約 6,191,114 件
https://w.atwiki.jp/rulebook/pages/175.html
P.54 自軍と敵軍 コントロールとコントローラー 各カードを使用する(テキストのプレイ、出撃等)権利を「コントロール」と呼び、その「コントロール」を持つプレイヤーの事を「コントローラー」と呼びます。「コントローラー」は以下のルールに従って決定されます。 場のカード そのカードが置かれている「配備エリア」または「部隊」を管理するプレイヤーがコントローラーになります。 手札、ハンガーのカード コントロールはどのプレイヤーも持ちません。 ただしその手札、ハンガーを管理するプレイヤーが「プレイする権利」を持ちます。 本国、捨て山、ジャンクヤードのカード どのプレイヤーもコントロールを持ちません。ルールに従って自動的にカードが移動します。 自軍と敵軍 コントロールとコントローラー 持ち主(本来の持ち主)
https://w.atwiki.jp/sptd/pages/20.html
XInput対応のコントローラーはぷよぷよテトリスsteam版でそのまま使用できます。 キーボード、マウスでの操作も可能です。 （※キーボードをコントローラーに割り当てるフリーソフトなどを使用すれば対応していないコントローラーでも操作可能です。） ◆Big Picture モード◆ steamクライアントの【Big Picture】モードを使用することで、手持ちのコントローラーをXboxコントローラーであるかのように振舞わせることができます。 XInputに対応していないコントローラーでもこの機能を使うことでぷよぷよテトリスsteam版に対応させることができます。 以下 Big Pictureでのコントローラー設定方法を説明していきます。 1,steamクライアントを開き、右上のBigPictureモードを選択します。 2,3,右上の歯車マーク【設定】→【コントローラ設定】と進みます。 4,自分の使う予定のコントローラー設定のサポートにチェックを入れます。 【検出されたコントローラ】から繋いだコントローラーを選び、【レイアウトの決定】を選択します。 5,左のXboxコントローラーを参考にしながら右側の項目をクリックしていき、ボタンを割り当てていきます。 ボタン数が足りない部分は飛ばしてしまっても構いません。完了したら下の【セーブ】を選択します。 コントローラー設定のアップロードはしなくて大丈夫です。 6,最初の画面に戻り、右上の電源ボタンから Big Picture を終了して設定完了です。
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.
https://w.atwiki.jp/playstationhome/pages/162.html
バイオハザード5 開設日 2009年03月26日 提供元 株式会社 カプコン アイテム数 男性用16点、女性用18点 説明 「バイオハザード5」の登場人物のコスチューム等を販売しています。 取扱いショップ マーケットプレイス 「Threads」マーケットプレイス 「Deco」バイオハザード５ 撮影スタジオ 「Adam s shop」 関連リンク 「バイオハザード5 公式サイト」 バイオハザード 5 攻略＠wiki 「PlayStation® Home メンバーサイト」 ラウンジ情報 ＞ バイオハザード５ 撮影スタジオ 目次 2009年06月04日発売 2009年03月26日発売
https://w.atwiki.jp/maygow/pages/30.html
Tyro Station 触れると即死判定のある列車に注意 主に下のグレネードの場所で決着が付くことが多い 屋根が多いため、ドーンハンマーの活躍は期待できない ほぼ全員がグレネードに行くことを逆手に取って、即効でトルク側から裏取りに行くのも有効だ
https://w.atwiki.jp/simai/pages/1003.html
What is simai's Notation? Location of Note Numbers Chart Definition and Ending Definition of BPM Length of NotesHow to Define the BPM How to Define the Length Divider TAP HOLD SLIDE (Basics Shapes) SLIDE (Multiple Chaining)Multiple SLIDE Chaining SLIDE TOUCH, TOUCH HOLD, Firework EffectTOUCH TOUCH HOLD Firework Effect EACH EX Notes Other NotationsChange Normal TAP to Star-shaped TAP Change Star-shaped TAP to Normal TAP Notations of Pseudo-TAP HOLD and Pseudo-TOUCH TOUCH HOLD Pseudo EACH SLIDE without Star-shaped TAP ※BREAK's notation is summarized in the description of TAP, HOLD, and SLIDE. What is simai's Notation? simai's notation was created by Celeca in 2013 for denoting the various types of notes appeared in maimai in plain text. By using combinations of half-width alphanumeric characters according to the rules explained below, any maimai charts can be accurately denoted using only plain text theoretically. This notation was first used in simai, a chart simulator for maimai which was first released on February 5, 2013, by Celeca. Since then, various simulators inspired by maimai have been created by volunteers, and the simai's notation has often been used as their chart notation. While Celeca will be closing simai to the public on February 5, 2023, there are still a certain number of users who use simai's notation, which is why Celeca decided to create this page. Although some simulators may have extended/further developed simai's notation in their implementation, only the notation rules officially defined as "simai's notation" are listed here. For those who want to create a simulator supporting simai's notation, it is recommended to make the simulator able to handle the notation rules on this page. Also, if you make such a simulator, Celeca would appreciate it if you could inform Celeca, who has the rights to the simai's notation. Although it is not necessary to inform, Celeca would be glad to hear from you. Location of Note Numbers First, please look at the image below. ⑧① ⑦ ② ⑥ ③ ⑤④ This shows the numbered location of maimai's buttons and sensor areas. They are numbered 1 to 8 in clockwise order. For sensor areas, each numbered location is further divided into 4 alphabet-numbered sensor areas as explained later. These numbers are used to represent notes' position, so be sure to remember this. Chart Definition and Ending A chart in simai's notation is composed by a series of commas and note notations. Every comma occupies