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https://w.atwiki.jp/toho/pages/1631.html
全人類ノ天楽録 東方緋想天 ORIGINAL SOUND TRACK サークル 黄昏フロンティア ORIGINAL DISC Number Track Name Composer Length 01 緋想天 あきやまうに [03 52] 02 日常坐臥 あきやまうに [02 07] 03 地の色は黄色 あきやまうに [03 10] 04 甲論乙駁 あきやまうに [02 06] 05 風光明媚 あきやまうに [02 06] 06 香る樹葉花 あきやまうに [03 18] 07 踊る水飛沫 あきやまうに [03 18] 08 以魚駆蠅 あきやまうに [02 02] 09 冷吟閑酔 あきやまうに [02 02] 10 嘲りの遊戯 あきやまうに [03 18] 11 放縦不羈 あきやまうに [01 46] 12 雲外蒼天 あきやまうに [02 06] 13 黒い海に紅く ~ Legendary Fish ZUN [05 36] 14 天衣無縫 あきやまうに [02 22] 15 有頂天変 ~ Wonderful Heaven ZUN [04 06] 16 幼心地の有頂天 ZUN [02 05] 17 暮色蒼然 あきやまうに [02 36] 18 東方緋想天 あきやまうに [01 27] ARRANGE DISC Number Track Name Arranger Length 01 緋想天 あきやまうに [01 53] 02 東方妖恋談 あきやまうに [02 57] 03 星の器 ~ Casket of Star あきやまうに [02 52] 04 フラワリングナイト あきやまうに [03 22] 05 ブクレシュティの人形師 あきやまうに [03 27] 06 広有射怪鳥事 ~ Till When? あきやまうに [02 57] 07 ラクトガール ~ 少女密室 あきやまうに [03 12] 08 幽雅に咲かせ、墨染の桜 ~ Border of Life あきやまうに [02 56] 09 亡き王女の為のセプテット あきやまうに [03 14] 10 夜が降りてくる あきやまうに [03 03] 11 砕月 あきやまうに [03 27] 12 狂気の瞳 ~ Invisible Full Moon あきやまうに [03 06] 13 風神少女 あきやまうに [04 07] 14 彼岸帰航 ~ Riverside View あきやまうに [02 56] 15 黒い海に紅く ~ Legendary Fish あきやまうに [04 10] 16 有頂天変 ~ Wonderful Heaven あきやまうに [05 06] 17 東方緋想天 あきやまうに [03 48] 詳細 「東方緋想天 ~ Scarlet Weather Rhapsody.」オリジナルサウンドトラック コミックマーケット74(2008/08/16)にて初頒布 イベント価格:1000円 ショップ価格:1260円 CD-ROM二枚組 レビュー 名前 コメント
https://w.atwiki.jp/nicoratch/pages/194.html
概要 SeratoやTraktor等のDVSで使用することを目的としたモデル。通常のDJプレイにも使えるが針圧が強いためレコードが傷みやすい。 コンコルド OM ライムグリーン 本体色がライムグリーンのバージョンもある。(コンコルドタイプでツインパックのみ・恐らく日本未発売) DJ NDとコラボした全世界300個限定のモデル(コンコルドタイプでツインパックのみ) スペック表 出力電圧 8mV 周波数特性 20Hz~20KHz チャンネルセバーレーション 22dB (@1kHz) 適性負荷インピーダンス 47KΩ 針先形状 円錐 適性針圧 4g カートリッジ自重 18.5g (コンコルド) 5g (OM) 交換針 Digitrack 価格 15.000円前後(コンコルド) 25.000円前後(コンコルド・ツインパック) 26,476円(限定モデル) 8000円前後(OM) 5000円前後(交換針) オルトフォンジャパン http //www.ortofon.jp/index.html DJカートリッジ http //www.ortofon.jp/product/dj/index.htmlndex.html
https://w.atwiki.jp/v-lyrics/pages/477.html
こーぽれーしょん [ TAG Alp-C E-A Louis Teto UnOfficialVocaloid title] Music Louis/Louis Lyric Louis/Louis Arrange Louis/Louis Vocal Kasane Teto Videos PVs ■ Show/Hide Video http //www.nicovideo.jp/watch/sm8085594 http //www.nicovideo.jp/watch/sm8085594 Translations ■ Show/Hide Romaji itsu kara kooshiterun darou tomatta mama no tokei mata kyoo mo onaji koto wo ruuru (rule) doori kurikaesu "kawaranu nomo um-mei sa" da nante son-na mirai wo nozon de ita no? "uchikowasu niwa nani ga hitsuyoo?" sono teno naka ni kotae wa aru no? hitori ikiteru dake no yatsu wo dare ga erai to kimeta no? Question niwa kotae ga hitotsu otona ga baka ni suru yoo na ikikata shite sagashiateta "Cooperation"... nani mo shirazu umare ochita chiisana hinadori datte kara wo yaburi tsubasa hiroge ashita eto tobitateru nobashita te de sotto furete hajimete shiru yasashisa yuuki ni kaeta sekai wo saikoochiku shite yooyaku teni shita jiyuu atarashii chizu ni mitsuketa hito to hito wo tsunagu hashi irozuite ku jidai no naka de kawaranai nanika wo uketsuide iku daiji na mono wa sorezore nanoni dooshite sore wo oshitsukerun da? mirai wo osore soppo wo muite mimi wo fusagu koto mo atta hikari ga areba yami mo mata aru kesu koto wa dekinai kara futatsu tomo ukeire rareru tsuyosa wo kudasai... naniyori mo hoshikatta nowa kokoroto yuu nano "kusabi" uragiri