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https://w.atwiki.jp/kumicit/pages/927.html
Kumicitのコンテンツ 創造論ネタ? Appeal to consequence Appeal to consequence詭弁 創造論者/インテリジェントデザイン支持者のよく使う詭弁に"Appeal to consequence"というのがある。定義としては、こんなかんじ： Appeal to Consequences Appeal to Consequences of a Belief Argumentum ad Consequentiam Forms （形式） (Belief in) p leads to good consequences. (Where the good consequences are irrelevant to the truth of p.) Therefore, p is true. P（を信じること）は良い結果につながる （Pが正しいことと、良い結果は無関係だが） 従って、Pは正しい。 (Belief in) p leads to bad consequences. (Where the bad consequences are irrelevant to the falsity of p.) Therefore, p is false. P（を信じること）は悪い結果につながる （Pが間違っていることと、悪い結果は無関係だが） 従って、Pは間違っている。 Example（例） …I want to list seventeen summary statements which, if true, provide abundant reason why the reader should reject evolution and accept special creation as his basic world-view. … もし本当なら、基本的な世界観として進化論を拒否し、特殊創造論を受け入れるべきだという十分な理由となる17の概要リストを示したい。 13. Belief in special creation has a salutary influence on mankind, since it encourages responsible obedience to the Creator and considerate recognition of those who were created by Him. … 創造主への責任ある服従と、創造主によって創造された人々へ優しさを促すので、特殊創造を信じることは、人類に良い影響をもたらす。 16. Belief in evolution and animal kinship leads normally to selfishness, aggressiveness, and fighting between groups, as well as animalistic attitudes and behaviour by individuals. 進化論および動物との類縁関係を信じることは、利己性と攻撃性と集団化の戦いと動物的態度と行動につながる。 Source Henry M. Morris, The Remarkable Birth of Planet Earth (Creation-Life Publishers, 1972), pp. vi-viii. 例文は"若い地球の創造論者"Dr. Henry M. Morrisによる1972年の作品だが、これは今も昔も使われている論。 ただし、Dr. Henry M. Morrisほど明瞭な形をとらず、「P（を信じること）は悪い結果につながる」だけを連呼する形式が多い。Mark Isaakによる Creationist Claims ( 創造論者の主張リスト )にはこれに相当する項目がある： CA001 進化論は不道徳な世界観である CA001_1 進化論教育が始まってから、犯罪率などが増加した CA002 適者生存は「勝者の正義」が行動指針となる CA002_1 進化論は社会的ダーウィニズムにつながる? CA006_1 ヒトラーは自らの見方の基礎をダーウィニズムに置いた CA008 進化論は乱交と性欲のコンセプトを奨励する CA009 進化論は我々が動物であり、動物のように振る舞うと教えている
https://w.atwiki.jp/dominions4/pages/39.html
概要 C tisは砂ばかりの砂漠に囲まれた、湿地の多い谷です。 肥沃な谷には、蜥蜴のような亜人種の神政王国が作られました。 王国は人間の標準よりも古く、その知恵と魔法の知識は強大です。 社会の頂点には、Lizard Kingとその息子らが居ます。KingらはC tisの最高位の聖職者です。 王の下には、High Priestと彼らのSacred Serpentと、死と再生の偉大なる魔術師、謎多きSauromancerが居ます。 蜥蜴人は草食ですが、兵士や労働者として用いるため、肉食の蜥蜴人の種族を隷属させています。 C tisの民は動きが遅いものの、彼らを切り傷や打ち傷から保護する分厚い皮があります。 どちらの蜥蜴人も冷血動物で、寒い州で戦うと急激に消耗します。 彼らには、毒に対する部分的な抵抗力があります。 C tisの民は、温暖な州に住むのを好みます。 種族 分厚い皮膚、冷血動物、毒耐性。適正気候Heat+2 軍事 戦車、歩兵、奴隷戦士、神聖なる大蛇 魔法 死、緑、多少の水、星 聖職者 強力 要塞技術 レベル1（Fortress） 初期宝石 死4、緑2 魔法土地 The Temple City 指揮官 名称 コスト 制限 雇用条件 解説 Taskmaster 30g,2r 要塞 指揮官：奴隷の指揮を担当する指揮官。連れられる数は多くないが、士気ボーナスが高くなる。指揮上限40 Commander of C tis 40g,15r 要塞 指揮官：より標準的な指揮官。指揮上限60 Lizard Lord 70g,21r 要塞 指揮官：上位指揮官。指揮上限80 High Priest of C tis 80g,1r 要塞 聖職者：レベル2の聖職者。指揮上限40 Hierodule 30g,1r 要塞 聖職者：レベル1の聖職者。実は女性 Shaman 90g,2r 要塞 魔術師：Sacred付きの肉食種の魔術師。星、緑の魔法スキルを持つ。 Reborn 105g,1r 要塞 魔術師：死の魔法スキルを持つ魔術師 Sauromancer 210g,1r 2ターン雇用 要塞 魔術師：死、緑を中心とする魔法スキルを持つ魔術師。強大な魔術師ながら首都専用ではない。高めの防御力を持つ Lizard King 230g,5r 2ターン雇用 首都 聖職者：レベル3の聖職者。戦闘力にも優れ、最上位指揮官も兼ねる。指揮上限120 Lizard Heir 155g,26r 首都 指揮官：戦車に乗ったSacred指揮官。機動力を活かしたいときに利用する。指揮上限80 兵士 名称 コスト 制限 雇用条件 解説 Militia 7g,2r 要塞 民兵：槍だけ持った民兵。救いようのない士気もあって素晴らしく弱い。マップ移動力1 Light Infantry 10g,5r 要塞 軽歩兵：槍、手槍、盾を持つ軽歩兵。C tisのユニットは弱い毒耐性、冷血動物、沼地のサバイバル能力を共通して持つ City Guard 10g,10r 要塞 歩兵：槍と盾を持つ歩兵。要塞防衛ボーナスを持つ。 Heavy Infantry 10g,15r 要塞 重歩兵：槍と盾を持つ歩兵。良質な鎧で固めているが、その分動きは遅い。マップ移動力1 Falchioneer 13g,17r 要塞 歩兵：剣2本を持つ歩兵。盾がない代わりに攻撃力が非常に高く、士気や戦闘技能も高め Slave Warrior 13g,3r 要塞 軽歩兵：三叉槍と噛み付きで攻撃する肉食種の奴隷兵。Taskmasterの指揮下で士気が高まる Elite Warrior 15g,9r 要塞 歩兵：鎧を与えられた奴隷兵。戦闘技能や士気も向上している Runner 13g,2r 要塞 軽歩兵：槍と噛み付きで攻撃する奴隷兵。あまり身体能力は高くないが、徒歩のわりには移動が早い。マップ移動力3 Sacred Serpent 30g,1r 要塞 大蛇：Sacred。同じ部隊の兵の士気を高める毒蛇。戦闘力を期待するにはやや高価 Lizard Chariot 50g,26r 要塞 戦車兵：丈夫な造りの戦車。小さな敵を轢き潰すのが主任務 Serpent Dancer 19g,2r 首都 軽歩兵：Sacred。有毒な蛇の杖を使う兵。防御面は弱いが安価で、魔法武器なのが利点 地方守備隊 種別 指揮官 兵士 備考 地上下位 Commander of C tis Militia 10 City Guard 20 地上上位 Lizard Lord Slave Warrior 10 City Guard 10 魔法技能 条件 名称 固定 変動 備考 要塞 High Priest of C tis 2 Sacred 要塞 Hierodule 1 Sacred 要塞 Shaman 11 Sacred 要塞 Reborn 2 要塞 Sauromancer 31 +1 100% +1 10% 首都 Lizard King 3 Sacred 召喚 Couatl 332 Sacred 固有魔法 領域 使用 名称 主属性 副属性 宝石 解説 Conjuration Lv3 儀式 Pride of Lions 2 10 敏捷で強力なGreat Lionを10+体召喚します Conjuration Lv5 儀式 Sacred Crocodile 2 2 8 強靭で大型な神聖なるSacred Crocodileを1体召喚します Conjuration Lv5 儀式 Summon Monster Toad 2 8 毒霧に包まれ敵を蹂躙する神聖なる大蛙Monster Toadを3体召喚します Conjuration Lv7 儀式 Contact Couatl 1 1 40 優れた魔力を持つ神聖な翼ある蛇Couatlを召喚します Conjuration Lv8 儀式 Contact Scorpion Man 1 1 12 多彩で強力な攻撃を持つ蠍人間Scorpion Manを1体召喚します 前作からの変更点 Falchioneerの攻撃技能と二刀流ペナルティ軽減力が改善され、命中率が大きく向上した Slave Warrior系の兵が奴隷扱いになり、士気が低下した代わりにTaskmaster能力による士気向上を得られるようになった 固有魔法Sacred Crocodileを得た 守備隊の構成が改善された 固有魔法Contact Sirrush、Devourer of Soulsを喪失した コメント 名前 コメント
https://w.atwiki.jp/yoshiumi41/pages/88.html
package kaihatu; import java.io.IOException; import javax.servlet.ServletException; import javax.servlet.http.HttpServletRequest; import javax.servlet.http.HttpServletResponse; import org.apache.catalina.startup.SetAllPropertiesRule; public class ActionAddItem extends Action { private static final String SENDURL = "/viewMenu.jsp"; private static final String BACKURL = "/viewLogin.jsp"; String itemNo; String quantity; String deliveryDate; @Override public String execute(HttpServletRequest request, HttpServletResponse response) throws ServletException, IOException { itemNo = (String)request.getAttribute("itemNo"); quantity = (String)request.getAttribute("quantity"); deliveryDate = (String)request.getAttribute("deliveryDate"); ARStub arstub = new ARStub(); arstub.ServiceAddItem(itemNo, quantity, deliveryDate); ItemAdd ia = new ItemAdd(); request.setAttribute("itemNo", ia.itemNo); request.setAttribute("itemName", ia.itemName); request.setAttribute("unitPrice", ia.unitPrice); request.setAttribute("quantity", ia.quantity); request.setAttribute("price", ia.price); request.setAttribute("deliveryDate", ia.deliveryDate); return SENDURL; } }
https://w.atwiki.jp/dominions4/pages/255.html
破滅の剣を持つアンデッド戦士Wightを20+体召喚します Legion of Wights 領域 使用 宝石 Conjuration Lv9 儀式/陸上限定 30 主属性 副属性 効果量 効果発生数 6 - - 2+3/Lv 射程距離 効果範囲 精度補正 疲労 - - - - 特殊 ゲーム内説明文 The necromancer summons twenty Wights from the Underworld to serve him. Wights are powerful undead warriors armed with Bane Blades and heavy armor. 和訳 死霊術士は、冥界から20体のWightを召喚し、服従させます。WightはBane Bladeと重装な防具で武装した、強力なアンデッドの戦士です。 解説 Revive Wightsの上位魔法。召喚効率に難がありすぎた下位に対し、必要条件の大幅な増加を対価に大量のWightを呼び出せるようになった。 Wight自体の性能は終盤でも悪いものではない。手頃な性能の兵をこれだけまとめて出せるのであれば、利用価値は十分にあると言えるだろう。 問題はあまりにも解禁が遅いこと。この時期ともなると比較対象になる相手も多く、また考えられる対処法もさらに増えてしまっている。魔法抵抗がやや低い弱点もそのままなので、聖職者にあっさり処理されることも。 必要な魔法レベルも、一般兵の召喚儀式としては少々高すぎる感もある。一人で呼んでも数は揃うだろうが、消耗するのも早い可能性は考慮しておくべきだろう。 コメント 名前 コメント
