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https://w.atwiki.jp/biones/pages/21.html
量子論入門講義第1回 物理の20世紀の2大革命の一つ、量子論について簡単に解説します。 普通の常識とは相容れない不思議な世界が実感出来るハズです。 数式はテキストで可能な限り使う事にします。 対象者はすべての人です。予備知識はそのつど説明するので不要ですが、物理や数学の経験があったほうがいいかも知れません。 では、早速講義に入ります。 量子論とは何か?なぜ出来たのか?そもそも物理学って何? そういう人のためにも古典力学の簡単な説明をしたいと思います。 どんな学問でも公理、原理、要請は存在します。 古典力学の基本要請は 系に2つの共役な変数が存在する。普通は一般化座標qと一般化運動量pに取る。 一般化座標というのは、デカルト座標に限らない座標たとえば曲座標で言えば角度φやθなどです。 一般化運動量というのは、角運動量なども含めた一般の運動量のことです。 解析力学を知っている人ならラグランジアンを一般化速度で微分したものが一般化運動量になるすなわち p=∂L/∂qdot も知っているかと思います。 ちょっと、始めてみる言葉があるという人もいるかも知れませんが、大切な事は 「これらの変数{p,q}の組をいくつか用いれば系の状態を記述できる」 この点に尽きると思います。 量子論入門講義第2回 前回のポイントは 「古典系の”状態”は{p,q}で与えられる」 という事でした。 ここから、任意の物理量を考えます。 物理量とは、たとえばエネルギーや角運動量などのことです。位置や運動量も同様です。 ここで、任意の物理量はやはりpとqの関数として与えられるとします。逆にそのような量を物理量といってもいいでしょう。 つまり A=A(q,p) さらに、A,p,qの時間発展を考えます。 時間発展とは、物理量が時々刻々と変化する事です。 よって、古典物理学の極めて一般的な指針は 1、系の状態を特徴づける変数{p,q}を導入する。 2、任意の物理量A=A(p,q)ど導入する。 3、A,p,qの任意の時刻における量を与える方程式を導入する。 以上が、古典論の目標とするところです。 具体的には、良く知られているNewtonの第2法則 F=dp/dt や、ラグランジュ方程式があげられますが、極めて一般的に形式論を展開できるのはハミルトン形式でしょう。 すなわち、系のHamiltonian、H(これは、系の全エネルギーに等しい事がわかる)を与えるとp,qの時間発展が dq/dt=∂H/∂p (1) dp/dt=-∂H/∂q (2) 1,2より任意の物理量の時間微分について dA(q,p)/dt=∂A/∂q×∂q/∂t+∂A/∂p×∂p/∂t =∂A/∂q×∂H/∂p +∂A/∂p×(-∂H/∂q) ={A,H} 改めて dA(q,p)/dt={A,H}(3) ここで、{A,H}とはポアソン括弧といい {A,H}≡∂A/∂q×∂H/∂p -∂A/∂p×∂H/∂q で定義されます。 1,2,3 より、p,q,Aの時間発展を追う式が求められました。 これにより古典力学の形式論は一段落します。 次回はいよいよ量子論に入りたいと思います。 量子論入門講義第3回 前回の最後はいきなりハミルトン形式とか出てきて何だ~?と思った方もいるでしょうが、気にする事はありません。 要するに、古典論でわれわれの目指していたことは 「任意の時間の状態を決定する」 という事なのです。 ハミルトン方程式は、系のハミルトニアンHが与えられれば、微分方程式を解くことにより、そこから任意の時間の状態が決定されます。もちろん、現実問題を扱うとなると、方程式は非常に複雑になるので、厳密に解ける場合は限られています。それでも、”原理的には” 「ある時間の状態が与えられば、任意の時間の状態も決定可能である」 という事が、微分方程式の解の一意性から結論付けられます。 系のハミルトニアンを与えれば、未来永劫状態が決定できるのです。 つまり、古典論においては、宇宙は決定論的なのです。 ラプラスの悪魔とは、まさにこのことを言っているのです。 さて、では早速この講義のメインとなる量子論に入りたいと思います。最初に、なぜ量子論が必要になったのか話す必要がありますね。上で話した古典論は、完成された理論で、閉じています。もし、現実の世界がうまく作られていれば、古典論だけで話は済んだかもしれません。しかし、今世紀の始めごろ、古典論では説明のつかない現象がいろいろ発見されて、量子論が作られるに至ったのです。ここでは、いくつか問題を提示するだけにとどめておきます。興味のある方は量子力学の本を参照してください。 ダブルスリットによる干渉実験 原子になぜ電子が落ち込まないのか そして、古典論の敗北を決定付けたのが”ベルの不等式”というものです。 いずれにせよ、ここでわかってもらいたいのは 「古典論では説明のできない現象が”実験結果として”発見された」 という事です。 「古典論では説明できない」とはどういうことかというと、 それは、古典系の状態が定まらないということです。ただし、ミクロな現象の場合に限られます。 ミクロな現象では、系の状態を記述する変数pとqが同時に定まらない、と言う事もできます。 そして、量子論を決める基本仮定の枠組みではこれを原理にもってきます。 実は、量子力学といっても、色々な理論があるのですが、ここでは演算子形式で、量子化(古典系から量子系に移行する手法)には正準量子化を使います。他に良く使われるのはファインマンの経路積分というのがあるのですが、この講義では正準量子化で話をすすめます。 ですが、これから記述することは、量子論一般について述べることです。将来、どんな量子化の手法が現れたとしても、この原則に従うはずです。 量子論の仮定(1) 系を記述する変数{p,q}が同時に確定した値を取る事はない。 よって、”数値ではない”何か別なもの(演算子形式では演算子で)表す。 演算子というのは、関数やベクトルに作用して別の関数やベクトルを作るものです。 たとえば、量子論で重に使うのは、微分演算子(d/dx)、行列、普通の数、などです。 量子論の仮定(2) 物理量とは、pとqの関数すなわちA(p,q)のことである。 演算子形式では、pとqを演算子に置き換えます。 今回はとりあえずここまでです。 量子論入門講義第4回 前回のところまでは、割と容易に納得できたと思います。 次の仮定は”測定”に関する事です。 量子論の仮定(3) 物理量Aの測定とは、観測者が測定値aをひとつ得ることである。 ある物理系の状態にψという名前を付ける。 aの値は同じψでも、測定のたびにバラつく しかし、その確率分布{P(a)}は、Aの関数形とψから一意的に定まる。 確率分布{P(a)}というのは、確率P(a)の各aに対する一覧表のことを言います。確率P(a)とはたとえば、サイコロだったら P(1)=1/6 P(2)=1/6 などです。 物理量は定まらなくても、確率分布は決まるというわけです。 次に行きたいと思います。 量子論の仮定(4) 物理状態ψとは、物理量から確率分布への写像である。 すなわち ψ:A(p,q) → {P(a)} 物理状態の違いとは、この写像の違いのことである。 物理量と状態を与えると、確率分布が決定するというわけです。 具体的に、演算子形式の量子論では、ψはヒルベルト空間上のベクトル |ψ で与えられます。これについては詳しく後述します。 次回は、時間発展について話した後、演算子形式の量子論を具体的に話したいと思います。 量子論の理解のポイント 記事がなんとなく続きを書くモチベーションが起きないので、軽くポイントだけまとめとこう。 状態ベクトル|ψ または、波動関数ψとは、系の情報を含むものである。って言っても抽象的だけど、コイツが量子論のカギ。 物理量の期待値を引き出したいなら、量子化した物理量A(p,q)をケットとブラでサンドイッチにしてやる。 Aの期待値≡ ψ|A|ψ ≡∫ψ*Aψdv 調和振動子とか、水素原子なんかの特殊関数は計算がめんどいから、結果だけ覚えててもおk。 ただし、生成消滅演算子による解法はエレガントかつ重要なのでやっておくべし。 関数とベクトルを同一視できることを理解することも大切。
https://w.atwiki.jp/mortal_kombat9/pages/52.html
Hollow of Infestation 1. Koliseum Concept 2. Kung Lao Primary Costume Concept 3. Koliseum Speed Painting 1 4. Baraka Fatality (Take A Spin) 5. Living Forest Concept 6. Street Music 7. Shao Kahn Damage Concept 8. Liu Kang Alternate Costume 9. Cyrax Alternate Damage Concept 10. Rooftop (Day) Concept 11. Graveyard Concept 12. Shang Tsung Fatality (Identity Theft) 13. Shang Tsung Alternate Damage Concept 14. Armory Speed Painting 1 15. Enhance Moves Disabled 051 150 16. Soul Chamber Concept 17. Jade Primary Costume Concept 18. Kano Fatality (Eat Your Heart Out) 19. Goro s Lair Speed Painting 2 20. Sheeva Primary Costume Concept 21. Subway Speed Painting 2 22. Sonya Alternate costume 23. Shang Tsung s Throne Room Speed Painting 2 24. X-rays Disabled 242 242 25. Executioner Concepts 26. Bell Tower Music 27. Shang Tsung’s Garden (Day) Concept 28. Liu Kang Fatality (Beast Within) 29. Bell Tower Concept 30. Quan Chi Fatality Sketch 31. Reptile Alternate Damage Concept 32. Sektor Primary Damage Concept 33. Mileena Alternate Costume 34. Shang Tsung Primary Costume Concept 35. Courtyard (Day) Music 36. Johnny Cage Primary Damage Concept 37. Quick Uppercut Recovery 303 303 38. Goro’s Lair Music 39. Quan Chi Fatality (On Your Knees) 40. Sindel Primary Damage Concept
https://w.atwiki.jp/kakugame/pages/1911.html
出題ver 対象ver 1st 2nd 3rd final 28 24 Make Me Your Own(A) Quickening(A) POINT ZERO(A) gigadelic(H) 25 NO LIMIT -オレ達に限界は無い-(A) 革命(H) KAMIKAZE(A) 26 疾風迅雷(H) 廿(A) LAB(A) S!ck(A) 27 Let me be your cure(A) Feedback(A) Apocalypse ~dirge of swans~(A) 28 Infinity Mirror(A) Red. by Jack Trance(H) V2(H) 29 25 NO LIMIT -オレ達に限界は無い-(A) 革命(H) KAMIKAZE(A) gigadelic(H) 27 Let me be your cure(A) Feedback(A) Apocalypse ~dirge of swans~(A) S!ck(A) CS13 stoic(H) Broadbanded(A) So Fabulous!!(A) QUANTUM TELEPORTATION(A) 30 CS12 sync(A) ラクエン(A) SigSig(A) LOVELY STORM(A) 20 GRADIUS 2012(A) Snake Stick(H) V2(H) gigadelic(H) 28 Infinity Mirror(A) Red. by Jack Trance(H) S!ck(A) 31 15 The Dirty of Loudness(H) 電人、暁に斃れる。(H) Candy Galy(H) Innocent Walls(H) 23 リリーゼと炎龍レーヴァテイン(H) end of world(A) rottel-da-sun(A) gigadelic(H) 29 Virus funk(A) Daisuke(A) 忍恋花(A) STARLIGHT DANCEHALL(A) 歴代ver.別索引 歴代段位認定リスト
https://w.atwiki.jp/gamemusicbest100/pages/1845.html
