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https://w.atwiki.jp/api_programming/pages/222.html
https //llamalab.com/automate/doc/flow.html Flow flow いわゆるソースコード複数のblockで構成される 各blockが一つのタスクを実行する。例えばファイルをコピーする 変数に値を割り当てる ボタンが押されるのを待つ 状態を確認するblockもある デバイスがアンロックされているか確認する ユーザに決定を促す 今後も様々な block を追加予定。 block は他の block と connector で接続される。 flow が実行されると、fiber steps through each block along the paths. The number of dots a block has depends on the type of block, 基本的なブロックには２つのタイプがある。action block他のブロックの結果として実施される なので、一つ以上の IN の接続が必要 そして、一つの OK を持つ decision block is performed as a result of another block, so it must have one or more incoming (IN) connections. A decision can have either an YES or NO outcome. Fiber fiber ：実行中の flow インスタンスである PCプログラムのように、同時に複数の fiber を起動できる。 各 fiber は独立して実行され、その内部の変数も独立したものとして扱われる。 flow は（手動で）実行されると、fiber が作られる。 このとき、Flow start block が使われることもあれば、すでに起動している fiber のクローンを作成する場合もある。この場合は Fork block を用いる。 fiber は 次につながらない Flow stop block / Fiber stop block で停止する。エラーで指定することもある。 A flow is considered stopped when all its fibers has stopped. All fibers run simultaneously, but an individual fiber may pause to await the completion of a block task. This can often be configured with the Proceed option of a block. Block configuration A block can often be configured to perform its action or decision in a certain way. The configuration, fields in the block editor, are divided into three section flow の編集の際、コンパイル時のみ変更できる（実行時には変更されない） Options。多くのオプションが ブロックの基本的な機能である Proceed と呼ばれるオプションを持つ。 実行時に fiber で評価される Input は変数や演算子による表現も含む場合もあるし、事前に定義される（定数である）場合もある。すべての input は明示される必要があることがほとんどである。よって、何かしらのデフォルト値が使われることもある。 Output variables are used by the fiber at run-time to store the result or “output” of a block. An output variable field can only contain the name of a user-declared variable, not an expression or other value. The result are assigned to the named variable when the block has completed, the variable can then be used as input argument in the following blocks. The proceed option 多くの block は Proceed と呼ばれる option を持つ。この option は て停止して block の完了を待つか、状態の変化を待つか、もしくは停止せずすぐに次に進むかコントロールする。 決定ブロックに対し、Proceed option はそのブロックに対し、現在の状態をチェックさせるか、はたまた状態の変化を待たせる。 例 Location block にて、自分がその場所に居るかどうかをチェックする、その場所に入る/から出るまで待つ Wi-Fi 接続 block は、あるネットワークに接続しているかどうかをチェックする、あるネットワークに接続する／接続が切れるまで待つ Other automation apps differentiate between “event triggers” and “condition/constraint checks”. Automate combines the same functionally into single block, using different Proceed options. Technical Automate uses cooperative multitasking, so it doesn’t use a thread for each fiber. It may do so for blocking operations such as reading from disk or network. Fiber は内部ストレージに保存され、もしデバイスがシャットダウンしたら、デバイスが再起動した際に、最後のブロックから継続される。 see the Run on system startup option in settings.
https://w.atwiki.jp/seismostat/pages/8.html
- 人目の訪問です。今日は - 番です。 Research Topics：Statistical Seismology, Non-equilibrium Physics, and Complex systems Thesis Bachelor Thesis Simulation Study of Earthquake Generation Model based on SOC Master Thesis Statistical Properties of Earthquakes Exhibiting SOC Doctor Thesis Statistical properties of earthquakes in view of complex systems Papers Tomohiro Hasumi, "Interoccurrence Time Statistics in the two-dimensional Burridge-Knopoff Earthquake Model", Phys. Rev. E., 76, 026117, (2007) arXiv.0708.0372 [cond.mat.stat-mech] Tomohiro Hasumi, "Hypocenter interval statistics between successive earthquakes in the two-dimensional Burridge-Knopoff model", Physica A, 388, 477--482, (2009), arXiv 0807.3828 [cond.mat.other]. Tomohiro Hasumi, Takuma Akimoto, and Yoji Aizawa, "The Weibull - log Weibull transition of the interoccurrence time statistics in the two-dimensional Burridge-Knopoff earthquake model" Physica A, 388, 483--490, (2009), arXiv 0808.0615 [physics.geo-ph]. Tomohiro Hasumi, Takuma Akimoto, and Yoji Aizawa, "The Weibull - log Weibull distribution for interoccurrence times of earthquakes" Physica A, 388, 491--498, (2009), arXiv 0807.0485 [physics.geo-ph] Ya-Ting Lee, Chien-chih Chen, Tomohiro Hasumi, and Han-Lun Hsu, "Precursory phenomena associated with large avalanches in the long-range connective sandpile model II An implication to the relation between the b-value and the Hurst exponent in seismicity", Geophys. Res. Lett., 36, L02308, doi 10.1029/2008GL036548, (2009). Tomohiro Hasumi, Chien-chih Chen, Takuma Akimoto, and Yoji Aizawa, "The Weibull - log Weibull transition of interoccurrence time for synthetic and natural earthquakes", Tectonophysics, 485, 9-16, (2010). Takuma Akimoto, Tomohiro Hasumi, and Yoji Aizawa, "Characterization of intermittency in renewal processes Application to earthquakes", Phys. Rev. E, 81, 031133, (2010). Chien-chih Chen,Ya-Ting Lee, Tomohiro Hasumi, Han-Lun Hsu, "Transition on the relationship between fractal dimension and Hurst