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https://w.atwiki.jp/touhoukashi/pages/3119.html
【登録タグ S Stack ちまみれダンシンパーリナイ ～きゅっとしてドカーン♥ 暁Records 曲 柳の下のデュラハン】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/matchmove/pages/58.html
Constraining Camera Position and Motion Sometimes you may already know some or all of the path of the camera, for example, · it may be available from a motion controlled camera, · the camera motion may be mechanically constrained by a camera dolly, · you may have measured some on-set camera data to determine overall scene sizing, or · you may have already solved the camera path, then hand-edited it for cleanup. SynthEyes lets you take advantage of this information to improve a solution or help set up the coordinate system, using the trajectory lock controls at the bottom of theSolver Control Panel, theHard and Soft Lock Controldialog, and the camera s seed path information. Warning using camera position, orientation, and field of view locks is avery advanced topic. You need to thoroughly understand SynthEyes and the coordinate system setup process, and have excellent mental visualization skills, before you are ready to consider camera locks. Under no circumstances should they be considered a way to compensate for inadequate basic tracking skills. Concept and Terminology SynthEyes allows you to create locks on path (X, Y, and/or Z translation), rotation (pan, tilt, and roll), and field of view. You can lock one or more channels, and locks are animated, so they might apply to an entire shot, a range of frames, or one frame. Each lock forces the camera to, or towards, the camera s seed path. The seed path is what you see before solving, or after clearing the solution. You can see the seed path at any time using theView/Show seed pathmenu control, or the button on the Hard and Soft Lock Control dialog. Locks may be hard or soft. Hard locks force the camera to the specified values exactly (except if Constrain is off), similar to pegged trackers. Soft locks force the camera towards the specified value, but with a strength determined by a weight value. Locks are affected by theConstraincheckbox on the solver panel, similar to what happens with trackers. With Constrain off, locks are appliedaftersolving, anddo notwarp the solution. All soft locks are treated as hard locks. With Constrain on, locks are applied before and during solving, soft locks are treated as such, and locksdowarp the solution. Field of view locks are not affected by Constrain, and are always applied. Camera position locks are more useful than orientation locks; we’ll consider position locks separately to start with. You can also constrain objects, but this is even more complex. Basic Operation Set up generally proceeds as follows 1. If you have not already attempted to solve the scene, go to step 5. 2. Go to the Solver Control Panel. Click themorebutton to bring up theHard and Soft Lock Controlpanel. 3. Position and animate the camera as desired, creating a key on each frame where you want the position to be constrained. The Get buttons can help with this. 4. Turn on the L/R, F/B, and/or U/D buttons as appropriate depending on the axes to be constrained — these stand for left/right, front/back, and up/down respectively. 5. Adjust the Constrain checkbox as needed. The camera position constraints behave similarly to constraints on the trackers if the Constrain checkbox on, they are enforced exactly during the solve, but if the Constrain checkbox is off, they are enforced only loosely after the completion of the solve. Loosely means that they are satisfied as best as can be, without modifying the trajectory or overall RMS error of the solution. The result of this process is to make the camera match the X, Y, and/or Z coordinates of the seed path at each key. This basic setup can be used to accomplish a variety of effects, as described above and covered in more detail below. At the end of the section, we’ll show some even more exotic possibilities. Using a Camera Height Measurement Suppose the camera is sitting on a moving dolly in a studio, and you measured the camera (lens s) height above the floor, and you have some trackers that are (exactly) on that floor. You can use the height measurement to set up the scene size as follows 1. Show the seed path View/Show Seed Path menu item 2. At frame 0, position the camera at the desired height above the ground plane 2 meters, 48 inches, whatever. 3. Turn on the U/D button on frame 0,turn it back off at frame 1. 4. Set up a main coordinate system using 3 or more trackers on the floor. Make sure tonotcreate a size constraint in the process if using the *3 button on the Coordinate system panel or the Coord button on the Summary panel, select the 2nd(on-axis) tracker, and in the Coordinate panel, change it from Lock Point (at 20,0,0) to On X Axis or On Y Axis. 5. Solve with Go! on the Solver panel Note that you can use whatever more complex setup you like in step 4, as long as it completely constrains both the translation and rotation, but not the size. WARNING You might be tempted to think “Hmmm, the camera is on a dolly, so the entire path must be exactly 43 inches off the floor, let me set that up!” (by not turning U/D back off). But this is almost alwaysa bad idea! The obvious problem is that the dolly track is never really completely flat and free of bumps. If the vertical field of view is 2 meters, and you are shooting 1080i/p HDTV, then roughly your track must beperfectly flat to 1 millimeteror so to have a sub-pixel impact. If your track is that flat, congratulations. The conceptually more subtle, but bigger impact problem is this a normal tripod head puts the camera lens very far from the center of rotation of the head—roughly 1 foot or 0.25 meter. As you tilt the head, the position of the camera