Portal2 機種:PC, 360, PS3 作曲者:Mike Morasky 開発元:Valve Software 発売元:サイバーフロント(PC), Electronic Arts(コンシューマ) 発売年:2011年 概要 『Portal』の続編。 ゲームシステムや舞台は前作と変わらず。 初代『Potal』は『The Orange Box』のゲームの一つとして制作されたが今作は一つのゲームとして開発。 BGMは前作でも作曲を担当したMike Morasky氏。前作よりも大幅に収録曲が増えよりドラマチックになったシーンを盛り上げる。 彼らしい独特の世界観を持つ音楽が特徴だ。 収録曲 曲名 補足 順位 Science is Fun Concentration Enhancing Menu Initialiser 9999999 The Courtesy Call Technical Difficulties Overgrowth Ghost of Rattman Haunted Panels The Future Starts With You There She Is You Know Her? The Friendly Faith Plate 15 Acres of Broken Glass Love as a Construct I Saw a Deer Today Hard Sunshine I m Different Adrenal Vapor Turret Wife Serenade タレットの合唱曲 I Made It All Up Comedy = Tragedy + Time Triple Laser Phase You Will Be Perfect Halls Of Science 4 (defun botsbuildbots () (botsbuildbots)) An Accent Beyond Robot Ghost Story Die Cut Laser Dance Turret Redemption Line Bring Your Daughter To Work Day Almost At Fifty Percent Dont Do It I AM NOT A MORON! Vitrification Order Music of the Spheres You are Not Part of the Control Group Forwarding the Cause of Science PotatOS Lament The Reunion Music of the Spheres 2 (Incendiary Lemons) Reconstructing More Science Wheatley Science FrankenTurrets Machiavellian Bach Excursion Funnel TEST The Part Where He Kills You Omg, What has He Done? Bombs for Throwing at You Your Precious Moon Caroline Deleted Cara Mia Addio! タレットオペラ作曲:Mike Morasky歌:Ellen McLain 第7回738位2011年196位パソコンゲーム53位 Want You Gone エンディングテーマ作曲:Jonathan Coulton歌:Ellen McLain 第5回36位第6回177位第7回223位第8回150位第9回187位第10回186位第11回518位第12回571位第14回644位第15回850位2011年27位エンディング55位第2回エンディング116位第2回ゲームソング143位第3回ゲームソング137位パソコンゲーム49位歴代131位 Spaaaaace Space Phase Some Assembly Required Robot Waiting Room #1 Robot Waiting Room #2 Robot Waiting Room #3 Robot Waiting Room #4 Robot Waiting Room #5 Robot Waiting Room #6 You Saved Science Robots FTW Exile Vilify ラジオの挿入歌歌:The National サウンドトラック Portal 2 Songs to Test By Volume 1 Portal 2 Songs to Test By Volume 2 Portal 2 Songs to Test By Volume 3
https://w.atwiki.jp/niconicompetition/pages/19.html
☆企画の基本的な流れ(変更する場合があります) ☆Process of the project (The change is posibble) 1、土曜の0時に運営側がお知らせにてTask内容と期限(基本1週間)を掲示します。 1、You access this homepage and click Task number in left menu on Saturday at 0 00 JST(In JAPAN time). The page is written Task contents(called Task page). 2、掲示された期間内(金曜の24時まで)に記録動画をSkypeにて運営に提出します。 2、You submit your best Task video to Adminnistration through Skype until Friday at 24 00 JST(In JAPAN time). 3、期間終了後の土曜に、運営が結果をお知らせで掲示します。その後、結果動画投稿を行います。 3、I write result in Task page after submitting close and upload result video in "niconicodouga" after just a days. この1~3の流れを毎週定期的に行ないます。 I do this process every week. 半年区切り(約26Task)を予定しています。第1期は12年12月14日あたりを目途に終了する予定です。 I m going to do this project in a half year section(about 26 Tasks). The first section is going to finish around 12 Decembar14th in JAPAN time. 追記:全てのステージ(18つ)のTaskを終えたら終了となります。 ADD After just all stages task (18 stages) will finish, this project will close. ☆運営に提出していただく動画に関して ☆About submitting your video to Adminnistration ○ 動画はSkypeを通して運営側に提出していただきます。それ以外の提出方法は一切認めません。 (Skypeに不具合があった場合は、こちらから提出方法を指示いたします。) ○ The way of submitting video to Adminnistration is using Skype,other ways are NOT accept. (If you have some problems about Skype, I instruct you on the way of submitting your video.) ○ 動画は1Taskにつき2度提出することが可能です。 その際、動画名に Task番号、名前、タイム(なくてもよい) の記載をお願いします。 ○ You re able to submit 2 videos every 1 Task. Please write Task number, your name, and time(unnecessary) in your video title. ○ クッパ系またはお城の隠れスター以外のTaskの場合、提出する動画はスター選択画面からいれてください。 ○ You have to include selecting single star screen in your video, if Task is not Bowser stages and Castle Secret Stars. ○ 提出する動画は、タイマー表示等の編集を禁止とします。(結果動画を作る際、妨げになるため) なるべく動画のサイズは640×480でお願いします。 ○ You must NOT edit your submitting video,for example appear timer, add to the another BGM. (When I make Task result video, I m disturbed their acts.) If possible, you change into your video size 640×480. ○ 提出する動画が容量1GB超える場合はエンコードして容量圧縮してもらえると助かります。 基本的に拡張子の形式は問いませんが、運営側で不都合があった場合のみ、再提出をお願いする場合があります。ご了承ください。 ○ If submitting your video has a capacity of over 1GB, please encode your video and reduce capacity of your video. I don t care about extension, if I have some problems about your video, you have to change extension and submit again, Sorry ( ○ 各Taskのタイム計測開始は、指定がなければワンスターと同様にステージINからとし、計測終了はTaskごとに異なります。 ○ The start timing of Task is usually Stage IN as well as single star, the stop timing is different each Task. ○ 精査(フレーム単位でのタイム計測)は任意で構いません。 ※精査のやり方分からないけど、細かいタイムが知りたい という場合は、 運営側に動画を送っていただければ運営側で精査しておおよそのタイムを知らせることも可能です。 ○ It is free whether you measure your Task time in detail or not. ※If you want to know your Task time in detail as you don t know that you measure time in detail, you send your Task video to me. Then you re able to know your Task time by Adminnistration. ○ 断りがない限り、Taskに明記されたステージ以外で条件クリアすることを禁止とします。(Task5からの反映となります。) ○ You must perform all Task confitions in the stage which is written in Task.(This content reflects after Task4). ○ 前提条件で縛られていなければ、スター枚数、4段ジャンプ使用、大砲使用、帽子使用、甲羅使用、ワープ使用は任意となります。 ○ It is free if Task don t include it.→The number of stars, use fourth jump, use cannon, use caps, use shells,use teleportation ☆ポイント制について ☆About system of points ○ タイムの早い順に順位をつけます。順位に応じたポイントがもらえるという制度です。 どのTaskに対しても以下の固定ポイントとなります。 ○ You are given points according to rank. Each Task give the same points (on the list below). 1位 10ポイント / 1st 10pts 2位 7ポイント / 2nd 7pts 3位 5ポイント / 3rd 5pts 4位 4ポイント / 4th 4pts 5位 3ポイント / 5th 3pts 6位以下 1ポイント / else 1pt ※たくさんの方に参加してもらうのが運営側の本望なので、 このポイントはついでの要素だと思ってください。 ※I expect more participants participate in this project, you should consider that this system is extra. ☆その他注意事項 ☆attention! ○ この企画は実機、VCのみ受けつけています。エミュレータでのご参加はお断りしています。 ※ソフトのバージョンは特に指定しませんが、北米版VCの使用は禁止とします。 ○ This project accept only N64 and VC. VC U version and Emulator are NOT accept, Sorry ( ※All versions are OK without VU U version and Emulator. ○ 参加募集期間内にそのTask関係の動画投稿、配信は禁止とします。また、タイム公開も禁止とします。 参加人数のみ公開いたします。気になる方は運営側に訪ねてください。 ○ While Task participants are invited, you must NOT upload the video which Task participants are invited, and must NOT streaming which Task participants are invited. Add your Task records exhibition is prohibited. I show the nunber of participants only. If you want to know the number of participants, you ask me through Skype and so on. ○ この企画は、ポイント制を設けていますが、やりたいTaskのみの参加も大歓迎です! ○ I welcome to you, even if you want to join Task only! ○ 提出した動画で条件見逃しがあった場合、FAILとして1回分の提出扱いになるので気を付けてください。 ○ If your video is short of Conditions, this video is FAIL and deal with 1 submitting video. ○ 提出していただいた動画は条件見逃しがないか運営側ですぐ確認し、もし足りない条件があれば本人に報告しますが、 提出期限1時間前など、ぎりぎりに出されたものに関しては保証しません。なるべく早めに提出してください。 ○ I immediate confirm your Task video is short of confitions or isn t after you submit Task video to me, and if your Task video is short of confitions, I immediate tell you. But when you submit to me at the last minute, I m able to confirm. Please submit to me early. ○ 提出していただいた動画はタイムが明記されてるかどうかにかかわらず運営側で精査します。 その際、運営側で精査したタイムを採用します。ご了承ください。 ○ I measure your Task time in detail whether your video title is written the time which you meature or not. I adopt the time which I measure your Task time in detail. ○ ゲームシャーク等によるチートの使用は禁止とします。 ○ You must NOT use cheat codes of Gameshark and so on. ○ 参加募集期間が終了し、既に結果がでているTask関係の動画投稿、配信はご自由にどうぞ。 このコミュに動画登録しても構いません。ただ、なるべく全体公開はお控えください。 ○ You may upload the video which I show the Task result and streaming which I show the Task result. ○ 運営側は事前にTask内容を知っているため、Taskを行うことがあっても順位には組み込みません。よろしくお願いします。 ○ We do NOT participate in the Task because we know Task contents before everyone know. ○ もし何かわからない点があれば、運営のSkype、コミュニティ掲示板、Twitterを通して質問お願いします。随時受け付けてます。 ※ただし、Taskに関しての質問は、お答えしない場合があります。ご了承ください。 ○ If you have any questions, you ask me through Skype,and Twitter. ※If you ask questions about Task contents to me, I may NOT answer.(Because the interpretation of Task contents that you think of is all right.)
https://w.atwiki.jp/wittard/pages/23.html
順番 場所 種別 報告 内容 クエスト名 NPC 1 Monument Tunnels サイド 報告 ネームドBighands(空爆野郎)を倒す。報告するとDate Escapeが発生 Only Human Jons 2 └ Monument Crawlyway サイド 報告 Pain Leecheを9匹倒す。報告するとMad Loveが発生 Date Escape Jons 3 Upper Thames サイド ↓ ネームドLament(Shock Slayerタイプ)を倒し、Kill Torphyを持ち帰る。報告するとWanted Perilが発生 Wanted Lament Wanted,Load Arphaun 4 └ Waterman s Walk サイド 報告 FellboreからWarp Registerを4個集める。報告するとThree s A Companyが発生 Mad Love Jons 5 Upper Thames サイド 報告 Scannerを4個探す Three s A Company Jons 6 Monument Tunnels サイド 報告 ネームドPeril(Furyタイプ)からKill Trophyを持ち帰る Wanted Peril Wanted,Load Arphaun 7 Eastcheap サイド ↓ 探索 Seeing For Suckers Nasim 8 └ Tudor Street メイン ↓ Aeron Altairと話す。可能ならPRDを保持しておく Helping Hands Load Arphaun,Aeron Altair 9 └ Temple Place メイン ↓ Hell Rift内のBrandon LannにEmergency Medical Kitを使い、Templar Baseまで連れて行く Helping Hands Brandon Lann 10 └ Templar Base メイン 報告 Load Maximと話す Helping Hands Load Maxim Templar Baseの一連のクエストが終わった後 順番 場所 種別 報告 内容 クエスト名 NPC 1 Waterman s Walk サイド 報告 探索。報告するとOver The River And...が発生 Demensions Of Hell Connor 2 Tuder Street サイド 報告 探索。報告するとI Like Your Outfitが発生 Over The River And... Connor 3 Lower Thames サイド ↓ Ravager Mastodons(大きいRavager)を3匹倒す。報告するとCold Feetが発生 Safety s On Jons サイド 報告 Darkspawn SniperからLow-Yield Warheadを7個集める。報告するとBaby Stepsが発生 Fetch, Boy Nasim 4 └ Tower Gateway サイド ↓ Fringe Protrusionを3個探す。派生クエストなし Baby Steps Nasim サイド 報告 ネームドLoad Chroorsay(Tormenterタイプ)を倒し、Fast Wandを使用する。報告するとThe Body Warmsが発生 I Like Your Outfit Connor 5 └ Tower Of London サイド ↓ ネームドLoad Neelmelm(carnagorタイプ)を倒し、Demonic Talismanを使用する The Body Warms Connor メイン 報告 (Lieutenant grayと話し)Act Boss Abbadonを倒す A Luring Load Arphaun 6 Monument Tunnels サイド 報告 ネームドRipcage(skullタイプ)を倒す。報告するとShe s Not Cut...Yetが発生 Cold Feet Jons 7 └ Monument Crawlway サイド 報告 ネームドUnseen Terror(タコタイプ)を倒す。報告するとThe Deal Sealが発生 She s Not Cut...Yet Jons 8 Eastcheap サイド 報告 ネームドSewerbreath(猿タイプ)を倒す The Deal Seal Jons 9 Fenchurch サイド ↓ Plague Zombieを14匹倒す Take It Easy.Shoot Nasim 10 Trinity Square サイド ↓ ネームドBeguiler(鳥人間タイプ)を倒す Whoa.Cranky. Connor 11 Ald Gate メイン 報告 1.Techsmith415から3個のBlueprint(Umber,Magenta,? Power Supply Blueprint)を受け取る 2.Alecから必要に応じた各色(Red,Green,Blue)Gland-Battery Scrollを買う 3.当該エリアのmobがドロップするEnergetic(各色)Glantから各色Gland-Battery Scrollを完成させる 4.Gland-Battery Scrollから各Blueprintを完成させてTechSmith 415に渡す(赤 目玉,緑 耳,青 爪) Threshold 12 William Street サイド ↓ ネームドMutilator(四つん這いタイプ)を倒す。報告するとDraw A Pictureが発生 Demons Of Notoriety Nasim サイド 報告 ネームドMorbat(小鳥タイプ)を倒す。報告するとDestroyer Of... Them!が発生 Daddy s Dead Connor 13 Threadneedle サイド ↓ Blade Slayerを14匹倒す Destroyer Of... Them! Connor サイド ↓ 探索 Draw A Picture Nasim 14 Cannon Street Rail メイン ↓ Techsmith 99と話し3個のTrain Partを(ULT Power Plant,ULT Intake Manifold,ULT M-Series Capacitor)集めて渡す。一度にもてるのは1個のみ。 ...All The Live Long Day Techsmith99 15 └ Exodus メイン ↓ 無線を受けた後、Techsmith 99と話し、線路内の敵を掃討する Riding In Style Techsmith99 メイン ↓ ACT Boss BloodBladeを倒し、Portal内のThe Brothers2人と話す。Portalを出たら無線を受ける Brotherly Love The Brothers 16 └ Crown Office Row メイン ↓ Emmera Ephramと話しEmergency Medical Kitを受け取った後、ベッドにいるGravely Injured TemplarをMedic Packで10人治療すしEmmeraと話す Triage Emmera 17 └ Templar Base メイン 報告 Load Arphaunと話す Triage Load Arphaun 18 Mark Lane Approach サイド ↓ HowlersからPerk shotを2個集める Payroll Jons サイド 報告 Shock SlayerからCharged Cellを12個集める。報告するとOn Offが発生 In One Sitting Nasim 19 └ Mark Lane Station 別記 別記 Mark Lane Stationページに別記してあります 別記 20 └ Liverpool Approach サイド ↓ Fallen Fellboreを17匹倒す。報告するとScotch Frustrationが発生 Brood Go Bye Connor サイド ↓ Flesh Tombを2個探す。報告するとThat Includes Blasphemyが発生 On Off Nasim 21 └ Liverpool Station メイン 報告 Jessica Sumerisleと話し、Laser Sightsを貰う The Deep Load Arphaun, Jessica Sumerisle 22 Monument Station なし 報告 上記20のLiverpool Approachのサイドクエストの報告をする 複数 23 Liverpool Station サイド 報告 Lyra Dariusと話す That Includes Blasphemy Nasim,Lyra Darius サイド 報告 Saul PetrusにThingを渡す Scotch Frustration Conner,Saul Petrus
https://w.atwiki.jp/multiquote/pages/16.html
Italian_3-1 lezione 1 Si, sono per legalizzare la droga C è chi si oppone a questa scelta perché crede che significhi autorizzare l eroina. Invece è l unico modo per salvare la vita di quelli che ormai sono consumatori cronici. E delle tante vittime dei loro furti. Nel nostro paese, purtroppo, molte persone confondono "legalizzazione" con una specie di allegra autorizzazione ma legalizzare vuol dire stabilire regole, in quale quantità, a esclusione dei minori e con un controllo della qualità. Abbiamo uffici in cui controllano se i funghi del nostro paniere sono tossici o buoni. Ma la legge impedisce che un malato di droga chieda se la dose che gli hanno esosamente spacciato è un veleno letale. Second questo articolo, (a) le droghe devono essere legalizzate, tranne quelle pesanti come l eroina. (b) la legalizzazione della droga aumenterà la criminalità. (c) è neccessario legalizzare le droghe anche per impedire l aumento dei furti commessi dai drogati. (d) "legalizzare la droga" significa darla a chiunque la voglia, anche ai minorenni. (e) ci sono dei funghi tanto velenosi quanto le droghe. 