a certain length of time. For example, when a comma has a length of 1 second and there are 10 commas in the chart, the chart will have a total length of (10 × 1s =) 10 seconds. In this case, 【1,1,1,1,1,1,1,1,1,1,1,1,1,】 represents a chart with 10 TAP notes at BUTTON-1, in the density of 1 note per second. Once the chart definition has begun, the chart can be defined using commas and note notations. However, for dealing with songs beginning with a fade-in section, a large number of commas would be needed. To save the efforts, there is a parameter which determines how many seconds should pass since the music begins playing when the chart begins at the first comma of the chart. In simai, this is determined by the parameter "first". Since the timing of the beginning of the chart should be determined precisely and accurately, a number with decimal places such as 1.234 seconds is usually used. If "first" is 1.234 seconds, then the same 【1,1,1,1,1,1,1,1,1,1,1,】 chart will have 10 TAP notes at BUTTON-1 at 1.234, 2.234, 3.234, ..., and 10.234 seconds, respectively, after the music begins playing. Just as a real sheet music has an ending notation, an ending should be defined in simai's notation, otherwise the music may continue playing endlessly. ※In simai, when the chart definition is longer than the length of the MP3, the chart still ends when the MP3 is played to the end The end of a chart is denoted by an "E". If "first" is 1.234 seconds and the chart definition is 【1,1,1,1,1,1,1,1,1,1,1,1,1,E】, the chart progresses until 10.234 seconds, as described above, and since the last comma also has a length of 1 second, the chart ends at 11.234 seconds. A chart definition in simai's notation is a long string with a large number of commas and note notations and then an "E" at the end. Line breaks, spaces, and tabs can be inserted in the middle of this string for better readability. These characters are ignored when the chart definition is being parsed. Definition of BPM Length of Notes In the previous examples, a comma has the length of 1 second. Although the following example has a BPM which make the calculation difficult on purpose, the length of a 16th note at 174 BPM is 0.08620689655 seconds. If such length is assigned to every comma, notes with the length of a 16th note at BPM 174 can be placed correctly. However, it would be troublesome to calculate this manually every time. The per-comma length can be changed by adjusting the BPM and/or the length divider by using the following notations. How to Define the BPM (120) Input the BPM value and enclose it in a pair of round brackets. Since the BPM value should be accurate, a number with decimal places can be used. How to Define the Length Divider {2} Input the dividing value and enclose it in a pair of curly brackets. E.g., "{4}" specifies the per-comma length to be a quarter note, "{8}" to be an 8th note, and "{1}" to be the whole note. A number with decimal places can be used but should be avoided because it may cause confusions. The BPM must be defined before the length divider. Because the length of notes cannot be calculated unless the BPM value is defined, when these two parameters are defined together, the length divider should come after the BPM. E.g., 【(120){2}】 specifies the per-comma length to be a half note at 120 BPM (exactly 1 second). If the BPM value is B and the length divider is T, the per-comma length can be calculated using the following formula Per-comma length = 240 / B / T (seconds). Depending on the music, there might be cases where charting to a special sound effect or so with unknown BPM is attempted or matching the vocals precisely is desired. In these cases, 【{#0.35}】, for example, can be used, and the per-comma length after this will become 0.35 seconds. When this notation is used, the per-comma length is already determined, so there is no need to specify the length divider. These two parameters can be defined anywhere when necessary. TAP From here on, note notations which can be added before a comma will be explained. TAP is the most basic note type in maimai. TAP's notation is very simple and is denoted by a button number followed by a comma. TAP that occurs at BUTTON-1 ... 