exponent in the long-range connective sandpile models" Physics Letters A, 375, 324--328, (2011). Books Tomohiro Hasumi, Chien-chih Chen, Takuma Akimoto, and Yoji Aizawa, "The Weibull - log Weibull statistics of interoccurrence time of earthquakes", - Statistical Studies, Observations and Planning, Intech publishers, 2012. Tomohiro Hasumi, Chien-chih Chen, Takuma Akimoto, and Yoji Aizawa, "Statistical seismicity in view of complex systems", Earthquakes Triggers, Environmental Impact and Potential Hazards, Nova Science publishers, in press. Proceedings (with referees) Tomohiro Hasumi, Shin-ya Kumura, Masashi Kamogawa and Yoshihiro Yamazaki, "Model of Earthquake Generation Exhibiting Self-Organized Criticality with Self-Affine Surfaces", Journal of Physics Conference Series, 31, 237-238, (2006). Tomohiro Hasumi and Yoji Aizawa, "Statistical Properties of the Inter-occurrence Times in the Two-dimensional Stick-slip Model of Earthquakes", Physics of Self-Organization Systems, 113-122, World Scientific, arXiv 0801.0565 [cond-mat.stat-mech], (2008). Proceedings (no referees) Tomohiro Hasumi, Masashi Kamogawa, Yoshihiro Yamazaki, "Model of Earthquakes Exhibiting Self-Organized Criticality with Roughness of Self-affine Fault Surfaces Statistical Properties of Constant Stress Drop and b-value of 1", Geophysical Research Abstracts 7, 09265, 2005 (PDF). Tomohiro Hasumi, "Time-Interval Statistics between Successive Earthquakes Based on Burridge-Knopoff Model", Eos Trans. AGU,86(52), Fall Meet. Suppl., Abstract, 2005. Tomohiro Hasumi and Masashi Kamogawa, "Numerical Study of Burridge-Knopoff Model with Self-Affine Fault Surfaces", Eos Trans. AGU, 86(52), Fall Meet. Suppl., Abstract, 2005. Tomohiro Hasumi, "Spatial-temporal statistics between successive earthquakes on 2D Burridge-Knopoff model", 東京数理研究所 研究活動報告 23, The 4th International Workshop on Statistical Seismology, 104-107, 2006. Tomohiro Hasumi and Yoji Aizawa, "Seismicity patterns and phase transitions in the two-dimensional spring-block model of earthquakes", Eos Trans. AGU, 88(52), Fall Meet. Suppl., Abstract, 2007. #NG21C-0711. Tomohiro Hasumi, Precursory measure of interoccurrence time associated with large earthquakes in the Burridge-Knopoff model, Let s face chaos through nonlinear dynamics, 76--79, American Institute of Physics, 2008. Tomohiro Hasumi, Chien-chih Chen, Takuma Akimoto, and Yoji Aizawa, " The Weibull - log Weibull transition of interoccurrence times for synthetic and natural earthquakes", Eos Trans. AGU, 89(53), Fall Meet. Suppl., Abstract, 2008. #NG23A-1110. Ya-Ting Lee, Chien-chih Chen, Tomohiro Hasumi, and Han-Lun Hsu, "Precursory phenomena associated with large avalanches in the long-range connective sandpile model II An implication to the relation between the b-value and the Hurst exponent in seismicity", Geophysical Research Abstracts 11, EGU2009-1931, 2009. Chien-chih Chen, Ya-Ting Lee, and Tomohiro Hasumi, "Transition on the relationship between fractal dimension and Hurst exponent in the long-range connective sandpile models", Geophysical Research Abstracts 11, EGU2009-3904, 2009. Presentation International Conference Tomohiro Hasumi, Masashi Kamogawa and Yoshihiro Yamazaki, Earthquake Generation Model Exhibiting Self-organized Criticality -Relation between Fault Surface Structure and Statistical Properties-, Complexity and Nonextensively –New trend statistical mechanics-, Abstract pp.19, The Yukawa Institute for Theoretical Physics, Kyoto University, Kyoto, Japan, 14-18, March, 2005. Tomohiro Hasumi, Masashi Kamogawa and Yoshihiro Yamazaki, Model of Earthquakes Exhibiting Self-Organized Criticality with Roughness of Self-affine Fault Surfaces Statistical Properties of Constant Stress Drop and b-value of 1, General Assembly of European Geosciences Union 2005, EGU05-A-09265, Vienna, Austria, 24-29 April, 2005. Tomohiro Hasumi, Time interval statistics between successive earthquakes on earthquake generation model based on SOC, Spatial and Temporal Fluctuations in the Solid Earth - Clues to the Future of Our Planet -, Sendai, Japan, 22-24 July, 2005. Tomohiro Hasumi, Shin-ya Kumura, Masashi Kamogawa and Yoshihiro Yamazaki Earthquake Generation Model Exhibiting Self-Organized Criticality with Self-Affine Surfaces of a Fault, The Third 21COE Symposium Astrophysics as Interdisciplinary Science, Waseda University, Tokyo, Japan , 1-3 September, 2005. Tomohiro Hasumi, Time-Interval Statistics between Successive Earthquakes Based on Burridge-Knopoff Model, American Geosciences Union FALL MEETING 2005, NG33A-0168, Moscone Center West, San Francisco, America, 5-9, December, 2005. Tomohiro Hasumi, Masashi Kamogawa "Numerical Study of Burridge-Knopoff Model with Self-Affine Fault Surfaces”, American Geosciences Union FALL MEETING 2005, NG33A-0165, Moscone Center West, San Francisco, America, 