https://w.atwiki.jp/ddr_dp/pages/518.html
Fascination MAXX(激) 曲名 アーティスト フォルダ 難易度 BPM NOTES/FA(SA) その他 Fascination MAXX 100-200-400 SN 激17 100-400 628 / 3 STREAM VOLTAGE AIR FREEZE CHAOS 161 133 0 3 132 楽譜面(10) / 踊譜面(13) / 激譜面(17) / 鬼譜面(18) 属性 超発狂(カニ歩き、地団駄)、渡り、ひねり、交互難、ソフラン(加速、減速、停止)、変拍子、ラス殺し、体力 譜面 http //eba502.web.fc2.com/fumen/ddr/sn1/fasc_max_8m_x.html 譜面動画 https //www.youtube.com/watch?v=1uP1-lUjRbQ (x1.0, NOTE) http //www.nicovideo.jp/watch/sm23701048 http //www.nicovideo.jp/watch/sm23701048 (x1.25, NOTE, Clap, 1 42～) プレイ動画 https //youtu.be/2oTIg-sOyio?si=fN5XiPzyWoxvuHrG&t=238 (x?.?, NOTE ※3 58～) https //www.youtube.com/watch?v=GVMNyL958ZQ (x?.?, RAINBOW, MIRROR) http //www.youtube.com/watch?v=HGrpGuDD0_Y (x?.?, RAINBOW) 解説 BPM推移：100-400(ここから譜面開始)-200-400-200-400-200-400-200-400-100-200-(停止)-200-(停止)-200-400-100-200-400 鬼鯖よりも多い怒涛のNOTESが体力をじわじわと奪う。後半の超発狂地帯はほとんど地団太で、見た目よりは楽。むしろそれまでに体力を消費しないほうが重要。 -- 名無しさん (2010-01-18 19 42 24) BPM200地帯の振り回しはかなり酷い。ここでの体力消費量はかなり個人差が出る。疲れない踏み方を身に着けよう。 -- 名無しさん (2010-01-18 19 46 38) 挑戦レベルでは停止地帯を覚えておかないと即死です。 -- 名無しさん (2010-04-23 00 29 59) 後半はSPのようなジャンプは皆無なので純粋に高速地団駄譜面となる。体力勝負。 -- 名無しさん (2010-04-26 01 57 41) 加速してからは5連地帯が来た後7連地帯が来るが実は難しいのは5連の方だったりする -- 名無しさん (2010-11-23 11 32 43) Ｘ時に譜面が微変更された。また、実は同時が一つしかない。鬼も二つだけ -- 名無しさん (2013-12-14 18 30 19) 名前 コメント コメント(私的なことや感想はこちら) 動画参考にならんレベルｗｗ -- 名無しさん (2010-01-21 19 44 09) 俺が良く落すのは超発狂に挟まれた最後の低速地帯、体力切れで精神的にきつく、気が滅入る。何とかならんものか。 -- 名無しさん (2010-02-11 11 19 18) 言うまでもなく体力勝負。スコア狙うなら、シングルのstoic地帯部分のリズムをある程度理解しないとお話にならない。 -- 名無しさん (2010-05-05 21 36 23) クリア狙いもスコア狙いでも地団駄地帯の直前が出来るかどうか・・・かな？ -- 名無しさん (2012-02-05 13 44 45) ポゼ、東北と足１７も幅が出てきたが、未だにコイツはそれらに並ぶ現役最強クラスだと思う -- 名無しさん (2012-12-04 03 33 06) POSSESSION激の方が全然クリア出来ません。よほどバテてなければこっちのほうが安定!? -- 名無しさん (2012-12-22 01 52 10) ↑2 クリア目指してますが3連符地帯をほぼゲージ満タンで抜けても5連打ラッシュについていけず落ちてしまいますｗ激エタラブのラストが練習に使えそう？ -- 名無しさん (2013-01-08 08 01 44) ↑すいません、↑3のミスでした。 -- 名無しさん (2013-01-08 08 02 41) 地団駄苦手マンだと鬼の方が先に埋まる事も。 -- 名無しさん (2013-07-13 17 01 15) Real Practice Drill の４－４がいい練習になる。 -- 名無しさん (2013-10-05 19 34 12) DP足17では空気だけどSP同様の強～最上位クラス。詐欺とか言われるポゼ、東北、エアヒ、スパニッシュ、エボより強い。 -- 名無しさん (2014-11-11 09 07 42) ↑鬼と間違えてないか？、激は足17下位～中位クラス -- 名無しさん (2014-11-12 03 01 46) ↑下位は信じられないな。激はこれだけ鬼を含めてもエタラブとの２つだけ倒せない。個人差譜面とも思えないし中の上はあるでしょ -- 名無しさん (2014-11-12 11 45 38) ↑すいません、エタラブと間違てました -- 名無しさん (2014-11-12 16 20 11) エタラブ激も下位や弱じゃないよな -- 名無しさん (2014-11-14 16 38 36) 地団駄ならお米で鍛えたからいけるぜ！ と思ったら、地団駄地帯も見た目以上に振り回しがキツくて、まともな体勢で踏ませてもらえない -- 名無しさん (2015-02-23 16 41 57) DP17ほぼ最強って感じ -- 名無しさん (2017-12-25 20 00 42) ↑同感。足18入門の冥Go Forエレクリ辺りといい勝負。これよりも難しい17(エアヒ・イドラ・ニュージェネ・ポゼ・レボ・スパニッシュ辺り)は全部詐称だと思ってる。 -- 名無しさん (2017-12-25 23 19 59) なんやかんやで今でも滅茶苦茶強くて貫禄たっぷり。こんなのがSNなんて時期にあったのだから恐ろしい…SNはエタラブHDVも大概だが -- 名無しさん (2019-05-18 09 33 23) 名前 コメント
https://w.atwiki.jp/takumi-memo/pages/22.html
Confluenceとは 企業向けWiki、コラボレーションツール Confluence(コンフルエンス)はシンプルかつ高性能なエンタープライズウィキのこと。 Officeとの連携も協力で、Confluenceで作成したコンテンツ（テキスト、表計算シート、画像などを含むページ）は、チーム内で共同作成し共有することができる。 組織で使用する上で不可欠なエンタープライズ機能も充実しており、コラボレーションの優れた手段をお探しの方に最適な製品。 Confluence Developer Documentation Plugin Guide User Macro Types Tutorials
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Life Connection 138107594479650761226.png world sequenceの正体は村井聖夜 公式 Twitter による紹介コメント BASIC ADVANCED EXTREME LEVEL 4 6 7 Notes 269 453 582 HOLD LEVEL 4 7 9.6 HOLD NOTES 182 369 632 BPM 200 Time 1 50 Artist world sequence ジャンル オリジナル Version saucer( [2] festo ) 譜面※外部サイト ■ ■ ■ HOLD譜面※外部サイト ■ この曲で手に入る称号 通常譜面 【全難易度クリア】Life Connection 【全難易度フルコンボ】命を繋ぐスピリチュアル ホールド譜面 【全難易度クリア】みんな違ってみんな良い 【全難易度フルコンボ】ゾウさんはもっと好きです 解禁方法 通常譜面 bistro saucer解禁曲(2013/10/01 07 00～2013/10/31 06 00まで)として登場 ホールド譜面 2018/10のT-emo STOREで解禁(要100 T-emo)(2018/10/01 10 00～2018/11/05 09 59まで) 2019/01のT-emo STOREに再入荷(要50 T-emo)(2019/01/07 10 00～2019/02/04 09 59まで) 2020/01のT-emo STOREに再入荷(要50 T-emo)(2020/01/06 10 00～2020/02/03 09 59まで) 動画 - 譜面動画 譜面動画 YouTube 譜面動画 EXTREME (フラワー+ハンドクラップ) ニコニコ動画 譜面動画 EXTREME (フラワー+ハンドクラップ) - プレー動画 プレー動画 - ホールド譜面動画 ホールド譜面動画 - BASIC BASIC - ADVANCED ADVANCED - EXTREME EXTREME 譜面動画 EXTREME (シャッター＋ハンドクラップ) - プレー動画 プレー動画 攻略・解説 各譜面の攻略に関する情報はこちらへ。 [EXT]②④⑬⑮の同時押しが2回ある。直前にノートがある為、初見で見切るのは困難と思われる。 -- 名無しさん (2013-10-01 20 35 23) [EXT]フルコンは②④⑬⑮押しがすべて、桂馬同時押し地帯の直後に来るのでタイミングを覚えよう。スコアは前半にある左側に偏っている場所が難所、右手でカバーすると光りやすい -- 名無しさん (2013-10-02 03 02 53) [BSC]影縫い同様、3拍子を意識すれば問題なくいけるが、イントロがややグレやすいか。こちらは開幕から3拍子である模様。 -- 名無しさん (2013-10-02 20 35 26) [ADV]緑同様、序盤がグレやすい。1･2回目と3･4回目でリズムが違うので注意(後者は8分横移動を含む)。道中は曲合わせだが、BPMが速いため、同時押しと8分偏差の区別が若干つきにくい。 -- 名無しさん (2013-10-04 20 55 59) 初見殺し要素が、黄と赤に一ヶ所ずつある -- 名無しさん (2014-01-26 02 43 40) [EXT]序盤の6、7、8の3連スライドは6を左手で取ると光らせやすいか -- 名無しさん (2015-01-26 19 48 14) 名前 コメント ホールド譜面攻略・解説 各譜面の攻略に関する情報はこちらへ。 [EXT]ホールドの使い方は片手をロックしてもう片方の手で出張込みの配置を叩かせるタイプ。配置は素直な方だが、ホールドの終点判定がシビアで次の小節の頭まで押しっぱなしでないと光らない。9.6は逆詐称気味か。 -- 名無しさん (2018-10-06 10 03 38) 名前 コメント ※攻略の際は、文頭に[BSC] [ADV] [EXT] のいずれかを置くと、どの譜面に関する情報かが分かりやすいです。 ※体感難易度を書き記す際は、クリア難度・スコア難度のどちらかなのかを明記してください。 また、攻略と関係ない投稿・重複した内容は削除の対象になります 攻略とは無関係の話は該当する欄（情報交換＆雑談） にてどうぞ。
https://w.atwiki.jp/dominions4/pages/53.html
概要 何世紀もの間、海はTritonの領域でした。しかし最近になって、魚、蛙、人間の雑種のような存在の国が海で最も深い谷に誕生しました。 彼らのうち少数は浅い沿岸の礁を住処としたため、種族自体が全く知られていないわけではありませんでした。 しかしTriton Kingは彼らが国を作るのに十分に多いか、あるいは強力であるとは全く想像していませんでした。 Atlantianは殺されない限り決して成長を止めず、数百年に渡って生きます。 Atlantianの社会は、大きさや年齢による厳しい階層構造を持ちます。 最も古く、最も狡猾なAtlantianは、彼らを海で最も深い場所にあるBasalt Cityの王や女王としました。 深海のAtlantianは、Basalt Kingによって作られる魔法をかけられた玄武岩の武器を使用します。 種族 水陸両棲 軍事 軽歩兵、シャンブラー。射撃武器なし 魔法 地、水、火、多少の星 聖職者 強力 要塞技術 レベル2（Castle）、水中建設可能 初期宝石 火1、水2、地3 魔法土地 The Basalt Ciry、The Dark Crystal 指揮官 名称 コスト 制限 雇用条件 解説 Scout 20g,1r 水中要塞 偵察兵：水陸両用の偵察兵。なぜか安価 Coral Priest 45g,3r 水中要塞or沿岸要塞 聖職者：レベル1の聖職者。沿岸でも雇えるのが利点 Shambler Chief 55g,2r 水中要塞 指揮官：標準的な指揮官。盾も鎧もないので地上戦では注意。指揮上限60 Coral Commander 85g,26r 水中要塞 指揮官：上位指揮官。丈夫だが行軍が遅いのが難点。指揮上限80。マップ移動力1 Mother of the Deep 100g,5r 水中要塞 聖職者：レベル2の聖職者。指揮上限40 Mage of the Deep 220g,4r 水中要塞 魔術師：水を中心とした魔法スキルを持つ魔術師。ごく少数の兵を水中に連れ込める。射撃精度に難あり Basalt Queen 325g,1r 2ターン雇用 首都 聖職者：レベル3の聖職者。最上位指揮官も兼任。火炎冷気耐性と完璧な暗視も持つ。指揮上限160 Basalt King 445g,1r 2ターン雇用 首都 魔術師：地、水、火の魔法スキルを持つSacred魔術師。火炎冷気耐性と完璧な暗視も持つ。やはり射撃精度は難あり 兵士 名称 コスト 制限 雇用条件 解説 Reef Dweller 10g,10r 水中要塞or沿岸要塞 軽歩兵：珊瑚の槍と盾を持つ歩兵。珊瑚の鎧の棘は短い武器で挑んでくる敵に毒を与える Atlantian Spearman 10g,5r 水中要塞 軽歩兵：槍だけを持つ歩兵。Atlantianはすべて水陸両用かつ暗視持ち Shambler 25g,1r 水中要塞 軽歩兵：成長しサイズ3になったAtlantian。爪の2連打で攻撃する War Shambler 30g,8r 水中要塞 歩兵：槍と盾を持つShambler歩兵。士気が高めになっている Coral Guard 35g,26r 水中要塞 重歩兵：珊瑚の薙刀と盾を持つShamblerの精鋭歩兵。珊瑚の鎧を着用。マップ移動力1 Deep One 10g,1r 水中要塞 軽歩兵：爪と噛み付きで攻撃する深海のAtlantian。火炎と冷気に耐性を持ち、暗視も完璧だが魔法抵抗が低い。マップ移動力1 Deep One Spearman 10g,7r 水中要塞 軽歩兵：魔法武器である玄武岩の槍を持つDeep One。噛み付きと併せ攻撃力は高い Shambler of the Deep 25g,1r 水中要塞 軽歩兵：爪の2連撃と噛み付きで攻撃する深海のShambler。魔法抵抗がDeep One以上に悲惨 Warrior of the Deep 30g,11r 水中要塞 軽歩兵：玄武岩の槍を持つ深海のShambler。サイズゆえに密度は低いが一撃が強烈 Living Pillar 45g,56r 首都 重歩兵：Sacred。玄武岩の槍と盾を持ち、玄武岩の鎧を纏う深海のShambler。要塞防衛も得意とする。マップ移動力1 地方守備隊 種別 指揮官 兵士 備考 全域下位 Coral Commander Atlantian Spearman 10 Deep One 10 全域上位 Mother of the Deep Atlantian Spearman 10 War Shambler 10 魔法技能 条件 名称 固定 変動 備考 水中要塞 Mother of the Deep 2 Sacred 水中要塞 Mage of the Deep 2 +1 100% +1 100% 首都 Basalt Queen 3 Sacred 首都 Basalt King 123 +1 100% +1 10% Sacred 固有魔法 領域 使用 名称 主属性 副属性 宝石 解説 Conjuration Lv6 儀式 Summon Monster Fish 3 10 小さな敵を丸呑みにする水棲の深海魚Monster Fishを1体召喚します 前作からの変更点 コメント 名前 コメント