【1,】 TAP that occurs at BUTTON-5 ... 【5,】 To change a TAP into a BREAK TAP, add a "b" before the comma, e.g., 【1b,】, 【5b,】. HOLD To place a HOLD, in addition to the button number, how long the button should be held down should also be specified. For example, for a hold to be held down for the length of a half note at 174 BPM, its held-down length would be 0.68965517241...... seconds. However, as with the BPM example above, this is also troublesome to calculate manually every time. If the current BPM is 174, then 【(174)】 has already been placed before. What is missing is the length divider, 【one half note】. The held-down length is written as 【[2 1]】 in simai's notation. The number before the colon denotes the length divider (half note), and the number after colon denotes the multiplier of the length divider (1×). Hence the total held-down length of such HOLD note is (1 × half note =) one half note. This way of denoting the length parameter is used in both HOLD and SLIDE. In the actual notation, a button number is specified, an "h" is specified after the button number to make it clear that the note is a HOLD, and then the held-down length is be specified after both of them. HOLD that occurs at BUTTON-5 with the held-down length of one half note ... 【5h[2 1],】 This is the basic notation. However, there might be cases where it is more convenient to specify the held-down length to be an exact number of seconds. HOLD that occurs at BUTTON-4 with a held-down length of 5.678 seconds ... 【4h[#5.678],】 HOLD that occurs at BUTTON-4 with a held-down length of one half note at 150 BPM ... 【4h[150#2 1],】 To change a HOLD into a BREAK HOLD, add a "b" after the "h" like 【5hb[2 1],】. It does not matter whether the "h" and the "b" are swapped, as in 【5bh[2 1],】. SLIDE (Basics Shapes) To place a SLIDE, many parameters should be specified, such as the starting and ending button numbers, how they are to be connected with the arrow track, and how long the tracing star is to move. Although SLIDE has gone through remarkable development in the history of maimai, and many features have been implemented to it, this section only describes the basic notation and the shapes of SLIDE. The format of SLIDE's basic notation is a combination of 【starting point, shape of track, ending point, and tracing length】. BUTTON-1 to BUTTON-4, straight shape, tracing length of 3 8th notes ... 【1-4[8 3],】 The 【[8 3]】 part at the end of the notation is specified using the same concept as the held-down length described for HOLD. For SLIDE, there is a waiting time after the approaching star-shaped TAP reaches the judgment line and before the tracing star actually begins to move. Specifically, it is one beat at the current BPM. The tracing length of the SLIDE and the waiting time for the tracing star to start moving can be directly specified in seconds as follows Status ... BUTTON-1 to BUTTON-4, straight shape, 120 BPM Waiting time is one beat at 160 BPM, tracing length is three 8th notes at 160 BPM ... 【1-4[160#8 3],】 Waiting time is one beat at 160 BPM, tracing length is 2 seconds ... 【1-4[160#2],】 Waiting time is 3 seconds, tracing length is 1.5 seconds ... 【1-4[3##1.5],】 Waiting time is 3 seconds, tracing length is three 8th notes at current BPM ... 【1-4[3##8 3],】 Waiting time is 3 seconds, tracing length is three 8th notes at 160 BPM ... 【1-4[3##160#8 3],】 The arrow track of a SLIDE has many possible shapes. "-" ... Straight shape Connects the start to the end in a straight line. " ", " ", "^" ... Arc shape Connects the start to the end along the circled judgment line. If the direction of travel is to the right, use " ". If left, use " ". If the distance is shorter than half the circle, "^" can be used and thinking of the direction is thus not needed. "v" ... v-shape Connects the start to the end through the screen center as the turning point in two straight lines. "p", "q" ... p-shape, q-shape Connects the start to the end while curving around the screen center. "s", "z" ... Thunderbolt shape Connects the start to the end with three short lines in the shape of a thunderbolt symbol (⚡). "pp", "qq" ... Grand