5-9, December, 2005. Tomohiro Hasumi, Spatial-temporal statistics between successive earthquakes on 2D Burridge-Knopoff model, The 4th International Workshop on Statistical Seismology (Statsei4) in memory of Tokuji Utsu, The Graduate University for Advanced Studies, Shonan Village campus, Kanagawa Prefecture, Japan, 9-13, January, 2006. Tomohiro Hasumi, The waiting-time statistics in 2-D stick-slip model for earthquakes, 21 COE the 4th COE Symposium, Condensed Matter Physics in Self-organized Systems, Waseda University, Tokyo, Japan , 4-6 September, 2006. Tomohiro Hasumi, The statistical properties of earthquakes based on the spring-block model, The 8th Japan-Slovenia Seminar, Maribor, Slovenia, 2-6, July, 2007. Tomohiro Hasumi and Yoji Aizawa, "Statistical properties in the spring-block model for earthquakes", 21 COE the 5th COE Symposium, Toward the next generation physics, Waseda University, Tokyo, Japan, 13-14 September, 2007. ポスター賞を受賞 Tomohiro Hasumi and Yoji Aizawa, "Seismicity patterns and phase transitions in the two-dimensional model of earthquakes", American Geosciences Union FALL MEETING 2007, NG21C-0711, Moscone Center West, San Francisco, America, 11-14, December, 2007. Tomohiro Hasumi, Takuma Akimoto, and Yoji Aizawa, "The Weibull - log Weibull distribution of Inter-occurrence time of Earthquakes", 7th International Conference Let s face Chaos, Maribor, Slovenia, 28-13 July, 2008. Tomohiro Hasumi, Takuma Akimoto, and Yoji Aizawa, "The statistical law for time intervals between successive earthquakes with temporal correlated earthquakes removed", The 5th International Conference on Nonlinear Science Dynamics Days Asia-Pacific (DDAP5), Nara, Japan, 9-12 September, 2008. Tomohiro Hasumi, Chien-chih Chen, Takuma Akimoto, and Yoji Aizawa, "The Weibull - log Weibull transition of interoccurrence time for synthetic and natural earthquakes", American Geosciences Union FALL MEETING 2008, Moscone Center West, San Francisco, USA, 15-19, December, 2008. Ya-Ting Lee, Chien-chih Chen, Tomohiro Hasumi, and Han-Lun Hsu, "Precursory phenomena associated with large avalanches in the long-range connective sandpile model II An implication to the relation between the b-value and the Hurst exponent in seismicity", General Assembly of European Geosciences Union 2005, EGU2009-1931, Vienna, Austria, 19-24 April, 2009. Chien-chih Chen, Ya-Ting Lee, and Tomohiro Hasumi, "Transition on the relationship between fractal dimension and Hurst exponent in the long-range connective sandpile models", General Assembly of European Geosciences Union 2005, EGU2009-1931, Vienna, Austria, 19-24 April, 2009.
https://w.atwiki.jp/fuijio/pages/18.html
The indexing problems may have bothered those sites for a long time 1.The sites have dynamic contents; 2.The sites have many content pages and very complicated hierarchy; 3.The sites have few links to it; 4.The sites have pages not linked to each other. The above situations would make it difficult for search engine bots to timely and correctly crawl the sites and index all the pages on those sites. How to solve this problem? Make sitemaps for the sites. What is a site map for a website? Commonly speaking, site map is a list of the pages on a website. It is a good way to direct visitors to quickly get to the page they are looking for (HTML sitemap), and to tell search engines about pages on a site they might not otherwise discover and index (XML sitemap). How to make a site map? You can search on the internet and find standard sitemap templates, then follow them and use the correct tags to edit your sitemap, next add the URLs and their metadata to your sitemap. You can manually create sitemaps as what has been said, but if the site had many pages (let’s say more ten pages), you may find it so tedious and troublesome to create a complete and invalid sitemap (you have to make sure that all the URLs are exact, together with the metadata about each URL). Want a shortcut to ease the burden of creating sitemaps for a very large site? You can use a sitemap tool to automatically generate sitemap. What are the advantages of using such a tool? 1.Quick generation no matter how large your site is, it can quickly generate different types of standard sitemaps in minutes; 2.Easy to use all you need to do is to give it a start URL of your site (any URL of your web pages will do), and fill in the required fields, then you can get the perfect sitemaps; 3.One-station service it can not only generate sitemaps for you, but also examine the site problems, upload sitemaps to server, ping search engines about the newly generated sitemaps. Moreover, you can use this professional sitemap tool for completely free. So, if you want to quickly ensure your web pages are timely and properly indexed, do not miss such good tool and act right now to download it.
