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Motion Capture and Face Tracking SynthEyes offers the exciting capability to do full body and facial motion capture using conventional video or film cameras. STOP! Unless you know how to do supervised tracking and understand moving-object tracking, you will not be able to do motion tracking. The material here builds upon that earlier material; it is not repeated here because it would be exactly that, a repetition. First, why and when is motion capture necessary? The moving-object tracking discussed previously is very effective for tracking a head, when the face is not doing all that much, or when trackable points have been added in places that don’t move with respect to one another (forehead, jaws, nose). The moving-object mode is good for making animals talk, for example. By contrast, motion capture is used when the motion of the moving features is to be determined, and will then be applied to an animated character. For example, use motion capture of an actor reading a script to apply the same expressions to an animated character. Moving-object tracking requires only one camera, while motion capture requires several calibrated cameras. Second, we need to establish a few very important points this is not the kind of capability that you can learn on the fly as you do that important shoot, with the client breathing down your neck. This is not the kind of thing for which you can expect to glance at this manual for a few minutes, and be a pro. Your head will explode. This is not the sort of thing you can expect to apply to some musty old archival footage, or using that old VHS camera at night in front of a flickering fireplace. This is not something where you can set up a shoot for a couple of days, leave it around with small children or animals climbing on it, and get anything usable whatsoever. This is not the sort of thing where you can take a SynthEyes export into your animation software, and expect all your work to be done, with just a quick render to come. And this is not the sort of thing that is going to produce the results of a $250,000 custom full body motion capture studio with 25 cameras. With all those dire warnings out of the way, what is the good news? If you do your homework, do your experimentation ahead of time, set up technically solid cameras and lighting, read the SynthEyes manual so you have a fair understanding what the SynthEyes software is doing, and understand your 3-D package well enough to set up your character or face rigging, you should be able to get excellent results. In this manual, we’ll work through a sample facial capture session. The techniques and issues are the same for full body capture, though of course the tracking marks and overall camera setup for body capture must be larger and more complex. Introduction To perform motion capture of faces or bodies, you will need at least two cameras trained on the performer from different angles. Since the performer s head or limbs are rotating, the tracking features may rotate out of view of the first two cameras, so you may need additional cameras to shoot more views from behind the actor. The fields of view of the cameras must be large enough to encompass the entire motion that the actor will perform, without the cameras tracking the performer (OK, experts can use SynthEyes for motion capture even when the cameras move, but only with care). You will need to perform a calibration process ahead of time, to determine the exact position and orientation of the cameras with respect to one another (assuming they are not moving). We’ll show you one way to achieve this, using some specialized but inexpensive gear. Very Important You’ll have to ensure that nobody knocks the cameras out of calibration while you shoot calibration or live action footage, or between takes. You’ll need to be able to resynchronize the footage of all the cameras in post. We’ll tell you one way to do that. Generally the performer will have tracker markers attached, to ensure the best possible and most reliable data capture. The exception to this would be if one of the camera views must also be used as part of the final shot, for example, a talking head that will have an extreme helmet added. In this case, markers can be used where they will be hidden by the added effect, and in locations not permitting trackers, either natural facial features can be used (HD or film source!), or markers can be used and removed as an additional effect. After you solve the calibration and tracking in SynthEyes, you will wind up with a collection of trajectories showing the path through space of each individual feature. When you do moving-object tracking, the trackers are all rigidly connected to one another, but in motion capture, each tracker follows its own individual path. You will bring all these individual paths into your animation package, and will need to set up a rigging system that makes your character move in response to the tracker paths. That rigging might consist of expressions, Look At controllers, etc; it s up to you and your animation package. Camera Types Since eachcamera s fields of view must encompass the entire performance (unless there are many overlapping cameras), at any time the actor is usually a small portion of the frame. This makes progressive DV, HD, or film source material strongly suggested. Progressive-scan cameras are strongly recommended, to avoid the factor of two loss of vertical resolution due to interlacing. This is especially important since the tracking markers are typically small and can slip between scan lines. While it may make operations simpler, the cameras do not have to be the same kind, have the same aspect ratio, or have the same frame rate. Resist the urge to use that old consumer-grade analog videotape camera as one of the cameras—the recording process will not be stable enough for good results. Lens distortion will substantially complicate calibration and processing. To minimize distortion, use high-quality lenses, and do not operate them near their maximum field of view, where distortion is largest. Do not try to squeeze into the a small studio space. Camera Placement The camera placements must address two opposing factors one, that the cameras should be far apart, to produce a large parallax disparity with good depth perception, and that the cameras should be close together, so that they can simultaneously observe as many trackers as possible. You’ll probably need to experiment with placement to gain experience, keeping in mind the performance to be delivered. Cameras do not have to be placed in any discernable pattern. If the performance warrants it, you might want coverage from up above, or down below. If any cameras will move during the performance, they will need a visible set of stationary tracking markers, to recover their trajectory in the usual fashion. This will reduce accuracy compared to a carefully calibrated stationary camera. Lighting Lighting should be sufficient to keep the markers well illuminated, avoiding shadowing. The lighting should be enough to be able to keep the shutter time of the cameras as low as possible, consistent with good image quality. Calibration Requirements and Fixturing In order for motion tracking footage to be solved, the camera positions, orientations, and fields of view must be determined, independent of the “live” footage, as accurately as possible. To do this, we will use a process based on moving-object tracking. A calibration object is moved in the field of view of all the cameras, and tracked simultaneously. To get the most data fastest and easiest, we constructed a prop we call a “porcupine” out of a 4” Styrofoam ball, 20-gauge plant stem wires, and small 7 mm colored pom-pom balls, all obtained from a local craft shop for under $5. Lengths of wire were cut to varying lengths, stuck into the ball, and a pom-pom glued to the end using a hot glue gun. Retrospectively, it would have been cleverer to space two balls along the support wire as well, to help set up a coordinate system. The porcupine is hung by a support wire in the location of the performer s head, then rotated as it is recorded simultaneously from each camera. The porcupine s colored pom-poms can be viewed virtually all the time, even as they spin around to the back, except for the occasional occlusion. Similar fixtures can be built for larger motion capture scenarios, perhaps using dolly track to carry a wire frame. It is important that the individual trackable features on the fixture not move with respect to one another their rigidity is required for the standard object tracking. The path of the calibration fixture does not particularly matter. Camera Synchronization The timing relationship between the different cameras must be established. Ideally, all the cameras would all be gen-locked together, snapping each image at exactly the same time. Instead, there are a variety of possibilities which can be arranged and communicated to SynthEyes during the setup process. Motion capture has a special solver mode on the Solver Panel individual mocap. In this mode, the second dropdown list changes from a directional hint to control camera synchronization. If the cameras are all video cameras, they can be gen-locked together to all take pictures identically. This situation is called “Sync Locked.” If you have a collection of video cameras, they will all take pictures at exactly the same (crystal-controlled) rate. However, one camera may always be taking pictures a bit before the other, and a third camera may always be taking pictures at yet a different time than the other two. The option is “Crystal Sync.” If you have a film camera, it might run a little more or a little less that 24 fps, not particularly synchronized to anything. This will be referred to as “Loose Sync.” In a capture setup with multiple cameras, one can always be considered to be Sync Locked, and serve as a reference. If it is a video camera, other video cameras are in Crystal Sync, and any film camera would be Loose Sync. If you have a film camera that will be used in the final shot, it should