p-shape, Grand q-shape Connects the start to the end while curving along an imaginary circle which is tangent to both the screen center and the circled judgment line. "V" ... Grand v-shape Connects the start to the end through a middle turning point in two straight lines. The line connecting the start to the middle turning point is always a short straight line. "w" ... Fan shape Connects the start to three ends in an expanding track in a shape similar to a folding hand fan. Three tracing stars going to each end are spawn for this SLIDE shape. For the "V" SLIDEs, the middle turning point is specified by an extra button number in addition to the button numbers of the starting and ending points. Starting point is BUTTON-1, turning point is BUTTON-3, ending point is BUTTON-5 ... 【1V35】 Every SLIDE has a constant tracing speed from the start to the end. To change the track of a SLIDE into a BREAK SLIDE, add a "b" after the "]" like 【1-4[8 3]b,】. The allowed positions of the ending point relative to the starting point are restricted by the shape of the SLIDE. The following table lists the possible combinations of starting and ending points of each SLIDE shape where the arrow track of the SLIDE can be drawn normally. SLIDE (Multiple Chaining) Multiple SLIDE Multiple SLIDE refers to a SLIDE note with two or more arrow tracks stating from a single star-shaped TAP. Each SLIDE arrow track is specified with its own set of parameters, since every set of parameters may be different for each SLIDE arrow track, except that the starting point is the same. The tracing speed can be different for each SLIDE arrow track, but these SLIDE arrow tracks are treated as EACH because their tracing stars begin to move at the same time. BUTTON-1 to BUTTON-4, straight shape, tracing length of 3 4th notes, plus BUTTON-1 to BUTTON-6, arc shape, tracing length of 5 8th notes ... 【1-4[4 3]*-6[8 5],】 After the starting button number at the beginning of the note notation, there is no need to repeat that button number. An "*" can be added after the second SLIDE arrow track to specify the third arrow track and so on. Chaining SLIDE Chaining SLIDE is a SLIDE note which composes of multiple SLIDE arrow tracks with their starting and ending points joined together and is treated as a single SLIDE arrow track. For example, the 【1V75】 arrow track is internally two SLIDE arrow tracks (【1-7】 and 【7-5】) combined into one. However, the combination is not limited to the grand V-shapes but can be any shape and two or more SLIDE arrow tracks joined together. No matter how long the chaining SLIDE is, the tracing speed is calculated from the tracing length to be a constant from the start to the end of tracing. BUTTON-1 to BUTTON-4 with straight shape, BUTTON-4 to BUTTON-7 with q-shape, BUTTON-7 to BUTTON-2 with straight shape, tracing length of two whole notes ... 【1-4q7-2[1 2],】 Specify a series of button numbers and SLIDE shapes and then specify the tracing length at the end. In the case of this SLIDE, the tracing star continues tracing at a constant speed from BUTTON-1 until it reaches BUTTON-2. However, there might be cases where different tracing lengths are desired for some of the SLIDE arrow tracks. In such cases, the tracing length for each SLIDE arrow track can be specified like 【1-4[2 1]q7[2 1]-2[1 1],】. However, be sure to specify the tracing speed for all individual SLIDE arrow tracks. Otherwise, an error may occur. To change it to BREAK SLIDE, add a "b" after the "]", which the same as for regular SLIDE. It is not possible to make only a section of chaining SLIDE into BREAK SLIDE. A chaining SLIDE note can only be either a normal SLIDE or a complete BREAK SLIDE. Therefore, even when different tracing speeds can be specified for some of the SLIDE arrow tracks, the "b" can be added only after the last "]". TOUCH, TOUCH HOLD, Firework Effect TOUCH In maimai DX series, there are 34 sensor areas on the screen which the player can touch. All of these can handle contact events, and SLIDEs require the contact events to be made in a specific order. Since maimai DX, there have been new types of notes that require directly touching the sensor. They are TOUCH and