https://w.atwiki.jp/matchmove/pages/70.html
Running the 3-D Solver 3D解析の実行 With trackers tracked, and coordinates and lens setting configured, you are ready to obtain the 3-D solution. Solving Modes Switch to theSolve control panel. Select the solver mode as follows · Auto the normal automatic 3-D mode for a moving camera, or a moving object. · Refine after a successful Auto solution, use this to rapidly update the solution after making minor changes to the trackers or coordinate system settings. · Tripod camera was on a camera, track pan/tilt/roll(/zoom) only. · Refine Tripod same as Refine, but for Tripod-mode tracking. · From Seed Points use six or more known 3-D tracker positions per frame to begin solving (typically, when most trackers have existing coordinates from a 3-D scan or architectural plan). You can use Place mode in the perspective view to put seed points on the surface of an imported mesh. Turn on the Seed button on the coordinate system panel for such trackers. You will often make them locks as well. · From Path when the camera path has previously been tracked, estimated, or imported from a motion-controlled camera. The seed position, and orientation, andfield of viewof the camera must be approximately correct. · Indirect to estimate based on trackers linked to another shot, for example, a narrow-angle DV shot linked to wide-angle digital camera stills. SeeMulti-shot tracking. · Individual when the trackers are all individual objects buzzing around, used formotion and facial capturewith multiple cameras. · Disabled when the camera is stationary, and an object viewed through it will be tracked. The solving mode mostly controls how the solving process is started what data is considered to be valid, and what is not. The solving process then proceeds pretty much the same way after that, subject to whatever constraints have been set up. Automatic-Mode Directional Hint. When the solver is in Automatic mode, a secondary drop-down list activates a hint to tell SynthEyes in which direction the camera moved—specifically between the Begin and End frames on the Solver Panel. This secondary dropdown is normally in Automatic mode also. However, on difficult solves you can use the directional hint (Left, Right, Upwards, Downwards, Push In, Pull Back) to tell SynthEyes where to concentrate its efforts in determining a suitable solution. Here it has been changed World Size Adjust theWorld Sizeon the solver panel to a value comparable to the overall size of the 3-D set being tracked, including the position of the camera. The exact value isn’t important. If you are shooting in a room 20’ across, with trackers widely dispersed in it, use 20’. But if you are only shooting items on a desktop from a few feet away, you might drop down to 10’. Important the world size doesnotcontrol the size of the scene, that is the job of thecoordinate system setup. The world size is used to stabilize some internal mathematics during solving; essentially all the coordinates are divided by it internally, so that the coordinates stay near 1 even if raised to a large power. Then after the calculation, the world size is multiplied back in. This process improves your computer s accuracy. Choose your coordinate system to keep the entire scene near the origin, as measured in multiples of the world size. If all your trackers will be 1000 world-sizes from the origin (for example, near [1000000,0,0] with a world size of 1000), accuracy might be affected. The Shift Constraints tool can help move them all if needed. As you see, the world size does not affect the calculation directly at all. Yet a poorly chosen world size can sabotage a solution. If you have a marginal solve, sometimes changing the world size a little can produce a different solution, maybe even the right one. The world size also is used to control the size of some things in the 3-D views and during export we might set the size of an object representing a tracker to be 2% of the world size, for example. カメラの位置を含めて、トラッキングされている３Ｄのセットの全体的な寸法に相当する値に、解析パネルの上でワールド・サイズWorld Sizeをセットしてください。 正確な値は、重要でありません。 トラッカーがまんべんなく広がっている幅20の部屋で撮影しているのならば、20を使ってください。 しかし、部屋が20でも、2、3フィート離れて机上の物を撮影しているのならば、10に落とすべきかもしれません。 重要： ワールド・サイズは、シーン（つまり座標システム設定coordinate system setup.の仕事）のサイズをコントロールしません。 ワールド・サイズは、解析の間、内部の数式を安定させるのに用いられます; 基本的にすべての座標は内部的にそれによって分けられます、そのため、たとえ大きな値に増やしたとしても、座標は1の近くにとどまります。 それから計算の後、ワールド・サイズが掛け算されます。このプロセスは、コンピュータの正確さを利用します。 ワールド・サイズの倍数で計算されるように、原点の近くでシーン全体を保つために、座標システムを選んでください。 すべてのトラッカーが原点から1000ワールド-サイズ（たとえば、ワールド・サイズ1000で、近い［1000000,0,0］）であるならば、正確さは影響を受けるかもしれません。 移動制約ツール（Shift Constraints tool）は、必要ならばそれらのすべてを動かすのに役立つことができます。 御覧の通り、ワールド・サイズは、まったく直接計算に影響を及ぼしません。 それでも、十分に選ばれていないワールド・サイズは、解析を破壊する可能性があります。 限界の解析の場合、時々、少しワールド・サイズを変えることは異なる解析（多分正しい結果）をもたらすことができるでしょう。 ワールド・サイズも、３Ｄのビューで、そして、エクスポートで、一部のもののサイズをコントロールするのに用いられます： たとえば、ワールド・サイズの2%であるトラッカーを意味しているobjectのサイズをセットするかもしれません。 Go! You’re ready, set, so hitGo!on the Solver panel. SynthEyes will pop up a monitor window and begin calculating. Note that if you have multiple cameras and objects tracked, they will all be solved simultaneously, taking inter-object links into accounts. If you want to solve only one at a time, disable the others. The calculation time will depend on the number of trackers and frames, the amount of errors in the trackers, the amount of perspective in the shot, the number of confoundingly wrong trackers, the phase of the moon, etc. For a 100-frame shot with 120 trackers, a 2-second time might be typical. With hundreds or thousands of trackers and frames, some minutes may be required, depending on processor speed. Shots with several thousand frames can be solved, though it may take some hours. It is not possible to predict a specific number of iterations or time required for solving a scene ahead of time, so the progress bar on the solving monitor window reflects the fraction of the frames and trackers that are currently included in the tentative solution it is working on. SynthEyes can be very busy even though the progress bar is not changing, and the progress bar can be at 100% and the job still is not done yet — though it will be once the current round of iterations completes. During Solving If you are solving a lengthier shot where trackers come and go, and where there may be some tracking issues, you can monitor thequalityof the solving from the messages displayed. As it solves, SynthEyes is continually adjusting