be considered to be the sync reference, with Sync Locked, and any other cameras are in Loose Sync. The beginning and end of each camera s view of the calibration sequence and the performance sequence must be identified to the nearest frame. This can be achieved with a clapper board or electronic slate. The low-budget approach is to use a flashlight or laser pointer flash to mark the beginning and end of the shot. Camera Calibration Process We’re ready to start the camera calibration process, using the two shot sequences LeftCalibSeq and RightCalibSeq. You can start SynthEyes and do a File/New for the left shot, and then Add Shot to bring in the second. Open both with Interlace=Yes, as unfortunately both shots are interlaced. Even though these are moving-object shots, for calibration they will be solved as moving-camera shots. You can see from these shots how the timing calibration was carried out. The shots were cropped right before the beginning of the starting flash, and right after the ending flash, to make it obvious what had been done. Normally, you should crop after the starting flash, and before the ending flash. On your own shots, you can use the Image Preprocessing panel s Region-of-interest capability to reduce memory consumption to help handle long shots from multiple cameras. You should supervise-track a substantial fraction of the pom-poms in each camera view; you can then solve each camera to obtain a path of the camera appearing to orbit the stationary pom-pom. Next, we will need to set up a set of links between corresponding trackers in the two shots. The links must always be on the Camera02 trackers, to a Camera01 tracker. This can be achieved at least three different ways. Matching Plan A Temporary Alignment This is probably easiest, and we may offer a script to do the grunt work in the future. Begin by assigning a temporary coordinate system for each camera, using the same pom-poms and ordering for each camera. It is most useful to keep the porcupine axis upright (which is where pom-poms along the support wire would come in useful, if available); in this shot three at the very bottom of the porcupine were suitable. With matching constraints for each camera, when you re-solve, you will obtain matching pairs of tracker points, one from each camera, located very close to one another. Now, with the Coordinate System panel open, Camera02 active, and the Top view selected, you can click on each of Camera02 s tracker points, and then alt-click (or command-click) on the corresponding Camera01 point, setting up all the links. As you complete the linking, you should remove the initial temporary constraints from Camera02. Matching Plan B Side by Side In this plan, you can the Camera Perspective viewport configuration. Make Camera01 active, and in the perspective window, right-click and Lock to current camera with Camera01 s imagery, then make Camera02 active for the camera view. Now camera and perspective views show the two shots simultaneously (Experts you can open multiple perspective windows and configure each for a different shot.). You can now click the trackers in the camera(02) view, and alt-click the matching (01) tracker in the perspective window, establishing the links. Reminder The coordinate system control panel must be open for linking. This will take a little mental rotation to establish the right correspondences; the colors of the various pom-poms will help. Matching Plan C Cross Link by Name This plan is probably more trouble than it worth for calibration, but can be an excellent choice for the actual shots. You assign names to each of the pom-poms, so that the names differ only by the first character, then use the Track/Cross-Link by Name menu item to establish links. It is a bit of pain to come up with different names for the pom-poms, and do it identically for the two views, but this might be more reasonable for other calibration scenarios where it is more obvious which point is which. Completing the Calibration We’re now ready to complete the calibration process. Change Camera02 to Indirectly solving mode on the Solver panel . Note the initial position of Camera01 is going to stay fixed, controlling the overall positions of all the cameras. If you want it in some particular location, you can remove the constraints from it, reset its path from the 3-D panel, then move it around to a desired location Solve the shot, and you have two orbiting cameras remaining at a fixed relative orientation as they orbit. Run the Motion Capture Camera Calibration script from the Script menu, and the orbits will be squished down to single locations. Camera01 will be stationary at its initial location, and Camera02 will be jittering around another location, showing the stability of the offset between the two. The first frame of Camera02 s position is actually an average relative position over the entire shot; it is this location we will later use. You should save this calibration scene file (porcupine.sni); it will be the starting point for tracking the real footage. The calibration script also produces a script_output.txt file in a user-specific folder that lists the calibration data. Body and Facial Tracking Marks Markers will make tracking faster, easier, and more accurate. On the face, markers might be little Avery dots from an office supply store, “magic marker” spots, pom-poms with rubber cement(?), mascara, or grease paint. Note that small colored dots tend to lose their coloration in video images, especially with motion blur. Make sure there is a luminance difference. Single-pixel-sized spots are less accurate than those that are several pixels across. Markers should be placed on the face in locations that reflect the underlying musculature and the facial rigging they must drive. Be sure to include markers on comparatively stationary parts of the head. For body tracking, a typical approach is to put the performer in a black outfit (such as UnderArmour), and attach table-tennis balls as tracking features onto the joints. To achieve enough visibility, placing balls on both the top and bottom of the elbow may be necessary. Because the markers must be placed on the outside of the body, away from the true joint locations, character rigging will have to take this into account. Preparation for Two-Dimensional Tracking We’re ready to begin tracking the actual performance footage. Open the final calibration scene file. Open the 3-D panel . For each camera, select the camera in the select-by-name dropdown list. Then hit Blast and answer yes to store the field of view data as well. Then, hit Reset twice, answering yes to remove keys from the field of view track also. The result of this little dance is to take the solved camera paths (as modified by the script), and make them the initial position and orientation for each camera, with no animation (since they aren’t actually moving). Next, replace the shot for each camera with LeftFaceSeq and RightFaceSeq. Again, these shots have been cropped based on the light flashes, which would normally be removed completely. Set the End Frame for each shot to its maximum possible. If necessary, use an animated ROI on the Imaging Preprocessing panel so that you can keep both shots in RAM simultaneously. Hit Control-A and delete to delete all the old trackers. Set each Lens to Known to lock the field of view, and set the solving mode of each camera to Disabled, since the cameras are fixed at their calibrated locations. We need a placeholder object to hold all the individual trackers. Create a moving object, Object01, for Camera01, then a moving object, Object02, for Camera02. On the Solving Panel, set Object01 and Object02 to the Individual mocap solving mode, and set the synchronization mode right below that. Two-Dimensional Tracking You can now track both shots, creating the trackers into Object01 and Object02 for the respective shots. If you don’t track all the markers, at least be sure to track a given marker either in both shots, or none, as a half-tracked marker will not help. The Hand-Held Use Others mode may be helpful here for the rapid facial motions. Frequent keying will be necessary when the motion causes motion blur to appear and disappear (a lot of uniform light and short shutter time will minimize this). Linking the Shots After completing the tracking, you must set up links. The easiest approach will probably be to set up side-by-side camera and perspective views. Again, you should link the Object02 trackers to the Object01 trackers, not the other way around. Doing the linking by name can also be helpful, since the trackers should have fairly obvious names such as Nose or Left Inner Eyebrow, etc. Solving You’re ready to solve, and the Solve step should be very routine, producing paths for each of the linked trackers. The final file is facetrk.sni. Afterwards, you can start checking on the trackers. You can scrub through the shot in the perspective window, orbiting around the face. You can check the error curves and XYZ paths in the graph editor . By switching to Sort by Error mode , you can sequence through the trackers starting from those with the highest error. Exports Rigging When you export a scene with individual trackers, each of them will have a key frame on each frame of the shot, animating the tracker path. It is up to you to determine a method of rigging your character to take advantage of the animated tracker paths. The method chosen will depend on your character and animation software package. It is likely you will need some expressions (formulas) and some Look-At controls. For full-body motion capture, you will need to take into account the offsets from the tracking markers (ie balls) to the actual joint locations. Modeling You can use the calculated point locations to build models. However, the animation of the vertices will not be carried forward into the meshes you build. Instead, when you do a Convert to Mesh operation in the perspective window, the current tracker locations are frozen on that frame. If desired, you can repeat the object-building process on different frames to build up a collection of morph-target meshes.