2 Droghe - Perché l erba va probita ? Legalizzare la marijuana aumenterebbe nei giovani il rischio di usare droghe pesanti uno studio del National Center of Addiction and Substance Abuse con sede a Wahington, sostiene che la liberalizzazione dell erba avrebbe come primo effetto una crescita del consumo tra gli adolescenti. "A quell età la marijuana non solo danneggia la memoria a breve termine, ma blocca la crescita intellettuale ed emotiva, aumentando la voglia di provare droghe pesanti, come eroina o cocaina", spiega Joseph Califano, autore della ricerca secondo cui nei ragazzi tra 12 e 17 anni che fumano marijuana il rischio di usare droghe pesanti è 85 volte superiore rispetto a chi non la fuma. Secondo questo articolo, (a) legalizzare l uso della marijuana causerebbe alla fine l aumento dei consumatori di eroina. (b) nei ragazzi tra i 12 e i 17 anni che la fumano, la probabilità di passare alle droghe pesanti è dell 85 per cento più alta di quelli che non la fumano. 3 Telefonino ergo sum Dimmi che cellulare potri e ti dirò chi sei. Alla fine di luglio i telefonini toccano i 25 milioni di abbonamenti, superano in diffusione i telefoni fissi e improvvisamente la rivoluzione è sotto gli occhi di tutti. All inizio degli anni novanta status symbol per vip, poi strumento di lavoro per professionisti, ora il cellulare per i giovani è un icona per essere identificati come il motorino, l orologio, le scarpe. Secondo questo articolo, (a) gli abbonamenti al cellulare stanno per raggiungere il numero di quelli ai telefoni fissi. (b) il cellulare ci dice molte cose sulla persona che lo possiede. 4 Lo snobismo di non averlo C è chi lo odia, il telefonino. Come lo scrittore Giampaolo Rugarli, che dichiera "Il mio non rapporto col cellulare nasce dal non rapporto con la parola parlata già detesto la radio e la tv, figuriamoci il telefonino. E poi, non saprei come farlo funzionare". Anche il regista Dario Argento non possiede il cellulare ed è un fedelissimo della segreteria telefonica di casa "Se mi capita di andare fuori città per lavoro, ne prendo uno in prestito dall ufficio. Ma confesso di non sapere mai il suo numero. Nella vita quotidiana ci sono già troppe pressioni figuriamoci andare in giro con un cellulare che squilla nel taschino della giacca". Secondo questo articolo, (a) Giampaolo Rugarli detesta il cellulare perché preferisce parlare di persona. (b) il cellulare non piace a Dario Argento, perché non vuole subire altre pressioni nella vita quotidiana. (c) Dario Argento non usa mai il cellulare perché pensa che avere una segreteria telefonica basti. 5 Minacce Arabella Kiesbauer e Hans Meiser, conduttori di due popolarissimi programmi delle televisioni tedesche "Pro7" e "Rtl", da qualche tempo ricevono minacce di morte. Motivo la stupidità delle loro trasmissioni. "Vi diamo sei settimane di tempo -- si legge nelle lettere minatorie recapitate alle due emittenti -- per abolire il programma o sostituirlo con uno più sensato. Altrimenti uccideremo Kiesbauer, Meiser e gli altri conduttori". Secondo questo articolo, (a) i due conduttori vengono minacciati perché i loro programmi sono troppo stupidi. (b) le lettere minatorie dicono che i loro programmi sono troppo difficili. (c) le lettere minatorie chiedono che persone più intelligenti si sostituiscano ai due conduttori televisivi. 6 Un turno non rispettato Una lettrice ci scrive Mercoledì pomeriggio mi sono trovata nella condizione, ahimè sfortunata, di dover cercare una farmacia. Sapevo che molte sono chiuse per turno di riposo infrasettimanale. Tuttavia, trovandomi in piazza Zara, mi sono incamminata alla ricerca della prima farmacia aperta. Sono così arrivata in quella di corso Moncalieri n. 257, che, ovviamente, era chiusa per riposo. Diligentemente, aveva esposto il cartello che indicava le farmacie più vicine aperte quel pomeriggio. Tra queste, c era quella di corso Massimo d Azeglio n. 100. Ho così ripreso a camminare con la certezza di trovarla aperta, anche se era un po lontana. Quando sono arrivata in corso Massimo ho avuto la bella sorpresa di trovare anche questa farmacia chiusa per riposo infrasettimanale, con la "diligentissima" indicazione delle farmacie più vicine aperte quel mercoledì pomeriggio. Tra queste, ovviamente, compariva quella di corso Moncalieri, dove ero appena stata. E dal momento che ormai si era fatto tardi e che le altre farmacie erano molto più distanti, ho dovuto rinunciare a comprare ciò di cui avevo bisogno. Secondo questa lettera, (a) alla fine, la lettrice non ha potuto ottenere ciò che voleva perché tutte le altre farmacie erano chiuse. (b) Il mercoledì tutte le farmacie sono chiuse. (c) Il mercoledì le farmacie vengono chiuse a turno. (d) i cartelli indicavano le farmacie più vicine che dovevano essere aperte quel pomeriggio. (e) la lettrice è riuscita ad ottenere la medicina che voleva. 7 Riesplode la voglia di casa (ma mancano quelle belle) Il sogno di una bella casa è sempre in cima ai pensieri degli italiani. Peccato che la realtà sia assai poco idilliaca le case disponibili spesso sono brutte. Quelle usate e da risrutturare sono quasi due terzi delle proposte sul mercato, ma si tratta diun tipo di abitazione che interessa solo il 27 per cento dei potenziali acquirenti. Al contrario, oltre metà degli italiani vorebbe comprare una casa già ristrutturata, che però viene offerta solo ne 20 per cento dei casi. (a) due terzi delle case offerte sul mercato vanno ristrutturate, mentre la maggior parte degli italiani preferisce case già ristrutturate. (b) un quinto delle proposte offrono case già ristrutturate e questa percentuale soddisfa la domanda del mercato. 8 Hawaii senza canti Industrie, turismo, agricoltura, animali importati senza controllo stanno distruggendo uccelli e flora di un paradiso. -- Anno 1891, isole Hawaii un ecosistema eccezionale. Quasi 10 mila forme di vita diverse, fra piante e animali, concentrate in poco più di 16 mila chilometri quadrati. Anno 1992, stesse isole il 90 per cento delle foreste di sandalo è ormai distrutto, 37 tipi di piante rischiano l estinzione (15 entro i prossimi due anni), il 70 per cento delle 140 specie di uccelli è scomparso. Di quelle che sopravvivono, 30 sono in pericolo. Per almeno 12 non c è più niente da fare. Secondo questo articolo, (a) nel corso degli ultimi cento anni, quasi 70 specie di uccelli si sono estinte. (b) tra le piante finora sopravvissute, rimarrannno in futuro solo 15 specie. (c) 12 specie di ucceli, con ogni probabilità, in futuro si estingueranno. (d) l importazione di specie animali nelle isole è stata accuratamente programmata.