its tentative solution to become better and better (“iterating”). As it iterates, SynthEyes displays the field of view and total error on the main (longest) shot. You can monitor this information to determine if success is likely, or if you should stop the iterations and look for problems. SynthEyes will also display the range of frames it is adding to the solution as it goes along. This is invaluable when you are working on longer shots if you see the error suddenly increase when a range of frames is added, you can stop the solve and check the tracking in that range of frames, then resume. You can monitor the field of view to see if it is comparable to what you think it should be — either an eyeballed guess, or if you have some data from an on-set supervisor. If it does not seem good to start, you can turn onSlow but sureand try again. Also, you can watch for a common situation where the field of view starts to decrease more and more until it gets down to one or two degrees. This can happen if there are some very distant trackers which should be labeledFaror if there are trackers on moving features, such as a highlight, actor, or automobile. If the error suddenly increases, this usually indicates that the solver has just begun solving a new range of frames that is problematic. Your processor utilization is another source of information. When the tracking data is ambiguous, usually only on long shots, you will see the message “Warning not a crisp solution, using safer algorithm” appear in the solving window. When this happens, the processor utilization on multi-core machines will drop, because the secondary algorithm is necessarily single-threaded. If you haven’t already, you should check for trackers that should be “far” or for moving trackers. After Solving Though having a solution might seem to be the end of the process, in fact, it s only the …middle. Here s a quick preview of things to do after solving, which will be discussed in more detail in further sections. · Check the overall errors · Look for spikes in tracker errors and the camera or object path · Examine the 3-D tracker positioning to ensure it corresponds to the cinematic reality. · Add, modify, and delete trackers to improve the solution. · Add or modify the coordinate system alignment · Add and track additional moving objects in the shot · Insert 3-D primitives into the scene for checking or later use · Determine position or direction of lights · Convert computed tracker positions into meshes · Export to your animation or compositing package. Once you have an initial camera solution, you can approximately solve additional trackers as you track them, usingZero-Weighted Trackers(ZWTs). RMS Errors The solver control paneldisplays the root-mean-square (RMS) error for the selected camera or object, which is how many pixels, on average, each tracker is from where it should be in the image. [In more detail, the RMS average is computed by taking a bunch of error numbers, squaring them, dividing by the number of numbers to get the average square, then taking the square root of that average. It s the usual way for measuring how big errors are, when the error can be both positive and negative. A regular average might come out to zero even if there was a lot of error!] The RMS error should be under 1 pixel, preferably under 0.5 for well-tracked features. Note that during solving, the popup will show an RMS error that can be larger, because it is contains contributions from any constraints that have errors. Also, the error during solving is for ALL of the cameras and objects combined; it is converted from internal format to human-readable pixel error using the width of the longest shot being solved for. The field of view of that shot is also displayed during solving. There is an RMS error number for each tracker displayed on the coordinate system and tracker panels. The tracker panel also displays the per-frame error, which is the number being averaged. Checking the Lens You should immediately check the lens panel s field of view, to make sure that there is a plausible value. A very small value generally indicates that there are bad trackers, severe distortion, or that the shot has very little perspective (an object-mode track of a distant object, say). Solving Issues If you encounter the message Can t find suitable initial frames , it means that there is limited perspective in the shot, or that the Constrain button is on, but the constrained trackers are not simultaneously valid. Turn on the checkboxes next to Begin and End frames on the Solver panel, and select two frames with many trackers in common, where the camera or object rotates around 30 degrees between the two frames. You will see the number of trackers in common between the two frames, you want this to be as high as possible. Make sure the two frames have a large perspective change as well a large number of trackers will do no good if they do not also exhibit a perspective change. Also, it will be a good idea to turn on the Slow but sure checkbox. You may encounter size constraint hasn t been set up under various circumstances. If the solving process stops immediately, probably you have no trackers set up for the camera or object cited. Note that if you are doing a moving object shot, you need to set the camera s solving mode to Disabled if you are not tracking it also, or you will get this message. When you are tracking both a moving camera and a moving object, you need to have a size constraint for the camera (one way or another), and a size constraint for the object (one way or another). So you need TWO size constraints. It isn t immediately obvious to many people why TWO size constraints are needed. This is the related to a well-known optical illusion, relied on in shooting movies such as Honey, I Shrunk the Kids . Basically, you can t tell the difference between a little thing moving around a little, up close, and a big thing moving around a lot, farther away. You need the two size constraints to set the relative proportions of the foreground (object) and background (camera). The related message “Had to add a size constraint, none provided” is informational, and does not indicate a problem. If you have SynthEyes scenes with multiple cameras linked to one another, you should keep the solver panel s Constrain button turned on to maintain proper common alignment. See also theTroubleshootingsection.