ya sasai na uso ni hoo wo nurashitato shite mo "doose" da nante kotoba de nigemichi wo tsukuranai de shinjite miyou soshite taisetsu na omoidetachi wa shirazu shirazu no uchi ni kitto kokoro no okusoko no bubun de nemuri ni tsuku nukumori tayasanai yooni koko ni nokoshite ikuyo atsui omoi wo 2009-09-22 17 04 Generated automatically [部分編集] ■ Show/Hide Translation Cooperation 2009-09-24 First Entry 2009-09-25 13 24 10 (Fri) Last update Trasnlated by damesukekun Title Cooperation Lyric How long has it kept still, the clock which has stopped ticking? I repeat the same thing by the book today, too "No changing is also the fate," I really hoped such future? "What do I need to break it?" Is the answer in this hand? Who called a guy getting conceited as a maverick worthy? For the "Question" is one answer Through the life grown-ups despised I found out the "Cooperation"... Even a little chick which hatched in ignorance can break the shell, spread its wings and fly toward tomorrow I didn t find a caring heart until I held out my hand and touched it softly I changed it into courage The freedom I managed to seize by reassembling the world And that bridge joining a person to a person I found in a new map I succeed to something steady in the coloring time Each has his own precious thing Why does he disregard mine and force his on me? I sometimes turned my face away and covered my ears in fear of the future Darkness exists as light does I can t remove it so please give me the strength to accept both... "Wedge" on the name of heart was what I wanted the most Even if betrayals and slight lies make tears pour down my cheeks I won t open the way out saying "anyhow, no" and I ll try to believe it And my dearest memories drift off to sleep in the deepest of my heart for sure My passion I leave here so the warmth won t wither away Note This translation is by permission of the composer. 作者様のご了解のもと翻訳しました。 Comment If you have any advise or opinion for this post please write here.この投稿に対して助言、ご意見などありましたらこちらに書き込んで下さい。 Name Comment すべてのコメントを見る Last modified 2009-09-25 13 24 10 (Fri) Original Lyric, Nicosound MP3, etc http //www24.atwiki.jp/utauuuta/pages/414.html http //nicosound.anyap.info/sound/sm8085594 http //www.nicomimi.com/play/sm8085594 Sub video, PV, other fan made video in YouTube http //www.youtube.com/watch?v=9zayOPnAS6M [Add] http //www.youtube.com/watch/xxxxxxxxx ADD LINK すべてのコメントを見る http //www.youtube.com/watch?v=9zayOPnAS6M (Information in this page is based on UTAUMusicDB@Wiki) _
https://w.atwiki.jp/src_review/pages/610.html
712 :710:2006/05/15(月) 16 23 29 ID 382+2gI20 , 705のシナリオではない事を祈りつつ・・・ 「Racial travel」 第3話まで2回プレイ。 とにかく良い所を探すのに非常に苦労した一本。 文章力、構成力ともに厳しいと言わざるを得ず、シナリオ上で何が進行しているのか把握するのが大変。 内容はラノベちっくなファンタジー物。 いろんな種族が暮らす世界で、アカデミーの卒業試験の為に世界を旅する姉妹のお話。 リレーシナリオ「SA-DA-ME」を先に遊んでいると顔グラがモロに被っている為この姉妹に感情移入できず。 第一話から登場する天使の少年をはじめとして、いろんな種族の仲間が増えていくっぽい。 必殺技ゲージ、特殊な反撃システム等の独自?システムが若干あるが、 どれも目新しさは感じられず。またそれらによりゲームが面白くなっているかも疑問。 第3話のダンジョンは可能性を感じさせるが、大したイベントもなくマップを進めるごとにひたすら戦闘が起こるのには閉口。 ちょっとレビューとしてはどうかという内容になってしまったけど、ここまでで。 自分とこのシナリオとの相性が悪いのか、とにかく画面上で語られている内容が読み取れず苦労しました。 そのうち他の人に再レビューしてもらった方がいいかもしれない。 今回は負けですorz
https://w.atwiki.jp/sdvx/pages/8513.html