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カーソルが「+」マークで表示される Adobe Photoshop Elements の [ブラシ] ツール、[消しゴム] ツール、[スポイトツール] などの使用時に A. Caps Lock を解除します。 Caps Lock を解除するには、以下のいずれかの操作を行います。 Shift ＋ Caps Lock キーを押します。ポインタが または の十字型で表示されます。 Photoshop加算発光 レイヤー効果内にある通常の描画内の透明シェイプレイヤーをオフにする レイジーネズミがPhotoshopで自動で立ち上がらない PhotoshopのPluginフォルダにレイジーネズミのフォルダにあるMouseHookPro64.dllをMouseHookPro64.8liに名前変更して入れるとPhotoshop立ち上げ時に一緒に立ち上がるようになる ベーステクスチャー制作 3dcoat内で曲率 オブジェクトスペースノーマル AOの順で焼く 手描きレイヤー(ハードライト) （AO(80％乗算) （オブジェクトスペースノーマルBlenderの場合はグリーンチャンネル(50％オーバーレイ) （カーバチュアマップ(30％オーバーレイ) （128グレイ Photoshopの移動コピーはctrl押しながらalt押しながら移動させる パスで書く パスで書く パスで書く2
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Darksiders II Deathinitive Edition 項目数：50 総ポイント：1000 難易度：★★★☆☆ マルチランゲージで、本体言語が日本語ならテキストも日本語になる。 実績名は未翻訳ではあるが、ほとんどの実績内容は360版と同一なので、具体的な内容は360版ページを参照されたし。 BFAはバグで解除不可能だったが、2019年5月末に修正されコンプ可能に。 新規追加難易度のDeathinitiveのクリアにやや骨が折れるか。 Darksiders II Wiki http //wikiwiki.jp/darksiders2/ BFA 全てを解除するUnlock Everything 10 A Stroll In The Demonic Park いずれかの難易度でゲームをクリアするComplete the game on any difficulty setting 30 Four My Brother 難易度NormalでゲームをクリアするComplete the game on NORMAL 60 A True Horseman 難易度HardでゲームをクリアするComplete the game on APOCALYPTIC 60 The Secondary Adventure サブクエストを全て完了するComplete all Secondary Quests 50 Grim Reaping リーパーフォームを解除するUnlock Reaper Form 30 Bravo Old Chap 邪悪なるKを倒すDefeat Wicked K 20 Respec Yourself スキルポイントの再配分を行なうYour First Respec 20 Is There Anyone Else? 「試練の間」を完了するComplete The Crucible 30 Abracadabra デス・トゥームを全て開くOpen all Death Tombs 30 Feeding Time ポゼスドウェポンを最初にレベルアップさせるLevel Up Your 1st Possessed Weapon 20 It s Definitive 難易度DeathinitiveでゲームをクリアするComplete the game on DEATHINITIVE 70 Full Potential 攻撃技とアップグレードを全て解除するUnlock All Combat Moves Upgrades 30 秘密の実績 Crow Carrion クロウファーザーを倒すDefeat the Crowfather 20 Looks Familiar リデンプションを手に入れるCollect Redemption 10 Fire of the Mountain 「山の火」を完了するComplete Fire of the Mountain 10 Tears of the Mountain 「山の涙」を完了するComplete Tears of the Mountain 10 To Move a Mountain 「山を動かす」を完了するComplete To Move a Mountain 10 The Spectral Touch デスグリップを手に入れるCollect Deathgrip 10 Heart of the Mountain 「山の心臓」を完了するComplete Heart of the Mountain 10 Dust to Dust ガーディアンを倒すDefeat the Guardian 20 Tree of Life 「生命の樹」を完了するComplete Tree of Life 10 The Lord of Bones 「ボーン・ロード」を完了するComplete The Lord of Bones 10 The Toll of Kings 「謁見の代価」を完了するComplete The Toll of Kings 10 By Your Command インターディクションストーンを手に入れるCollect the Interdiction Stone 10 The Court of Bones バシリウスを倒すDefeat Basileus 10 Death Will Tear Us Apart ソウル スプリッターを手に入れるCollect the Soul Splitter 10 Soul Crushing 嘆きの主を倒すDefeat The Wailing Host 20 City of the Dead 「死者の都」を完了するComplete City of the Dead 10 The Rod of Arafel 「アラフェルの杖」を完了するComplete The Rod of Arafel 10 I Can Has Cake? ヴォイドウォーカーを手に入れるCollect the Voidwalker 10 Clipped Wings アルコンを倒すDefeat Archon 20 Stains of Heresy 「異端の染み」を完了するComplete Stains of Heresy 10 Tearing Time A New One フェーズウォーカーを手に入れるCollect the Phasewalker 10 The Mad Queen 「マッドクイーン」を完了するComplete The Mad Queen 10 It s Not Over サマエルを倒すDefeat Samael 20 Lord of the Black Stone 「ブラックストーンの王」を完了するComplete Lord of the Black Stone 10 The Root Of Corruption ウェル・オブ・ソウルへの道を開くOpen The Well Of Souls 10 The Big Boss アブサロムを倒すDefeat Absalom 20 All You Can Eat Buffet 「棒と石」を完了するComplete Sticks and Stones 30 I ve Brought You A Gift 魂の調停者を倒すDefeat the Soul Arbiter 30 Antiquing 「失われた秘宝」を完了するComplete Lost Relics 30 Like a Noss セインが名付けた4匹のクリーチャーを倒すDefeat the four creatures named by Thane 30 The Book of the Dead 「死者の書」を完了するComplete The Book of the Dead 10 Gnomad 「ノーマッド」を完了するComplete GnoMAD 40 The Triple Lindy 鋳造場で3回の異なる飛び込みを達成するComplete 3 different high dives in the Foundry 10 Pathfinder ファストトラベルを初めて使用するFirst use of Fast Travel 10 Mass Ruckus エリートアイテムを全スロットに装備するEquip elite items to all slots 10 Diamond Geezertron いずれかのスキルツリーで最後のスキルを解除するUnlock the final skill in either skill tree 10 Epic! デスがレベル30に到達するDeath Reaches Level 30 10
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International Conferences H. Matsuda, L. Tóth, K. Goto, F. Matsui, T. Matsushita, M. Hashimoto, C. Sakai, H. Nojiri, H. Daimon “Wide acceptance angle photoelectron spectrometer for stereophotograph of atomic arrangement” 3’S 11 (Lleida, Spain 2011.03.11) F. Matsui, H. Matsui, T. Matsushita, K. Goto, N. Maejima, N. Nishikayama, K. Tanaka, H. Daimon “Local atomic and electronic structure of graphene studied by photoelectron diffraction spectroscopy” SSNS’11 (Shizukuishi, Japan 2011.01.19) 【BEST POSTER賞受賞】 K. Goto, F. Matsui, T. Matsumoto, M. Hashimoto, N. Nishikayama, H. Matsui, N. Maejima, T. Matsushita, Y. Kato, H. Daimon, “Orbital angular momentum analysis of 1T-TaS2 valence band electron by circularly polarized light photoelectron diffraction” NSS6 (Kobe, Japan 2010.10.26) H. Matsui, F. Matsui, T. Matsushita, M. Hashimoto, K. Goto, N. Maejima, H. Daimon “Photoelectron diffraction and holography of graphite and graphene”NSS6 (Kobe, Japan 2010.10.26) N. Maejima, F. Matsui, K. Goto, N. Nishikayama, H. Matsui, M. Hashimoto, T. Matsushita, Y. Kato, S. Tanaka, H. Daimon “Atomic structure analysis of silicon oxynitride thin film on 6H-SiC(0001) by two-dimensional photoelectron diffraction” NSS6 (Kobe, Japan 2010.10.26) T. Matsushita, I. Pis, M. Kobata, K. Kobayashi, H. Matsuda, F. Matsui, H. Daimon, A. Uesaka, K. Hayashi “High-energy photoelectron holography” NSS6 (Kobe, Japan 2010.10.26) T. Matsushita, K. Goto, H. Matsuda, M. Hashimoto, L. Tóth, H. Nojiri, C. Sakai, F. Matsui, H. Daimon “Development of an electron microscope using wide acceptance angle electron lens” NSS6 (Kobe, Japan 2010.10.26) H. Daimon, F. Matsui, T. Matsushita “Surface Structure Analysis by Stereo-photograph of atomic arrangement” RJSSS-9 (Vladivostok, Russia 2010.09.26-30) F. Matsui, M. Hashimoto, T. Matsushita, N. Maejima, H. Matsui, K. Goto, Y. Kato, H. Daimon “Negative contrast photoelectron diffraction replica in secondary electron angular distribution” VUVX2010 (Vancouver, Canada 2010.07.12) N. Maejima, F. Matsui, K. Goto, N. Nishikayama, H. Matsui, M. Hashimoto, T. Matsushita, Y. Kato, S. Tanaka, H. Daimon “Atomic structure analysis of silicon oxynitride thin film on 6H-SiC(0001) by two-dimensional photoelectron diffraction” VUVX2010 (Vancouver, Canada 2010.07.12) H. Matsui, F. Matsui, N. Nishikayama, M. Hashimoto, K. Goto, N. Maejima, K. Tanaka, T. Matsushita, Y. Kato, T. Okamoto, A. N. Hattori, Y. Sano, K. Yamauchi, H. Daimon “Structure analysis of graphene grown on 4H-SiC(0001) surface by two-dimensional photoelectron diffraction” VUVX2010 (Vancouver, Canada 2010.07.12) M. Hashimoto, F. Matsui, T. Matsushita, F.Z. Guo, Y. Kato, H. Daimon “Circular Dichroism of Photoelectron Diffraction Rings from Ga/Si(111)” ALC 09 (Hawaii, USA 2009.12.10) L. Tóth, H. Matsuda, K. Goto, H. Nojiri, M. Hashimoto, F. Matsui, H. Daimon “Display-type Ellipsoidal Mesh Analyzer for Microscopic and High-resolution Two-dimensional Photoelectron Spectroscopy” ALC 09 (Hawaii, USA 2009.12.10) 【Invited】F. Matsui, T. Matsushita, H. Daimon “Atomic-layer-resolved analysis of surface magnetism by diffraction spectroscopy” ICESS-11 (Nara, Japan 2009.10.06) M. Hashimoto, F. Matsui, T. Matsushita, Y. Kato, H. Daimon “Photoelectron diffraction rings of Ga adsorbed Si(111) surface and their circular dichroism” ICESS-11 (Nara, Japan 2009.10.06) M. Takizawa, H. Namba, F. Matsui, H. Daimon “Photoelectron intensity modulation of the Fermi surface on graphite with photon energy” ICESS-11 (Nara, Japan 2009.10.07) H. Nojiri, H. Matsuda, L. Tóth, K. Goto, M. Hashimoto, F. Matsui, H. Daimon “New 1pi steradian display-type ellipsoidal mesh analyzer as a low-magnification PEEM” ICESS-11 (Nara, Japan 2009.10.07) K. Goto, F. Matsui, T. Matsumoto, N. Nishikayama, T. Matsushita, Y. Kato, C.S. Fadley, H. Daimon “Circular dichroism of photoelectron diffraction of transition metal dichalcogenides” ICESS-11 (Nara, Japan 2009.10.08) N. Nishikayama, F. Matsui, K. Goto, T. Matsumoto, K. Tanaka, T. Matsushita, Y. Kato, H. Daimon “Stereophotograph of graphene on vicinal 4H-SiC(0001) surface”ICESS-11 (Nara, Japan 2009.10.08) M. Yoshimura, F. Matsui, H. Daimon “Structure of L-tyrosine adsorbed on atomically controlled Au/Si(111) surfaces” ACSIN10 (Granada, Spain 2009.09.24) F. Matsui, T. Matsushita, Y. Kato, M. Hashimoto, H.Daimon “Resolving subsurface magnetism at atomic by diffraction spectroscopy” XAFS 14 (Camerino, Italy 2009.07.26-31) F. Matsui, T. Matsushita, Y. Kato, K. Goto, H. Daimon “Recent status of 2D photoelectron spectroscopy experimental station at SPring-8” XAFS 14 (Camerino, Italy 2009.07.26-31) H. Daimon, K. Goto, H. Matsuda, F. Matsui “Application of Wide Acceptance Angle Electrostatic Lens to high-energy two-dimensional photoelectron spectroscopy” EMRS 2009 Spring Meeting (Strasbourg, France 2009.06.09) K. Goto, F. Matsui, T. Matsumoto, N. Nishikayama, T. Matsushita, Y. Kato, H. Daimon “Magnetic structure analysis of Gd film by Auger electron diffraction and XMCD” EMRS 2009 Spring Meeting (Strasbourg, France 2009.06.09) F. Matsui, T. Matsushita, Y. Kato, C. Sakai, T. Narikawa, K. Goro, T. Matsumoto, H. Daimon “Diffraction Spectroscopy for Probing Subsurface Resolution and Selectivity” ISSS-5 (Tokyo, Japan 2008.11.09-13) K. Goto, F. Matsui, T. Matsushita, Y. Kato, H. Daimon “Circularly polarized light 2D- PED/XAS of Fe (111) surface” ISSS-5 (Tokyo, Japan 2008.11.09-13) T. Matsumoto, F. Matsui, T. Matsushita, K. Goto, H. Daimon “Stereophotograph of InP(001) surface” ISSS-5 (Tokyo, Japan 2008.11.09-13) M. Yoshimura, M. Ono, F. Matsui, H. Daimon “Adsorption structure of L-tyrosine on Si(111)5×2,√3 × √3-Au surface” ISSS-5 (Tokyo, Japan 2008.11.09-13) H. Daimon, L. Tóth, K. Goto, H. Matsuda, F. Matsui “Two-dimensional photoelectron spectroscopy by conventional and newly-developed display analyzer” ISSS-5 (Tokyo, Japan 2008.11.09-13) H. Daimon, H. Matsuda, L. Tóth, K. Goto, F. Matsui “Performance of Stereo-PEEM for Taking Stereo picture of Atomic Arrangement in Laboratory” VASSCAA-4 (Matsue, Japan 2008.10.28-31) H. Daimon, L. Tóth, K. Goto, H. Matsuda, F. Matsui “Development of Stereo-PEEM and a new display analyzer for Stereo-pictures of atomic arrangement” LEEM/PEEM-6 (Trieste, Italy 2008.07.07-11) K. Goto, L. Tóth, H. Matsuda, F. Matsui, H. Daimon “Construction of Display-type Ellipsoidal Mesh Analyzer for Imaging as well as Electron Energy and Angular Distribution Analysis” LEEM/PEEM-6 (Trieste, Italy 2008.07.07-11) T. Matsushita, F.Z. Guo, F. Matsui, H. Daimon “Three-dimensional atomic image reconstructing from a single-energy electron hologram” NSSS-4 (Athens, Ohio, USA 2008.07.15-19) M. Yoshimura, F. Matsui, H. Daimon “Adsorption structure of L-Tyrosine on Si(111)7x7 surface” ACSIN-9 (Tokyo, Japan 2007.11-15) T. Narikawa, F. Matsui, Y. Kato, K. Inaji, C. Sakai, T. Matsushita, H. Daimon “Direct observations of Si adatom and dimer atom from O atoms inserted in backbonds by Auger electron diffraction” ACSIN-9 (Tokyo, Japan 2007.11-15) Z. Janosfalvi, F. Matsui, N. Takahashi, M. Akasaka, H. Namba. H. Daimon “Atomic orbitals and photoelectron intensity angular distribution patterns of MoS2 valence band” ACSIN-9 (Tokyo, Japan 2007.11-15) K. Inaji, F. Matsui, Y. Kato, C. Sakai, T. Narikawa, T. Matsushita, F. Z. Guo, H. Daimon “Circular