https://w.atwiki.jp/matchmove/pages/74.html
Exporting to Your Animation Package Once you are happy with the object paths and tracker positions, use the Export menu items to save your scene. The following options are currently available (note that this list is constantly being expanded; check the web site) · 3ds max 4 or later (Maxscript). Should be usable for 3D Studio MAX 3 as well. Separate versions for 3dsmax 5 and earlier, and 3dsmax 6 and later. · After Effects (via a special maya file) · Bentley Microstation · Blender · Carrara · Cinema 4D (via Lightwave scene) · Combustion · ElectricImage (less integrated due to EI import limitations) · FLAIR motion control cameras (Mark Roberts Motion Control) · Flame (3-D) · Fusion 5 · Hash Animation Master. Hash 2001 or later. · Houdini · Inferno 3-D Scene. · Lightwave LWS. Use for Lightwave, Cinema 4D · Maya scene file · Mistika · Motion – 2-D · Nuke (D2 Software, subsidiary of Digital Domain) · Particle Illusion · Poser · Realsoft 3D · Shake (several 2-D/2.5-D plus Maya for 3-D scenes) · SoftImage XSI, via a dotXSI file · Toxik · trueSpace · Vue 5 and 6 Infinite · VIZ (via 3ds Max scene) SynthEyes offers a scripting language, SIZZLE™, that makes it easy to modify the exported files, or even add your own export type. See the separate SIZZLE User Manual for more information. New export types are being added all the time, check the export list in SynthEyes and the support site for the latest packages or beta versions of forthcoming exporters. General Procedures You should already have saved the scene as a SynthEyes file before exporting. Select the appropriate export from the list in the File/Exports area. SynthEyes keeps a list of the last 3 exporters used on the top level of the File menu as well. Hint SynthEyes has many exports. To simplify the list, clickScript/System Script Folder, create a new folder “Unused” in it, and move all the scripts for applications you do not use into that folder. You will have to repeat this process when you later install new builds, however. There is also an export-again option, which repeats the last export performed by this particular scene file, with the most-recently-used export options, without bring up the export-options dialog again to save time for repeated exports. When you export, SynthEyes uses the file name, with the appropriate file extension, as the initial file name. By default, the exported file will be placed in a default export folder (as set using the preferences dialog). In most cases, you can either open the exported file directly, or if it is a script, run the script from your animation package. For your convenience, SynthEyes puts the exported file name onto the clipboard, where you can paste it (via control-V or command-V) into the open-file dialog of your application, if you want. (You can disable this from the preferences panel if you want.) Note that the detailed capabilities of each exporter can vary somewhat. Some scripts offer popup export-control dialogs when they start, or small internal settings at the beginning of each Sizzle script. For example, 3ds max does not offer a way to set the units from a script before version 6 and the render settings are different, so there slightly different versions for 3dsmax 5 and 6+. Settings in the Maya script control the re-mapping of the file name to make it more suitable for Maya on Linux machines. If you edit the scripts, using a text editor such as Windows’ Notepad, you may want to write down any changes as they must be re-applied to subsequent upgraded versions. Be aware that not all packages support all frame rates. Sometimes a package may interpret a rate such as 23.98 as 24 fps, causing mismatches in timing later in the shot. Or one package may produce 29.96 vs 29.97 in another. Handle image sequences and use frame counts rather than AVIs, QTs, frame times, or drop-frame time codes wherever possible. TheCoordinate System control panel offers an Exportable checkbox that can be set for each tracker. By default, all trackers will be exported, but in some cases, especially for compositors, it may be more convenient to export only a few of the trackers. In this case, select the trackers you wish to export, hit control-I to invert the selection, then turn off the checkbox. Note that particular export scripts can choose to ignore this checkbox. Setting the Units of an Export SynthEyes uses generic units a value of 10 might mean 10 feet, 10 meters, 10 miles, 10 parsecs—whatever you want. It does not matter to SynthEyes. This works because match-moving never depends on the overall scale of the scene. SynthEyes generally tries to export the same way as well—sending its numbers directly as-is to the selected animation or compositing package. However, some software packages use an absolute measurement system where, for instance, Lightwave requires that coordinates in a scene file always be in meters. If you want something else inside Lightwave, it will automatically convert the values. For such software, SynthEyes needs to know what units you consider yourself to be using within SynthEyes. It doesn’t care, but it needs to tell the downstream package the right thing, or pre-scale the values to match your intention. To set the SynthEyes units selection, use the Units setting on the SynthEyes preferences panel. Changing this setting will not change any numbers within SynthEyes; it will only affect certain exports. The exports affected by the units setting are currently these · After Effects (3-D) · Hash Animation Master · Lightwave · 3ds max · Maya · Poser Before exporting to one of these packages, you should verify your units setting. Alternatively, if you observe that your imported scene has different values than in SynthEyes, you should check the units setting in SynthEyes. Hint if you will be exporting to acompositing package, they often measure everything, including 3-D coordinates, in terms of pixels, not inches, meters, etc. Be sure to pick sizes for the scene that will work well in pixels. While you might scale a scene for an actor 2m tall, if you export to a compositor and the actor is two pixels tall that will rarely make sense. Image Sequences Different software packages have different conventions and requirements regarding the numbering of image sequences whether they start at 0 or 1, whether there are leading zeroes in the image number, and whether they handle sequences that start at other numbers flexibly. For example, if you have a shot that originally had frames img1.tif-img456.tif, but you are using only images img100.tif-img150.tif of it, SynthEyes will normally consider it as a 51 frame shot, starting with frame 0 (img100.tif) or, withFirst frame is 1preference on, as frame 1 at img100.tif. Other software sometimes requires that their frame numbers match the file number, so img100.tif must always be frame 100, no matter what frame# they normally start at. SynthEyes gives you the option to pad the beginning of IFLs with extra copies of the first frame, so that the SynthEyes frame number matches the image frame number, by turning on the Match frame# s preference. While this sounds simple, it will cause trouble for many of the exports. It is especially a problem if you do not have the unused frames, as is often the case. By being aware of these differences, you will be able to recognize when your particular situation requires an adjustment to the settings—typically when there is a shift between the camera path animation and the imagery. Generic 2-D Tracker Exporters There are a number of similar exporters that all output 2-D tracker paths to various compositing packages. Why 2-D, you protest? For starters, SynthEyes tracking capabilities can be faster and more accurate. But even more interestingly, you can use the 2-D export scripts to achieve some effects you could not with the compositing package alone. For image stabilizing applications, the 2-D export scripts will average together all the selected trackers within SynthEyes, to produce a synthetic very stable tracker. For corner-pinning applications, you can have SynthEyes output not the 2-D tracker location, but the re-projected location of the solved 3-D point. This location can not only be smoother, but continues to be valideven if the tracker goes off-screen. So suppose you need to insert a painting into an ornate picture-frame using corner pinning, but one corner goes off-screen during part of the shot. By outputting the re-projected 3-D point (Use solved 3-D points checkbox), the corner pin can be applied over the entire shot without having to guess any of the path. Taking this idea one step further, you can create an “extra” point in 3-D in SynthEyes. Its re-projected 2-D position will be averaged with any selected trackers; if there are none, its position will be output directly. So you can do a four-corner pin even if one of the corners is completely blocked or off-screen. By repeating this process several times, you can create any number of synthetic trackers, doing a four-corner insert anywhere in the image, even where there are no trackable features. Of course, you could do this with using a 3-D compositing environment, but that might not be simplest. At present, there are compatible 2-D exporters for AfterEffects, Digital Fusion, Discreet (Combustion/Inferno/Flame), Particle Illusion, and Shake. Note that you will need to import the tracker data file (produced by the correct SynthEyes exporter) into a particular existing tracker in your compositing package. There is also a 2-D exporter that exports all tracker paths into a single file, with a variety of options to change frame numbers and u/v coordinates. A similar importer can read the same file format back in. Consequently, you can use the pair to achieve a variety of effects within SynthEyes, including transferring trackers from SynthEyes file to SynthEyes file, as described in the section onMerging Files and Tracks. This format can also be imported by Fusion. Generic 3-D Exporters There are several 3-D exports that produce plain text files. You can use them for any software SynthEyes don’t already support, for example, non-visual-effects software. You can also use them as a way to manipulate data with little shell, AWK, or Perl scripts, for example. Importantly, you can also use them as a way to transfer data between SynthEyes scene files, for example, to compute some tracker locations to be used by a number of shots. There are several ways to do this, see the section onMerging Files and Tracks. The generic exports are Camera/Object Path for a path, Plain Trackers for the 3-D coordinates of trackers and helper points, and corresponding importers. You can import 3-D locations to create either helper points, or trackers. This latter option is useful to bring in surveyed coordinates for tracking. After Effects 3-D Procedure 1. Export to After Effects in SynthEyes to produce a (special) .ma file. 2. In After Effects, do a File/Import File 3. Change Files of Type to All File Formats 4. Select the .ma file 5. Double-click the Square-whatever composition 6. Re-import the original footage 7. Click File/Interpret Footage/Main and be sure to check the frame rate and pixel aspect. 