METATRON/ SHIKI Lv CHAIN 譜面属性 BPM TIME Version Genre Illustrator Effect NOVICE 06 0754 190 VIVID WAVE34 その他 らんぷ Jin Majima ADVANCED 13 1425 EXHAUST 16 1886 MAXIMUM 18 2050 +難易度投票 NOVICE 選択肢 投票数 投票 詐称 0 強 0 中 0 弱 0 逆詐称 0 ADVANCED 選択肢 投票数 投票 詐称 0 強 0 中 0 弱 0 逆詐称 0 EXHAUST 選択肢 投票数 投票 詐称 0 強 0 中 0 弱 0 逆詐称 0 MAXIMUM 選択肢 投票数 投票 詐称 0 強 0 中 1 弱 1 逆詐称 0 動画検索 攻略・解説 譜面・楽曲の攻略についてはこちらへどうぞ 見辛さ解消の為に改行や文頭の編集、不適切なコメントを削除することがあります 名前 コメント ※文頭に[ bgcolor(#aaf){NOV}]、[ bgcolor(#ffa){ADV}]、[ bgcolor(#faa){EXH}]、[ bgcolor(#888){MXM}]をコピー ペーストすると見やすくなります コメント 楽曲やイラストなどのコメントについてはこちらへどうぞ 名前 コメント すべてのコメントを見る
https://w.atwiki.jp/volcan/pages/27.html
SonicStage 傳輸(這篇文章適用於SO906i/SO905iCS) 既然這支是日本SE出品的手機,理所當然的就可以使用Sonic Stage來傳輸音樂. 首先要先下載SonicStage CP.這時一定會感覺,為什麼不用最新版的SonicStage V呢?原因很簡單,因為不支援這支手機. SonicStageCP下載(網路安裝版) 首先就是要把歌曲匯進SonicStage. 這支手機不支援Sony自有的格式ATRAC3,所以這裡只匯入AAC檔. 再來就是幫歌曲加上專輯封面.對著歌曲按右鍵,選擇內容.(如下圖) 把圖片拉到滑鼠游標的那個地方放開,或是使用"追加(A)"這個按鈕來新增專輯封面(圖片大小一樣是200x200,超過就會縮小,請注意.) 加入圖片後只要按下OK就可以了. 在傳輸進手機之前,可以先新增播放清單.這樣可把播放清單也同步進去. 新增播放清單的方式 先切換成顯示播放清單. 選擇這個功能新增播放清單. 輸入你想要的名稱(注意 有些中文在手機內是不能顯示的) 再來把音樂加入到播放清單內,操作方式如下. 選擇好要加入的音樂按"→"即可新增到播放清單內. 加入後請按一下上方的按鈕就可以結束播放清單編輯模式. 最後就是把音樂傳輸到手機內了,把傳輸線接上手機並把傳輸模式切換成"MicroSD"模式. SonicStage成功的辨認出SO906i的記憶卡. 因為是用播放清單傳輸進去,所以建議切換成顯示播放清單模式會比較好. 在左邊選擇好要傳輸的播放清單,按下"→"就可以把音樂傳輸進去. 傳輸進去後可以把播放清單展開來看看是不是把音樂正常傳輸進去了. 在手機裡也顯示出來,專輯封面都有顯示. 接下來就可以好好的享受音樂了.
https://w.atwiki.jp/flstudio2/pages/114.html
インストゥルメントトラック・オーディオトラック インストゥルメントトラック・オーディオトラック インストゥルメントトラック・オーディオトラック とは?インストゥルメントトラック・オーディオトラックを使用するメリットについて Instrument trackチャンネルを Instrument trackにする方法 プレイリストから Instrument track にする方法 Audio trackAudio trackを作成する方法 インストゥルメントトラック・オーディオトラック とは? FL Studioの音源や演奏データ、エフェクターは他の一般的なDAWと異なり、チャンネルとプレイリスト、ミキサーでそれぞれ別々に管理がされます。 これは柔軟なルーティングができて便利な反面、自由度が高いために管理が散漫になりやすいです。 例えば一般的なDAWでは、シンセは "インストゥルメントトラック"、オーディオデータは "オーディオトラック" というようにミキサーまで直結した構造となっています。おそらく、一般的なDAWに近づけてほしいという要望があり、FL にも、"Instrument track"、"Audio track" といった機能が用意されたので、そのの使い方について紹介します。 インストゥルメントトラック・オーディオトラックを使用するメリットについて わざわざ "Instrument track" / "Audio track" を使うメリットは以下の通りです。 No メリット 説明 1 一貫したトラック名の設定 チャンネルラックで変更した名前が、プレイリストやミキサーのトラック名に同時に反映されます 2 オートメーションを自動でグループ化 オートメーションを作成すると、プレイリストの同じグループに自動で追加されます Instrument track Instrument trackとは「チャンネル」「プレイリスト」「ミキサー」を連動して、一般的なDAWのような管理ができる方法です。 チャンネルを Instrument trackにする方法 Instrument trackにするには、チャンネルを右クリックして "Assign to new instrument track" を選びます。 するとこのような表示になり、ミキサー番号がグレーアウトしました。 プレイリストを見るとトラックに割り当てられています。 ミキサーにも同じ名前で割り当てられています。 なお、ミキサーを別のトラックに移動する場合には、移動したいトラックの上にマウスカーソルを持っていて、"SHIFT+ホイール"で移動できます。 プレイリストから Instrument track にする方法 プレイリストのトラックを右クリックして、"Track mode Instrument track [シンセ]" を選ぶと、プレイリストから Instrument track にできます。 ただ、メニューの階層が深くて選びにくいので、おすすめはプリセット化しておいて、それをドラッグ&ドロップする方法です (もしくは "PLUGINGS" タブから選ぶ)。 Audio track Audio trackを作成する方法 Audio trackを作るにはオーディオファイルを「プレイリストのトラック」にドラッグ&ドロップします。 ダイアログが表示されるので、「Audio track(s)」を選びます。 するとAudio trackが作成されました。 Audio trackはプレイリストのトラックを固定化したいときに便利です。 また Instrument track と同様、ミキサーに自動で割り当てられます。
https://w.atwiki.jp/rcdd/pages/18.html