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James Densmore "Typewriting and Telegraphy", The Phonographic World, Vol.2, No.1 (September 1886), pp.6-7 http //www.kanji.zinbun.kyoto-u.ac.jp/~yasuoka/QWERTY/1886-09Phonographic.djvu http //www.kanji.zinbun.kyoto-u.ac.jp/~yasuoka/QWERTY/ だれが、電信音を聞いて直接に、タイプライターで打鍵出力した一番乗りか。 デンスモアは、それはバトラーでもだれそれElmiraでもない、それはポーターで、その時期は1872年秋だったっけか。ステガーの前で実演したと。 http //www.kanji.zinbun.kyoto-u.ac.jp/~yasuoka/QWERTY/ Mr. E. Payson Porter, who Gen. Anson Stager once said was the finest, quickest, and most accurate reader from the telegraph sounder of any operator he ever knew, carried on a telegraphic college from 1868 and before, up to 1872, and perhaps after. Like myself, he became enamored of the typewriter, when he first learned of the conception of the idea, and before the machine was born. He bought and paid the expense of making several of the first crude attempts at machines and gave us his cordial an enthusiastic sympathy and help in all ways. In the autumn of 1872, we got up for him one of our then latest experimental machines, and as soon as it was done, I set for him to come over to Milwaukee and examine it. He came, and, as was his custom, he was exuberent in the overflow of his appreciation and gratification at the progress made. "Now, Porter," said I, "if you will take that machine into Gen. Stager s office and get him and the Western Union folks to say it is a success, I will make you a present of the best typewriter that money can hire made, when we get into regular manufacture." "I ll win that machine, as sure as you live," was his instantaneous reply. He took the experimental machine home with him. He practised with it some two or three weeks or more, to become entirely familiar with the key-board. (It is proper to observe here that in getting up our experimental machines of which we made nearer fifty than half that number, we never made two alike, and never put the same key-board on two successive experiments. Hence, every time he got a new one, he had to learn a new key-board). After he had practised till he felt sure of his familiarity with the new key-board, he went into Gen. Stager s office one day and said he wanted to bring over the typewriter, and have the general examine and test its merit. "Very well, " said the general, "bring it over at once." まず、ステイガーの打鍵速度で。 次に、Smith 熟練電信送信者 さらに、Jones その後、再度実演してて、その様子は、片手打鍵で、あまりに手持ち無沙汰なので、ハイバックな肘掛け椅子に寝そべるようにしながら打鍵してて、枕があったら枕がほしいよおって。 片手で、寝そべりながら打鍵して間に合うほどの、信号送信速度であった。 http //www.kanji.zinbun.kyoto-u.ac.jp/~yasuoka/QWERTY/ He sat in a big arm-chair before a small table, on which were nothing but the type-writer and a telegraph sounder. He was `receiving press dispatches. He seemed to have very little to do. He seemed to write very slowly; and yet he told us that the `sender from whom he was `receiving was an excellent, first-class operator. He would first write several lines with one had, and then write as many more with the other hand. It was perfectly easy for him to `receive with one hand, and even at that, to the onlooker, the work seemed slow. The chair he sat in, happened to be quite a high-backed one, and at one moment he leaned back with his head resting on the chair-back, with one hand and arm hanging carelessly down beside the chair, while he was writing with the other hand, and exclaimed "Boys, if I had a pillow now, under my head, this would be luxurious and all right!" - the operating hand, all the while, constantly at work, though seemingly slowly. Porter followed that employment after that, for half a year or more, and demonstrated perfectly the unqualified practicability of receiving from the telegraph instrument with the typewriter, and that demonstration was of much advantage to me and the enterprise. OCN｜翻訳サービス http //www.ocn.ne.jp/translation/ 彼は大きい腕椅子に小さいテーブルの前に座っていました。