bits per channel and alpha availability vary with format and platform. If you have stabilized the footage, you will want to use this stabilized footage subsequently. However, if you have only removed distortion, you have an additional option that maximized image quality and minimizes the amount of changes made to the original footage you can take your rendered effects and run them back through the image preprocessor (or maybe your compositing package) to re-introduce the distortion and cropping specified in the image preprocessing panel, using the Apply It checkbox. This redistorted footage can then be composited with theoriginalfootage, preserving the match. The complexity of this workflow is an excellent argument for using high-quality lenses and avoiding excessively wide fields of view (short focal lengths). You can also use theSave Sequence dialogto render an alpha mask version of theroto-spline informationand/orgreen-screenkeys.
https://w.atwiki.jp/thecockrockshockpop/pages/545.html
web http //www.nightranger.com/ myspace http //www.myspace.com/nightranger member vocal, bass Jack Blades guitar Brad Gillis vocal, drums Kelly Keagy keyboards Eric Levy guitar Keri Kelli tour member Joel Hoekstra guitar Christian Cullen keyboards MusicATBPO Don't Let Up High Road Somewhere in California Rockin' Shibuya 2007 The Best Of NIGHT RANGER Live Rock Masterpiece Collection LiveLive @ Shouwa Joshi Daigaku, Hitomi Kinen Koudou, Tokyo, Japan October 7th 2019 Live @ Matushita IMP Hall, Osaka, Japan October 7th 2017 saturday Live @ Matushita IMP Hall, Osaka, Japan April 24th 2008 Live @ CC Lemon Hall, Shibuya, Tokyo, Japan April 22th 2008 Music ATBPO 2021/8/6 [ ward records ] 1．Coming For You 2．Bring It All Home To Me 3．Breakout 4．Hard To Make It Easy 5．Can t Afford A Hero 6．Cold As December 7．Dance 8．The Hardest Road 9．Monkey 10．A Lucky Man 11．Tomorrow 12．Savior [ Bonus Track ] 13．The Hardest Road [ Acoustic / JP Bonus Track ] Don t Let Up 2017/3/10 [ ward records ] 1. Somehow Someway 2. Running Out of Time 3. Truth 4. Day And Night 5. Don t Let Up 6. ( Won t Be Your ) Fool Again 7. Say What You Want 8. We Can Work It Out 9. Comfort Me 10. Jamie 11. Nothing Left of Yesterday 12. We Can Work It Out [ acoustic / JP bonus track ] High Road May 21st 2014 1. High Road / 2. Knock Knock Never Stop / 3. Rollin On / 4. Don t Live Here Anymore / 5. I m Coming Home / 6. X Generation / 7. Only For You Only / 8. Hang On / 9. St. Bartholomew / 10. Brothers / 11. Lay It On Me [ Live From M3 Rock Festival / Bonus Track ] Somewhere in California June 20th 2011 1. Growin Up in California / 2. Lay It On Me / 3. Bye Bye Baby ( Not Tonight ) / 4. Follow Your Heart / 5. Time Of Our Lives / 6. No Time To Lose Ya / 7. Live For Today / 8. It s Not Over / 9. End Of The Day / 10. Rock N Roll Tonite / 11. Say It With Love Rockin Shibuya 2007 April/16/2008 Disc 1 1. This Boy Needs To Rock ～ Highway Star / 2. Tell Your Vision / 3. Sing Me Away / 4. Touch Of Madness / 5. Drama Queen / 6. Rumors In The Air / 7. Seven Wishes / 8. The Secret Of My Success / 9. There Is Life / 10. Eddie s Coming Out Tonight Disc 2 1. Sentimental Street / 2. Forever All Over Again / 3. Goodbye / 4. Whatever Happened / 5. Four In The Morning / 6. When You Close Your Eyes / 7. Don t Tell Me You Love Me / 8. Sister Christian / 9. You re Gonna Hear From Me / 10. Rock In America The Best Of NIGHT RANGER Live Feb/7/2006 1. Neverland / 2. Touch Of Madness / 3. My Elusive Mind / 4. Sing Me Away / 5. Someday I Will / 6. Rumours In The Air / 7. Eddie s Comin Out Tonight / 8. Sentimental Street / 9. Goodbye / 10. Forever All Over Again / 11. Slap Like Being Born / 12. When You Close Your Eyes / 13. New York Time / 14. Don t Tell Me You Love Me / 15. Sister Christian / 16. Rock In America ( You Can Still ) Rock Masterpiece Collection March 21st 1997 1. Don t Tell Me You Love Me / 2. Sing Me Away / 3. Night Ranger / 4. ( You Can Still ) Rock In America / 5. Sister Christian / 6. When You Close Your Eyes / 7. Rumors In The Air / 8. Sentimental Street / 9. Four In The Morning / 10. Goodbye / 11. The Secret Of My Success / 12. I Did It For Love / 13. Touch Of Madness [ live ] / 14. When You Close Your Eyes [ live ] / 15. Don t Tell Me You Love Me [ live ] / 16. ( You Can Still ) Rock In America [ live ] Live Live @ Shouwa Joshi Daigaku, Hitomi Kinen Koudou, Tokyo, Japan October 7th 2019 [ Dawn Patrol ] 1. Don t Tell Me You Love Me 2. Sing Me Away 3. At Night She Sleeps 4. Call My Name 5. Eddie s Comin Out Tonight 6. Can t Find Me A Thrill 7. Young Girl in Love 8. Play Rough 9. Penny 10. Night Ranger 11. Color of Your Smile [ acoustic ] 12. Forever All Over Again [ acoustic ] 13. High Enough [ acoustic / cover of DAMN YANKEES ] 14. Reason to Be [ acoustic ] [ Midnight Madness ] 15. ( You Can Still ) Rock in America 16. Rumours in The Air 17. Why Does Love Have to Change 18. Sister Christian 19. Touch of Madness 20. Passion Play 21. When You Close Your Eyes 22. Chippin Away 23. Let Him Run 24. Four in The Morning 25. Goodbye Live @ Matushita IMP Hall, Osaka, Japan October 7th 2017 saturday 35th Anniversary tour 1. Somehow Someway 2. Four In The Morning 3. Sing Me Away 4. Rumours In The Air 5. Sentimental Street 6. Growin Up in California 7. The Secret of My Success 8. Night Ranger 9. High Enough [ cover of DAMN YANKEES ] 10. Truth 11. Forever All Over Again 12. Goodbye 13. When You Close Your Eyes 14. Don t Tell Me You Love Me encore 15. Passion Play 16. Sister Christian 17. ( You Can Still ) Rock In America Live @ Matushita IMP Hall, Osaka, Japan April 24th 2008 1. Intro / 2. You re Gonna Hear From Me / 3. Man In Motion / 4. Night Ranger / 5. Rumors In The Air 6. Call My Name / 7. Sing Me Away / 8. Eddie s Comin Out Tonight / 9. Happy Birthday To Jack / 10. Let Him Run 11. Goodbye / 12. Passion Play / 13. Telphone Call / 14. The Secret Of My Success / 15. Can t Find Me A Thrill 16. When You Close Your Eyes / 17. Sister Christian / 18. Don t Tell Me You Love Me 19. ( You Can Still ) Rock In America / 20. Rock And Roll All Night Jack Blades (vo,b)、Brad Gillis (g)、Kelly Keagy (vo,ds)、Joel Hoekstra (g)、Christian Cullen (key) with FIREHOUSE ( #20 ) Live @ CC Lemon Hall, Shibuya, Tokyo, Japan April 22th 2008 1. Intro / 2. Seven Wishes / 3. Touch Of Madness / 4. Sing Me Away 5. Call My Name / 6. You re Gonna Hear From Me 7. Night Ranger ～ Kelly s Drum Solo ～ Night Ranger / 8. Let Him Run 9. Goodbye / 10. Passion Play / 11. Coming Of Age 12. When You Close Youre Eyes / 13. Sister Christian 14. ( You Can Still ) Rock In America / 15. Don t Tell Me You Love Me 16. Crazy Train [ cover of Ozzy Osbourn ] ～ San San Nana-Byoushi Jack Blades (vo,b)、Brad Gillis (g)、Kelly Keagy (vo,ds)、Joel Hoekstra (g)、Christian Cullen (key) with FIREHOUSE ( #16 )
https://w.atwiki.jp/touhoukashi/pages/3648.html
【登録タグ A-One S TOHO EUROBEAT presents THE REVIVAL MIX あき レトロスペクティブ京都 曲】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); 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https://w.atwiki.jp/i_ro/pages/85.html
必要条件 Base Level 60 アイテム Blue Gemstone １個 Zeny 10,000 報酬 Base Exp A) Beat Hellion Revenant 120,000 B) Beaten by Hellion Revenant or skip the Cave 100,000 アイテム A) Old Blue Box Nile Rose [1] B) Nile Rose [1] 日本版タイトル ： ヘリオン 1. When you first arrive in Morroc× (south Kafra), walk to the right until you see an Inn building (morocc 199,64). Go into the right portal, and talk to Old Scholar Tyus, Sir Chilias'Tyus (morocc_in 116, 101) and he'll tell you he is waiting for someone. He will talk about the Eye of Hellion. You find out he has completed a device that can seal the jewel's evil energy. Sadly, he doesn't know the whereabouts of the jewel. He asks you to find people that have accepted his assignment. Starting from Prontera you need to find Craine Hefron. 2. Find Clanux Heffron in Prontera× (prontera 269 326) behind the church and tell him your intentions, He wants me to help you. Craine that show you what he have collected so far... a broken sword and a wheel. "Where did you find it?" you ask. He tell you the sword found from old Swordman's Association. 3. Near the old Swordman's Association you find a strange hole in one of the Training Puppet (prontera 224 80). There are some writings on it Veggie Lady N9 W3 BINGO! 4. Go back to Clanux Heffron and tell him what you found. Then he gives you a Cogwheel that he found inside the Item Shop. 5. Go to the Vegetable Gardener at the bottom left of Prontera (49,57). Walk 9 steps to the north and then 3 steps to the west of her (46,66). A dialog box pops up; enter BINGO She will tell you the number 3847147298 (16754213 found to be another number used.). 6. Head to the Item Shop where Craine told you and find an Unknown Machine near the Item NPC. It seem the machine is some sort of a wheel so, place the Cogwheel in it. Then the machine ask you to enter the numbers 3847147298 ( Or 16754213). A shining slate comes out of the machine, the first Piece of Slate, the Prontera Tablet . Go back to Clanux and only tell him a little bit. 7. Go back to Tyus and he tells you the dense forest written in the slate refers to Payon×. He asks you to look for Grout'he Tuccok there. 