10-1-600.jpg 以下メーカーホームページの説明文より引用 Calandra Racing Concepts changed the face 12th Scale racing with the release of the beautiful Gen-X racer. Tenth scale racers can now also have the same professional quality race car as TeamCRC releases its new 10th scale racer the GenX10. The GenX10 is the result of continuous refinement and product development at Calandra Racing Concepts. The GenX10 has it roots from CRC s previous 10th scale on-road racer the Pantoura, but this latest kit has undergone a revolutionary ground up redesign to produce a well-balanced, lightweight and highly adjustable tenth scale racer, the GenX10. Move over Touring Cars and make room for CRC s Pro10 2WD Sports Car Racer. The the GenX10 also features CRC s new Pro-Strut molded front end, best in the business New X-pod rear end, super low CG with "open pod" design that accepts brushed and bulky brushless motors with ease Bottom loading quick-change battery tray that fits any battery style, LiPo or NiMH Designed to fit 200 mm Sport Car bodies (such as the many HPI offerings) as well as traditional GTP bodies Adjustable track width 200-235 mm Adjustable wheel-base (allows for tuning and setup for NASCAR bodies) 235 mm width optional kit will be available soon Flush mount transponder mounting system Ultra low CG and centralized mass engineering for exceptional handling and precise steering 簡単な翻訳(超意訳、自信なし) Calandra Racing Conceptsは美しいGenXをリリースすることにより1/12レースシーンを一変させました。TeamCRCは1/10サイズのGenX10をリリースすることにより1/10レースシーンも1/12と同様の変化を起こします。 GenX10はCalandra Racing Conceptsの継続的な研究開発の成果です。GenX10ののルーツはロードレーサーのPantouraですが、GenX10はバランスや軽量化、調整可能な項目等を突き詰めた結果、設計を新たにしています。ツーリングカーとは違うGenX10という 2WD Sports Car Racer はいかがでしょうか? GenX10の特徴: フロントはGenXで採用されたCRC プロストラットを採用しています、 リアエンドは低重心でX-Podと、OpenPodデザインが採用され、ブラシレスモーターの搭載も容易です。 シャシー下面からトレイを使用してバッテリーを搭載するスタイルはNiMHからLiPoまで様々なバッテリーをサポートします。 200mm幅の1/10スケールボディが使用可能です。 トレッドは235mmまで延長可能です。 ホイールベースの調整の可能で、NASCARボディの搭載や調整も可能です。 235mm拡張キットは近日発売予定です。(訳注:現在は販売されています。) トランスポンダーの搭載も可能です。 ハンドリングと操作性向上の為に徹底的な低重心化とマスの中心化が図られています。 ※ちなみに写真は多少古い(?)のか、市場に出回っている現行品とは見た目が若干異なります。
https://w.atwiki.jp/high-bland/pages/30.html
Plenty By Tracy Reese ★セール★plenty by tracy reese・プレンティの透かし編みのベルト付きカーディガン【送料無料・代引手数料無料】 Plenty By Tracy Reeseラッフルスリー日プリントワンピース【select-shop】【0910AW】 【SALE】 PlentyByTracyReese(プレンティバイトレーシーリース)幾何学プリントドレープネックワンピース【select- shop】 【SALE】 PlentyByTracyReese(プレンティバイトレーシーリース)チューリッププリントドレープネックワンピース【select- shop】 PlentyByTracyReese(プレンティバイトレーシーリース)刺繍シルクチュニックブラウス【select-shop】 【SALE&送料無料!】★Plenty by Tracy Reese★(プレンティ・バイ・トレイシー・リース)Appliqueカーディガン(Sour Mun)LA発送 plenty by tracy reese(プレンティ バイ トレイシー リース)クロシェニット&シフォン ロングカーディガン【セール】 LA発送!送料無料☆新着 特別特価☆Plenty by Tracy ReesePlenty by Tracy Reese Peasant Chemise ドレス U793J7 (Green Tribal) LA発送!送料無料☆新着 特別特価☆Plenty by Tracy ReesePlenty by Tracy Reese Pleated Bib タンク UD4Y78 (Ecru) 【送料無料!】★Plenty by Tracy Reese★(プレンティ・バイ・トレイシー・リース)Flouncedブラウス(Ecru)LA発送 #blogsearch2
https://w.atwiki.jp/matchmove/pages/93.html
Curve Tracking and Analysis in 3-D While the bulk of SynthEyes is concerned with determining the location of points in 3-D, sometimes it can be essential to determine the shape of a curve in 3-D, even if that curve has no trackable points on it, and every point along the curve appears the same as every other. For example, it might be the curve of a highway overpass to which a car chase must be added, the shape of a window opening on a car, or the shape of a sidewalk on a hilly road, which must be used as a 3-D masking edge for an architectural insert. In such situations, acquiring the 3-D shape can be a tremendous advantage, and SynthEyes can now bring it to you using its novel curve tracking and flex solving capability, as operated with the Flex/Curve Control