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Stabilization In this section, we’ll go into SynthEyes’ stabilization system in depth, and describe some of the nifty things that can be done with it. If we wanted, we could have a single button “Stabilize this!” that would quickly and reliably do a bad job almost all the time. If that s what you’re looking for, there are some other software packages that will be happy to oblige. In SynthEyes, we have provided a rich toolset to get outstanding results in a wide variety of situations. You might wonder why we’ve buried such a wonderful and significant capability quite so far into the manual. The answer is simple in the hopes that you’ve actually read some of the manual, because effectively using the stabilizer will require that you know a number of SynthEyes concepts, and how to use the SynthEyes tracking capabilities. If this is the first section of the manual that you’re reading, great, thanks for reading this, but you’ll probably need to check out some of the other sections too. At the least, you have to read the Stabilization quick-start. Also, be sure to check the web site for the latest tutorials on stabilization. We apologize in advance for some of the rant content of the following sections, but it s really in your best interest! Why SynthEyes Has a Stabilizer The simple and ordinary need for stabilization arises when you are presented with a shot that is bouncing all over the place, and you need to clean it up into a solid professional-looking shot. That may be all that is needed, or you might need to track it and add 3-D effects also. Moving-camera shots can be challenging to shoot, so having software stabilization can make life easier. Or, you may have some film scans which are to be converted to HD or SD TV resolution, and effects added. People of all skill levels have been using a variety of ad-hoc approaches to address these tasks, sometimes using software designed for this, and sometimes using or abusing compositing software. Sometimes, presumably, this all goes well. But many times it does not a variety of problem shots have been sent to SynthEyes tech support which are just plain bad. You can look at them and see they have been stabilized, and not in a good way. We have developed the SynthEyes stabilizer not only to stabilize shots, but to try to ensure that it is done the right way. How NOT to Stabilize Though it is relatively easy to rig up a node-based compositor to shift footage back and forth to cancel out a tracked motion, this creates a fundamental problem Most imaging software, including you, expects the optic center of an image to fall at the center of that image. Otherwise, it looks weird—the fundamental camera geometry is broken. The optic center might also be called the vanishing point, center of perspective, back focal point, center of lens distortion. For example, think of shooting some footage out of the front of your car as you drive down a highway. Now cut off the right quarter of all the images and look at the sequence. It will be 4 3 footage, but it s going to look strange—the optic center is going to be off to the side. If you combine off-center footage with additional rendered elements, they will have the optic axis at their center, and combined with the different center of the original footage, they will look even worse. So when you stabilize by translating an image in 2-D (and usually zooming a little), you’ve now got an optic center moving all over the place. Right at the point you’ve stabilized, the image looks fine, but the corners will be flying all over the place. It s a very strange effect, it looks funny, and you can’t track it right. If you don’t know what it is, you’ll look at it, and think it looks funny but not know what has hit you. Recommendation if you are going to be adding effects to a shot, you should ask to be the one to stabilize or pan/scan it also. We’ve given you the tool to do it well, and avoid mishap. That s always better than having someone else mangle it, and having to explain later why the shot has problems, or why you really need the original un-stabilized source by yesterday. In-Camera Stabilization Many cameras now feature built-in stabilization, using a variety of operating principles. These stabilizers, while fine for shooting baby s first steps, may not be fine at all for visual effects work. Electronic stabilization uses additional rows and columns of pixels, then shifts the image in 2-D, just like the simple but flawed 2-D compositing approach. These are clearly problematic. One type of optical stabilizer apparently works by putting the camera imaging CCD chip on a little platform with motors, zipping the camera chip around rapidly so it catches the right photons. As amazing as this is, it is clearly just the 2-D compositing approach. Another optical stabilizer type adds a small moving lens in the middle of the collection of simple lens comprising the overall zoom lens. Most likely, the result is equivalent to a 2-D shift in the image plane. A third type uses prismatic elements at the front of the lens. This is more likely to be equivalent to re-aiming the camera, and thus less hazardous to the image geometry. Doubtless additional types are in use and will appear, and it is difficult to know their exact properties. Some stabilizers seem to have a tendency to intermittently jump when confronted with smooth motions. One mitigating factor for in-camera stabilizers, especially electronic, is that the total amount of offset they can accommodate is small—the less they can correct, the less they can mess up. Recommendation It is probably safest to keep camera stabilization off when possible, and keep the shutter time (angle) short to avoid blur, except when the amount of light is limited. Electronic stabilizers have trouble with limited light so that type might have to be off anyway. 