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https://w.atwiki.jp/elvis/pages/7984.html
Changing Values in Medicine Univ Pubns of Amer? Eric J. Cassell? UnivPubnsofAmer? EricJ.Cassell? ジャンル別? Substores-UnknownASINs-8 Subjects-Health,Mind&Body? Subjects-Medicine-Physician&Patient-MedicalEthics? Subjects-Professional&Technical-Medical-Medicine-MedicalEthics? Subjects-Science-Medicine-Physician&Patient-MedicalEthics? Operation Zapata The Ultrasensitive Report and Testimony of the Board of Inquiry on the Bay of Pigs Univ Pubns of Amer? Luis Aguilar? UnivPubnsofAmer? LuisAguilar? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Americas-UnitedStates-20thCentury-General? Subjects-Nonfiction-Politics-International-Relations? Changing Values in Medicine Univ Pubns of Amer? Eric J. Cassell? UnivPubnsofAmer? EricJ.Cassell? ジャンル別? Substores-UnknownASINs-8 Subjects-Health,Mind&Body? Subjects-Medicine-Physician&Patient-MedicalEthics? Subjects-Professional&Technical-Medical-Medicine-MedicalEthics? Subjects-Science-Medicine-Physician&Patient-MedicalEthics? Crime in Victorian Britain An Annotated Bibliography from Nineteenth-Century British Magazines (Bibliographies and Indexes in World History) Greenwood Pub Group? E. M. Palmegiano? GreenwoodPubGroup? E.M.Palmegiano? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Europe-England-General? Subjects-History-Europe-England-19thCentury? Subjects-History-Europe-General? Subjects-History-HistoricalStudy-SocialHistory? Subjects-Nonfiction-SocialSciences-SpecialGroups-EthnicStudies? Subjects-Nonfiction-Crime&Criminals-Criminology? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-History? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-Science? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-General? Richard's Himself Again A Stage History of Richard III (Contributions in Drama and Theatre Studies) Greenwood Pub Group? Scott Colley? GreenwoodPubGroup? ScottColley? ジャンル別? Substores-UnknownASINs-8 Subjects-Arts&Photography-PerformingArts-Theater-General? Subjects-Entertainment-PerformingArts-Theater-General? Subjects-Literature&Fiction-Drama-British&Irish-Shakespeare? Subjects-Literature&Fiction-Drama-History? Subjects-Literature&Fiction-History&Criticism-Criticism&Theory-General? Subjects-Literature&Fiction-WorldLiterature-British-Shakespeare? Lighting Design on Broadway Designers and Their Credits, 1915-1990 (Bibliographies and Indexes in the Performing Arts) Greenwood Pub Group? Bobbi Owen? GreenwoodPubGroup? BobbiOwen? ジャンル別? Substores-UnknownASINs-8 Subjects-Arts&Photography-Art-General? Subjects-Arts&Photography-PerformingArts-Theater-General? Subjects-Arts&Photography-PerformingArts-Theater-Stagecraft? Subjects-Biographies&Memoirs-General? Subjects-Entertainment-PerformingArts-Theater-General? Subjects-Entertainment-PerformingArts-Theater-Stagecraft? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-Art&Photography? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-General? Human Life and Health Care Ethics Univ Pubns of Amer? James Bopp? UnivPubnsofAmer? JamesBopp? ジャンル別? Substores-UnknownASINs-8 Subjects-Medicine-Physician&Patient-MedicalEthics? Subjects-Professional&Technical-Medical-Medicine-MedicalEthics? Subjects-Science-Medicine-Physician&Patient-MedicalEthics? National Representation for the District of Columbia Univ Pubns of Amer? Judith Best? UnivPubnsofAmer? JudithBest? ジャンル別? Substores-UnknownASINs-8 Subjects-Nonfiction-Government-FederalGovernment? Public Policy and the Black Hospital From Slavery to Segregation to Integration (Contributions in Afro-American and African Studies) Greenwood