TOUCH HOLD. The sensor areas are also divided into five major groups Group A, located adjacent to the buttons; Group B, located between Group A and the center of screen; Group C, which is in charge of the center; Group D, which fills the space between the areas of Group A; and Group E, located slightly inward from Group D and adjacent to Group B. Group C is in the center and has 2 sensor areas, while each of the other groups has 8 sensor areas which are numbered in clockwise order. The following diagram shows the approximate location and positioning of the sensors. To place a TOUCH, the sensor number of the desired location is denoted in the same way as TAP. TOUCH that occurs at SENSOR-B1 ... 【B1,】 TOUCH that occurs at SENSOR-D4 ... 【D4,】 The sensor in the center is divided into two areas, C1 and C2. However, no TOUCHes appear separately for each of them, instead a TOUCH appears in the middle of the areas. Therefore, a TOUCH that occurs in the center can be denoted as 【C,】 without numbering. Denoting this as either 【C1,】 or 【C2,】 causes no errors and is treated the same as 【C,】. TOUCH HOLD TOUCH HOLD is a note that requires the sensor to be pressed and held. It is counted as "HOLD" in the play result. The awarded score is also the same as HOLD. This notation is a direct combination of TOUCH and HOLD. Just simply replace the button number of a HOLD with a sensor number. TOUCH HOLD that occurs at SENSOR-C with held-down length of 3 4th notes ... 【Ch[4 3],】 While TOUCH has appeared in all 34 sensor areas since DX FESTiVAL, TOUCH HOLD has only appeared on the C sensor since DX classic, at least until DX UNiVERSE PLUS. However, in simai's notation, TOUCH HOLD can appear anywhere if the sensor number is specified to be not C. Firework Effect Firework effect refers to the rainbow-colored radial effect that appears as if fireworks are spreading from a certain location when a specific TOUCH is touched. Since there was no official name for this effect at the time DX classic was launched, 3simai used the name "firework effect" for convenience. To enable firework effect, add an "f" after the sensor number. TOUCH that occurs at SENSOR-B7 with firework effect ... 【B7f,】 TOUCH HOLD that occurs at SENSOR-C with held-down length of two whole notes with firework effect ... 【Chf[1 2],】 In the case of TOUCH HOLD, when "h" for HOLD and "f" for FIREWORK effect are specified together, either "hf" or "fh" is fine. EACH If two or more notes occur at exactly the same time, they are treated as an EACH (BOTH). In the case of SLIDEs, even if their tracing length are different, they are still considered to be an EACH if their tracing stars begin to move at the same time. The notes treated as part of an EACH change their color to yellow, except for BREAK notes. An EACH is denoted by placing each composing note and separating each of them with a "/". TAP at BUTTON-1 and HOLD at BUTTON-8 with held-down length of one half note ... 【1/8h[2 1],】 Their order does not matter, so the notation 【8h[2 1]/1,】 works fine. However, for SLIDEs, for example, in 【1-4[8 1]/2-6[8 1],】, 【1-4[8 1]】 will be displayed as if it occurred before 【2-6[8 1]】. In other words, the SLIDE defined earlier will be displayed as if it occurred earlier. Three or more elements are also treated as an EACH and can be denoted as note A / note B / note C ... Only EACHes composing of only non-BREAK TAPs can be denoted like 【12】 without the "/". The "/" between each note cannot be omitted even if there is only a single non-TAP or BREAK note within the EACH. EX Notes TAP, HOLD, and BREAK can be specified as EX notes. EX notes are judged to be CRITICAL PERFECT if they are hit within the timing window of GOOD or better. Simulators that support only the autoplay mode always hit notes within the timing window of CRITICAL PERFECT regardless of the notes' EX setting. However, Celeca have defined the notation because demands are expected for the needs of reproducing official charts and/or charting for simulators that react to player's input. To change a note into an EX note, add an "x" in the similar manner for changing the notes into BREAKs. EX-TAP at BUTTON-1 ... 【1x,】 EX-HOLD at BUTTON-3 ... 