dichroism of forward focusing peaks and diffraction rings in Si 2p photoelectron intensity angular distribution” ACSIN-9 (Tokyo, Japan 2007.11-15) F. Matsui, T. Matsushita, Y. Kato, M. Hashimoto, K Inaji, C. Sakai, T. Narikawa, F. Z. Guo, H. Daimon “Auger diffraction XANES and XMCD for atomic-layer-resolved magnetic structure analysis of Ni magnetic thin film” VUV-XV (Berlin, Germany 2007.07.29-08.03) F. Matsui, T. Matsushita, Y. Kato, K. Inaji, C. Sakai, T. Narikawa, F. Z. Guo, H. Daimon “Origin of forward focusing peaks in graphite valence band photoelectron pattern and their circular dichrosim” VUV-XV (Berlin, Germany 2007.07.29-08.03) N. Takahashi, Y. Hamada, F. Matsui, K. Nakanishi, H. Namba, H. Daimon “Display-type Analyzer(DIANA) for valence band spectroscopy and microscopy” VUV-XV (Berlin, Germany 2007.07.29-08.03) O. Rader, H Wolf, W. Gudat, A. Tadich, L. Broekman, E. Huwald, R. C. G. Leckey, J. D. Rieley, F. Matsui, H. Miyata, H. Daimon, A. M. Shikin “On the problem of the "three-dimentional" Fermi surface of the Ni monolayer on Cu(100)” VUV-XV (Berlin, Germany 2007.07.29-08.03) C. Sakai, F. Matsui, T. Takeuchi, T. Matsushita, F. Z. Guo, Y. Kato, K. Inaji, T. Narikawa, H. Daimon “Local Structure analysis of Bi2201 and Bi2212 by photoelectron stereophotograph using circularly polarized light” VUV-XV (Berlin, Germany 2007.07.29-08.03) C. Sakai, F. Matsui, N. Takahashi, S. N. Takeda, H. Daimon “Hybridized orbital symmetry determination of the Fermi Energy band of Bi2Sr2CaCu2Oy superconductor by non-polarized light two-dimensional photoelectron spectroscopy” Kyoto conference on Solid State Chemistry (Kyoto, Japan 2006.11.14-18) C. Sakai, F. Matsui, N. Takahashi, S.N. Takeda, H. Daimon “The Hybridized orbital symmetry of the Fermi Energy band of Bi2Sr2CaCu2Oy determined by non-polarized light two-dimensional photoelectron spectroscopy” ISS 2006 (Nagoya, Japan 2006.10.30-11.01) F. Matsui, T. Matsushita, Y. Kato, K. Inaji, F. Z. Guo, H. Daimon “Lateral electronic structure analysis in atomic scale by 2D-XAFS/XMCD” LEEM/PEEM-V (Himeji, Japan 2006.10.15-19) F. Matsui, T. Matsushita, Y. Kato, K. Inaji, F.Z. Guo, H. Daimon “Site-specific orbital angular momentum analysis of graphite valence band” ISSP10 (Kashiwa, Japan 2006.10.09-13) F. Matsui, T. Matsushita, Y. Kato, K. Inaji, F.Z. Guo, H. Daimon “Atomic layer resolved two-dimensional XAFS Ni wedged film on Cu(001)” ISSP10 (Kashiwa, Japan 2006.10.09-13) H. Daimon, T. Matsuta, S. N. Takeda, K. Hattori, F. Matsui “Total analysis of surface structure and properties by UHV transfer system” ISSP10 (Kashiwa, Japan 2006.10.09-13) C. Sakai, F. Matsui, N. Takahashi, S. N. Takeda, H. Daimon “Atomic orbital analysis of the Fermi surface of Bi2Sr2CaCu2Oy by Two-dimensional photoelectron spectroscopy” ISSP10 (Kashiwa, Japan 2006.10.09-13) F. Matsui, T. Matsushita, F. Z. Guo, Y. Kato, M. Hashimoto, K. Inaji, H. Daimon “Element and site selective XAFS and XMCD for surface and thin film” ECOSS 24 (Paris, France 2006.09.04-08) L. Tóth, H. Matsuda, T. Shimizu, F. Matsui, H. Daimon “Wide acceptance angle electrostatic lens for high sensitive and two-dimensional analyzer” ECOSS 24 (Paris, France 2006.09.04-08) F. Matsui, Y. Kato, H. Daimon, T. Matsushita, F.Z. Guo “Photoelectron forward focusing peak as an element and cite specific local probe” SRI 2006 (Daegu, Korea 2006.05.28-06.03) Y. Kato, F. Matsui, H. Daimon, T .Matsushita, F. Z. Guo, T. Tsuno “Determination of Local Dopant site in Superconducting-diamond by Photoelecron Intensity Angular Distribution” SRI 2006 (Daegu, Korea 2006.05.28-06.03) T. Matsushita, F. Z. Guo, T. Muro, F. Matsui, H. Daimon “Real time imaging system of stereo atomic microscope at BL25SU in SPring-8” SRI 2006 (Daegu, Korea 2006.05.28-06.03) 【BEST POSTER賞受賞】N. Takahashi, F. Matsui, S. Shigenai, Y. Hirama, Y. Hamada, K. Nakanishi, H. Namba, H. Daimon “New Display-type analyzer for 3D Fermi surface mapping and atomic orbital analysis” SRI 2006 (Daegu, Korea 2006.05.28-06.03) 【Invited】F. Matsui, Y. Kato, T. Shimizu, F. Z. Guo, T. Matsushita, T. Tsuno, H. Daimon “Graphite and Diamond viewed by Stereo Atomscope” IWSDRM2005 (Tsukuba, Japan 2005.12.07-09) Y. Kato, T. Shimizu, F. Matsui, F. Z. Guo, T. Matsusita, T. Tsuno, S. Katsumoto, H. Daimon “Local boron site of B-Diamond determined by photoelectron intensity angular distribution” IWSDRM2005 (Tsukuba, Japan 2005.12.07-09) F. Matsui, T. Matsushita, F.Z. Guo, Y. Kato, T. Shimizu, H. Daimon “Optimization of Display-type Analyzer for High-Performance Stereoatomscope” ISSS-4 (Omiya, Japan 2005.11.14-17) F. Matsui, T. Wada, K. Sakamoto, S. Takada, T. Suzuki, A. Harasawa, T. Okuda, T. Kinoshita, H. Daimon, “Si 2p 2 core-level photoemission study of initial stage of Si(001) surface oxidation” ISSS-4 (Omiya, Japan 2005.11.14-17) N. Takahashi, F. Matsui, S. Shigenai, K. Nakanishi, Y. Hamada, H. Namba, H. Daimon “Atomic orbital analysis of Fermi surface of NbSe2 by Display-type Analyzer (DIANA)” ISSS-4 (Omiya, Japan 2005.11.14-17) F. Matsui, N. Takahashi, M. Akasaka, K. Nakanishi, Y. Nozawa, H. Namba, Y. Hamada, H. Daimon “Atomic orbital analysis of three-dimensional band dispersion of MoS2 by two-dimensional photoelectron spectroscopy” SSP10 (Prague, Czech 2005.07.10-15) F. Matsui, A. Kobayashi, M. Fujikado, H. Daimon, B.C. Sell, C.S. Fadley “Structural analysis of oxygen segragated Nb(110) surface by photoelectron diffraction” SSP10 (Prague, Czech 2005.07.10-15) H. Daimon, H. Matsuda, L. Tóth, T. Shimizu, F. Matsui “New Photoemission Electron Microscope for Three-dimensional Atomic and Electronic Structure of Nano-materials” EPS13 (Bern, Switzerland 