Panel . Terminology There s a bit of new terminology to define here, since there are both 2-D and 3-D curves being considered. Curve. This refers to a spline-like 2-D curve. It will always live on one particular shot s images, and is animated with a different location on each frame. Flex. A spline-like 3-D curve. A flex resides in 3-D, though it may be attached to a moving object. One or more curves will be attached to the flex; those curves will be analyzed to determine the 3-D shape of the flex. Rough-in. Placing control-point keys periodically and approximately. Tuning a curve. Adjusting a curve so it matches edges exactly. Overview Here s the overall process for using the curve and flex system to determine a 3-D curve. The quick synopsis is that we will get the 2-D curves positioned exactly on each frame throughout the shot, then run a 3-D solving stage. Note that the ordering of the steps can be changed around a bit, and additional wrinkles added, once you know what you are doing — this is the simplest and easiest to explain. 1. Open the shot in SynthEyes 2. Obtain a 3-D camera solution, using automatic or supervised tracking 3. At the beginning of the shot, create a (2-D) curve corresponding to the flex-to-be. 4. “Rough-in” the path of the curve, with control-point animation keys throughout the shot. There is a tool that can help do this, using the existing point trackers. 5. Tune the curve to precisely match the underlying edges (manual or automatic). 6. Draw a new flex in an approximate location. Assign the curve to it. 7. Configure the handling of the ends of the flex. 8. Solve the flex 9. Export the flex or convert it to a series of trackers. Shot Planning and Limitations Determining the 3-D position of a curve is at the mercy of underlying mathematics, just as is the 3-D camera analysis performed by the rest of SynthEyes. Because every point along a curve/flex is equivalent, there is necessarily less information in the curve data than in a collection of trackers. As a result, first, flex analysis can only be performed after a successful normal 3-D solve that has determined camera path and field of view. The curve data can not help obtain that solve; it does not replace and is not equivalent to the data of several trackers. Additionally, the camera motion must be richer and more complex than for a collection of trackers. Consider a flex consisting of a horizontal line, perhaps a clothesline or the top of a fence. If the camera moves left to right so that its path is parallel to the flex, no 3-D information (depth) can be produced for the flex. If the camera moves vertically, then the depth information can be obtained. The situation is reversed for a vertical line a vertical camera motion will not produce any depth information. Generally, both the shape of the flex and camera path will be more complex, and you will need to ensure that the camera path is sufficiently complex to produce adequate depth information for all of the flex. If the flex is circular, and the camera motion horizontal, then the top and bottom of the circle will not have well-defined depth. The flex will prefer a flat configuration, which is often, but not necessarily, correct. Note that a simple diagonal motion will not solve this problem it will not explore the