3-D Stabilization To stabilize correctly, you need 3-D stabilization that performs “keystone correction” (like a projector does), re-imaging the source at an angle. In effect, your source image is projected onto a screen, then re-shot by a new camera looking in a somewhat different direction with a smaller field of view. Using a new camera keeps the optic center at the center of the image. In order to do this correctly, you always have to know the field of view of the original camera. Fortunately, SynthEyes can tell us that. Stabilization Concepts Point of Interest (POI). The point of interest is the fixed point that is being stabilized. If you are pegging a shot, the point of interest is the one point on the image that never moves. POI Deltas (Adjust tab). These values allow you to intentionally move the POI around, either to help reduce the amount of zoom required, or to achieve a particular framing effect. If you create a rotation, the image rotates around the POI. Stabilization Track. This is roughly the path the POI took—it is a direction in 3-D space, described by pan/tilt/roll angles—basically where the camera (POI) was looking (except that the POI isn’t necessarily at the center of the image). Reference Track. This is the path in 3-D we want the POI to take. If the shot is pegged, then this track is just a single set of values, repeated for the duration of the shot. Separate Field of View Track. The image preparation system has its own field of view track. The image prep s FOV will be larger than main FOV, because the image prep system sees the entire input image, while the main tracking and solving works only on the smaller stabilized sub-window output by image prep. Note that an image prep FOV is needed only for stabilization, not for pixel-level adjustments, downsampling, etc. The Get Solver FOV button transfers the main FOV track to the stabilizer. Separate Distortion Track. Similarly there is a separate lens distortion track. The image prep s distortion can be animated, while the main distortion can not. The image prep distortion or the main distortion should always be zero, they should never both be nonzero simultaneously. The Get Solver Distort button transfers the main distortion value (from solving or the Lens-panel alignment lines) to the stabilizer, and begs you to let it clear the main distortion value afterwards. Stabilization Zoom. The output window can only be a portion of the size of the input image. The more jiggle, the smaller the output portion must be, to be sure that it does not run off the edge of the input (see the Padded mode of the image prep window to see this in action). The zoom factor reflects the ratio of the input and output sizes, and also what is happening to the size of a pixel. At a zoom ratio of 1, the input and output windows and pixels are the same size. At a zoom ratio of 2, the output is half the size of the input, and each incoming pixel has to be stretched to become two pixels in the output, which will look fairly blurry. Accordingly, you want to keep the zoom value down in the 1.1-1.3 region. After an Auto-scale, you can see the required zoom on the Adjust panel. Re-sampling. There s nothing that says we have to produce the same size image going out as coming in. The Output tab lets you create a different output format, though you will have to consider what effect it has on image quality. Re-sampling 3K down to HD sounds good; but re-sampling DV up to HD will come out blurry because the original picture detail is not there. Interpolation Filter. SynthEyes has to create new pixels “in-between” the existing ones. It can do so with different kinds of filtering to prevent aliasing, ranging from the default Bi-Linear to the most complex 3-Lanczos. The bi-linear filter is fastest but produces the softest image. The Lanczos filters take longer, but are sharper—although this can be drawback if the image is noisy. Tracker Paths. One or more trackers are combined to form the stabilization track. The tracker s 2-D paths follow the original footage. After stabilization, they will not match the new stabilized footage. There is a button, Apply to Trkers, that adjusts the tracker paths to match the new footage, but again, they then match that particular footage and they must be restored to match the original footage (with Remove f/Trkers) before making any later changes to the stabilization. If you mess up, you either have to return to an earlier saved file, or re-track. Overall Process We’re ready to walk through the stabilization process. You may want to refer to the Image Preprocessor Reference. · Track the features required for stabilization either a full auto-track, supervised tracking of particular features to be stabilized, or a combination. · If possible, solve the shot either for full 3-D or as a tripod shot, even if it is not truly nodal. The resulting 3-D point locations will make the stabilization more accurate, and it is the best way to get an accurate field of view. · If you have not solved the shot, manually set the Lens FOV on the Image Preprocessor s Lens tab (not the main Lens panel) to the best available value. If you do set up the main lens FOV, you can import it to the Lens tab. · On the Stabilization tab, select a stabilization mode for translation and/or rotation. This will build the stabilization track automatically if there isn’t one already (as if the Get Tracks button was hit), and import the lens FOV if the shot is solved. · Adjust the frequency spinner as desired. · Hit the Auto-Scale button to find the required stabilization zoom · Check the zoom on the Adjust tab; using the Padded view, make any additional adjustment to the stabilization activity to minimize the required zoom, or achieve desired shot framing. · Output the shot. If only stabilized footage is required, you are done. · Update the scene to use the new imagery, and either re-track or update the trackers to account for the stabilization · Get a final 3-D or tripod solve and export to your animation or compositing package for further effects work. There are two main kinds of shots and stabilization for them shots focusing on a subject, which is to remain in the frame, and traveling shots, where the content of the image changes as new features are revealed. Stabilizing on a Subject Often a shot focuses on a single subject, which we want to stabilize