8. Rewind to the beginning of the shot 9. Drag the re-imported footage from the project window into the timeline as the first layer 10.Tracker nulls have a corner at the active point, instead of being centered on the active point as in SynthEyes. After Effects 2-D Procedure 1. Select one or more trackers to be exported. 2. Export using the After Effects 2-D Clipboard. You can select either the 2-D tracking data, or the 3-D position of tracker re-projected to 2-D. 3. Open the text file produced by the export 4. In the text editor, select all the text, using control-A or command-A. 5. Copy the text to the clipboard with control-C or command-C. 6. In After Effects, select a null to receive the path. 7. Paste the path into it with control-V or command-V. Bentley MicroStation You can exporter to Bentley s Microstation V8 XM Edition by following these directions. Exporting from SynthEyes MicroStation requires that animated backgrounds consist of a consecutive sequence of numbered images, such as JPEG or Targa images. If necessary, the Preview Movie capability in SynthEyes s Perspective window can be used to convert AVIs or MOVs to image sequences. Perform tracking, solving, and coordinate system alignment in SynthEyes. (Exporting coordinates from MicroStation into SynthEyes may be helpful) File/Export/Bentley MicroStation to produce a MicroStation Animation (.MSA) file. Save the file where it can be conveniently accessed from MicroStation. The export parameters are listed below. SynthEyes/MicroStation Export Parameters Target view number. The view number inside MicroStation to be animated by this MSA file (usually 2) Scaling. This is from MicroStation s Settings/DGN File Settings/Working Units, in the Advanced subsection the resolution. By default, it is listed as 10000 per distance meter, but if you have changed it for your DGN file, you must have the same value here. Relative near-clip. Controls the MicroStation near clipping-plane distance. It is a “relative” value, because it is multiplied by the SynthEyes world size setting. Objects closer than this to the camera will not be displayed in MicroStation. Relative view-size.Another option to adjust as needed if everything is disappearing from view in MicroStation. Relative far-clip. Controls the MicroStation far clipping-plane distance. It is a “relative” value, because it is multiplied by the SynthEyes world size setting. Objects farther than this from the camera will not be displayed in MicroStation. Importing into MicroStation Open your existing 3-D DGN file. Or, create a new one, typically based on seed3d.dgn Open the MicroStation Animation Producer from Utilities/Render/Animation File/Import .MSA the .msa file written by the SynthEyes exporter. Set the View Size correctly—this isrequiredto get a correct camera match. Settings/Rendering/View Size Select the correct view # (typically 2) Turn off Proportional Resize Set X and Y sizes as follows. Multiply the height(Y) of your image, in pixels, by the aspect ratio (usually 4 3 for standard video or 16 9 for HD) to get the width(X) value. For example, if your source images are 720x480 with a 4 3 aspect ratio, the width is 480*4/3 = 640, so set the image size to X=640 and Y=480, either directly on the panel or using the “Standard” drop-down menu. This process prevents horizontal (aspect-ratio) distortion in your image. Hit Apply Turn Proportional Resize back on Close the view size tool On the View Attributes panel, turn on the Background checkbox. Bring up the Animation toolbar (Tools/Visualization/Animation) and select the Animation Preview tool. You can dock it at the bottom of MicroStation if you like. If you scrub the current time on the Animation Preview, you’ll move through your shot imagery, with synchronized camera motion. Unless you have some 3-D objects in the scene, you won’t really be able to see the camera motion, however. If desired, use the Tools/3-D Main/3-D Primitives toolbar to create some test objects (as you probably did in SynthEyes). To see the camera cone of the camera imported from SynthEyes, bring up Tools/Visualization/Rendering, and select the Define Camera tool. Select the view with the SynthEyes camera track as the active view in the Define Camera tool, and turn on the Display View Cone checkbox. Transferring 3-D Coordinates If you would like to use within MicroStation the 3-D positions of the trackers, as computed by SynthEyes, you can bring them into MicroStation as follows. You have the option of exporting only a subset of points from SynthEyes to MicroStation. All trackers are exported by default; turn off the Exportable checkbox on the coordinate system panel for those you don’t wish to export. You may find it convenient to select the ones you want, then Edit/Invert Selection, then turn off the box. In SynthEyes, File/Export/Plain Trackers with Set Names=none, Scale=1, Coordinate System=Z Up. This export produces a .txt file listing all the XYZ tracker coordinates. In MicroStation, bring up the Tools/Annotation/XYZ Text toolbar. Click the Import Coordinates tool. Select the .txt file exported from SynthEyes in Step 1. Set Import=Point Element, Order=X Y Z, View=2 (or whichever you are using). Transferring Meshes SynthEyes uses two types of meshes to help align and check camera matches mesh primitives, such as spheres, cubes, etc; and tracker meshes, built from the computed 3-D tracker locations. The tracker meshes can be used to model irregular areas, such as a contoured job site into which a model will be inserted. Both types of models can be transferred as follows In SynthEyes, select the mesh to be exported, by clicking on it or selecting it from the list on the 3-D panel. Select the File/Export/STL Stereolithography export, and save the mesh to a file. In MicroStation, select File/Import STL and select the file written in step 2. You can use the default settings. Meshes will be placed in MicroStation at the same location as in SynthEyes. You can bring up its Element/Information and assign it a material. To Record the Animation Select the Record tool on the Animation toolbar (Tools/Visualization/Animation) Important Be sure the correct (square pixels) output image size is selected, the same one as the viewport size. For example, if your input is 4 3 720x480 DV footage, youMUSTselect640x480output to achieve 4 3 with square pixels (ie 640/480 = 4/3). MicroStation always outputs square pixels. You can output images with any overall aspect you wish, as long as the pixels are square (pixelaspect ratio is 1.0). Note that HD images already have square pixels. Don’t clobber your input images! Be sure to select a different location for your output footage than your input. Blender Directions Blender has a tendency to change around frequently, so the details of these directions might best be viewed more as a guide than the last word. When working with image sequences and blender, it will be a good idea to ensure that the overall frame number is the same as the number in the image file name. Although you can adjust the offset, Blender incorrectly eliminates a frame number of zero. 1. In SynthEyes, export to Blender (Python) 2. Start Blender 3. Delete the default cube and light 4. Change one of the views to the blender Text Editor 5. In the text editor, open the blender script you exported in step 1. 6. Hit ALT-P to run the script 7. Select the camera (usually Camera01) in the 3-D Viewport 8. In a 3-D view, select Camera on the View menu to look through the imported, animated, SynthEyes camera 9. Select View/Background image 10.Click Use Background Image 11.Select your image sequence or movie from the selection list. 12.Adjust the background image settings to match your image. Make sure the shot length is adequate, and that Auto Refresh is on. If the images and animation do not seem to be synced correctly, you probably have to adjust the offset. 13.Decrease the “blend” value to zero, or you can go without the background, and set up compositing within blender. 14.On the View Properties dialog, you might wish to turn off Relationship Lines to reduce clutter. 15.Use a Timeline view to scrub through the shot. Cinema 4D Procedure 1. Export from SynthEyes in Lightwave Scene format (.lws) — see below. 2. Start C4D, open the .lws file 3. From the Objects menu, add a Background 4. Create a new Texture with File/New down below. 5. At right, click on “…” next to the file name for texture. 6. Select your source file. 7. Click on the right-facing triangle button next to the file name, select Edit. 8. Select the Animation panel 9. Click the Calculate button at the bottom. 10.Drag the new texture from the texture editor onto the “Background” on the object list. Background now appears in the viewport. DotXSI Procedure 1. In SynthEyes, after completing tracking, do File/Export/dotXSI to create a .xsi file somewhere. 2. Start Softimage, or do a File/New. 3. File/Import/dotXSI... of the new .xsi file from SynthEyes. The options may vary with the XSI version, but you want to import everything. 4. Set the camera to Scene1.Camera01 (or whatever you called it in SynthEyes). 5. Open the camera properties. 6. In the camera rotoscopy section, select New from Source and then the source shot. 7. Make sure “Set Pixel Ratio to 1.0” is on. 8. Set “Use…” pixel ratio to “Camera Pixel Ratio” (should be the default) 9. In the Camera section, make sure that Field of View is set to Horizontal. 10.Make sure that the Pixel Aspect Ratio is correct. In SynthEyes, select Shot/Edit Shot to see the pixel aspect ratio. Make sure that XSI has the exact same value 0.9 isnota substitute for 0.889, so fix it! Back story XSI does not have a setting for 720x480 DV, and 720x486 D1 causes errors! 11.Close the camera properties page. 12.On the display mode control (Wireframe, etc), turn on Rotoscope. ElectricImage The ElectricImage importer relies on a somewhat higher level of user activity than normal, in the absence of a scripting language for EI. You can export either a camera or object path, and its associated trackers. 