2005.07.11-15) 【BEST POSTER賞受賞】K. Kataoka , F. Matsui, Y. Kato , F. Z. Guo , T. Matsushita ,K. Hattori , H. Daimon “Atomic structure analysis of ultrathin Fe silicide films by stereo atomscope” ICMAT2005, 9th IUMRS-ICAM, VASSCAA-3 (Singapore 2005.07.03-08) M. Honda, F. Matsui, H. Daimon “Chemisorption of Amino Acid on Au(111)/Si(111) and Si(111)√3×√3 - Au Surfaces” ICMAT2005, 9th IUMRS-ICAM, VASSCAA (Singapore 2005.07.03-08) H. Daimon, F. Matsui, F.Z. Guo, Y. Kato, M. Kudo, H. Matsuda “Imaging of 3-dimensional atomic arrangement by stereo atomscope” IVC-16 (Venice, Italy 2004.06.28-07.02) F. Matsui, F. Z. Guo, H. Daimon “Two-dimensional photoelectron spectroscopy for analysis of atomic and electronic structure” ACSIN-7 (Nara, Japan 2003.11.16-20) A. N. Hattori, M. Fujikado, S. Okamoto, K. Fukumoto, F. Z. Guo, F. Matsui, K. Nakatani, T. Matsushita, K. Hattori, H. Daimon “Atomic structure and magnetic property of Fe/Cu(001) by Stereoscopic photography and SMOKE” ACSIN-7 (Nara, Japan 2003.11.16-20) 【BEST POSTER賞受賞】F. Z. Guo, F. Matsui, M. Fujikado, T. Matsushita, H. Daimon “Stereo-photography of graphite atomic arrangements measured by display-type spherical mirror analyzer” ACSIN-7 (Nara, Japan 2003.11.16-20) K. Kataoka, K. Hattori, Y. Miyatake, F. Matsui, S. Nishino Takeda, H. Daimon “LEED and STM study of β-FeSi2 epilayers grown on Si(111)” ACSIN-7 (Nara, Japan 2003.11.16-20) M. Honda, F. Matsui, N. Masunaga T. Nishimura, S. Nishino Takeda, K. Hattori, H. Daimon “Chemisorption of amino acid on the Au surfeces” ACSIN-7 (Nara, Japan 2003.11.16-20) F. Matsui, H. Miyata, O. Rader, Y. Hamada, Y. Nakamura, K. Nakanishi, T. Wada, Y. Nozawa, H. Namba, H. Daimon “Two-Dimensional Photoelectron Spectroscopy for Atomic Orbital Analysis Cu(001) Fermi Surface and Valence Band” ICESS-9 (Uppsala, Sweden 2003.06.28-07.04) 【BEST POSTER賞受賞】F. Matsui, H. Miyata, O. Rader, Y. Hamada, Y. Nakamura, K. Nakanishi, K. Ogawa, H. Namba, H. Daimon “Atomic Orbital Analysis of Cu(001) Valence Band by Two-Dimensional Photoelectron Spectroscopy” Asia-Pacific Surface Interface Analysis Conference (Tokyo, Japan 2002.10.01-04) T. Nohno, F. Matsui, Y. Hamada, H. Matsumoto, S. Takeda, K. Hattori, H. Daimon “Development of two-dimensional display-type photoelectron spectrometer in the UPS region” Asia-Pacific Surface Interface Analysis Conference (Tokyo, Japan 2002.10.01-04) F. Matsui, H. Miyata, Y. Hori, H. Namba, H. Daimon “Three-dimensional band mapping and orbital analysis by linearly- Polarized light two-dimensional photoelectron spectroscopy” ICSRMS-3 (Singapore 2002.01.21-24) F. Matsui, H. Miyata, H. Namba, H. Daimon “Linearly polarized light two-dimensional photoelectron spectroscopy Band dispersion of Kish graphite in three-dimensions” ALC`01 (Nara, Japan 2001.11.11-14) 【BEST POSTER賞受賞】F. Matsui, Y. Hori, H. Totsuka, H. Miyata, T. Matsushita, H. Namba and H. Daimon “Photon energy dependence of umklapp scattered transitions and three-dimensional band dispersion of Kish graphite” VUV-VIII (Trieste, Italy 2001.07.23-27) F. Matsui, H.W. Yeom, K. Amemiya, K. Tono, T. Ohta “O2 molecular chemisorption states in the initial oxidation of the Si(111)77” ICSOS-6 (Vancouver, Canada 1999.07.26-30) F. Matsui, H.W. Yeom, A. Imanishi, K. Isawa, I. Matsuda, K. Tsuduki, K. Tono, T. Ohta “Adsorption of ethylene and benzene on the Si(001)2x1 surface studied by x-ray absorption and photoemission spectroscopies” IVC-14 (Birmingham, UK 1998.08.31-09.04) F. Matsui, H.W. Yeom, A. Imanishi, I. Matsuda, T. Ohta “Adsorption and thermal decomposition of acetylene on the Si(001)2x1 surface studied by NEXAFS and UPS” ICES-7 (Chiba, Japan 1997.09.08-12) 以下は本サイト@wikiのスポンサーの広告です。
https://w.atwiki.jp/wearablecamera/pages/63.html
製品ページ 有効画素数 5.0 Mega pixcel フォトフォーマット JPG 2560x1920 ビデオフォーマット AVI HD 1280x720 フレーム 30fps MD時間設定（動作検知モードでの動画撮影時間） 10秒、1分、5分、10分 ビデオ画質設定 高画質、標準画質、低画質 焦点距離 f=2.5mm (35mm換算で24mm相当） F値（絞り値） F/2 撮影角度 120度の広角レンズ 周波数 50Hz、60Hz ビデオ出力形式 NTSC、PAL バッテリー容量 3.7V/850mAh 撮影可能時間 2GB 約20分間、4GB 約40分間 16GB 約160分間、32GB 約320分間 バッテリー持ち時間 撮影時 約3時間 撮影時（LEDライトをつけている場合) 約2時間 アダプター仕様 DC5V 1A 充電時間 約3時間 USBインターフェイス USB2.0高速 メモリータイプ マイクロSD/SDHCカード（別売） コメント 名前 コメント
https://w.atwiki.jp/rebootcamp/pages/57.html
Guerrilla translation ウィキペディアは、自由に翻訳してよい百科辞典です。これを翻訳して、日本語版にしていく過程を紹介します。 赤字は、要調査、用語の確認箇所。 ＜翻訳中＞ 翻訳開始日0822 進捗状況 約20%ぐらい。 翻訳の出典： http //en.wikipedia.org/wiki/DIY_culture 2007-08-24Tの版。 主な執筆者： Gywst, Mirabile Dictu, Rich Farmbrough, Paul foord, ElizaBarrington他。 DIY culture http //en.wikipedia.org/wiki/DIY_culture DIY (or Do It Yourself) culture is a broad term used to refer to a wide range of grassroots political activism. DIY culture became something of a recognised movement in the 1990s in the UK where the protest (the direct action) and party (the festival) converged. This development constituted a significant cross-pollination of pleasure and politics resembling the anti-disciplinary politics of the 1960s. During the 1990s, demonstrating the desire for an economy of mutual aid and co-operation, the commitment to the non-commodification of art, the appropriation of digital and communication technologies for free community purposes, and the commitment to alternative technologies such as biodiesel. From 1991-1997 the Conservative government cracked down on squatting, animal rights activists, greens, travellers, as well as the culture of raves, parties and dance culture. DIY（またはDo It Yourself）文化は、広範な草の根の政治的なアクティヴィズムを説明するのに用いられる幅広い言葉です。DIY文化は、英国の1990年代において、抗議（直接行動）とパーティ（フェスティバル）が一本に収束した少し認知された運動となりました。この発展は、1960年代のthe anti-disciplinary politics 反懲戒政策に似ている喜びと政治のかなりのcross-pollination 他花受粉を構成しました。