increases and decreases up to that much in height! Unless your camera does not tilt during the shot, or you have an extra-special nodal-pan head, the camera height will change dramatically during the shot. A Straight Dolly Track Setup If your camera rides a straight dolly track, you can use the length of that track to set the scale, and almost the entire coordinates system if desired. While the camera height measurement setup discussed above is simpler, it is appropriate mainly for a studio environment with a flat floor. The dolly track setup here is useful when a dolly track is set up outdoors in an environment with no clearly-defined ground plane—in front of a hillside, say. For this setup, you should measure the distance traveled by the camera head down the track, by a consistent point on the camera or tripod. For example, if you have a 20’ track, the camera might travel only 16’ or so because there will be a 2’ dead zone at each end due to the width of the tripod and dolly. Measure the starting/ending position of the right front wheel, say. Next, clear any solved path (or click View/Show seed path), and animate the camera motion, for example moving from 0,0,0 at the beginning of the shot to 16,0,0 at the end (or wherever it reaches the maximum, if it comes back). You now have two main options A) mostly tracker-based coordinate setup, or B) mostly dolly-based coordinate setup, for side-of-hillside shots. For setup A, turn on only the L/R camera axis constraint checkbox on the first and last frames (only). The X values you have set up for the camera have set up an X positioning for the scene, so when you set up constraints on the trackers, they should constrain rotation fully, plus the front/back and up/down directions—but not the L/R direction since that would duplicate and conflict with the camera constraint (unless you are careful and lucky). For setup B, turn on L/R, F/B, and U/D on the first and last frames (only). You should take some more care in deciding exactly what coordinate values you want to use for each axis of the animated camera path, because those will be defining the coordinate system. [By setting keys only at the beginning and end of the shot, you largely avoid problems with the camera tilting up and down—at most it tilts the overall coordinate system from end to end, without causing conflicting constraints.] If the track is not level from end to end, you can adjust the beginning or ending height coordinate of the tracker as appropriate. But usually we expect the track to have been leveled from end to end. With X, Y, and Z coordinates keyed at the beginning and end of the shot, you have already completely constrained translation and scale, and have constrained 2 of the 3 rotation axes. The only remaining unconstrained rotation axis is a rotation around the dolly. To constrain this remaining rotation requires only a single additional tracker, and only its height measurement! On the set, you should measure the relative height of a trackable feature compared to the track (usually this will be to the base of the track, so you should also measure the height of the camera versus the base). You can measure this height using a level line (a string and a clip-on bubble level) and a ruler. On theCoordinate System Control Panel, select the tracker and set it toAny XY Planeand set the Z coordinate (for Z-up mode), or selectAny XZ Planeand set the Y coordinate (for Y-up mode). Now you’re ready to go! This setup is a valuable one for outdoor shots where a true vertical reference is required, but the features being tracked are not structured (rocks, bushes, etc). Again, we recommendnot trying to constrain the camera to be exactly linear, though you can easily set this up by locking Y and Z to be fixed for the duration of the shot, with single-frame locks on X at the beginning and end of the shot. This setup forces the camera motion to be exactly straight, but moving in an unknown fashion in X. Although the motion will be constrained, the setup willnotallow you to use fewer trackers for the solve. Using a Supplied Camera Path This section addresses the case where you have been supplied with an existing camera translation path, either from a motion-controlled camera rig, or as a result of hand-editing a previous camera solution, which can be useful in marginal tracks where you have a good idea what the desired camera motion is. After editing the path, you want to find the best orientation data for the given path. If you have an existing camera path in an external application (either from a rig, or after editing in maya or max, for example), typically you will import it using a standard or custom camera-path import script. Be sure that the solved camera path is cleared first, so that the seed path is loaded. If you have a solved camera path in SynthEyes, you can edit it directly. First, select the camera, and hit the Blast button on the 3-D panel. This transfers the path data from the solved path store into the seed path store. Clear the solved path and edit the seed path. Rewind and turn on all 3 camera axis locks L/R, F/B, and U/D. Next, configure the solver s seeding method. This requires some care. You can use the Path Seeding methodonly if your existing path includes correct orientation and field of view data. Otherwise, you can use the Automatic method or maybe Seed Points. The Refine mode is not an option since you have already cleared the solution to load the seed path, and don’t have orientation data anyway or you’d use Path Seeding. You can use Seed Points mode if you are editing the path in SynthEyes—but be sure to hit theSet Allbutton on the Coordinate System Setup Control panelbeforeclearing the prior solution, so that the points are set up properly as seeds. You should probablynotmake them locks, unless you are confident of