in the frame, despite the shaky motion of the camera. Example shots of this type include · The camera person walking towards a mark on the ground, to be turned into a cliff edge for a reveal. · A job site to receive a new building, shot from a helicopter orbiting overhead · A camera car driving by a house, focusing on the house. To stabilize these shots, you will identify or create several trackers in the vicinity of the subject, and with them selected, select the Peg mode on the Translation list on the Stabilize tab. This will cause the point of interest to remain stationary in the image for the duration of the shot. You may also stabilize and peg the image rotation. Almost always, you will want to stabilize rotation. It may or may not be pegged. You may find it helpful to animate the stabilized position of the point of interest, in order to minimize the zoom required, see below, and also to enliven a shot somewhat. Some car commercials are shot from a rig that shows both the car and the surrounding countryside as the car drives they look a bit surreal because the car is completely stationary—having been pegged exactly in place. No real camera rig is that perfect! Stabilizing a Traveling Shot Other shots do not have a single subject, but continue to show new imagery. For example, · A camera car, with the camera facing straight ahead · A forward-facing camera in a helicopter flying over terrain · A camera moving around the corner of a house to reveal the backyard behind it In such shots, there is no single feature to stabilize. Select the Filter mode for the stabilization of translation and maybe rotation. The result is similar to the stabilization done in-camera, though in SynthEyes you can control it and have keystone correction. When the stabilizer is filtering, the Cut Frequency spinner is active. Any vibratory motion below that frequency (in cycles per second) is preserved, and vibratory motion above that frequency is greatly reduced or eliminated. You should adjust the spinner based on the type of motion present, and the degree of stabilization required. A camera mounted on a car with a rigid mount, such as a StickyPod, will have only higher-frequency residual vibration, and a larger value can be used. A hand-held shot will often need a frequency around 0.5 Hz to be smooth. Note When using filter-mode stabilization, the length of the shot matters. If the shot is too short, it is not possible to accurately control the frequency and distinguish between vibration and the desired motion, especially at the beginning and end of the shot. Using a longer version of the take will allow more control, even if much of the stabilized shot is cut after stabilization. Minimizing Zoom The more zoom required to stabilize a shot, the less image quality will result, which is clearly bad. Can we minimize the zoom, and maximize image quality? Of course, and SynthEyes provides the controllability to do so. Stabilizing a shot has considerable flexibility the shot can be stable in lots of different ways, with different amounts of zoom required. We want a shot that everyone agrees is stable, but minimizes the effect on quality. Fortunately, we have the benefit of foresight, so we can correct a problem in the middle of a shot, anticipating it long before it occurs, and provide an apparently stable result. Animating POI The basic technique is to animate the position of the point-of-interest within the frame. If the shot bumps left suddenly, there are fewer pixels available on the left side of the point of interest to be able to maintain its relative position in the output image, and a higher zoom will be required. If we have already moved the point of interest to the left, fewer pixels are required, and less zoom is required. Earlier, in the Stabilization Quick Start, we remarked that the 28% zoom factor obtained by animating the rotation could be reduced further. We’ll continue that example here to show how. Re-do the quick start to completion, go to frame 178, with the Adjust tab open, in Padded display mode, with the make key button turned on. From the display, you can see that the red output-area rectangle is almost near the edge of the image. Grab the purple point-of-interest crosshair, and drag the red rectangle up into the middle of the image. Now everything is a lot safer. If you switch to the stabilize tab and hit Autoscale, the red rectangle enlarges—there is less zoom, as the Adjust tab shows. Only 15% zoom is now required. By dragging the POI/red rectangle, we reduced zoom. You can see that what we did amounted to moving the POI. Hit Undo twice, and switch to the Final view. Drag the POI down to the left, until the Delta U/V values are approximately 0.045 and -0.035. Switch back to the Padded view, and you’ll see you’ve done the same thing as before. The advantage of the padded view is that you can more easily see what you are doing, though you can get a similar effect in the Final view by increasing the margin to about 0.25, where you can see the dashed outline of the source image. If you close the Image Prep dialog and play the shot, you will see the effect of moving the POI a very stable shot, though the apparent subject changes over time. It can make for a more interesting shot and more creative decisions. Too Much of a Good Thing? To be most useful, you can scrub through your shot and look for the worst frame, where the output rectangle has the most missing, and adjust the POI position on that frame. After you do that, there will be some other frame which is now the worst frame. You can go and adjust that too, if you want. As you do this, the zoom required will get less and less. There is a downside as you do this, you are creating more of the shakiness you are trying to get rid of. If you keep going, you could get back to no zoom required, but all the original shakiness, which is of course senseless. Usually, you will only want to create two or three keys at most, unless the shot is very long. But exactly where you stop is a creative decision based on the allowable shakiness and quality impact. Auto-Scale Capabilities The auto-scale button can automate the adjustment process for you, as controlled by the Animate listbox and Maximum auto-zoom settings. With Animate set to Neither, Auto-scale will pick the smallest zoom required to avoid missing pieces on the output image sequence, up to the specified maximum value. If that maximum is reached, there will be missing sections. If you change the Animate setting to