約 5,318,610 件
https://w.atwiki.jp/bemanimusicwiki/pages/1574.html
56曲 ジャンル タイトル 初出作品 元譜面初出 †LEGGENDARIA A EPIC TRANCE ABSOLUTE† 25 CANNON BALLERS 4th style SPEEDCORE AIR RAID FROM THA UNDAGROUND 26 Rootage 17 SIRIUS AKASHIC RECORDS Almagest (HCN Ver.) 23 copula 17 SIRIUS HiTECH FULLON Amazing Mirage† 25 CANNON BALLERS 24 SINOBUZ DYNASTIC FREEFORM Ancient Scapes †LEGGENDARIA 21 SPADA 21 SPADA B RECKLESS RAVE B4U(BEMANI FOR YOU MIX)† 26 Rootage 16 EMPRESS NEO CLASSICAL DANCE Beat Radiance† 22 PENDUAL 22 PENDUAL TRANCE Blue Rain† 25 CANNON BALLERS 15 DJ TROOPERS C HEALING DRUM N BASS chrono diver -fragment-† 22 PENDUAL 22 PENDUAL CYBER DRUM BASS CHRONO DIVER -NORNIR-† 22 PENDUAL 22 PENDUAL DUTCH TRANCE Clione† 23 copula 4th style J-CORE Close the World feat.a☆ru †LEGGENDARIA 21 SPADA 21 SPADA SUBLIME TECHNO CONTRACT† 25 CANNON BALLERS 13 DistorteD FUTURE BASS Cosmic Cat† 24 SINOBUZ 22 PENDUAL D CYBER DRUMSTEP Damage Per Second† 24 SINOBUZ 23 copula E RAGTIME CHIPTUNE EBONY IVORY† 24 SINOBUZ 22 PENDUAL F HARDCORE RAVE Feel The Beat †LEGGENDARIA 22 PENDUAL 21 SPADA G NU DISCO Golden Palms† 23 copula 18 Resort Anthem ELECTRONICA GRID KNIGHT† 26 Rootage 14 GOLD H NU RAVE HOWLING† 25 CANNON BALLERS 20 tricoro I NU-SKOOL BREAKBEATS HARDCORE ICARUS† 24 SINOBUZ 15 DJ TROOPERS TRIBE CORE invoker †LEGGENDARIA 21 SPADA 21 SPADA K ENERGETIC HAWAIIAN TRANCE Kailua (HCN Ver.) 23 copula 18 Resort Anthem HEAVY METAL KAISER PHOENIX† 26 Rootage 21 SPADA FREEFORM HARDCORE KAMAITACHI† 24 SINOBUZ 14 GOLD ASIAN JANGLE Kung-fu Empire† 25 CANNON BALLERS 16 EMPRESS L PUNK OPERA Little Little Princess† 25 CANNON BALLERS 12 HAPPY SKY NEO 80 s EURO ELECTRO LUV CAN SAVE U† 24 SINOBUZ 20 tricoro N TECH-BREAKBEATS naughty girl@Queen s Palace† 24 SINOBUZ 16 EMPRESS Q TECHNO QUANTUM TELEPORTATION† 25 CANNON BALLERS CS 13 DistorteD19 Lincle R SPEED RAVE RED ZONE† 25 CANNON BALLERS 11 IIDXRED POWER FUSION RIDE ON THE LIGHT(HI GRATE MIX)† 23 copula 5th style FUTURE JAZZ RUGGED ASH† 26 Rootage substream S REQUIEM PSY Sigmund †LEGGENDARIA 21 SPADA 21 SPADA HARDSTYLE SOLID STATE SQUAD† 24 SINOBUZ CS 13 DistorteD17 SIRIUS PSYCHEDELIC TECHNO spiral galaxy† 25 CANNON BALLERS 11 IIDXRED HAPPY EMOTION STARLIGHT DANCEHALL† 24 SINOBUZ 23 copula T ONLY ONE EPILOGUE THANK YOU FOR PLAYING† 24 SINOBUZ 16 EMPRESS NU STYLE GABBA THE DEEP STRIKER† 24 SINOBUZ 15 DJ TROOPERS HAPPY EURO PARADISE Twelfth Style† 26 Rootage 12 HAPPY SKY U PROGRESSIVE BAROQUE Übertreffen† 25 CANNON BALLERS 15 DJ TROOPERS V DECEPTIVE GABBA VANESSA† 24 SINOBUZ 14 GOLD HARD NRG Verflucht †LEGGENDARIA 22 PENDUAL 21 SPADA W PIANO HOUSE Wanna Party?† 26 Rootage 15 DJ TROOPERS DANCE SPEED waxing and wanding† 25 CANNON BALLERS 13 DistorteD HARDCORE Welcome† 26 Rootage CS 14 GOLD23 copula あ行 WORLD/POPS おおきなこえで† 26 Rootage 18 Resort Anthem FASCINATION 朧† 24 SINOBUZ 20 tricoro か行 TECHNO 仮想空間の旅人たち† 24 SINOBUZ 20 tricoro KANA-POP 恋は白帯、サンシロー† 22 PENDUAL 22 PENDUAL さ行 ORIENTAL CORE 疾風迅雷 †LEGGENDARIA 22 PENDUAL 21 SPADA た行 PIECED EUPHORIA 超青少年ノ為ノ超多幸ナ超古典的超舞曲† 22 PENDUAL 22 PENDUAL な行 新世紀進歩的羽扇子音楽 廿† 24 SINOBUZ 21 SPADA は行 HYPER ENKA POP 冬椿 ft. Kanae Asaba† 25 CANNON BALLERS 24 SINOBUZ ら行 EPIC TECHNO 龍と少女とデコヒーレンス† 25 CANNON BALLERS 20 tricoro 撫子ロック 凛として咲く花の如く† 24 SINOBUZ 16 EMPRESS IIDX トップへ戻る