depth in the portion of the circle that is parallel to the motion path. The camera path must itself curve to more completely identify the depth all the way around the circle — hence the comment that the camera motion must itself be more complex than for point tracking. Similarly, tripod (nodal pan) shots are not suitable for use with the curve flex solving system. As with point tracking, tripod shots do not produce any depth information. Flexes and curves are not closed like the letter O — they are open like the letter U or C. Also, they do not contain corners, like a V. Nor do they contain tangency handles, since the curvature is controlled by SynthEyes. Generally, the curve will be set up to track a fairly visible edge in the image. Very marginal edges can still be used and solved to produce a flex, if you are willing to do the tracking by hand. Initial Curve Setup Once you have identified the section of curve to be tracked and made into a 3-D flex, you should open the Flex Control Panel , which contains both flex and curve controls, and select the camera view. Click the New Curve button, then, in the Camera View, click along the section of curve to be tracked, creating control points as you go. Place additional control points in areas of rapid curvature, and at extremal points of the curve. Avoid area where there is no trackable edge if possible. When you have finished with the last control point, right-click to exit the curve creation mode. Roughing in the Curve Keys Next, we will approximately position the curve to track the underlying edge. This can be done manually or automatically, if the situation permits. Manual Roughing For manual roughing, you move through the shot and periodically re-set the position of the curve. By starting at the ends, and then successively correcting the position at the most extremely-wrong positions within the shot, usually this isn’t too time consuming (unless the shot is a jumpy hand-held one). SynthEyes splines the control point positions over time. To re-set the curve, you can drag the entire curve into an approximate position, then adjust the control points as necessary. If you find you need additional control points, you can shift-click within the curve to create them. You should monitor the control point density so that you don’t bunch many of them in the same place. But you do not have to worry about control points “chattering” in position along the curve. This will not affect SynthEyes or the resulting flex. Automatic Roughing SynthEyes can automatically rough the curve into place with a special tool — as long as there is a collection of trackers around the curve (not just one end), such that the trackers and curve are all roughly on the same plane. When this is the case, shift-select all the trackers you want to use, click the Rough button on the Flex control panel, then click the curve to be roughed into place. The Rough Curve Import panel will appear, a simple affair. The first field asks how many trackers must be valid for the roughing process to continue. In this case, 5 trackers were selected to start. As shown, it will continue even if only one is valid. If the value is raised to 5, the process will stop once any tracker becomes invalid. If only a few trackers are valid (especially less than 