1990年代は、相互援助と協力の経済、芸術の非商品化への関与、フリーなコミュニティの目的のためのデジタルおよびコミュニケーション・テクノロジーの盗用と（例えばバイオディーゼル）のような代替技術への コミットメント、賛同に対する欲求の表明が行われた。1991-1997年から、レイヴ・パーティ文化とダンス文化と同様に、保守党の政府は、スクウォッティング、動物の権利保護活動家、グリーン、トラヴェラーを取り締まった。 Some commentators have criticised DIY culture as a form of laissez-faire libertarianism only available to those who already have access to resources and leisure in this society. 一部の論者は、DIY文化のことを、この社会において資源とレジャーにすでにアクセスできる人々だけが利用可能な自由放任主義、リベラリズムの一形態であるとして批評した。 Criminal Justice and Public Order Act In 1994, the United Kingdom passed the Criminal Justice and Public Order Act 1994 which contained several sections designed to curtail the growing free party and anti-road protest movements (sometimes embodied by ravers and travellers). It empowered police to arrest citizens who appeared to be preparing to hold a rave, waiting for a rave to start, or attending a rave. クリミナル・ジャスティス＆パブリック・オーダー・アクト 1994年に、イギリスではクリミナル・ジャスティス＆パブリック・オーダー・アクト法案が通過した。それは、発展するフリーパーティと反道路＝運動を削減するためのいくつかのセクションを含んでいた。これらの運動は、しばしばレイヴァーとトラベラーによって体現されていた。この法案は、レイヴを開く準備をしている、レイヴが始まるのを待っている、レイヴに参加しているなどに見えた市民を逮捕するという公的な権限を警察に与えた。 See also Affinity group Alternative society Critical Mass Justice? M11 link road protest Lo-fi music Punk ideology Reclaim the Streets Wobblies SchNEWS Squatting Hipster (contemporary subculture) List of DIY artists How To Survive as an Independent Artist Unschooling References Elaine Brass and Sophie Poklewski Koziell with Denise Searle (editor), 1997. Gathering Force DIY culture - radical action for those tired of waiting, London Big Issue. ISBN 1-899419-01-2. McKay, George. Senseless acts of beauty cultures of resistance since the Sixties, London Verso, 1996. ISBN 1-85984-028-0. McKay, George. (ed) DiY culture party protest in Nineties Britain, London; New York Verso, 1998. ISBN 1-85984-260-7. St John, Graham. (ed) FreeNRG Notes From the Edge of the Dancefloor Altona Commonground. ISBN 1-86335-084-5. Wall, Derek Earth First and the Anti-Roads Movement Radical Environmentalism and Comparative Social Movements London Routledge, 1999. ISBN 0-415-19064-9 * Elaine Brass and Sophie Poklewski Koziell with Denise Searle (editor), 1997. Gathering Force DIY culture - radical action for those tired of waiting, London Big Issue. ISBN 1-899419-01-2. デニスサール（エディタ）（1997）と一緒のエレイン真鍮とソフィPoklewski Koziell。次第につのる力：ＤＩＹ文化 - 待ちあきたそれら（ロンドン）のための急進的な行動：大きい問題。ISBN 1-899419-01-2。 * McKay, George. Senseless acts of beauty cultures of resistance since the Sixties, London Verso, 1996. ISBN 1-85984-028-0. マッケイ、ジョージ。美しさの無意味な行為：60年代（ロンドン）から抵抗の文化：裏、1996。ISBN 1-85984-028-0。 * McKay, George. (ed) DiY culture party protest in Nineties Britain, London; New York Verso, 1998. ISBN 1-85984-260-7. マッケイ、ジョージ。(ed)DiY文化：90年代英国（ロンドン）での党と抗議;ニューヨーク：裏、1998。ISBN 1-85984-260-7。 * St John, Graham. (ed) FreeNRG Notes From the Edge of the Dancefloor Altona Commonground. ISBN 1-86335-084-5. 聖ジョン、グレアム。(ed)FreeNRG：Dancefloor Altonaの端からのメモ：Commonground。ISBN 1-86335-084-5。 * Wall, Derek Earth First and the Anti-Roads Movement Radical Environmentalism and Comparative Social Movements London Routledge, 1999. ISBN 0-415-19064-9 壁、デリク『アースファーストと反道運動：急進的な環境保全と比較の社会的な運動のロンドン：ラトリジ、1999。ISBN 0-415-19064-9 External links DIY culture, Justice? and Exodus Reclaim The Streets worldwide hub (based in London) DIY Culture by Alan Lodge (Tash) George McKay – DiY Culture, ‘Notes towards an intro’, section on direct action Stonehenge Celebration and Subversion by Andy Worthington - chapters on DiY Culture FreeNRG Notes From the Edge of the Dancefloor - full 3mb download SchNEWS - Weekly direct action newsletter Digital Music – DIY Now! eBook, released free under Creative Commons Uradi sam besplatan e magazin – DIY free e magazine *in Serbian languge! Uradi sam, sam svoj majstor.
https://w.atwiki.jp/xbox360score/pages/1552.html
Pictionary Ultimate Edition 項目数：44 総ポイント：1000 難易度：★☆☆☆☆ uDraw game tablet 必須 Classic Completionist Complete a full game of classic Pictionary 15 Slow Poke Fail to guess a clue before time runs out 10 Come On Already Change the clue type a lot within one round of play 10 Mind Reader Correctly guess the clue in record speed 40 Gallery Showing Displayed masterpieces in the slideshow 10 Mega Maniac Land on 15 Mega Mania squares and correctly guess the clue 10 Blinded Guess 10 clues with the No Peeking modifier 20 Bookworm Completed the tutorial pop quiz 10 Brushless Guess 10 clues using nothing but the Finger Paint Tool 40 Cant Stop Wont Stop Guess 10 clues in Conveyor Belt mode 20 Challenge Accepted Guess 10 clues using mixed Draw Modes 20 Clue Master Created a collection of Clues 10 Committed Complete a full length 4 Team game without continuing 20 Easy Peasy Play Family Fun with Junior Clues, bonuses on, penalties off, and Picturist Chooses 10 Expert Play Family Fun with low Draw Timer, Difficult Clues, Tempus Fugit, Penalties, and Rivals Choose 50 Figure Artist Gave Pictionary Man a lot of personality 10 Fun with the Family Complete a full game of Family Fun Mode 15 Guess What? Guess 10 Custom Clues 20 Hands On Guess 10 clues in Finger Painting mode 20 Handy Man Use every tool and color in one Draw Round 30 I Meant to do That Win an entire game without using the eraser or undo 40 Just Add Water Guess 10 clues using nothing but the Watercolor Tool 40 Mine, Mine, Mine! Steal a clue from another team 20 Minimalist Win a game using only one tool and one color 30 Picasso spend at least an hour on one Free Draw image 20 Picasso s Understudy Use every tool and color in one Free Draw session 10 Pictionary Maniac Complete a full game of Pictionary Mania 15 Persistent Picturist Play 50 games of Pictionary any mode 