Translate, though, Auto-scale will automatically add delta U/V keys, animating the POI position, any time the zoom would have to exceed the maximum. Rewind to the beginning of the shot, and control-right-click the Delta-U spinner, clearing all the position keys. Change the Animate setting to Translate, reduce the Maximum auto-zoom to 1.1, then click Auto-Scale. SynthEyes adds several keys to achieve the maximum 10% zoom. If you play back the sequence, you will see the shot shifting around a bit—10% is probably too low given the amount of jitter in the shot to begin with. The auto-scale button can also animate the zoom track, if enabled with the Animate setting. The result is equivalent to a zooming camera lens, and you must be sure to note that in the main lens panel setting if you will 3-D solve the shot later. This is probably only useful when there is a lot of resolution available to begin with, and the point of interest approaches the boundary of the image at the end of the shot. Keep in mind that the Auto-scale functionality is relatively simple. By considering the purpose of the shot as well as the nature of any problems in it, you should often be able to do better. Tweaking the Point of Interest This is different than moving it! When the selected trackers are combined to form the single overall stabilization track, SynthEyes examines the weight of each tracker, as controlled from the main Tracker panel. This allows you to shift the position of the point-of-interest (POI) within a group of trackers, which can be handy. Suppose you want to stabilize at the location of a single tracker, but you want to stabilize the rotation as well. With a single tracker, rotation can not be stabilized. If you select two trackers, you can stabilize the rotation, but without further action, the point of interest will be sitting between the two trackers, not at the location of the one you care about. To fix this, select the desired POI tracker in the main viewport, and increase its weight value to the maximum (currently 10). Then, select the other tracker(s), and reduce the weight to the minimum (0.050). This will put the POI very close to your main tracker. If you play with the weights a bit, you can make the POI go anywhere within a polygon formed by the trackers. But do not be surprised if the resulting POI seems to be sliding on the image the POI is really a 3-D location, and usually the combination of the trackers will not be on the surface (unless they are all in the same plane). If this is a problem for what you want to do, you should create a supervised tracker at the desired POI location and use that instead. If you have adjusted the weights, and later want to re-solve the scene, you should set the weights back to 1.0 before solving. (Select them all then set the weight to 1). Resampling and Film to HDTV Pan/Scan Workflow If you are working with filmed footage, often you will need to pull the actual usable area from the footage the scan is probably roughly 4 3, but the desired final output is 16 9 or 1.85 or even 2.35, so only part of the filmed image will be used. A director may select the desired portion to achieve a desired framing for the shot. Part of the image may be vignetted and unusable. The image must be cropped to pull out the usable portion of the image with the correct aspect ratio. This cropping operation can be performed as the film is scanned, so that only the desired framing is scanned; clearly this minimizes the scan time and disk storage. But, there is an important reason to scan the entire frame instead. The optic center must remain at the center of the image. If the scanning is done without paying attention, it may be off center, and almost certainly will be if the framing is driven by directorial considerations. If the entire frame is scanned, or at least most of it, then you can use SynthEyes s stabilization software to perform keystone correction, and produce properly centered footage. As a secondary benefit, you can do pan and scan operations to stabilize the shots, or achieve moving framing that would be difficult to do during scanning. With the more complete scan, the final decision can be deferred or changed later in production. The Output tab on the Image Preparation controls resampling, allowing you to output a different image format then that coming in. The incoming resolution should be at least as large as the output resolution, for example, a 3K 4 3 film scan for a 16 9 HDTV image at 1920x1080p. This will allow enough latitude to pull out smaller subimages. If you are resampling from a larger resolution to a smaller one, you should use the Blur setting to minimize aliasing effects (Moire bands). You should consider the effect of how much of the source image you are using before blurring. If you have a zoom factor of 2 into a 3K shot, the effective pixel count being used is only 1.5K, so you probably would not blur if you are producing 1920x1080p HD. Due to the nature of SynthEyes’ integrated image preparation system, the re-sampling, keystone correction, and lens un-distortion all occur simultaneously in the same pass. This presents a vastly improved situation compared to a typical node-based compositor, where the image will be resampled and degraded at each stage. Changing Shots, and Creating Motion in Stills You can use the stabilization system to adjust framing of shots in post-production, or to create motion from still images (the Ken Burns effect). To use the stabilizing engine you have to be stabilizing, so simply animating the Delta controls will not let you pan and scan without the following trick. Delete any the trackers, click the Get Tracks button, and then turn on the Translation channel of the stabilizer. This turns on the stabilizer, making the Delta channels work, without doing any actual stabilization. You must enter a reasonable estimate of the lens field of view. If it is a moving-camera or tripod-mode shot, you can track it first to determine the field of view. Remember to delete the trackers before beginning the mock stabilization. If you are working from a still, you can use the single-frame alignment tool to determine the field of view. You will need to use a text editor to create an IFL file that contains the desired number of copies of your original file name. Stabilization and Interlacing Interlaced footage presents special problems for stabilization, because jitter in the positioning between the two fields is equivalent to jitter in camera position, which we’re trying to