8. Meet Grout'he Tuccok in Payon (payon 182 132) and he's willing to cooperate if you pay 10k to buy his clues item. He gives you a Stone Heart , Green Herb , Grape Juice Skirt of Virgin . He'll divulge the location he found those items one at a time. (Marks on the mini map. Try not to teleport or enter portals) The first item is the Skirt of Virgin near the Resting Place (102,192). (You need to click on the wooden floor in the gazebo for the clue to pop out.) The second is Stone Heart the hide inside Stone Pile (80,110). The third for Green Herb is found in the Dried Fish (238,54). The fourth Grape Juice is inside the Vat, across the wall (233,159). 9. Go back to Grout'he and report to your findings. You try to solve the puzzle together. Then you find that if we link the locations in the minimap, there is a new location in the center of the city more specifically the Wooden Floor (159,129), specifically the wooden floor of the porch in front of the house Grout'he mentions (not inside the house). Go to the spot and find message left by Tyus. 10. Tell him about the hidden message you found and Grout'he thinks the next clue might be in the big stone statue in Archer Village to the north of Payon. 11. Walk near the Statue of Buddha (pay_arche 135 31) in the lower right corner, the Piece of Slate starts glowing as if it is reacting to something powerful. Click on the Buddha Statue and suddenly the Statue of Buddha talks in your mind. He asks you a question. Choose "I won't kill, but I'll find a way to live!" A small opening appears below the statue and you get the second Piece of Slate, the Payon Tablet . If you choose wrong, you will be killed (no exp loss.) 12. Go back to Tyus and report the good news. Tyus will tell you the 4th Piece of Slate is in the hand of Sage Welshyun, Geffen. Before you depart he hands his 3rd Piece of Slate to you, the Morroc Tablet . 13. Meet Sage Welshyun (geffen 110 200) and ask him for his help. He asks you do him a favor first by bringing the report of "Monster Life in the Geffen Area" from his apprentice, Enoz at the top of Geffen Tower. If you select wrong, bring a White Potion to him. 14. After a long climb to the top of Geffen Tower, you inform Enoz (gef_tower 116 37) "I'm just a messenger!" and tell him about "Monster Life in the Geffen Area". He insists that Welshyun had taken the report days ago. 15. Strangely, Welshyun passes the report he asked you to find and then wants you to pass it back to Enoz. On your way back he asks you to get a Blue Gemstone for him. 16. Another long climb up the Geffen Tower. After passing the report, bring the Blue Gemstone that asked for and head for Welshyun again. He asks a strange question... "Where is the abode with a shining silver roof that is mentioned in the third part of the balld of Grimnir?" You tell him Valaskjalf and he gives you the 4th Piece of Slate, the Geffen Tablet . 17. After obtaining all 4 Pieces of Slate you go back to Tyus. He tells you each of the slates contains a fragment of the cursed jewel and Sage Welshyun should be able to combine the fragments of jewel into one. 18. Welshyun will use the Blue Gemstone you gave him and then combine the 4 Pieces of Slate into a Complete Tablet . Shawn will tell you the Slate belongs to Hellion Revenant and he can send you to the location indicated in the Slate, and he sends you to the Sealed Cave ( gef_fild09 ). The entrance to the cave is a black area in the cliff as you walk west from where you are warped. The Hellion Revenant is a boss-type monster and walks fast. Hellion Revenant uses magic attacks frequently. You cannot use teleport or flywings inside the cave area so if you encounter Hellion Revenant, it will be a fight to the death. You can complete the quest now by going back to Tyus in Morroc without killing Hellion Revenant. 19. When you near the Sealed Cave, your Slate reacts and starts to glow. You place the Slate in the slot and Tyus's message appears. 20. You find the Hellion Revenant inside Geffen Dungeon Level 2 (gef_dun03) and after beating him, he'll drop Eye of Hellion . 21. Tell Tyus about the Slate, the message, the Sealed Cave and his grandfather's death (if you beat Hellion Revenant). He'll thank you and start the Sealing Ceremony on the Jewel of Hellion. 22. After sealing it, Tyus will reward you. A) Beat Hellion Revenant 120,000 Base EXP, Old Blue Box Nile Rose [1] Note if you go into the cave and already have the eye it will count as killing the revenant when you talk to Tyrus (he has a chance to drop more than 1 when he dies) B) Beaten by Hellion Revenant or skip the Cave 100,000 Base EXP Nile Rose [1] Categories Base Experience Reward | Lighthalzen Quests