それはタイプ作家と電信音響器を除いた何もではありませんでした。 彼は『受領』プレス特報でした。 彼は、非常にほとんどする必要がないようでした。 彼は非常にゆっくり書くようでした； それなのに、彼は、私達に、彼が『受領』であった『送信側』が、優秀で、最高級のオペレータであると言いました。 彼は最初、一方によっていくつかのラインを書き 持っていた 、それから、他の手を持つ多くのより多くとして書きます。 それは、1つの手を持つ『受け取ってください』のために彼に完全に容易で、それでさえ、見物人に、仕事は遅いようでした。 まったく高くバックするように起こること それ 、およびある瞬間 彼 彼の頭が椅子後ろに載り、後ろに傾いた に、彼が、椅子のそばに下に不注意にぶら下がっている1つの手とアームで中に座らせた椅子、彼が他の手で書き、声をあげた間：「もし現在私が枕を持っているならば、少年は、私の頭、これの下で贅沢で、大丈夫です！」。 - 常にの操作手〈その間中の〉 仕事 けれども 一見したところ ゆっくり 。 ポーターはついて行きました that 半年以上、およびタイプライタ、およびそのデモンストレーションによって電信機器から受け取ることの無資格の実行可能性が私と企業に多くの有利さで完全に示されたことのためのそれの後への雇用 。 ただ、ライブで、テープは残るのかもしれないけれども、スタックしたり、突っかかって印字を取りこぼしたりすると、受信文字を欠損するかもしれないな。 Durableってか、取りこぼしのおきないような、操作作法も求められるし、 信頼性はどうなの、突っかかるのではたまらんよなあ、 当時の送信速度は？よくわからないのだが、1872年のことなので、1888年以前だから、電鍵ならば、ほぼストレート電鍵。 ストレートかな電鍵は10WPMから１５WPMが限度とかあったっけか。 An average operator with a sounder and key could send and receive at 25 to 30 words per minute (wpm, a word is 5 or 5-1/2 characters). A "plug" could probably handle 10-15 wpm. 電信パンチテープだと25WPM？ タイプライターだと40WPMだっけか。とかあった。｢[[With these later keyboards a touch typist could keep up an average of 40 words a minute, against 25 words a minute for a good punch operator. ｣ いずれにせよ、送信側は25WPM以下だろう。 片手で寝そべって打てる程度ってことなら、いったいどれほどの速さだったのだろうか。 キャリッジリターンのない、連続用紙用のタイプライターかな、、 link_trackbackcounter -
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Weapon 3in Mortar Emplacement 3in Mortar Emplacement Damage 20-20 Fire Aim Time 0.75-0.25 Range Max 75 Min 20 L 75 Aim Multiplier L 1 AOE Distance L 6 M 40 M 1 M 3.5 S 25 S 1 S 2 Accuracy L 0.25 Ready Aim Time 0.5-0 AOE Accuracy L 1 M 0.5 Post Firing Aim Time 1 M 1 S 0.75 Post Firing Cooldown 0 S 1 Reload 0-0 AOE Damage L 0.5 0.5 Reload Multiplier L 1 Penetration L 1 M 0.65 0.5 M 1 M 1 S 1 0.5 S 1 S 1 AOE penetration L 0.8 Cooldown 8-6 Deflection Multiplier 1 M 0.9 Cooldown Multiplier L 1 Suppression L 0.025 S 1 M 1 M 0.025 AOE Suppression L 0.5 0.5 S 1 S 0.025 M 1 1 Wind Up 2.2 Nearby Supp. Multiplier 0.5 S 2 2 Wind Down 1 Nearby Supp. Radius 7 Setup Time 0 Vs. Supp. Targets A 1 Fire Cone Angle 20 Burst Duration 0-0 P 1 Tracking Vertical 90?-90 Rate of Fire 0-0 D 1 Tracking Horizontal -180?180 Reload Frequency 1-1 S 0.1 Speed Vertical 90 Moving Accuracy 1 Speed Horizontal 90 Moving Burst 1 Scatter Angle 10 Moving Cooldown 1 Scatter Max 12 AA Weapon false Acc. Incremental 1 Scatter Offset 0 Attack Ground true Search Radius L 0 Scatter Ratio 0.2 Projectile m2_60mm_mortar_round M 0 FoW Angle Mult. 1 S 0 FoW Distance Mult. 1 Cover Type Accuracy Damage Suppression Penetration Default 1 1 1 1 Garrison 1 0.75 0 1 Halftrack 1 1 1 1 Heavy 1 1 0.5 1 Light 1 1 0.75 1 Negative 1 1.5 1.5 1 Open 1.25 1 1 1 Smoke 1 1 1 1 Trench 0.5 0.1 0 0.25 Water 1 1 1 1 Bunker 0.15 1 0 0.25 Emplacement 0.5 1 0.75 1 Target Name Acc Mov Dmg Pen R-Pen Sup Pri Infantry 1 1 2 1 1 1 80 Infantry Airborne 0.75 1 1 1 1 1 80 Airborne Inflight 1 1 1 1 1 1 50 Infantry Heroic 1 1 2 1 1 0.5 80 Infantry Elite 1 1 2 1 1 1 80 Infantry Sniper 1 1 2 1 1 1 80 Infantry Soldier 1 1 1 1 1 1 80 Bren Carrier 1 1 1 1 3 1 50 Motorcycle 1 0.6 1 3 1 1 80 Jeep 1 0.6 1 1 3 1 60 M3 Halftrack 1 0.8 1 1 1 1 60 Greyhound 1 0.8 1 1 1.65 1 55 Stuart 1 1 1 1 1 1 50 Sdkfz 234 Puma 1 0.8 1 1 1.92 1 55 Sdkfz 251 Halftrack 1 0.8 1 1 1 1 60 Sdkfz 22x 1 1 1 1 1 1 50 M10 TD 1 1 0.75 1 1.62 1 50 Sherman 1 1 0.75 1 1.57 1 50 Flak Panzer 1 1 0.75 1 1.8 1 50 Panther 1 1 0.75 