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/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/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/radiation_island/pages/12.html
Tips Tipsゲームモード 宝箱の中身復活？ 溶鉱炉の精錬時間短縮 ライフルの弾稼ぎ(裏技？) 夜間について カヌーについて グライダーについて ドロップ情報 チタンの場所 岩の種類 塔について チタン装備の効果 効率の良い調理した肉の作り方 防具の耐久度回復 STORY1932年 1939年 1939〜1941年 1941年 1943年 コメント ゲームモード 探検 最も楽に探検する方法。動物や他のキャラクターが攻撃してくることはなく、危険はありません。食べ物、放射線などの心配をせずに探検できます。 冒険 目的をもってゲームを体験する方法。生き残るために物を食べ、動物やゾンビが攻撃してきます。死ねば装備した武器を失い、放射能の危険があります。 サバイバル 経験豊かなサバイバーにぴったりのチャレンジ。死ねば持ち物のすべてを失い、敵はあまりアイテムをドロップしません。資源もあまりありません。 この決定は変更不可ですが、ノートから異なるゲームモードのプ ロフィールを始めることができます。 宝箱の中身復活？ 宝箱の中身はアプリ再起動で復活？ 溶鉱炉の精錬時間短縮 釜戸の精錬は寝て時間が進むとすぐに終わる。 夜寝る前に並べて精錬がオススメ ライフルの弾稼ぎ(裏技？) 1つ目の島の座礁した戦艦の中にライフルの弾と銃(マシンガン)が入った箱があり、 取ったらアプリ再起動で中身復活 戦艦の中には海から入れる 夜間について 夜間は拠点に戻って寝るのが得策 遠征をする場合は松明4-6本でも夜を凌げる カヌーについて カヌーは陸にあげると回収できる。 グライダーについて グライダーは着陸後破損したらそれ切り 平面な場所でも斜め後ろ方向に入力し続けると真上に上がってそのまま滑空できる。 ドロップ情報 日本兵？みたいな敵から武装と防具 科学者の亡霊みたいな敵から薬やら対放射線スーツ チタンの場所 岩場の断崖絶壁(に多いきがする) 尖り角ばった歪なオブジェ チタン 岩の種類 道中に点在(産出量大) 金色の塊 硫黄 剣山状の塊 鉛鉱 塔について 電波塔のスイッチをオフにするにはノートの切れ端を集めてその場所に対応した暗号が必要 塔の機能を停止させる度にスタート地点にある模型の赤いランプが緑色へと変化 チタン装備の効果 耐久性が高い 一度の採取で二個獲得できる チタン装備と採掘の流れが安定すると弓矢を作る方が手間な位ライフルの弾が作りやすくなる 効率の良い調理した肉の作り方 食料に困ってたら魚を釣るといいかも 用意するのは釜戸、シャベル、釣竿、切り倒してない樹木 シャベルで適当に掘ってミミズをゲット 釣竿を少し海に入って使うと一回(ミミズ一匹)で10匹ゲット 素手で小枝をゲット(素手なら無限に採れる) 釜戸に小枝と魚をセット、魚一匹が調理した肉(ステーキ)三個に！ で放置しておくと溢れてそこら中、ステーキだらけに ステーキは回復量多いのでオススメ 防具の耐久度回復 防具をチェストにいれてアプリを再起動すると耐久度が回復 STORY 原文は公式ページより引用 http //www.atypicalgames.com/radiationisland/tanks.php 1932年 The Imperial Japanese Army establishes a secret unit to research electromagnetic fields and their military applications. 日本帝国軍が電磁磁場とその軍事利用についての調査のための秘密部隊を設立する 1939年 World War II begings.The secret 9th division starts working on technology to allow teleportation of huge land masses and provide a huge highly mobile invasion force. WWII始まる 第九研究所が大規模な地形の転送、および攻略部隊に極めて高い機動力をもたらす技術に取り組み始める 1939〜1941年 A set of four islands are assembled and rigged to use electromagnetic fields to bend space-time and achieve teleportation. 4つの島が構築され、時空を歪め転送を行うための電磁気フィールドが整備される 1941年 First teleportation trial is performed. The island disapears but contact is lost with it s inhabitants and it s whereabouts are never discovered. 初の転送試験実施 島は姿を消すことに成功したものの連絡は途絶し、その後の所在は不明となる 1943年 The US Army performs a different electromagnetic experiment with the task to render one of it s destroyer escorts, the USS Eldridge (DE-173) invisible to radar detection. The experiment ends up teleporting the ship to an unknown location for a brief time. Multiple members of the crew disapear forever during that brief time. 米陸軍が異なる電磁気実験を実施、レーダー探知を回避する試みに米海軍駆逐艦エルドリッジが供される 実験は艦を短時間、未知の場所へ転送させて終了 その間に複数の乗組員が消失したままとなる コメント 防具はチェストに入れなくても、一度落として拾えば回復している - rad 2015-02-04 13 52 14 防具はチェストに入れなくても、一度落として拾えば回復している - rad 2015-02-04 13 52 15 STORYは新規ページの方がよかったかな - 774 2015-02-04 23 52 03 STORYを修正しましたが皆が英語を読めないだろうと思って変なことをするのは止めていただきたい。 - 名無しさん 2016-12-07 16 51 29 修正前のSTORYの1932年の記述は公式の原文ママだったのですが、公式ページの方が内容を改めたようです。ともあれ、修正ありがとうございます。 - 774 2017-01-07 21 44 21 名前
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