the positions already. With the camera path locked to a complex path (other than a straight line), no further coordinate system setup is required, or it will be redundant. You can solve the scene first with the Constrain checkbox off, then switch to Refine mode, turn on Constrain, and solve again. This will make it apparent during the second solve whether or not you have any problems in your constraint setup, instead of having a solution fail unexpectedly due to conflicting constraints the first time. Camera-based Coordinate System Setup The camera axis constraints can be used in small doses to set up the coordinate system, as we’ve seen in the prior sections. Typically you will want to use only 1 or 2 keys on the seed path; 3 or more keys will usually heavily constrain the path and require exact knowledge of the camera move timing. Roughly, each keyed frame is equivalent in effect to a constrained tracker located at the same spot. You should keep that in mind as you plan your setup, to avoid under- or over-constraining the coordinate system. Soft Locks So far we have described hard locks, which force the camera exactly to the specified values. Soft locks pull more gently on the camera path, for example, to add stability to a section of the track with marginal tracking. In either case, for a lock to be active, the corresponding lock button (U/D, L/R, pan, etc) must be on. The weight values on the Hard and Soft Lock dialog controls whether locks are hard or soft. If the weight is zero (the default), it is a hard lock. A non-zero weight value specifies a soft lock. Weight values range from 1 to 120, with 60 a nominal neutral value. However, we recommend that when creating soft locks, you start with a weight of 10, and work upwards through 20, 30, etc until the desired effect is obtained. Weight values are in decibels, a logarithmic scale where 20 decibels is a factor of 10, and 6 decibels is a factor of two. So 40 is 10 times stronger than 20, and 26 is twice as strong as a weight of 20. (Decibels are commonly used for sound level measurements.) A lock can switch from hard to soft on a frame-by-frame basis, ie frames 0-9 can be hard, and 10-14 soft. You may need to key the weight track carefully to avoid slow transitions from 20 down to 0, for example. Soft locks are treated as such only when the Constrain check box is on it is the solver that distinguishes between hard and soft locks. If Constrain is off, the locks will be applied during the final alignment, when they do not affect the path at all, just re-orient it, so soft locks are treated the same as hard locks. Note that the soft lock weight isnota path blending control. You might naively be tempted to set up a nominal locked path, and try to animate the soft lock weights expecting a smooth blend between the solved path and your animated locked path. But that is not what will happen. The weight changes how seriously SynthEyes takes your request that the camera should be located at the specified position—but it will affect the tracker positions and everything else as well. Orientation Locks You can apply Pan, Tilt, and Roll rotation locks as well as translational locks. They can be used for path editing and, to a lesser extent, for coordinate system setup. For example, a roll-angle constraint can be used to keep the camera forced upright. That can be handy on tripod shots with large pans small amounts of lens distortion can bend the path into a banana shape; the roll constraint can flatten that back out. If the camera looks in two different directions with the roll locked, it constrainstwodegrees of freedom only a single pan angle is undetermined! For example, if looks along the X axis then along the Y axis, both with roll=0. You might want to think about that for a minute. The perspective window s local-coordinate-system and path-relative handles can help make specific adjustments to the camera path. Inherently, SynthEyes is not susceptible to “gimbal-lock” problems. However, when you have orientation locks, you are using pan, tilt, and roll axes that do define overall north and south poles, and you may encounter some problems if you are trying to lock the camera almost straight up or down. If this is the case, you may want to change your coordinate system so those views are along the +Y and –Y axes, for example. Object Tracking You can also use locks on moving objects, in addition to cameras. However, there are several restrictions on this, because moving objects are solved relative their hosting camera path, but the locks are world coordinate system values. If a moving object has path locks, then 1. the host camera must have been previously solved, pre-loaded, or pre-keyed, and the camera solving mode set to Disabled, 2. the translation axis locks must either all be on, or all off, and 3. the rotation axis locks must either all be on, or all off. Normally, when SynthEyes handles shots with a moving camera and moving object, it solves camera and object simultaneously, optimizing them both for the best overall solution. However, when object locks are present, SynthEyes must be able to access the camera solution first, in order to be able to apply the object locks. With the camera path, SynthEyes changes the translation and rotation axis lock values into a form usable for the object, but the individual axes are no longer available, and either all must be constrained, or none. SynthEyes will automatically turn all the enables on or off together if a moving object is active. Object locks have very hard-to-think-about impacts on the local coordinate system of the trackers within the object. Most object locks will wind up over-constraining the object coordinate system. We recommend that object locking be used only to work on the object path, not to try to set up the object coordinate system.