1 1 1 50 Panther w/Skirts 1 1 0.75 1 1 1 50 Panzer IV 1 1 0.75 1 1 1 50 Panzer IV w/Skirts 1 1 0.75 1 1 1 50 StuG 1 1 0.75 1 1 1 50 StuG w/Skirts 1 1 0.75 1 1 1 50 Tiger 1 1 0.75 1 1.14 1 50 Churchill 1 1 1 1 1 1 50 Cromwell 1 1 1 1 1 1 50 Priest 1 1 1 1 1 1 50 Pershing 1 1 0.75 1 1 1 50 Marder III 1 1 1 1 5 1 50 Hetzer 1 1 1 1 1 1 25 Hummel 1 1 1 1 3 1 50 Jagdpanther 1 1 1 1 1 1 50 Team Weapon 1 1 1 1 1 1 5 Howitzer 1 1 1 1 1 1 25 Towed Gun 1 1 1 1 1 1 25 Flak 88 1 1 1 1 1 1 25 P47 Thunderbolt 1 1 1 1 1 1 25 Building Construction 2 1 6 3 1 1 25 Building 3 1 1 3 1 1 20 Checkpoint 3 1 1 3 1 1 0 Bunker 3 1 4 10 1 1 3 CW Emplacement 5 1 0.25 1 1 1 25 CW Emplaced HQ 1 1 0.2 1 1 1 25 CW Mobile HQ 1 1 1.5 1 1 1 25 Defenses 1 1 0.25 3 1 1 25 Defenses Construction 5 1 5 1 1 1 25 Trench 1 1 0.25 2 1 1 25 Mine 1 1 1 2 1 1 25 Mine Airdrop 1 1 1.5 2 1 1 40 Detector Radio 1 1 1 1 1 1 10 Bridge 1 1 0.05 0.1 1 1 25
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stick fast → A study of the two-letter sequences in written English used as a basis for an estimate of the efficiencies of the universal typewriter keyboard and of suggested revision. Wilson Alexander Moran 著 - 1930 - 91 ページ ... the Sholes models was to collide and stick fast at the printing point, ... Herkimer County Historical Society, The Story of the Typewriter, 1873-1923. ... 出版社 University of Wisconsin, 1930 などとあり、Wilson Alexander MoranはHerkimer County Historical Societyの「The Story of the Typewriter, 1873-1923」の「collide and stick fast at the printing point」を、（おそらく？あるいは タイプバスケット上の文字並び と 英文の頻出連続文字並び の観点から）検証しようとしているかのようでもある。（my未見。推測です。題名からすると、西部（⇔アメリカ？）英語での文字並びの出現頻度を調べて、ユニヴァーサルキーボードの現状を解析し、さらに改善を提案しているのか？？） 出版元ともなっているよう、、ウィスコンシン大学 - マディソン、初期タイプライター研究の中心地か？ Densmore文庫も近そうだし、Sholesの手紙もある、、。 文庫、もんじょを保管管理するものとして、その責務を自覚し果たそうとしているのかもしれない、、 あるいは、アラインメント解析とかhttp //www6.atpages.jp/~raycy/Y/AlignmentHistory.htm Current1949脚注２２脚注２６の検証http //www6.atpages.jp/~raycy/Y/footnotes22and26.htmも、あるいは、済んでいるのかもしれない、、 関連のレターの出版はないのかな、、脚注文献の要点だけでも出版してくれないかな、、
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Locations Here is a list of some of the more commonly used locations in the Countryside. If you discover anymore, please let me know To Move to the other towns you may also teleport by using the Cullis Portals after you turn 18 days old. To use the Portals does cost money based on how many HP you have. To get to Silver Meadows it costs 3 times your Current HP in gold. To return to Black Dale it costs 6 times your Current HP in gold. 0,0 - Blackdale (Town) 4,18 - Non working water fountain 4,40 - Hint on spade 7,23 - Non working water fountain 8,20 - Working water fountain 14,26 - British Guy 16,16 - Wooven Woods (talk to Unicorn about runes and dig for roots) 20,3 - Little Wooden Hut (upgrade runes) 22,25 - Bahh (gives you clue for first 4 cards) 23,52 - Dr. Douche (don t drink the O.J.???) 25,25 - Silver Meadows (Town) 39,49 - People in well (need rope) 40,57 - Baseball bat game (use your crystals and see how far u can hit them) 43,43 - Tyrale (Town) 43,47 - Play Park for pets 64,52 - Aqua-Man 64,72 - Weird Haze (secret town of Indiaco – upgrade Lightning Strike RW3) 74,73 - Umbongo Shop 78,76 - Salis Pool (fishbowl) 79,14 - Nish Noudad (exchange book for Spade)
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원제 Baltimore the Cult of the Red King #5 연도 2015년 9월 2일 작가 마이크 미뇰라 크리스토퍼 골든 작화 Peter Bergting / 채색 Dave Stewart / 레터링 Clem Robins / 표지 벤 스텐벡 데이브 스튜어트 비고 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 마지막 이슈에서 파티원을 세 명이나 죽이다니! 카르타고를 배회하는 또 하나의 유령이 된 디메트리우스 선장은 어떤 의미에서는 죽음보다도 더 끔찍한 결말을 맞은 셈이다.