Pub Group? Mitchell F. Rice? Woodrow, Jr. Jones? GreenwoodPubGroup? MitchellF.Rice? Woodrow,Jr.Jones? ジャンル別? Substores-UnknownASINs-8 Subjects-Health,Mind&Body-General? Subjects-History-Americas-UnitedStates-AfricanAmericans-AfricanAmericanStudies? Subjects-History-Americas-UnitedStates-General? Subjects-History-HistoricalStudy-SocialHistory? Subjects-Law-ConstitutionalLaw-HumanRights? Subjects-Medicine-Administration&Policy-HealthPolicy? Subjects-Medicine-Administration&Policy-PublicHealth? Subjects-Medicine-SpecialTopics-History? Subjects-Nonfiction-Philosophy-Science? Subjects-Nonfiction-SocialSciences-SpecialGroups-African-AmericanStudies? Subjects-Nonfiction-CurrentEvents-Poverty-SocialServices&Welfare? Subjects-Nonfiction-Law-ConstitutionalLaw-HumanRights? Subjects-Professional&Technical-Medical-Administration&MedicineEconomics-HealthPolicy? Subjects-Professional&Technical-Medical-Administration&MedicineEconomics-HospitalAdministration? Subjects-Science-History&Philosophy-General? Subjects-Science-History&Philosophy-HistoryofMedicine? Subjects-Science-Medicine-Administration&Policy-HealthPolicy? Subjects-Science-Medicine-Administration&Policy-PublicHealth? Huck Finn Among the Critics A Centennial Selection Univ Pubns of Amer? M. Thomas Inge? UnivPubnsofAmer? M.ThomasInge? ジャンル別? Substores-UnknownASINs-8 War, Cooperation, and Conflict The European Possessions in the Caribbean, 1939-1945 (Contributions in Comparative Colonial Studies) Greenwood Pub Group? Fitzroy Andre Baptiste? GreenwoodPubGroup? FitzroyAndreBaptiste? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Americas-UnitedStates-20thCentury-WorldWarII-General? Subjects-History-Europe-General? Subjects-History-Military-General? Subjects-Nonfiction-Politics-International-Relations? Orson Welles A Biobibliography (Bio-Bibliographies in the Performing Arts) Greenwood Pub Group? Bret Wood? GreenwoodPubGroup? BretWood? ジャンル別? Substores-UnknownASINs-8 Subjects-Arts&Photography-PerformingArts? Subjects-Biographies&Memoirs-Arts&Literature? Subjects-Biographies&Memoirs-General? Subjects-Entertainment-Movies-General? Subjects-Nonfiction-Education-Reference-Words&Language-Communication? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-Music? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-Art&Photography? Subjects-Reference-Words&Language-Communication? Subjects-Reference-General? Citizen Participation in Public Decision Making (Contributions in Political Science) Greenwood Pub Group? Jack Desario? Stuart Langton? GreenwoodPubGroup? JackDesario? StuartLangton? ジャンル別? Substores-UnknownASINs-8 Subjects-Nonfiction-Politics-Freedom&Security-CivilRights? Subjects-Nonfiction-SocialSciences-PoliticalScience-SystemsOfGovernment? Subjects-Nonfiction-SocialSciences-PoliticalScience-Rights? Subjects-Nonfiction-Government-State&LocalGovernment? Engine of Mischief (Contributions to Study of World History, No. 11) Greenwood Pub Group? Jim Tuck? GreenwoodPubGroup? JimTuck? ジャンル別? Substores-UnknownASINs-8 Subjects-Biographies&Memoirs-General? Subjects-History-Asia-Russia? Subjects-Nonfiction-SocialSciences-PoliticalScience-PoliticalDoctrines-General? Subjects-Nonfiction-SocialSciences-PoliticalScience-PoliticalDoctrines-Liberalism? Subjects-Nonfiction-SocialSciences-PoliticalScience-PoliticalDoctrines-Communism? Subjects-Nonfiction-SocialSciences-PoliticalScience-Elections? Handbook of Mental Health and Mental Disorder Among Black Americans Greenwood Pub Group? Dorothy S. Ruiz? James P. Comer? GreenwoodPubGroup? DorothyS.Ruiz? JamesP.Comer? ジャンル別? Substores-UnknownASINs-8 