https://w.atwiki.jp/touhoukashi/pages/3425.html
【登録タグ E 三澤秋 幽雅に咲かせ、墨染の桜 ～ Border of Life 星影の天の原 曲 秋の空】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; 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Flying Training for the Private Pilot Licence Blackwell Science Ltd? R.D. Campbell? BlackwellScienceLtd? R.D.Campbell? ジャンル別? Subjects-Science-Technology-General&Reference Flying Training for the Private Pilot Licence Blackwell Science (UK)? R.D. Campbell? BlackwellScience(UK)? R.D.Campbell? ジャンル別? Subjects-Science-Technology-General&Reference Flying Training for the Private Pilot Licence Blackwell Science Ltd? R.D. Campbell? BlackwellScienceLtd? R.D.Campbell? ジャンル別? Substores-UnknownASINs-14? Subjects-Science-Technology-General&Reference PPL Revision Blackwell Science (UK)? R.J. Hall? R.D. Campbell? BlackwellScience(UK)? R.J.Hall? R.D.Campbell? ジャンル別? Subjects-Science-Technology-General&Reference Microorganisms in Foods Book 4 Application of the Hazard Analysis Critical Control Point System to Ensure Microbiological Safety and Quality Blackwell Science Inc? International Commission on Microbiologi? BlackwellScienceInc? InternationalCommissiononMicrobiologi? ジャンル別? 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Subjects-Science-Technology-General&Reference Careers in High Tech/Exciting Jobs in Today's Fastest-Growing Fields Simon & Schuster (Paper)? Connie Winkler? Simon&Schuster(Paper)? ConnieWinkler? ジャンル別? Subjects-Business&Investing-Careers-General? Subjects-Business&Investing-Economics-Labor&IndustrialRelations? Subjects-Nonfiction-Economics-Labor&IndustrialRelations? Subjects-Professional&Technical-Accounting&Finance-Economics-Labor&IndustrialRelations? Subjects-Reference-Careers-General? Subjects-Science-Technology-General&Reference International Technology Licensing Rowman & Littlefield Publishers? Farok J. Contractor? Rowman&LittlefieldPublishers? FarokJ.Contractor? ジャンル別? Subjects-Business&Investing-Economics? Subjects-Business&Investing-General? Subjects-Business&Investing-Management&Leadership? Subjects-Nonfiction-Economics? Subjects-Professional&Technical-Accounting&Finance-Economics? Subjects-Professional&Technical-BusinessManagement-Management&Leadership? 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Subjects-Business&Investing-Management&Leadership-Industrial? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialTechnology? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialTechnology? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Industrial? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Innovations? Effective Professional and Technical Writing (College) D C Heath & Co? Michael L. Keene? DCHeath&Co? MichaelL.Keene? ジャンル別? Substores-UnknownASINs-15? Subjects-Nonfiction-Education-Reference-Words&Language-General? Subjects-Nonfiction-Education-Reference-Words&Language-Rhetoric? Subjects-Reference-Words&Language-General? Subjects-Reference-Words&Language-Rhetoric? Subjects-Reference-Writing-General? Subjects-Science-Technology-General&Reference Calculus Technology D C Heath & Co? Ron Larson? DCHeath&Co? RonLarson? ジャンル別? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-Calculus? Subjects-Science-General Subjects-Science-Mathematics-PureMathematics-Calculus? Subjects-Science-Technology-General&Reference Major Problems in the History of American Technology (Major Problems in American History) D C Heath & Co? Merritt Roe Smith? Gregory Clancey? DCHeath&Co? MerrittRoeSmith? GregoryClancey? ジャンル別? Subjects-Engineering-Reference? Subjects-History-Americas-UnitedStates-General? Subjects-Professional&Technical-Engineering-Reference? Subjects-Science-History&Philosophy-HistoryofScience? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Reference-Engineering? Subjects-Science-Technology-General&Reference Works of Man Book Sales? Ronald W. Clark? BookSales? RonaldW.Clark? ジャンル別? Subjects-History? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Flight Viking? Keith Moseley? Viking? KeithMoseley? ジャンル別? 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European Sources of Scientific and Technical Information (Reference on Research) Cartermill International? CartermillInternational? ジャンル別? Subjects-Reference? Subjects-Science-Technology-General&Reference People and Environment Behavioural Approaches Inhuman Geography/Second Edtion Longman Group United Kingdom? D. J. Walmsley? G. J. Lewis? LongmanGroupUnitedKingdom? D.J.Walmsley? G.J.Lewis? ジャンル別? Substores-UnknownASINs-14? Subjects-Nonfiction-SocialSciences-HumanGeography? Subjects-Nonfiction-SocialSciences-Sociology-Leisure? Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Ecology? Subjects-Science-Technology-General&Reference Subjects-Science-BehavioralSciences-BehavioralPsychology? Map Generalization Making Rules for Knowledge Representation Longman Group United Kingdom? Barbara P. Buttenfield? Robert B. McMaster? LongmanGroupUnitedKingdom? BarbaraP.Buttenfield? RobertB.McMaster? ジャンル別? Substores-UnknownASINs-14? Subjects-Computers&Internet? 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Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Architecture-General? Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-Administration&Policy-PublicHealth? Hospital Architecture (Longman Building Studies) Longman Group United Kingdom? Paul James? Tony Noakes? LongmanGroupUnitedKingdom? PaulJames? TonyNoakes? ジャンル別? Subjects-Arts&Photography-Architecture-BuildingTypes&Styles-General? Subjects-Arts&Photography-Architecture-General? Subjects-Professional&Technical-Architecture-BuildingTypes&Styles-General? Subjects-Professional&Technical-Architecture-General? Subjects-Science-Technology-General&Reference Reliability and Risk Assessment Longman Group United Kingdom? J. D. Andrews? T. R. Moss? LongmanGroupUnitedKingdom? J.D.Andrews? T.R.Moss? ジャンル別? Subjects-Science-General Subjects-Science-Mathematics-Applied-Probability&Statistics? 