【3hx[α β],】 EX-BREAK at BUTTON-5 ... 【5bx,】 EX-BREAK HOLD at BUTTON-7 ... 【7bxh[α β],】 When two or more of "x", "h", and "b" characters are specified together, they can be specified in any order. Other Notations The notations listed below allow charters to create special charts more easily, such as the UTAGE charts appeared in MURASAKi version. Change Normal TAP to Star-shaped TAP A BUTTON-1 TAP is denoted as 【1,】. But if a "$" is appended and denoted as 【1$,】, it changes into a star-shaped TAP that would appear if a SLIDE were placed. This can be used in conjunction with a BREAK TAP or an EX-TAP. When two or more of "$", "b", and "x" characters are specified together, they can be specified in any order. Also, if two "$" are stacked to form "$$", the star-shaped TAP rotates. Currently, the rotation speed of the star-shaped TAP is a pre-defined constant. Change Star-shaped TAP to Normal TAP When a SLIDE is described as 【1-5[8 1],】, the BUTTON-1 TAP automatically changes into a star-shaped TAP, but if a "@" is appended to the star-shaped TAP as in 【1@-5[8 1],】, this star-shaped TAP changes back into a normal TAP. The SLIDE is processed as usual, so the SLIDE arrow track appears to start from the normal TAP. This can be used in conjunction with a BREAK TAP or an EX-TAP too. When two or more of "@", "b", and "x" characters are specified together, they can be specified in any order. Notations of Pseudo-TAP HOLD and Pseudo-TOUCH TOUCH HOLD Assuming there is a HOLD denoted by 【3h[1 1],】, if its held-down length is shortened to the limit, the required held-down length becomes instant, and the visual length of the HOLD shrinks as well, giving it the appearance of a hexagonal TAP. Although such a HOLD can be denoted like 【3h[1000 1],】, it can be easily denoted by removing the held-down length notation like 【3h,】. The same notation can be used for TOUCH HOLD. For example, a TOUCH HOLD denoted as 【Ch,】 gives a judgment instantly when hit. This can be used to denote a pseudo TAP or pseudo TOUCH. Note that this notation is treated internally as if 【[1280 1]】 were specified. It is because the held-down length of such notes is implied to be set to the length of a 1280th note in the official fan book sold by SEGA. Pseudo EACH When denoting two TAPs that are almost but not exactly simultaneous, the notes in the nearby section would needed be very fine-tuned in this way {96} 1,2,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, {8} ~~~~~~ In the above example, the 96th note length divider was used for the timing gap, and specifying the notes to be closer to each other would be even harder. When strictly reproducing an official chart, this made it infeasible, and when creating a fan-made chart, this could be troublesome. In this case, 【1`2,】 can be used. It makes the BUTTON-2 TAP placed only slightly later than the BUTTON-1 TAP but still almost simultaneous. The BUTTON-2 TAP is processed internally as a TAP that is 1 millisecond later than the BUTTON-1 TAP. Since they are not exactly simultaneous to become a part of an EACH, the two TAPs do not turn yellow and do not count as an EACH on the play result. For example, in 【1`2`3/4,】, a BUTTON-2 TAP is placed 1 millisecond after the BUTTON-1 TAP, and an EACH composing of a BUTTON-3 TAP and a BUTTON-4 TAP is placed another 1 millisecond after the BUTTON-2 TAP. Note that, the "`" symbol can be entered by holding down Shift and pressing the "@" key right to the "P" key on a JIS layout keyboard and also by directly pressing the "`" key left to the "1" key on a US or UK layout keyboard. SLIDE without Star-shaped TAP When a SLIDE is placed, a star-shaped TAP normally always appears and approaches to the SLIDE's starting point, but this approaching star-shaped TAP can be eliminated. Assume that there is a SLIDE denoted by 【1-5[2 1],】. The tracing star fades in before starting to move ... 【1?-5[2 1],】 The tracing star does not fade in and suddenly appears when it begins to move ... 【1!-5[2 1],】 In both cases, the SLIDE arrow track fades in and the approaching star-shaped TAP does not appear. For creating a chart that letters, symbols, etc. are drawn using SLIDEs, it is recommended to use "?" to make it clear where to start tracing. For creating a chart with single-stroke SLIDEs, using "!" is recommended to avoid displaying extra stars on the screen. [pseudoEach] backtick (`) is located to the left of "1" on a US/UK layout keyboard. Its Alt code is 96. Alternatively you can copy and paste... -- cubruce1103 (2023-02-13 02 35 50) 名前 コメント