remove. Because the two different fields are taken at different points in time (1/30th or 1/25th of a second apart, regardless of shutter time), it is impossible for man or machine to determine what exactly happened, in general. Stabilizing interlaced footage will sacrifice a factor of two in vertical resolution. Best Approach if at all possible, shoot progressive instead of interlace footage. This is a good rule whenever you expect to add effects to a shot. Fallback Approach stabilize slow-moving interlaced shots as if they were progressive. Stabilize rapidly-moving interlaced shots as interlaced. To stabilize interlaced shots, SynthEyes stabilizes each sequence of fields independently. Note that within the image preparation subsystem, some animated tracks are animated by the field, and some are animated by the frame. Frame levels, color/hue, distortion/scale, ROI Field FOV, cut frequency, Delta U/V, Delta Rot, Delta Zoom When you are animating a frame-animated item on an interlaced shot, if you set a key on one field (say 10), you will see the same key on the other field (say 11). This simplifies the situation, at least on these items, if you change a shot from interlaced to progressive or “yes” mode or back. Avoid Slowdowns Due to Missing Keyframes While you are working on stabilizing a shot, you will be re-fetching frames from the source imagery fairly often, especially when you scrub through a shot to check the stabilization. If the source imagery is a QuickTime or AVI that does not have many (or any!) keyframes, random access into the shot will be slow, since the codec will have to decompress all the frames from the last keyframe to get to the one that is needed. This can require repeatedly decompressing the entire shot. It is not a SynthEyes problem, or even specific to stabilizing, but is a problem with the choice of codec settings. If this happens (and it is not uncommon), you should save the movie as an image sequence (with no stabilization), and Shot/Change Shot Images to that version instead. Alternatively, you may be able to assess the situation using the Padded display, turning the update mode to Neither, then scrubbing through the shot. After Stabilizing Once you’ve finished stabilizing the shot, you should write it back out to disk using the Save Sequence button on the Output tab. It is also possible to save the sequence through the Perspective window s Preview Movie capability. Each method has its advantages, but using the Save Sequence button will be generally better for this purpose it is faster; does less to the images; allows you to write the 16 bit version; and allows you to write the alpha channel. However, it does not overlay inserted test objects like the Preview Movie does. You can use the stabilized footage you write for downstream applications such as 3dsmax and Maya. But before you export the camera path and trackers from SynthEyes, you have a little more work to do. The tracker and camera paths in SynthEyes correspond to the original footage, not the stabilized footage, and they are substantially different. Once you close the Image Preparation dialog, you’ll see that the trackers are doing one thing, and the now-stable image doing something else. You should always save the stabilizing SynthEyes scene file at this point for future use in the event of changes. You can then do a File/New, open the stabilized footage, track it, then export the 3-D scene matching the stabilized footage. But… if you have already done a full 3-D track on the original footage, you can save time. Click the Apply to Trkers button on the Output tab. This will apply the stabilization data to the existing trackers. When you close the Image Prep, the 2-D tracker locations will line up correctly, though the 3-D X s will not yet. Go to the solver panel, and re-solve the shot (Go!), and the 3-D positions and camera path will line up correctly again. (If you really wanted to, you could probably use Seed Points mode to speed up this re-solve.) Important if you later decide you want to change the stabilization parameters without re-tracking, you must not have cleared the stabilizer. Hit the Remove f/Trkers button BEFORE making any changes, to get back to the original tracking data. Otherwise, if you Apply twice, or Remove after changes, you will just create a mess. Also, the Blip data is not changed by the Apply or Remove buttons, and it is not possible to Peel any blip trails, which correspond to the original image coordinates, after completing stabilization and hitting Apply. So you must either do all peeling first; remove, peel, and reapply the stabilization; or retrack later if necessary. Flexible Workflows Suppose you have written out a stabilized shot, and adjusted the tracker positions to match the new shot. You can solve the shot, export it, and play around with it in general. If you need to, you can pop the stabilization back off the trackers, adjust the stabilization, fix the trackers back up, and re-solve, all without going back to earlier scene files and thus losing later work. That s the kind of flexibility we like. There s only one slight drawback each time you save and close the file, then reopen it, you’re going to have to wait while the image prep system recomputes the stabilized image. That might be only a few seconds, or it might be quite a while for a long film shot. It s pretty stupid, when you consider that you’ve already written the complete stabilized shot to disk! Approach 1 do a Shot/Change Shot Images to the saved stabilized shot, and reset the image prep system from the Preset Manager. This will let you work quickly from the saved version, but you must be sure to save this scene file separately, in case you need to change the stabilization later for some reason. And of course, going back to that saved file would mean losing later work. Approach 2 Create an image prep preset (“stab”) for the full stabilizer settings. Create another image prep preset (“quick”), and reset it. Do the Shot/Change Shot Images. Now you’ve got it both ways fast loading, and if you need to go back and change the stabilization, switch back to the first (“stab”) preset, remove the stabilization from the trackers, change the shot imagery back to the original footage, then make your stabilization changes. You’ll then need to re-write the new stabilized footage, re-apply it to the trackers, etc. Approach 1 is clearly simpler and should suffice for most simple situations. But if you need the flexibility, Approach 2 will give it to you.