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Subjects-Nonfiction-Philosophy-Science? Subjects-Reference-Catalogs&Directories-Directories? Subjects-Science-General Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference Biochemistry for the Medical Sciences An Integrated Case Approach Longman Pub Group? S. J. Higgins? A. J. Turner? E. J. Wood? LongmanPubGroup? S.J.Higgins? A.J.Turner? E.J.Wood? ジャンル別? Substores-UnknownASINs-14? Subjects-Medicine-BasicScience-Physiology? Subjects-Medicine-Specialties-Pathology-General? Subjects-Professional&Technical-Medical-BasicSciences-Biochemistry? Subjects-Professional&Technical-Medical-Medicine-InternalMedicine-Pathology-General? Subjects-Science-Chemistry-Biochemistry? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-BasicScience-Physiology? Subjects-Science-Medicine-Specialties-Pathology-General? China The Next Decades Longman Group United Kingdom? Denis Dwyer? LongmanGroupUnitedKingdom? DenisDwyer? ジャンル別? 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Subjects-Business&Investing-Economics-NaturalResources Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Civil-Environmental-Planning&Management? Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-Ecology-LivingontheLand? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Civil-Environmental-Planning&Management? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General Subjects-Science-Technology-General&Reference Engineering Science Longman? Edward Hughes? Christopher Hughes? W. Bolton? Longman? EdwardHughes? ChristopherHughes? W.Bolton? ジャンル別? Substores-UnknownASINs-14? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Science-Physics-General? Subjects-Science-Technology-General&Reference Building Services Equipment Vol. 3 Pipe-Sizing, Drainage, Electrical Installations, Ventilation, Air Conditioning, Lighting Solar Heating Trans-Atlantic Publications? F. Hall? Trans-AtlanticPublications? F.Hall? ジャンル別? Substores-UnknownASINs-14? Subjects-Engineering-Civil-Construction-BuildingConstruction? Subjects-Professional&Technical-Engineering-Civil-Construction-BuildingConstruction? Subjects-Science-Technology-General&Reference Highway Construction and Maintenance Longman Group United Kingdom? John Watson? LongmanGroupUnitedKingdom? JohnWatson? ジャンル別? Subjects-Engineering-Civil-Transportation&Highway? Subjects-Professional&Technical-Engineering-Civil-Transportation&Highway? Subjects-Reference-General? Subjects-Science-Technology-General&Reference Longman Dictionary of Contemporary English (LDOC) Longman? Longman? ジャンル別? Subjects-Nonfiction-Education-Reference-Dictionaries&Thesauri-English(All)? 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Subjects-Nonfiction-Philosophy-Science? Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference Communication for Engineering Students Longman Pub Group? John W. Davies? LongmanPubGroup? JohnW.Davies? ジャンル別? Subjects-Business&Investing-BusinessLife-Communication-General? Subjects-Business&Investing-BusinessLife-Communication-Meetings&Presentations? Subjects-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Engineering-General? Subjects-Engineering-Reference? Subjects-Professional&Technical-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Professional&Technical-Engineering-Reference? Subjects-Professional&Technical-Engineering-General Subjects-Reference-Writing-WritingSkills? Subjects-Reference-Writing-Technical? Subjects-Science-General Subjects-Science-Reference-Engineering? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-TechnicalThinking&Writing? Food and Beverage Management Trans-Atlantic Pubns? 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Subjects-Nonfiction-Politics-General? Subjects-Nonfiction-SocialSciences-HumanGeography? Subjects-Nonfiction-Economics-Development&Growth? Subjects-Nonfiction-Economics-General? Subjects-Nonfiction-Economics-Macroeconomics? Subjects-Nonfiction-Economics-Microeconomics? Subjects-Professional&Technical-Engineering-Reference? Subjects-Professional&Technical-Accounting&Finance-Economics-Development&Growth? Subjects-Professional&Technical-Accounting&Finance-Economics-General? Subjects-Professional&Technical-Accounting&Finance-Economics-Macroeconomics? Subjects-Professional&Technical-Accounting&Finance-Economics-Microeconomics? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Management? Subjects-Science-Reference-Engineering? Subjects-Science-Technology-General&Reference Development Communication Information, Agriculture and Nutrition in the Third World (ALCB) Longman? R Hornik? Longman? RHornik? ジャンル別? Subjects-Nonfiction-SocialSciences-Sociology? 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Market Scenario The virtual classroom is a classroom where teachers and students get an online learning environment so that they can have better communication with each other. Here they can see each other and discuss any presentations; web-based Voice over IP can do video conferencing and live to stream. This type of classroom allows multiple users to get connected at the same time anywhere. Expansion of technological advancement and development in AR/VR technologies is a significant factor rushing the Virtual Classroom Market growth; also the rising adoption of increased reality (AI) or virtual reality (VR) for corporate training and development, the increasing popularity of digital learning and social network, development in VR/AR technologies, and an increasing number of mobile phone users combined with