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Market Analysis The worldwide Security Assertion Markup Language (SAML) verification market size is relied upon to enroll a dramatic CAGR 14.9% during the gauge time frame. SAML Authentication market to reach USD 2.8 billion by 2026. The SAML confirmation is a normalized technique for validation to demonstrate one s personality and empower admittance to every one of the outside applications and administrations they want to get to. SAML is a bunch of guidelines that empower all web clients to sign in utilizing a web-based interface and consistently access the data or other internet-based administrations without logging in giving qualifications on various occasions. SAML is an open-source XML convention that empowers the trading of data for validation and approval between a personality supplier and specialist organization (normally a cloud or an electronic application). SAML is also referred to with terms like token-based verification, security token administrations, combined confirmation, and personality alliance. It was first delivered by the Organization for the Advancement of Structured Information Standards (OASIS) in 2002. The increment drives the security declaration markup language SAML Authentication market in the requirement for viable administration of mass characters and the ascent popular for a predictable and brought together approach to guarantee the security of personalities. Moreover, the expansion in Internet infiltration and fast advancements in the telecom business expand the utilization of the Internet over cell phones in arising economies. For example, India supports the development of the security affirmation markup language (SAML) verification market. The rising pattern for BYOD is setting out open doors for SAML arrangements and is relied upon to take the SAML Authentication market development to a higher level. In any case, this market development is hampered by the restricted mindfulness in regards to the accessibility of recognizable proof and verification conventions to forestall unapproved venture access. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/10472 Market Segmentation By component, the global security assertion markup language (SAML) authentication market has been divided into solution and service. By deployment, the global security assertion markup language (SAML) authentication market has been divided into cloud-based and on-premises segments. Based on vertical, the global security assertion markup language (SAML) authentication market has been divided into BFSI, IT telecom, energy utilities, healthcare, oil gas, manufacturing, retail, and others. The security assertion markup language (SAML) authentication market has been analyzed for five regions—North America, South America, Europe, Asia-Pacific, and the Middle East Africa. Regional Analysis The security affirmation markup language (SAML) verification market is assessed to enlist a remarkable CAGR over the gauge time frame. The geographic investigation of the security declaration markup language (SAML) validation market has been directed for North America, Europe, Asia-Pacific, the Middle East and Africa, and South America. North America is relied upon to enlist the biggest piece of the pie essentially because of the presence of central industry participants. The US is relied upon to lead the market in North America because of the elements, for example, an expansion in the reception of SAML verification arrangements, development in IoT, BYOD pattern in huge and little associations, and an ascent in inner and outer