4), less useful predictions of the curve shape can be made. The Key every N frames setting controls how often the curve is keyed. At the default setting of 1, a key will be placed at every frame, which is suitable for a hand-held shot, but less convenient to subsequently refine. For a smooth shot, a value of 10-20 might be more appropriate. The Rough Curve Importer will start at the current frame, and begin creating keys every so often as specified. It will stop if it reaches the end of the shot, if there are too few trackers still valid, or if it passes by any existing key on the curve. You can take advantage of this last point to “fill in” keys selectively as needed, using different sets of trackers at different times, for example. After you’ve used the Rough Curve Import tool, you should scrub through the shot to look for any places where additional manual tweaking is required. The curve may go offscreen or be obscured. If this happens, you can use the curve Enable checkbox to disable the curve. Note that it is OK if the curve goes partly offscreen, as long as there is enough information to locate it while it is onscreen. Curve Tuning Once the curve has been roughed into place, you’re ready to “tune” it to place it more accurately along the edge. Of course, you can do this all by hand, and in adverse conditions, that may be necessary. But it is much better to use the automated Tune tool. You can tune either a single frame, with the Tune button, or all of the frames using of course the All button. When a curve is tuned on a frame, the curve control points will latch onto the nearby edge. For this reason, before you begin tuning, you may wish to create additional control points along the curve, by shift-clicking it. The All button will bring up a control panel that controls both the single- and multi-frame tuning. If you want to adjust the parameters without tuning all the frames, simply close the dialog instead of hitting its Go button. You can adjust to edges of different widths, control the distance within which the edge is searched, and alter the trade-off between a large distant edge, and a smaller nearby one. Clearly, it is going to be easier to track edges with no nearby edges of similar magnitude. The control panel allows you to tune all frames (potentially just those within the animation playback range), only the frames that already have keys (to tune your roughed-in frames), or only the frames that do not have keys (to preserve your previously-keyed frames). You can also tell the tracking dialog to use the tuned locations as it estimates (using splining) where the curve is in subsequent frames, by turning on the Continuous Update checkbox. If you have a simple curve well-separated from confounding factors, you can use this feature to track a curve through a shot without roughing it in first. The drawback of doing this is that if the curve does get off course, you can wind up with many bad keys that must be repaired or replaced. [You can remove erroneous keys using Truncate.] With the Continuous Update box off, the tuning process is more predictable, relying solely on your roughed-in animation. Flex Creation With your curve(s) complete, you can now create a flex, which is the 3-D splined curve that will be made to match the curve