mobile learning applications and technologically skilled professionals are the main factors, among others which are fueling the Virtual Classroom Market. The rising technological advancements in AI/VR technology and enhancing modernization in the products presented in the market will further produce new opportunities for the virtual Classroom Market in the estimated period, as it is mentioned above. The execution of data innovation is operating the Virtual Classroom Market. The instructive foundations receive advanced showing strategies that integrate white sheets, projectors, and practicality note pads. Coordination between equipment suppliers, programming pioneers, and instruction material suppliers makes the learning process simple. The major drivers of the Virtual Classroom Market are increasing the number of adaptable learning applications, and expert aptitude with innovation and digital learning is expected to operate the business of virtual classrooms. The expansion in the number of cell phone clients and interpersonal organizations is increasing the importance and boosting the Virtual Classroom Market. The crucial tension of the organizations on the global level is the substantial expense brought about while preparing and implementing examination measures. The best and the most rational answer for the equivalent is corporate e-learning. With the rise of e-learning, it has been of incredible interest, and important appropriations are transferred around the world. These learning arrangements are enhanced and prepared to convey more skillful and successful answers for the corporate labor force. The Virtual Classroom Market Size is predicted to grow to USD 12 Billion by 2023, at 10% of CAGR somewhere in the forecast period between 2017 to 2023. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/4065 Competitive Outlook Skyprep (Canada), SAP SE (Germany), Oracle Corporation (US), BrainCert (US), Docebo (Italy), Brainier (US), Saba Software (US), Edvance360 (US), Bluevolt (US), and Canvas (US) are some reputed companies in the virtual classroom global market that are listed by MRFR. Segmentation Based on Components, the Virtual Classroom Market is divided into Services, Hardware, and Solutions. Based on the Solution, the Virtual Classroom Market is divided into Content Management, Analytics and Data Visualization, Device Management, Security, and Unified Communications and Collaboration. Based on Deployment, the Virtual Classroom Market is concentrated across Cloud and On-Premises. On the basis of End Users, the Virtual Classroom Market is divided into Academic Institutions and Corporates. The Virtual Classroom Market is divided into Asia-Pacific, Americas, Europe, Africa, and the Middle East based on the regional analysis. The Virtual Classroom Market globally says that the North American areas, the USA, Canada, will probably meet the greatest development. There is an important purpose for this. There is a developing application of the innovative foundation combined with the expansion of proportion projects rolling on the side of public authority. Regional Analysis In North America, the virtual classroom market is expected to earn high turnover due to the rise in the demand for cutting-edge technology solutions to training across corporate sectors and education sector. The high investment made by different governments to improve virtual classroom solutions is expected to support the expansion of the virtual classroom market in the years ahead. In Europe, the virtual classroom market is likely to register a high CAGR in the analysis period due to increase in the need for online training and education facilities in the pandemic. In Asia Pacific, the virtual classroom market expected to emerge due the availability of excellent digital solutions with high connectivity. The easy access to high-end digital solutions can support the expansion of the virtual classroom market in India and Japan. The existence of a high number of vendors dealing in components for virtual classroom can support the expansion of the regional market across the assessment period. The rise in the number of different educational institutions that are adopting virtual classroom solutions can support the rise of APAC virtual classroom market across the analysis period. Industry News The global Virtual Classroom Market Share Report Market Trends has been affected due to the lockdown across the regions. This pandemic situation has hampered the Virtual Classroom Market Share Report Market Growth as well as its productivity, supply chain, and others. Moreover, the global market has lost its investors due to the increasing loss for the products, supply, transportation, workforce, and others. However, in the meantime, the key market players have implied various strategic techniques to boost global market growth. Thus, to meet the global market demands, the global market increased its speed in producing more valuable products for its intended customers. Recently, the global market has stabilized its position in the global market and is expected to register a higher Virtual Classroom Market Share Report Market Size for the forecast period. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/virtual-classroom-market-4065 Table of Contents 1Executive Summary 2Scope of the Report 2.1Market Definition 2.2Scope of the Study 2.2.1Research objectives 2.2.2Assumptions Limitations 2.3Markets Structure Continued…. View Similar Report** Internet of Things (IoT) Market By Software (Data Management, Network Management), By Hardware(Sensors, camera), By Services (Manage Services, Professional Services), By Organization Type (Small and Medium Scale Business, Large Scale Business) Smart Glass Market https //writeonwall.com/smart-glass-market-by-development-size-share-and-demand-opportunity-size-share-key-manufacturers-drivers-value-and-foreseen-2027/ Passport Reader Market https //writeonwall.com/passport-reader-market-by-development-size-share-and-demand-opportunity-it-security-and-data-protection-analysis-forecast-to-2030/ https //ictmrfr.blogspot.com/2022/03/virtual-dressing-room-industry-enormous.html About Market Research Future At Market Research Future (MRFR), we enable our customers to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com