dangers. The European market for security attestation markup language (SAML) confirmation is relied upon to remain at the second situation during the audit time frame chiefly because of the administrative consistence prerequisites and quick monetary development across nations like the UK and Germany. Also, the expanding number of cloud-based administrations are expanding the responsiveness of the data, which, thusly, is helping the market development. Asia-Pacific is relied upon to be the third overwhelming locale as far as taking on security statement markup language (SAML) validation across industry verticals. A few business associations store their delicate data over the cloud, requiring a solid verification framework to deal with character and access the executives. The provincial market has been divided into China, India, Japan, and the remainder of the Asia-Pacific. China is the main nation-level market, while India is projected to be the quickest developing country during the gauge time frame. The Chinese market is relied upon to report the most elevated piece of the pie, attributable to the elements like an enormous number of clients in a venture, making them fundamental for executing SAML validation arrangements and administrations. Moreover, India sees an expansion in its quantity specialist co-ops in the country. Industry News In July 2019, programmers took the individual data of in excess of 106 million individuals from monetary company Capital One - the third-biggest backer of charge cards in the US. Moreover, In August 2018, aggressors took USD 13.5 million from India s Cosmos bank by undermining their monetary frameworks. Key Players The key players in the global security assertion markup language (SAML) authentication market are Thales (France), Ping Identity (US), Amazon Web Services, Inc. (US), Okta (US), Oracle (US), miniOrange Inc. (US), Zoho Corp. (India), OneLogin, Inc. (US), SSO Easy (US), SAASPASS (US), Auth0 Inc. (US), BIO-key International (US), RCDevs (Luxembourg), Ariel Software Solutions Pvt. Ltd. (India), and Microsoft (US). Browse Full Report Details @ https //www.marketresearchfuture.com/reports/security-assertion-markup-language-authentication-market-10472 Table of Contents 1 Executive Summary 2 Scope of The Report 2.1 Market Definition 2.2 Scope of The Study 2.2.1 Research Objectives 2.2.2 Assumptions Limitations 2.3 Market Structure Continued… Similar Report** Passport Radar Market https //www.my-diary.org/edit/a/viewentry/546452249 Open Source Intelligence (OSINT) Market By Security Type (Human Intelligence, Content Intelligence, Dark Web Analysis, Link/Network Analysis, Data Analytics, Text Analytics, Artificial Intelligence, Big Data, Others), Technology (Bid Data Software, Video Analytics, Text Analytics, Visualization Tool, Cyber Security, Web Analysis, Social Media Analysis, Others), Application (Military Defense, Homeland Security, Private Sector, Public Sector, National Security, Others) About Market Research Future At Market Research Future (MRFR), we enable our customers to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com #market #research #industry #data #growth #trend #report #analyis #share #marketing #forecast #digital #geographic #demographic #gnews Plugin Error キーワードを入力してください。 #tech #researchreport #marketreport #futrue