1. After you have completed tracking in SynthEyes, select the camera/object you wish to export from the Shots menu, then select File/Export/Electric Image. SynthEyes will produce two files, an .obm file containing the trajectory, and an .obj file containing geometry marking the trackers. 2. In ElectricImage, make sure you have a camera/object that matches the name used in SynthEyes. Create new cameras/objects as required. If you have Camera01 in SynthEyes, your camera should be Camera 1 in EI. The zero is removed automatically by the SynthEyes exporter. 3. Go to the Animation pull-down menu and select the Import Motion option. 4. In the open dialog box, select All Files from the Enable pop-up menu, so that the .obm file will be visible. 5. Navigate to, and select, the .obm file produced by SynthEyes. This will bring up the ElectricImage motion import dialog box which allows you to override values for position, rotation, etc. Normally, you will ignore all these options as it is simpler to parent the camera/object to an effector later. The only value you might want to change is the start time to offset when the camera move begins. Click OK and you will get a warning dialog about the frame range. This is a benign warning that sets the range of frames rendering option to match the length of the incoming camera data. Hitting cancel will abort the operation, so hit OK and the motion data will be applied to the camera. 6. Select Import Object from the Object pull-down menu. 7. Enable All Files in the pop-up menu. 8. Select the .obj file produced by SynthEyes. 9. Create a hierarchy by selecting one tracker as the parent, or bringing in all trackers as separate objects. 10.If you are exporting an object path, parent the tracker object to the object holding the path. Fusion 5 There are several Fusion-compatible exporters. The main exporter is the Fusion 5 composition export, which can be opened directly in Fusion. The Tracker 2-D Paths export can write all the exportable trackers to a text file, which can then be read in Fusion with the Import SynthEyes Trackers script and assigned to any Point-type input on a node. Select a node and start the Import script from its right-click menu. At present, it appears that you should animate the desired control before importing, then tell the script to proceed anyway when it notices that the control is already animated. There is also a generic 2-D path exporter for Fusion. Houdini Instructions 1. File/New unless you are addding to your existing scene. 2. Open the script Textport 3. Typesource c /shots/scenes/flyover.cmd or equivalent. 4. Change back from COPs to OBJs. Lightwave The Lightwave exporter produces a lightwave scene file (.lws) with several options, one of them crucial to maintaining proper synchronization. As mentioned earlier, Lightwave requires a units setting when exporting from SynthEyes. The SynthEyes numbers are unitless by changing the units setting in the lightwave exporter as you export, you can make that 24 in SynthEyes mean 24 inches, 24 feet, 24 meters, etc. This is different than in Lightwave, where changing the units from 24 inches would yield 2 feet, 0.61 meters, etc. This is the main setting that you may want to change from scene to scene. Lightwave has an obscure preferences-like setting on its Compositing panel (on the Windows menu) named “Synchronize Image to Frame.” The available options are zero or one. Selecting one shifts the imagery one frame later in time, and this is the Lightwave default. However, for SynthEyes, a setting of zero will generally be more useful (unless the SynthEyes preferenceFirst Frame is 1is turned on). The Lightwave exporter from SynthEyes allows you to select either 0 or 1. We recommend selecting zero, and adjusting Lightwave to match. You will only have to do this once, Lightwave remembers it subsequently. In all cases, you must have a matching value on the exporter UI and in Lightwave, or you will cause a subtle velocity-dependent error in your camera matches in Lightwave that will drive you nuts until you fix the setting. The exporter also has a checkbox for using DirectShow. This checkbox applies only for AVIs, and should be on for most AVIs that contain advanced codecs such as DV or HD. If an AVI uses an older codec and is not opened automatically within Lightwave, export again with this checkbox turned off. Nuke The nuke exporter produces a nuke file you can open directly. The pop-up parameter panel lets you indicate if you have a slate frame at the start of the shot, or select renderable or non-rendering tracker marks. The renderable marks are better for tracking, the non-rendering marks better for adding objects within Nuke s 3-D view. Poser Poser struggles a little to be able to handle a match-moved camera, so the process is a bit involved. Hopefully Curious Labs will improve the situation in further releases. The shot must have square pixels to be used properly by Poser; it doesn t understand pixel aspect ratios. So if you have a 720x480 DV source, say, you need to resample it in SynthEyes, AfterEffects or something to 640x480. Also, the shot has to have a frame rate of exactly 30 fps. This is a drag since normal video is 29.97 fps, and Poser thinks it is 29.00 fps, and trouble ensues. One way to get the frame rate conversion without actually mucking up any of the frames is to store the shot out as a frame sequence, then read it back in to your favorite tool as a 30 fps sequence. Then you can save the 640x480 or other square-pixel size. Note that you can start with a nice 720x480 29.97 DV shot, track it in SynthEyes, convert it as above for Poser, do your poser animation, render a sequence out of Poser, then composite it back into the original 720x480. One other thing you need to establish at this time---exactly how many frames there are in your shot. If the shot ranges are 0 to 100, there are 101; from 10 to 223, there are 214. 1. After completing tracking in SynthEyes, export using the Poser Python exporter. 2. Start Poser. 3. Set the number of frames of animation, at bottom center of the Poser interface, to the correct number of frames. It is essential that you do this now, before reading the python script 4. File/Run Python Script on the python script output from SynthEyes. 5. The Poser Dolly camera will be selected and have the SynthEyes camera animation on it. There are little objects for each tracker, and also SynthEyes boxes, cones, etc are brought over into Poser. Open Question How to render out of Poser with the animated movie background. The best approach appears to be to render against black with an alpha channel, then composite over the original shot externally. Shake SynthEyes offers three specific exporters for Shake, plus one generic one 1. MatchMove Node. 2. Tracker Node 3. Tracking File format 4. 3-D Export via the “AfterFX via .ma” or Maya ASCII exports. The first two formats (Sizzle export scripts) produce shake scripts (.shk files); the third format is a text file. The fourth option produces Maya scene files that Shake reads and builds into a scene using its 3-D camera. We’ll start with the simplest, the tracking file format. Select one tracker and export with the Shake Tracking File Format, and you will have a track that can be loaded into a Shake tracker using the load option. You can use this to bring a track from SynthEyes into existing Shake tracking setups. Building on this basis, #2, Tracker Node, exports one or more selected trackers from SynthEyes to create a single Tracker Node within Shake. There are some fine points to this. First, you will be asked whether you want to export the solved 3-D positions, or the tracked 2-D positions. These values are similar, but not the same. If you have a 3-D solution in SynthEyes, you can select the solved 3-D positions, and the export will be the “ideal” tracked (predicted) coordinates, with less jitter than the plain 2-D coordinates. Also, since you might be exporting from a PC to a Mac or Linux machine, the image source file(s) may be named differently perhaps X \shots1\shot1_#.tga on the PC, and //macmachine/Users/tom/shots/shot1_#.tga on the PC. The Shake export script s dialog box has two fields, PC Drive and Mac Drive, that you can set to automatically translate the PC file name into the Mac file name, so that the Shake script will work immediately. In this example, you would set PC Drive to “X \\” and Mac Drive to “//macmachine/Users/tom/”. Finally, the MatchMove node exporter looks not for trackers to export, but for SynthEyes planes! Each plane (created from the 3-D panel) is exported to Shake by creating four artificial trackers (in Shake) at the corners of the plane. The matchmove export lets you insert a layer at any arbitrary position within the 3-D environment calculated by SynthEyes. For example, you can insert a matte painting into a scene at a location where there is nothing to track. You can use a collection of planes, positioned in SynthEyes, to obtain much of the effect of a 3-D camera. The matchmove node export also provides PC to Mac/Linux file name translation. trueSpace Directions Warning trueSpace has sometimes had problems executing the exported script correctly. Hopefully Caligari will fix this soon. 1. In SynthEyes, export to trueSpace Python. 2. Open trueSpace. 3. Right-click the Play button in the trueSpace animation controls. 4. Set the correct BaseRate/PlayRate in the animation parameters to match your source shot. 5. Open the Script Editor. 6. From inside the Script Editor, Open/Assign the python script you created within SynthEyes. 7. Click Play (Time On) in the Script Manager. 8. When the Play button turns off, close the ScriptManager. 9. Open the Object Info panel. 10.Verify that the SynthEyes camera is selected (usually Camera01). 11.Change the Perspective view to be View from Object. 12.Select the Camera01Screen. 13.Open the Material Editor (paint pallete). 14.Right click on Color shaders button. 15.Click on (Caligari) texture map, sending it to the Material Editor color shader. 16.Open the subchannels of the Material Editor (Color, Bump, Reflectance). 17.On the Color channel of the Material Editor, right click on the Get Texture Map button and select your source shot. 18.Check the Anim box. 19.Click the Paint Object button on the Material Editor. 20.Click on File/Display Options and change the texture resolution to 512x512. 