https://w.atwiki.jp/solsurvivor/pages/44.html
Power Station 概要 Giving an extra investment of mass, commanders of the Sol Paragon are able to provide more energy for their orbital support. This allows for flexibility of support, but at great expense. The fleet recommends using power stations when a mobile defense is necessary. While it may be tempting, the urge to construct exclusively power stations should be avoided! Long recharge times on orbital support can leave colonies with no terrestrial defenses helpless to the enemy. タレットユニーク効果 エネルギーの最大容量とエネルギーの再生速度を向上させます。 ダメージタイプ Utility ユーティリティ・サポート 使用オフィサー Null レベルアップによる威力とコスト レベル 射程距離 威力 資源コスト 1 0 0 50 None None
https://w.atwiki.jp/sbro/pages/52.html
コントローラー設定について ここではSteam版のコントローラー設定について説明していきます。 1.コントローラー設定を開く SteamのライブラリからスーパーボンバーマンRオンラインを開きます。コントローラーを接続しているとタブにコントローラー設定があるのでそこを開きます。 またゲーム中でも設定をすることができますので好き方を選んでください。 2.コントローラーメニュー コントローラー設定を押すとコントローラーが表示されます。この画像ではメニュー画面の操作を変更することができます。 ゲーム中のコントローラー設定を変えるためにはバトル中の操作をクリックまたはコントローラーで選択してください。各ボタンに操作したい項目を設定して決定を押すことで反映されます。 PS4のコントローラーを使うとレイアウトが変わりますがボタンの位置は変わりません 3.特殊なコントローラー設定 ここでは【ファイティングコマンダー for Nintendo Switch】の設定の仕方を説明致します。 【任天堂ライセンス商品】ファイティングコマンダー for Nintendo Switch【Nintendo Switch対応】 【ファイティングコマンダー for Nintendo Switch】はボタンの位置が通常とは違い設定の仕方が特殊になります。 画像を見てもらうと分かる通り【Rボタン】と【ZRボタン】が存在します。 上側のトリガー部分にも【Lボタン】と【ZLボタン】と【LSBボタン】と【RSBボタン】が存在します。 【ファイティングコマンダー for Nintendo Switch】はXinput方式で入力される為、レイアウトがXboxコントローラーになります ※画像はXbox one コントローラーですが中身は一緒です Xboxコントローラーのレイアウトになるのでボタン位置が違います なのでXboxコントローラーの位置でボタンを修正しないといけません 【Rボタン】＝【RBボタン】 【Lボタン】＝【LBボタン】 【ZRボタン】＝【RTボタン】 【ZLボタン】＝【LTボタン】 【RSBボタン】＝【RSBボタン】 【LSBボタン】＝【LSBボタン】 ※RB＝ライトバンパー、LB＝レフトバンパー、RT＝ライトトリガー、LT＝レフトトリガー、RSB＝ライトスティックボタン（右スティック押し込み）、LSB＝レフトスティックボタン（左スティック押し込み） 1.全面の6ボタンの【Rボタン】の位置に操作を設定したい場合にはXboxコントローラーレイアウト上のフキダシセリフ一覧表示（【RBボタン】）に設定しなければなりません。 2.全面の6ボタンの【ZRボタン】の位置に操作を設定したい場合にはXboxコントローラーレイアウト上の右側トリガー（フルプルアクション）（【RTボタン】）に設定しなければなりません。 3.上面の4ボタンの【Lボタン】の位置に操作を設定したい場合にはXboxコントローラーレイアウト上のアピールポーズ一覧表示（【LBボタン】）に設定しなければなりません。 4.上面の4ボタンの【ZLボタン】の位置に操作を設定したい場合にはXboxコントローラーレイアウト上の左側トリガー（フルプルアクション）（【LTボタン】）に設定しなければなりません。 5.上面の4ボタンの【LSBボタン】の位置に操作を設定したい場合にはXboxコントローラーレイアウト上のキャラ移動（クリックアクション）（【LSBボタン】）に設定しなければなりません。 6.上面の4ボタンの【RSBボタン】の位置に操作を設定したい場合にはXboxコントローラーレイアウト上の右スティックの何もない場所（クリックアクション）（【RSBボタン】）に設定しなければなりません。 ※ソフトプルアクションとフルプルアクションの違いはソフトプルは軽くトリガーを引いたときに反応する、フルプルは完全にトリガーを引いたときに反応するという違いです。ボタンなのでフルプルアクションで設定してください
https://w.atwiki.jp/psvita_sg/pages/13.html
ハードウェア編 ソフトウェア編 3G編 困ったらまずは下記を参照。 ユーザーズガイド http //manuals.playstation.net/document/jp/psvita/manualindex.html 現在多くのお客様からお問合わせをいただいている症状に関するQ A http //www.jp.playstation.com/info/support/sp_20111219_psvita.html ハードウェア編 Q.自宅からnearで送信した位置情報と現在の位置が違う。 A.WiFi位置情報サービスのSkyhookに自宅のアクセスポイントを登録することで解決できます。 1.こちらにアクセスし「WiFiアクセスポイントの登録 位置の確定」のテキストボックスに住所(番地の入力まで可)または郵便番号を入れ「Map It!」を選択。 表示された位置が誤っている場合は、直接地図上でアイコンをドラッグし位置を修正します。 2.「MACアドレス」にVitaとWiFi機器を接続している「MACアドレス」( も含めて)を入力。 ※ここで言うMACアドレスは無線LAN機器に本体に記載されているアドレスではないので注意。 ■MACアドレスの確認方法 VitaとWiFi接続している場合はVita本体から以下の方法で確認できます。 ①ホーム ネットワーク Wi-Fi設定のWi-Fiで「接続しています」の表示があり、Wi-Fi接続されていることを確認する。 ②ホーム ネットワーク インターネット接続状態のBSSIDがMACアドレスになります。 3.「eメール」にメールアドレスを入力。 4.「Type the two words」のテキストボックスに読みにくい2つの文字を入力。 5.「登録」を選択することで完了します。 登録されたデータはデータベースに反映されるまで、最大7日間かかるので気長に待ちましょう。 Q.電源が入らない A.電源ボタンを奥まで5秒間で起動です。画面にPSロゴが出るまで押し続けてください。 Q.映像の外部出力はありますか？ A.映像出力はありません。 Q.対応無線規格は？ A.IEEE 802.11b/g/n （n = 1x1）準拠（Wi-Fi） Bluetooth 2.1+EDR準拠（A2DP/AVRCP/HSP対応） - Bluetooth対応のヘッドホンやヘッドセット、スピーカーが使用可能です。 - キーボードやPS3コントローラーには対応していません。 Q.PSPのメモリースティックは使えますか？ A.PSPのメモリースティックやSDメモリーは使えません。専用のメモリーカードを購入してください。 Q.エネループなどのモバイルブースターは使えますか？ A.PSPgoなどと同様に、付属の公式ケーブルでは使えません。 使えるようにしたサードのケーブルが出るのを待つか、純正のポータブルチャージャーを使いましょう。 なお非公式ですが、NTT Docomoの「モバイルチャージャー01」は充電に使えます。 Q.PS Vita操作中に固まる / フリーズする A.まずPSボタンを一回押す。戻ったらそれはただのスリープです。省電力設定で時間を延ばしましょう。 ダメだった場合は強制終了させます。 電源ボタンを2秒押しで電源を切ります。