https://w.atwiki.jp/proko_translation/pages/36.html
How to Draw Breasts - Form Motion 乳房の描き方 - 形と動き https //www.youtube.com/watch?v=zTGhRYsdNUs http //www.proko.com/how-to-draw-breasts-form-motion/ Skelly Look! I m a girl too!! Skelly 見てよ、私も女の子よ！ What. この、 The.F-- フ・・・ !--ここから無料版-- Let s review. 振り返ってみましょう Air-Balloon Boobs, Squished Boobs, misconceptions about nipple size, and of course Anti-gravity Boobs. 風船おっぱい 押し付けられたおっぱい、 乳首に関する間違った考え、 そしてもちろん半重力おっぱい。 If you re a teenage boy, you re probably wondering, "Stan, what s wrong with this?!" This is fine for some genres of art, but if you re drawing realistic women, this won t happen. もしあなたが十台の少年なら、 こう疑問におもうでしょう。 「Stan、いったい何がおかしいっていうんだ？」 これは特定のジャンルのアートではよいかもしれません。 しかし、あなたがリアルな女性を描いているというのなら 起こりえないことです。 Ok, let s learn how to draw breasts correctly. はい、 正しい乳房の書き方を学びましょう。 !--ここまで-- Form 形 Let s remember our bones and muscles for a second. 骨と筋肉について少々思い出してみましょう。 The forms you see near the armpit and clavicles are from the pectoralis major muscle. 脇と鎖骨の付近で見える形は、 大胸筋から来ています。 This muscle appears and acts the same way on a female as it does on a male. 筋肉は、男性が行うそれと同様に 女性においても見えたり動いたりします。 Be sure to study the lesson on pecs. 大胸筋について勉強することを忘れないでください。 Of course, on females, there s an additional mass that sits on the lower part of the pecs. もちろん、女性に於いては、 大胸筋下部の上に追加の量感が乗っていることになります。 The transition from muscle to fatty tissue is soft and gradual. 筋肉から脂肪質の組織への移行は 柔らかく緩やかな変化です。 Notice that the breast mass flows with the pectoralis major into the armpit. 乳房の量感は、 大胸筋とともに脇に向かって流れていくことに 気づきましょう。 Remember that the ribcage is rounded, so the breasts are naturally aimed outwards at roughly a 45 degree angle. 胸郭は丸みを帯びていることを思い出してください。 ですので、 乳房は、自然に大体45度の角度で外へ向かっていることになります。 This means that the nipples are not dead-center. このことは、乳首がど真ん中に位置していないことを意味します。 Instead, they sit closer to the outside edge of the breasts. 代わりに、乳首は、乳房の外側の縁に近くなっています。 From the side view, we can see the upward facing plane of the chest. 横から見ると、 胸の上向きの面を見ることができます。 After the upwards-facing plane is a downwards-facing plane. 上向きの面の後は、 下向きの面です。 For small and perky breasts, there s a gradual angle back into the ribcage. 小さく活発な乳房では、 胸郭へ戻る角度は段階的なものです。 For larger breasts, the weight pushes them down and then they swoop back up to the infra-mammary fold. 大きな乳房では、 その重さがそれらを下に押し下げ、 その後、乳房下の折り目へ向かって弧を描いて戻ります。 !--訳注-- infra-mammary foldが日本語で なんていうのかはよくわからない https //en.wikipedia.org/wiki/Inframammary_fold 乳房下部と胴体の境目の皺ということらしい。 !---- Motion 動き The breasts will react to movements of the body. 乳房は、人体の動きを反映する可能性があります。 So, they will look different in different poses. ですので、乳房は異なったポーズでは異なって見えます。 When lying on the back, the breasts roll off the sides of the ribcage. 仰向けに寝れば、 乳房は、胸郭の側面へ転がり落ちます。 This means they re flatter and more distant from each other. これは、乳房がより平らになり、よりお互いに離れるということです。 When bending over, the breasts will hang off the chest. 腰を曲げてかがんだとき、 乳房は胸からつりさげられます。 The breasts follow the motion of the shoulders. 乳房は、肩の動きを追います。 When the arms go up, the breasts go up, and the inframammary fold softens. 腕が上げられたとき、 乳房は上がり、乳房下の折り目は目立たなくなります。 When one arm goes up, the breast on that side will go up. 片方の腕を上げたとき、 上げた側の乳房も上がるでしょう。 The same applies for adduction and abduction of the arm. 同じことが、腕の内転と外転においても適用されます。 This causes the breasts to compress and stretch. 内転と外転で乳房は圧縮され延ばされます。 When hanging upside-down, the breasts will roll up the chest, in the same way they roll to the sides when the figure is lying on her back. さかさまにぶら下がると、 乳房は胸を巻き上がります。 人物が仰向けに寝たときに 乳房が横へ転がり落ちるのと同じことです。 They definitely won t do this. 乳房はこうはなりません。 This Helium Hottie definitely has a serious case of Anti-Gravity Boobage. このヘリウム美人は大変深刻な半重力おっぱいの症例に違いありません。 When lying flat on the stomach, the breasts are squeezed between the chest and the ground plane. うつぶせに寝ると、 乳房は、胸と地面の間で押しつぶされます。 Assignment 課題 !--訳注 スクリプトと音声が違うのでスクリプトを翻訳した-- !--スクリプト版ここから-- The assignment for this lesson is the same as the pecs lesson, except with a female chest. このレッスンの課題は、女性の胸ということを除いて、 大胸筋の時と同じものでです。 There s two parts. 二つの部分があります。 For part 1, do a tracing over a model photo of the pectoralis major and breast tissue. 第一、 モデルの大胸筋と胸の組織をトレースしましょう。 For part 2, invent the pecs and breasts on top of photos of Skella. 第二、 大胸筋と乳房を、Skellaの写真の上に想像で描いてみましょう。 I ve provided reference photos for part 1 and 2 in the link below. 第一と第二の課題用の写真を下のリンクに用意してあります。 !--ここまで-- !--聞き取り版ここから-- The assignment for this lesson is do some quic sketch gesture drawings. このレッスンの課題は、いくつかのジェスチャードローイングをすることです。 Focus on how the position and motion of body affect the shape of breasts. 体の位置や動きが乳房の形にどう影響するかに集中してください。 And of course, don t forget about the pec mascle under the breast tissues. そしてもちろん、乳房組織の下の大胸筋についても忘れないでください。 I provided some refelence potos in the link bellow. いくつかの参考資料としての写真を下のリンクに用意しました。 If you not sure how do the gesture drawing, go back to the gesture drawing in the figure drawing course. もしジェスチャードローイングについてわからないのであれば、 人物画コースのジェスチャードローイングについての 授業を参考にしてください。 !--ここまで-- Grab your breast pencil and bust out some drawings! Man, the puns are really racking up. I gotta milk it for all it s worth. Post your work in our anatomy group at proko.com/groups! Credits That s it, thanks for watching! If you re posting your drawings, use hashtag #proko and don t forget to follow me on Facebook and Instagram. If you like this video, share it with your friends, and if you want to be updated about new videos click here to subscribe to the Proko newsletter. Buh Bye! If you re enjoying this course, share it with your friends. And if you want to be updated about new videos, go to proko. com/subscribe!