21.You may want to set up a render background to overlay animated objects on the background, or you can use an external compositing program. Make the Camera01Screen object invisible before rendering. 22.In trueSpace, you need to pay special attention to get the video playback synchronized with rest of the animation, and to get the render aspect ratio to match the original. For example, you must add the texture map while you are at frame zero, and you should set the pixel aspect ratio to match the original (SynthEyes s shot panel will tell you what it is). Vue 5 Infinite The export to Vue Infinite requires a fair number of manual steps pending further Vue enhancements. But with a little practice, they should only take a minute or two. 1. Export from SynthEyes using the Vue 5 Infinite setting. The options can be left at their default settings unless desired. You can save the python script produced into any convenient location. 2. Start Vue Infinite or do a File/New in it. 3. Select the Main Camera 4. On its properties, turn OFF Always keep level 5. Go to the animation menu, turn ON the auto-keyframe option. 6. Select the Python/Run python script menu item, select the script exported from SynthEyes, and run it. 7. In the main camera view, select the Camera01 Screen object (or the equivalent if the SynthEyes camera was renamed) 8. In the material preview, right-click, select Edit Material. 9. The material editor appears, select Advanced Material Editor if not already. 10.Change the material name to flyover or whatever the image shot name is. 11.Select the Colors tab. 12.Select Mapped picture 13.Click the left-arrow Load icon under the black bitmap preview area 14.In the Please select a picture to load dialog, click the Browse File icon at the bottom --- a left arrow superimposed on a folder 15.Select your image file in the Open Files dialog. If it is an image sequence, select the first image, then shift-select the last. 16.On the material editor, under the bitmap preview area, click the clap-board animation icon to bring up the Animated Texture Options dialog 17.Set the frame rate to the correct value. 18.Turn on Mirror Y 19.Hit OK on the Animated Texture dialog 20.On the drop-down at top right of the Advanced Material Editor, select a Mapping of Object- Parametric 21.Turn off Cast shadows and Receive shadows 22.Back down below, click the Highlights tab 23.Turn Highlight global intensity down to zero. 24.Click on the Effects tab 25.Turn Diffuse down to zero 26.Click the Ambient data-entry field and enter 400 27.Hit OK to close the Advanced Material Editor 28.Select the Animation/Display Timeline menu item (or hit F11) 29.If this is the first time you have imported from SynthEyes to Vue Infinite, you must perform the following steps a. Select File/Options menu item. b. Click the Display Options tab c. Turn off Clip objects under first horizontal plane in main view only , otherwise you will not be able to see the background image. d. Turn off Clip objects under first horizontal plane (ground / water) e. Turn off Stop camera going below clipping plane (ground / water) if needed by your camera motion. f. Hit OK 30.Delete the Ground object 31.If you are importing lights from SynthEyes, you can delete the Sun Light as well, otherwise, spin the Sun Light around to point at the camera screen, so that the image can be seen in the preview window. 32.You may have to move the time bar before the image appears. Vue Infinite only shows the first image of the sequence, so you can verify alignment at frame zero. 33.You will later want to disable the rendering of the trackers, or delete them outright. 34.Depending on what you are doing, you may ultimately wish to delete or disable the camera screen as well, for example, if you will composite an actor in front of your Vue Infinite landscape. 35.The import is complete; you can start working in Vue Infinite. You should make probably save a copy of the main camera settings so that you can have a scratch camera available as you prepare the scene in Vue Infinite. Vue 6 Infinite Export from SynthEyes using the Vue 6 Infinite option, producing a maxscript file. Import the maxscript file in Vue 6 Infinite Adjust the aspect ratio of the backdrop to the correct overall aspect ratio for your shot. This is important since Vue assumes square pixels, and if they aren’t (for all DV, say), the camera match will be off badly
https://w.atwiki.jp/aowredtides/pages/27.html
Atlacの概要についてはこちら Atlacのユニットについてはこちら +目次 Cost Free SkillsTeleport Swap Commander SkillsMega-Beam Cannon Petrify Great Vajra Lightning Tower Orbital Cannon Quantum Propulsion Essence Recycler Force Field Kunlun Cost Free Skills Teleport 説明 Cooldown 90[s] Swap 説明 Cooldown 288[s] Commander Skills Mega-Beam Cannon 説明 Initial Cost Cost Increase Cooldown 400 +200 80[s] Petrify 説明 Initial Cost Cost Increase Cooldown 200 +100 40[s] Great Vajra 説明 Initial Cost Cost Increase Cooldown 600 +300 120[s] Lightning Tower 説明 Initial Cost Cost Increase Cooldown 200 +100 40[s] Orbital Cannon 説明 Initial Cost Cost Increase Cooldown 800 +400 160[s] Quantum Propulsion 説明 Initial Cost Cost Increase Cooldown 100 +50 20[s] Essence Recycler 説明 Initial Cost Cost Increase Cooldown 200 +100 40[s] Force Field 説明 Initial Cost Cost Increase Cooldown 200 +100 40[s] Kunlun 説明 Initial Cost Cost Increase Cooldown 1000 +500 200[s] コメント欄 名前 コメント すべてのコメントを見る
https://w.atwiki.jp/orange_sherbet/pages/20.html
Page to note down the important notes from the discussions in class. discussion from Jan. 22 2008 discussion from Jan. 29 2008 I moved the Language topics to "Language Barriers" page. Jin discussion from Jan. 31 2008 Time management issues The ICU students don t have the time to get in touch with one another because of time. As in Courtney s point of view compared with UCSD students, ICU students tend to use their lack of time as an excuse to avoid certain social situations. (why avoid those situations? An answer may be found in the "relation issues" discussion.) Not only the mentalities about time making, but Physical difficulties, such as lack of transportation causes these problems for ICU students. As the last train for the Chuo-line is earlier than that of Yamanote line, and the last bus from ICU leaves before 12pm, they cannot hold parties till midnight. Also, since ICU is in urban areas, we are not allowed to come to school by car, so therefore, time restrictions will be very severe for us. (In UCSD, most of the students have cars unless they live really near the campus) 実家通いThere are many people who "commute" from their home. Almost half of the students of ICU are from Tokyo area, and therefore, there are lots of students who s living far away from ICU with their parents. This physical distance causes some trouble too. JIn Relationship issues Is today s discussion the critical approach ? I also think that Japanse style for making friends is stressful. However, this is Japanese style. This style(and this Japanse society) is based on, made by most? many? Japanese this sense of value. Japanese change this Japanese sense of value style to California style (everyone is friends.). This is not solution. Everybody likes this style? This is not. ICU students also cannot change it. If ICU students change their style for making friends (California style) in ICU, they would not work at Japanese company or Japanese society. I think what is important is knowing own style and other style. Both should be recognized. For example, When I meet コートニー first time, I think "she come from California, so her style may be directly making friends style ." At the same time, コートニー thinks that "Miki is Japanese, so she may contact with me with MAAINOTUMEKATA style." By knowing each otehr style, there would prevent being a misunderstanding little bit. Thinking about each other style is intercultual communication, right? In solution,We should not say they should change . We should not deny something. Denying leads opposition. We may say the ways to make friends are different, so let s know many ways to make friends, and then ・・・ (What can we say? let s use the way properly ?) I thought this yesterday. I am very very sorry too long? Can you understand my English sentences? Miki Ok, Miki, I understand your I idea about not denying someone s styles. An good intercultural communication can t be established if one side denies the other culture. Just as Ms. Waslewski said in the previous lecture, what we need to do must be "mutual understanding 相互理解" to each other s culture. (Is this what you wanted to say, Miki?) Jin Yes, it is! And, what can we do for 相互理解? Hi, this is Masumi. I was looking for wiki in moogle...too bad moogle wiki thing isn t working -/ I appreciate Jin for creating wiki! Yay *applause* I read the discussion briefly. Thank you thank you! We also talked about what we should say for the conclusion, right? So we concluded that... (or I my thought?) (rough conclusion) *relax, don t stress yourself out *we need to be open *we shouldn t think too much (about the future, what to do for the new friend, etc) *don t worry about "hi-bye" friends, (lol) you can talk to them someday *go with the flow? *don t be afraid? Okay, I m sorry...I have more to say, but I need to write up an essay for another group project ( ) I have 3 group projects. But from 2/5, I ll be free of other 2 projects, so I can focus on this. I apologize what I m saying is kinda messy. I ll think about "相互理解", too. It s about the wasy to "understand each other", right? Important topic. Masumi i finally read everything and added a new page about inital meetings....sorry i didnt have the info about this site until this weekend! -- courtney (2008-02-04 17 10 46) 名前 コメント Woww!!! You have 3groap projects, don t you!? Take sleep time!!! Just brifly. The conclutions which you wrote are advices for Japanese, right? I think we need to advices for non-Japanes.(but, I do not know...) *Japanes have own step by step style for making friends, so understand it.(Most? Japanese must think more friends.) *Talk to Japanese actively. or ~. Miki And, we will meet on out of class, won t you? Will we decide time on Tuesday class? discussion from Feb. 5 2008 American can speak anybody. (ex During waitnig airplan) Japanese tend to not. ↓ How to stop conversation? (→’Oh, I an gonit to listen music, now. and something) American stlye bowling (can get some points from converstaion) Japanse style table tennis American argueing is just arguind. They do not mind what other people think. Japanese political, region, baseball× dry or wet concept Edit this page