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Autodynamics Fundamental Basis for a New Relativistic Mechanics Saa Society for the Advancement? Saa? SaaSocietyfortheAdvancement? Saa? ジャンル別? Substores-UnknownASINs-34? Subjects-Science-General Subjects-Science-Technology-General&Reference Glass Fiber Auto Body Construction Simplified John a Wills? John A. Wills? JohnaWills? JohnA.Wills? ジャンル別? Substores-UnknownASINs-64? Subjects-Nonfiction-Automotive-Repair? Subjects-Science-General Subjects-Science-Technology-General&Reference DB2 for Os-390 Z/os Development for Performance Gabrielle & Associates? Gabrielle Wiorkowski? Gabrielle&Associates? GabrielleWiorkowski? ジャンル別? Subjects-Computers&Internet-Databases-RelationalDatabases-IBMDB2? Subjects-Computers&Internet-Databases-DatabaseManagementSystems? Subjects-Computers&Internet-Databases-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Achieving Energy Independence - One Step at a Time Dunimis Technology Inc? Jeffrey R. Yago? DunimisTechnologyInc? 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Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Production&Operations? Subjects-Science-Technology-General&Reference Computer Applications in Hydraulic Engineering Haestad Methods Inc? HaestadMethodsInc? ジャンル別? Substores-UnknownASINs-34? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Science-Technology-General&Reference Ford Tuning Secrets Revealed (Secrets Revealed Series) Kotzig Pub? Ivan J. Kotzig? Ruben Fernandez? KotzigPub? IvanJ.Kotzig? RubenFernandez? ジャンル別? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Automotive-Trucks&Vans? Subjects-Nonfiction-Automotive-Mechanics-Engine? Subjects-Nonfiction-Automotive-Repair-General? Subjects-Science-Technology-General&Reference Obd II Fault Codes Reference Guide Kotzig Pub? David Peter? KotzigPub? DavidPeter? ジャンル別? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Automotive-Mechanics-General? Subjects-Nonfiction-Automotive-Repair-General? Subjects-Science-Technology-General&Reference Audio in the 21st Century Intel Pr? Scott Janus? IntelPr? ScottJanus? ジャンル別? Subjects-Computers&Internet-Programming-Graphics&Multimedia-Sound? Subjects-Computers&Internet-Hardware-PCs? Subjects-Computers&Internet-DigitalMusic&ComputerAudio-General? Subjects-Engineering-Electrical&Electronics-DigitalDesign? Subjects-Engineering-Electrical&Electronics-Electronics-DigitalAudio? Subjects-Engineering-Telecommunications-General? Subjects-Entertainment-Music-Recording&Sound? Subjects-Professional&Technical-Engineering-Electrical&Electronics-DigitalDesign? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Electronics-DigitalAudio? Subjects-Professional&Technical-Engineering-Telecommunications-General? Subjects-Professional&Technical-ProfessionalScience-Physics-Acoustics&Sound? Subjects-Science-General Subjects-Science-Physics-Acoustics&Sound? Subjects-Science-Technology-General&Reference Funding Exploration The Challenge and Opportunity for Funding Science and Discovery in the 21st Century (Marco Polo Monographs, 9) Shangri La Pubns Ltd? William F. Vartorella? Donald S. Keel? Sheldon Gosline? Lester Ness? ShangriLaPubnsLtd? WilliamF.Vartorella? DonaldS.Keel? SheldonGosline? LesterNess? ジャンル別? Substores-UnknownASINs-64? Subjects-Science-Education-ScienceforKids? Subjects-Science-General Subjects-Science-Technology-General&Reference Concise Guide to World Armies 2005 Unclassified Tiger Lily Pub? Richard B. Borenstein? Ravi Rikhye? Larry J. Smith? TigerLilyPub? RichardB.Borenstein? RaviRikhye? LarryJ.Smith? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference Dynamic Systems In Engineering Darsaki Pubns? Dare Afolabi? DarsakiPubns? DareAfolabi? ジャンル別? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Subjects-Science-Technology-General&Reference Audio Transducers Earl Geddes? undefined EarlGeddes? ジャンル別? Subjects-Science-General Subjects-Science-Physics-General? Subjects-Science-Technology-General&Reference The Physics and Technology of Tennis Racquet Tech Pub? Howard Brody? Rod Cross? Crawford Lindsey? RacquetTechPub? HowardBrody? RodCross? CrawfordLindsey? ジャンル別? Substores-UnknownASINs-34? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Sports-IndividualSports-Tennis-General? Subjects-Sports-General? Small Fuel Cells For Portable Applications William Andrew Pub? Knowledge Foundation? WilliamAndrewPub? KnowledgeFoundation? ジャンル別? Subjects-Nonfiction-Philosophy-Science? Subjects-Reference-General? Subjects-Science-General Subjects-Science-History&Philosophy-General? Subjects-Science-Mathematics? Subjects-Science-Technology-General&Reference Biodetection Technologies Identification Innovations Strategies William Andrew Pub? Knowledge Foundation? WilliamAndrewPub? KnowledgeFoundation? ジャンル別? Subjects-Engineering-Bioengineering-Biotechnology? Subjects-Engineering-Chemical-General? Subjects-Engineering-Electrical&Electronics-Optics-General? Subjects-Professional&Technical-Engineering-Chemical-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Optics-General? Subjects-Professional&Technical-Engineering-Bioengineering-Biotechnology? Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Biotechnology? Subjects-Science-Chemistry-ChemicalEngineering? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-BiologicalSciences-Biotechnology? Decoding Management How to Simplify the People Part of the Equation (Management Bytes) Pennington Books? Anne Milkovich? PenningtonBooks? AnneMilkovich? ジャンル別? Subjects-Business&Investing-Biographies&Primers-PopularEconomics? Subjects-Business&Investing-General? Subjects-Business&Investing-Management&Leadership-Leadership? Subjects-Business&Investing-Management&Leadership-Management? Subjects-Nonfiction-Economics-General? Subjects-Professional&Technical-Accounting&Finance-Economics-General? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Leadership? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Management? Subjects-Science-Technology-General&Reference Effective Management Of Healthcare Information Leadership Roles, Challenges, and Solutions Healthcare Info & Mgmt Systems? David S. Memel? HealthcareInfo&MgmtSystems? DavidS.Memel? ジャンル別? Subjects-Medicine-Administration&Policy-HospitalAdministration? Subjects-Professional&Technical-Medical-Administration&MedicineEconomics-HospitalAdministration? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-Administration&Policy-HospitalAdministration? Digital Storytelling Capturing Lives Creating Community Life on the Water Inc? Joe Lambert? LifeontheWaterInc? JoeLambert? ジャンル別? Subjects-Computers&Internet-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Process Scaleup and Design Gary Tatterson? Gary B. Tatterson? GaryTatterson? GaryB.Tatterson? ジャンル別? Substores-UnknownASINs-34? Subjects-Engineering-Chemical-General? Subjects-Engineering-Chemical-PlantDesign? Subjects-Professional&Technical-Engineering-Chemical-General? Subjects-Professional&Technical-Engineering-Chemical-PlantDesign? Subjects-Science-Chemistry-ChemicalEngineering? Subjects-Science-General Subjects-Science-Technology-General&Reference Introduction to Ss7 Althos Inc? Richard Dreher? AlthosInc? RichardDreher? ジャンル別? Substores-UnknownASINs-34? Subjects-Computers&Internet-Networking-Networks,Protocols&APIs-General? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference Brilliant The Blinding Enlightenment Of Nikola Tesla LPG Brick/Ronsdale? Electric Company? Kim Collier? LPG Brick/Ronsdale? ElectricCompany? KimCollier? ジャンル別? Subjects-Arts&Photography-PerformingArts-Theater-General? Subjects-Entertainment-PerformingArts-Theater-General? Subjects-Literature&Fiction-Drama-UnitedStates? Subjects-Literature&Fiction-Drama-General? Subjects-Literature&Fiction-Drama-Canadian-General? Subjects-Science-Technology-General&Reference Biodiesel, Basics And Beyond A Comprehensive Guide to Production And Use for the Home And Farm New Society Pub? William H. Kemp? NewSocietyPub? WilliamH.Kemp? ジャンル別? Subjects-Engineering-Chemical-Petrochemical? Subjects-Engineering-MaterialsScience-General? Subjects-Engineering-Petroleum,Mining&Geological-Petroleum? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Chemical-Petrochemical? Subjects-Professional&Technical-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-Petroleum,Mining&Geological-Petroleum? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General Subjects-Science-Technology-General&Reference The Contemporary Printmaker Intaglio-Type Acrylic Resist Etching Write Cross Pr? Keith Howard? Friedhard Kiekeben? David Jay Reed? WriteCrossPr? KeithHoward? FriedhardKiekeben? DavidJayReed? ジャンル別? Subjects-Arts&Photography-GraphicDesign-Printmaking? Subjects-Home&Garden-Crafts&Hobbies-General? Subjects-Science-Technology-General&Reference Tehrani's Ip Telephony Dictionary, the Leading Voip and Internet Telephony Resource Althos Inc? Rich Tehrani? AlthosInc? RichTehrani? ジャンル別? Subjects-Computers&Internet-General? Subjects-Computers&Internet-Home&Office-Internet? Subjects-Engineering-Reference? Subjects-Engineering-Telecommunications-General? Subjects-Nonfiction-Education-Reference-Dictionaries&Thesauri-Science? Subjects-Professional&Technical-Engineering-Reference? Subjects-Professional&Technical-Engineering-Telecommunications-General? Subjects-Reference-Dictionaries&Thesauruses-Science? Subjects-Science-General Subjects-Science-Reference-Engineering? Subjects-Science-Technology-General&Reference Introduction to Wireless Systems, Technology Basics, Market Growth, Systems, and Services Althos Inc? Lawrence Harte? AlthosInc? LawrenceHarte? ジャンル別? Subjects-Engineering-Reference? Subjects-Professional&Technical-Engineering-Reference? Subjects-Science-General Subjects-Science-Reference-Engineering? Subjects-Science-Technology-General&Reference Energy Derivatives Trading Emerging Markets Energy Pub Enterprises? Peter C. Fusaro? Jeremy Wilcox? EnergyPubEnterprises? PeterC.Fusaro? JeremyWilcox? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference Spring Live Sourcebeat, LLC? Matt Raible? Sourcebeat,LLC? MattRaible? ジャンル別? Subjects-Science-Technology-General&Reference Innovations in Knowledge Engineering Advanced Knowledge Intl? Ravi Jain? AdvancedKnowledgeIntl? RaviJain? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Technology-General&Reference 洋書
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【登録タグ Alstroemeria Records P PLASTIK WORLD プレインエイジア 曲 綾倉盟】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; 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} /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; 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visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
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【登録タグ Nana Phantasm Brigade S Silver Forest オリジナル 曲】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*