それでも電源が切れない場合は、画面が消えるまで20秒電源ボタンを押し続けてください。 20秒は重要です。20数える、などではなく、20秒以上、しっかり計って押し続けましょう。 「起動しなくなった」という場合も、同様です。画面が消えていますが、フリーズの可能性が高いです。 同様に20秒しっかり押し続けましょう。 その後、一旦時間を（30秒以上）置いてから電源ボタンを5秒押して電源を入れてください。 http //jp-playstation.custhelp.com/app/answers/detail/a_id/12187 Rボタン＋PSボタン＋電源ボタンを同時に押すと、セーフモードで起動できます。 本体やメモリーカードの初期化、システムアップデートを試してください。 Q.勝手に省電力設定になる A.最長設定でも5分です、こまめに画面をタッチしよう Q.充電できないんだけど A.ケーブルを逆に刺していませんか？ http //jp-playstation.custhelp.com/app/answers/detail/a_id/12183 USBは表裏どちらでも刺さるので注意、PSロゴが上にしないと充電できません。 また、PS3やパソコンのUSB端子に接続してもスリープ状態では充電されません。電源ボタンを長押しして電源を切って下さい。 Q.電源コードを挿してるのに起動しない A.もしかしたらPSボタンが点滅していませんか？点滅中は充電が足りないので起動出来ません。 常時点灯するまで待ちましょう。 Q.アップデート画面でループして進まない A.一度アカウントを利用せずにアップデートする。その後設定からサインイン。 Q.すぐに電源が落ちるんだけど…… A.初期設定では無操作1分でスリープになる。省電力設定から5分まで延長可能。 Q.日時入れらんない A.上下フリックで動かせる。でも設定からインターネット（手動）で変更したほうが楽で正確 Q.アプリやソフトが終了できない A.右上のめくれてる部分をフリックで剥がす Q.起動中の他のアプリ（ソフト）に移りたい A.左右フリックで切り替えorPSボタンで一覧表示 Q.背景変えたい 他ホーム画面の設定 A.画面のなにもないところを長押し Q.PSPソフトの表示方式/右スティック設定を変えたい A.画面長押し Q.フリーズした A.電源ボタン長押し（20秒以上）で完全に電源を落とす→ちょっと待つ→電源ボタン長押し（5秒以上）でだいたい直る Q.PCからの転送ができない A.コンテンツ管理アシスタントをhttp //cma.dl.playstation.net/cma/win/jp/からDL。 ソフトをインストールして立ち上げた後Vitaを繋ぐ。 PCで出来るのはPC側フォルダの指定だけ。操作はVitaからしかできない。 Media goなんてなかった Q.PCでVitaのソフトがDLできない A.仕様。VitaでDLして移動することは出来る。 Q.PS3を認識しない A.USBは先に起動中のVitaに接続しておかないと駄目っぽい。抜き差ししてみろ PS3は最新にアップデートして、Vitaと同じアカウントでサインインしておく必要がある。 Q.メモカの容量が異様に少ない A.トルネ用の領域を取られてる。3%程度の事なら1G＝1024Mで計算されてるせい ソフトウェア編 Q.ソフトはDL専売なんですか？ A.違います。ROMパッケージ（Vitaカード版）もあります。 Q.UMDは使えますか？ A.使えません。DL版のみ互換があります。（一部のソフトはDL版でも非対応です。体験版等） UMD保有者が安価にDL版を購入できるサービスが始まりました。 詳しくは公式HPへ Q.PSアーカイブスはプレイできますか？ A.発売時点では未対応ですがアップデートで対応予定です。 Q.WEBブラウザの対応は？ A.クッキー、JAVA1.7、HTML5に対応。Flashは発売時点では非対応ですがあくまで初期段階での仕様です。 Q.スカイプ使える？ A.機能、回線および契約プランにより異なります。（スカイプのアプリの配信日は、発売日当日の時点では未定です。） ●音声通話など、VoIPを利用する機能 利用可能な環境 WiFi、定額データプラン スタンダード2、定額データプラン フラット 利用不可の環境 プリペイドデータプラン、定額データプラン スタンダード ●インスタントメッセージなど、VoIPを利用しない機能 どの環境でも利用可能 Q.ニコニコ動画で見れない動画がある A.仕様です、バージョンアップに期待しよう Q.Youtube見れる？ A.Flash非対応なので見れません Q.PSPのゲームで、右ステック使えない、スムージングの設定できない A.画面を長タッチ Q.スリープ中に体験版とかがダウンロードされないんだけど A.電源ボタンを押してスリープさせるのではなく自動スリープを待ってスリープさせろ Q.PS3からPSPのDL版ソフトが転送できない A.そのソフトがVitaに対応していない可能性があります。 A.転送には条件があります。 ●転送できるのはアイコンが次のような状態のものだけです。 ●アイコンが次のような状態のものは転送できません。 PS Storeの「ダウンロードリスト」から再ダウンロードしてください。 Q.PCで再生できる動画がVitaでは再生できない A.今のところVitaが対応している動画は下記のとおり。 ●MPEG-4 Simple Profile Level3 最大320ｘ240ピクセル、AAC ●H.264/MPEG-4 AVC Baseline/Main/High Profile Level3.1 最大720p、AAC H.264のHigh Profile Level3.1が最大ということは、1280×720の場合30fps、ビットレート17,500Kbit/秒が限界。 60fpsの場合は720×576が規格の上限。 規格内に収まっているのなら、手持ちの動画のプロファイル部分だけを適当なソフトで3.1に書き換えると再生できる場合があります。 3G編 料金プラン等3G版の詳細は⇒ 3G版の詳細 Q.3Gって何？よくわからない A.携帯電話用の通信網のことです。携帯が通じるところであればどこでもネットに繋がるのが利点です。 ただし通信速度は遅いので家で使用する時はWifiを使用しましょう。 Q.Wi-Fiモデルと3G/Wi-Fiモデルどちらを買えばいいですか？ A.違いはGPSと3G機能を搭載しているかどうかです。 3Gは契約しない限りお金はかからないので最終的にはGPSが必要かどうかだけの選択です。 GPSがいるなら3G/Wi-Fiモデル、いらないならWi-Fiモデルでおｋです。 Q.月々の使用料が心配です A.3Gは手動更新ですので自分で更新しない限りお金はかかりません。 3G/Wifi版を購入しても更新手続きをしなければGPS付きのwifi版として使用できます。 当然wifi版に使用料は存在しません。 Q.3GでソフトをDLできますか？ A.3GDL用ソフトは可能ですが一般的なソフトは無理です。Wi-Fi、PCもしくはPS3に繋ぎましょう。 Q.Wifi/3G版は契約しなければ使えないの？ A.契約しなくても使えます。Wi-Fiを使えばネットもできます。 Q.３ＧはON/OFFはできますか？ A.できます。 Q.GPSのON/OFFはできますか？ A.できます。 Q.プリペイドの仕様時間は電源を入れている間常に減少しているの？ A.電源が切れていれば3Gも切れるので大丈夫です。 3GがOFFなら当然減りません。ONの時は分単位で計算。 また一定時間通信がなかった場合自動的に停止。 Q.契約事務手数料って何？必ず払わないと駄目？ A.SIM代金＋送料＋手数料なのでSIM発行の際は必ず発生します。 初回版と限定版は支払い済みのSIMが付いてるのでプリペイドを期間内に更新すれば不要です。 契約期限切れor定額プランに変更の場合SIM再発行となるので必要です。 Q.動画とか見れますか？ A.128kbpsでは厳しいです。プリペ100h付属の高速回線3hを使うか定額加入もしくはWi-Fiで見ましょう。 基本的にwifi推奨です。外で受信するのではなく家で保存して出かけましょう。トルネ！トルネ！ Q.3Gで対戦とかできますか？ A.ターン制のものやMMOならなんとか。リアルタイム性の高い格ゲーとかFPSは厳しいです。 Q.ドコモのスマホ持ってるけど、差し替えたら使える？ A.データ定額ならそのまま使えます。 パケホの場合、アクセスポイント設定して128k通信で運用すれば定額内で使えますが、 差し替えただけだと一万円コースです。テザリングも同様。 Q.ドコモ以外のSIMは使えますか？ A.ドコモ回線を利用したMVNO(仮想移動体通信事業者)なら可能です。 例：b-mobile,so-net等 Q.初回版に付属してるSIMの利用期間はいつからカウントされますか？ A.初回起動時に自動で設定が行われます。すぐに使いたくない時はSIMカードを抜いて起動しましょう。 Q.初回版に付属してるSIM使わないから、人にあげたり売っちゃっていい？ A.使用、未使用を問わず譲渡、売却は不可です。
https://w.atwiki.jp/pocketstation/pages/103.html
1999年7月22日発売13ブロック 必殺技（↑：ゲージ消費） ・歩く（↓：ゲージが貯まる）・防御（←：成功するとゲージが貯まる）・攻撃（→：ゲージ消費）のコマンドを使い分けて怪ロボットとのカードバトルを行います。 必殺技は攻撃に弱く、攻撃は防御で防ぐことができます。 【収録内容】 れんらく：実戦。怪ロボットの出現報告を受けると出動する。 くんれん：戦闘の訓練。 【通信販売】 リモートコントロール ダンディ