50 Pointillism Guess 10 clues in Dots Only mode 20 Prosperous Cheater Cheat through the game quickly 5 Put me in Coach! Use a customized Pictionary Man in a game 10 Quick Hitter Play Family Fun with 10 minute time limit, low Draw Timer, and Tempus Fugit 20 Resourceful Play Family Fun with Ink Limit mode, Random selections, and All Clue Categories 10 Reverse Engineer Guess 10 clues in Eraser Only mode 20 See no Evil Play Family Fun with the No Peeking modifier and the Lights Out Draw Mode 40 Shapeshifter Guess 10 clues using nothing but the Shapes Tool 40 Shutout Win every All Play square within one play session 50 Sight Beyond Sight Guess 10 clues in Lights Out mode 20 Stingy Win without letting the other team play 50 Switch Hitter Guess 10 clues with the Off Hand modifier 20 Switch! Guess 10 clues in Tool Confusion 20 Topsy Turvy Guess 10 clues in Which Way is Up mode 20 Vertigo Guess 10 clues in Rotation Frustration 20 Waste Not Want Not Guess 10 clues with the Ink Limit modifier 20 CUSTOMIZE Clue Master カスタム Clue(問題)を20問作成 Figure Artist|Gave Pictionary Man a lot of personality|10| カスタム Pictinoary Man を10体作成 Put me in Coach! Family PlayかPictionaryモードでカスタム Pictionary Manを使用する Free Draw Picasso 1枚の絵に1時間以上かける。放置で良い。 Picasso s Understudy 1枚の絵に全てのツール、全ての色を使う。色はサブパレットも含めて全て。 Gallery Showing Free Drawで15枚の絵を作成し、Slideshow を見る Family Play Fun with the Family Family Fun モードを完了 Easy Peasy See no Evil 2つのbonusをオン、penaltiesをオフ、who picksをpictureist, clue categories を juniorのみ, mania modifiers を no peeking とlights off のみにすれば同時に取れる no peeking 10回実績と lights off 10回実績も同時に取ると良い Quick Hitter Expert time limit 10, draw timer 30, tempus fugit オン, penalities オン, who pickes を rivals, clue categories を difficultのみ にすれば同時に取れる Resourceful ink limit mode オン、who picks を random, 全ての clue categories を有効 長時間になるので各種10回実績を一緒に消化すると良い Mine, Mine, Mine! Stealルールで誤答し、相手が答える Handy Man 全てのツールと色を1セッションで使う。 House RuleでDraw Timerをオフにするといい 10回実績 指定された条件で問題を10回正答する。 ツール指定のものは、実際に使用しなければカウントされない。 実績 内容 備考 Blinded No Peeking モード 上記See no Eveilと一緒にやるといい Sight Beyond Sight Lights Out mode 同上 Cant Stop Wont Stop Conveyor Belt モード Pointillism Dot Only モード Switch Hitter Off Hand モード Switch! Tool Confusionモード Topsy Turvy Which Way is Up モード Reverse Engineer Eraser Onlyモード Vertigo Rotation Frustrationモード Challenge Acceptedと一緒にやるといい Guess What? custom clue Challenge Acceptedと一緒にやるといい Waste Not Want Not Ink Limit モード ゲーム中のオプション、House RuleをInk Limitモードにすると取れない Hands On Finger Paintingモード Brushless Finger Paint ツールのみを使う Finger Painting モードにすれば自動的にFinger Paintツールのみになる Just Add Water Water Color ツール(水彩筆)のみを使う Shapeshifter Shapes ツールのみを使う 四角や丸のツール Challenge Accepted Hand offルール,Rotation Frustrationモード, Custom Clue モードは他のモードでもいい Pictionary, Pictionary MANIA Bookworm チュートリアルを完了 Classic Completionist Committed Mind Reader Stingy Shutout Prosperous Cheater I Meant to do That 4 team, full game, 一切の描画をせずに即答し続けると一度にすべて取れる。 Minimalist 鉛筆と黒色のみでゲームを完了 Come On Already 問題選択でチェンジを繰り返す Slow Poke 問題を間違える Pictionary Maniac Pictionary Maniacを完了 Mega Maniac Mega Maniaのマスをプレイ後、ゲームを中断しても回数は保存されている。 Pictionary Maniaを4人,shortestで始めて、初めの島に光ったマス(Mega Mania)が二つある状態がやりやすい。（無ければやり直す） Mega Maniaのマスにとまるまで他のマスを何度もやることになるので、Guess 10 clues xxxx modeの類の実績はMega Maniac後のほうがいいかも。----
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Pathfinder Chronicles Faction Guide 忠誠は全てを超えて 全てのキャンペーンには、世界を影から操り、王権を転覆させ、革命を自由と戦争に導くような組織が存在する。これらの秘密結社、バード学校、魔術大学、軍事組織、宗教カルトは想像をとらえてやまない。そして今、the Pathfinder Chronicles Faction Guide によって、君のPCはゴラリオンを動かし、揺るがす組織に加入することができる。この本は、このような組織の1つ、あるいは複数に運命をかけようとするPCのための新しい詳細なルールシステム、またメンバーの地位に伴う責任と報酬について説明する。組織の構成員となることで、PCは冒険にいく新しい理由と、ダンジョン探索から国家的陰謀までいかなる種類のキャンペーンでも無数のロールプレイングの機会を得る。 新しい目的と動機に加え、組織に加入することはゲーム上の具体的な利益をもたらす。ヘルナイトで十分な評価を得れば、PCはヘルナイとの配下を引き連れた恐るべき護衛官 lictor になれる。パスファインダー協会で名声を得れば、PCの冒険者は冒険団長への門戸が開かれる。君のプレイヤーが権力の世界に進むために必要な全てはまさにここにある。 この64ページの本の中にあるのは： さまざまな組織で威信を得るための方法と、それによってアイテム、恩恵、味方を手にいれる方法についてのルール 24のサンプル組織とそれらに参加することで得られる特有の利益。これらの組織には恐るべき赤蟷螂会の暗殺団、悪名高き囁きの道 the Whispering Way、公正なるアンドーランの鷲の団、デーモンを狩るメンデヴ十字軍 the Mendev Crusaders、計算高いカリストレードの予言the Prophets of Kalistrade、冒涜的なラズミール教会 the Church of Razmir が含まれる。 全ての組織を通じて利用できる標準的な褒賞。有用な呪文、熟練した雇い人、特定の魔法のアイテムや装備品の利用。 全ての組織のための新しい特技、呪文、魔法のアイテム、特徴 この本はパスファインダー・ロールプレイング・ゲームと the Pathfinder Chronicles campaign setting を使用することを意図しているが、いかなるファンタジー・ゲーム世界にも容易に適用できる。 ISBN-13 978-1-60125-221-0 カテゴリ：Pathfinder Campaign Setting │ 製品リスト
https://w.atwiki.jp/cohwbg/pages/2.html
Company of Heroes - Modding Guide Company of Heroes - WorldBuilder Guide Basic WorldBuilder Navigation Quick Reference New Map Creation Crash Course Core Map FeaturesCover Explained Tips & Tricks Saving Maps Running your map Music? WorldBuilder Features Overview Features Overview Object PlacementObject Placement Parameters Object Manipulation Render Marker Prox HeightMap EditorDrawing plateaus? Drawing stairways? Texture Tile Painting Editor? Splat Placement? Spline PlacementTexture Edit Mode? Object Edit Mode? Deform Edit Mode? Water Placement? Lighting Editor? Terrain Properties Editor? NIS Tool?HOWTO Basic NIS Stamp Placement? Grass Editor? Layers Window? Edit States?Building Edit States? Wall Edit States? Object Edit States Waypoint Placement? Territory & Resources Optimization? Creating an archive (.sga)? Modding Tools Mod Studio Walkthrough? Burner Tool and Chunky Viewer? Scar Code SCMD_ Commands? Rule_ function? Player_ function? SyncWeapons? Kills and Killers? Command Line Parameters Command Line Parameters? Retrieved from "http //wiki.relicrank.com/index.php?title=CoH" Tip of the Week Archive Tip of the Week Archive 雑記 更新履歴 取得中です。 @ウィキ ガイド @wiki 便利ツール @wiki 今日： - /昨日： - /合計： -