animation. The flex will be created in 3-D in a position that approximately matches its actual position and shape. It is usually most convenient to open the Quad view, so that you can see the camera view at the same time you create the flex in one of the 3-D views (such as the Top view). Click the New Flex button, then begin clicking in the chosen 3-D view to lay out a succession of control points. Right-click to end the mode. You can now adjust the flex control points as needed to better match the curve. You should keep the flex somewhat shorter than the curve. To attach the curve to the flex, select the curve in the camera view, then, on the flex control panel, change the parent-flex list box for the curve to be your flex. (Note if you create a flex, then a curve while the flex is still selected, the curve is automatically connected to the flex.) Flex Endpoints The flex s endpoints must be “nailed down” so that the flex can not just shrivel up along the length of the curve, or pour off the end. The ends are controlled by one of several different means 1. the end of the flex can stay even with its initial position, 2. the end of the flex can stay even with a specific tracker, or 3. the end of the flex can exactly match the position of a tracker. The first method is the default. The last method is possible only if there is a tracker at the desired location; this arises most often when several lines intersect. You can track the intersection, then force all of the flexes to meet at the same 3-D location. To set the starting or ending tracker location for a flex, click the Start Pt or End Pt button, then click on the desired tracker. Note that the current 3-D location of the tracker will be saved, so if you re-track or re-solve, you will need to reset the endpoint. The flex will end “even” with the specified point, meaning so that the point is perpendicular to the end of the flex. To match the position exactly, turn on the Exact button. Flex Solving Now that you’ve got the curve and flex set up, you are ready to solve. This is very easy — click the Solve button (or Solve All if you have several flexes ready to be solved). After you solve a flex, the control points will no longer be visible—they are replaced by a more densely sampled sequence of non-editable points. If you want to get back to the original control points to adjust the initial configuration, you can click Clear. Flex Exports Once you have solved the flex, you can export it. At present, there are two principal export paths. The flexes are not currently exported as part of regular tracker exports. First, you can convert the flex into a sequence of trackers with the Convert Flex to Trackers script on the Script menu. The trackers can be exported directly, or, more usefully, you can use them in the Perspective window to create a mesh containing those trackers. For example, on a building project where the flex is the edge of the road, you can create a ground mesh to be landscaped, and still have it connect smoothly with the road, even if the road is not planar. Second, you can export the coordinates of the points along the flex into a text file using the Flex Vertex Coordinates exporter. Using that file is up to you, though it should be possible to use it to create paths in most packages.