Subjects-Health,Mind&Body-Psychology&Counseling-General? Subjects-Health,Mind&Body-Psychology&Counseling-MentalIllness? Subjects-Health,Mind&Body-Psychology&Counseling-SocialPsychology&Interactions? Subjects-Health,Mind&Body-MentalHealth-General? Subjects-History-Americas-UnitedStates-AfricanAmericans-AfricanAmericanStudies? Subjects-Medicine-InternalMedicine? Subjects-Nonfiction-SocialSciences-Anthropology? Subjects-Nonfiction-SocialSciences-SpecialGroups-African-AmericanStudies? Subjects-Nonfiction-SocialSciences-SpecialGroups-EthnicStudies? Subjects-Nonfiction-CurrentEvents-Poverty-SocialServices&Welfare? Subjects-Science-Medicine-InternalMedicine? Army and Industrial Manpower (United States Army in World War II. War Department.) Greenwood Pub Group? Byron Fairchild? Jonathan Grossman? United States War Dept? GreenwoodPubGroup? ByronFairchild? JonathanGrossman? UnitedStatesWarDept? ジャンル別? Substores-UnknownASINs-8 Subjects-Business&Investing-Biographies&Primers-LaborPolicy? Subjects-Business&Investing-Economics-Labor&IndustrialRelations? Subjects-Business&Investing-General? Subjects-Nonfiction-Economics-Labor&IndustrialRelations? Subjects-Professional&Technical-Accounting&Finance-Economics-Labor&IndustrialRelations? Bureaucratic Politics and Regulatory Reform The Epa and Emissions Trading (Contributions in Political Science) Greenwood Pub Group? Brian J. Cook? GreenwoodPubGroup? BrianJ.Cook? ジャンル別? Substores-UnknownASINs-8 Subjects-Law-Business-Labor&Employment? Subjects-Law-Business-Property? Subjects-Law-One-L-CivilProcedure? Subjects-Law-Environmental&NaturalResourcesLaw? Subjects-Law-General? Subjects-Nonfiction-Law-Business-Labor&Employment? Subjects-Nonfiction-Law-Business-Property? Subjects-Nonfiction-Law-One-L-CivilProcedure? Subjects-Nonfiction-Law-Environmental&NaturalResourcesLaw? Subjects-Nonfiction-Law-General? Subjects-Professional&Technical-Law-General? Subjects-Professional&Technical-Law-One-L-CivilProcedure? Perspectives on Nuclear War and Peace Education (Contributions in Military Studies) Greenwood Pub Group? Robert Ehrlich? GreenwoodPubGroup? RobertEhrlich? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Military-General? Subjects-History-Military-Weapons&Warfare-Control? Subjects-Nonfiction-Politics-International-Relations? Subjects-Nonfiction-CurrentEvents-ArmsControl? Subjects-Professional&Technical-Law-InternationalLaw? First Use of Nuclear Weapons Under the Constitution, Who Decides? (Contributions in Legal Studies) Greenwood Pub Group? Peter Raven-Hansen? GreenwoodPubGroup? PeterRaven-Hansen? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Military-Weapons&Warfare-Nuclear? Subjects-Law-One-L-ConstitutionalLaw? Subjects-Law-One-L-CivilProcedure? Subjects-Law-General? Subjects-Nonfiction-Law-One-L-ConstitutionalLaw? Subjects-Nonfiction-Law-One-L-CivilProcedure? Subjects-Nonfiction-Law-General? Subjects-Professional&Technical-Law-General? Subjects-Professional&Technical-Law-One-L-CivilProcedure? The African Aesthetic Keeper of the Traditions (Contributions in Afro-American and African Studies) Greenwood Pub Group? Kariamu Welsh-Asante? Kariamu Wlesh-Asante? GreenwoodPubGroup? KariamuWelsh-Asante? KariamuWlesh-Asante? ジャンル別? Substores-UnknownASINs-8 Subjects-Nonfiction-Philosophy-Aesthetics? Subjects-Nonfiction-Philosophy-Metaphysics? Subjects-Nonfiction-Philosophy-Ontology? Subjects-Nonfiction-SocialSciences-Anthropology-Cultural? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Costume Design on Broadway Designers and Their Credits, 1915-1985 (Bibliographies and Indexes in the Performing Arts) Greenwood Pub Group? Bobbi Owen? GreenwoodPubGroup? BobbiOwen? ジャンル別? Substores-UnknownASINs-8 Subjects-Arts&Photography-PerformingArts-Theater-General? Subjects-Arts&Photography-PerformingArts-Theater-Stagecraft? Subjects-Biographies&Memoirs-General? Subjects-Entertainment-PerformingArts-Theater-General? Subjects-Entertainment-PerformingArts-Theater-Stagecraft? Viruses and Reproduction A Bibliography (Bibliographies and Indexes in Medical Studies) Greenwood Pub Group? Ernest L. Abel? GreenwoodPubGroup? ErnestL.Abel? ジャンル別? Substores-UnknownASINs-8 Subjects-Health,Mind&Body-General? Subjects-Professional&Technical-Medical-BasicSciences-Virology? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-General? Time and Eternity (Documentary Reference Collections) Greenwood Pub Group? Seiichi Hatano? GreenwoodPubGroup? SeiichiHatano? ジャンル別? Substores-UnknownASINs-8 Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-Philosophy-Metaphysics? Subjects-Science-Experiments,Instruments&Measurement-Time? Federal Information Sources in Health and Medicine A Selected Annotated Bibliography (Bibliographies and Indexes in Medical Studies) Greenwood Pub Group? Mary Glen Chitty? Natalie Schatz? GreenwoodPubGroup? MaryGlenChitty? NatalieSchatz? ジャンル別? Substores-UnknownASINs-8 Subjects-Health,Mind&Body-General? Subjects-Professional&Technical-Medical-Administration&MedicineEconomics-PublicHealth-General? Subjects-Professional&Technical-Medical-General? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-Medicine? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-General? Solidarity or Survival? American Labor and European Immigrants, 1830-1924 (Contributions in Labor Studies) Greenwood Pub Group? A. T. Lane? GreenwoodPubGroup? A.T.Lane? ジャンル別? Substores-UnknownASINs-8 Subjects-Business&Investing-Economics-Labor&IndustrialRelations? Subjects-Law-AdministrativeLaw-Emigration&Immigration? Subjects-Nonfiction-Politics-Labor&IndustrialRelations? Subjects-Nonfiction-Politics-Freedom&Security-CivilRights? Subjects-Nonfiction-Economics-Labor&IndustrialRelations? Subjects-Nonfiction-Law-AdministrativeLaw-Emigration&Immigration? Subjects-Professional&Technical-Accounting&Finance-Economics-Labor&IndustrialRelations? Index to Current Urban Documents (Index to Current Urban Documents (Cumulative Volume Only)) Greenwood Pub Group? GreenwoodPubGroup? ジャンル別? Substores-UnknownASINs-8 Subjects-Nonfiction-UrbanPlanning&Development-General? Holding Fast/Pressing on Religion in America in the 1980s (Contributions to the Study of Religion) Greenwood Pub Group? Erling Jorstad? GreenwoodPubGroup? ErlingJorstad? ジャンル別? Substores-UnknownASINs-8 Subjects-Nonfiction-SocialSciences-Sociology-Religion? Subjects-Religion&Spirituality-General? Subjects-Religion&Spirituality-ReligiousStudies-ComparativeReligion? Subjects-Religion&Spirituality-ReligiousStudies-Sociology? J. William Fulbright A Bibliography (Bibliographies and Indexes in Law and Political Science) Greenwood Pub Group? Betty Austin? GreenwoodPubGroup? BettyAustin? ジャンル別? Substores-UnknownASINs-8 Subjects-Biographies&Memoirs-General? Subjects-History-Americas-UnitedStates-20thCentury-General? Subjects-Nonfiction-Politics-General? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-History? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-Politics? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-General? Fallen in Battle American General Officer Combat Fatalities from 1775 Greenwood Pub Group? Russell K. Brown? GreenwoodPubGroup? RussellK.Brown? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Americas-UnitedStates-General? Subjects-History-Military-General? Subjects-History-Military-Strategy? Comecon Data 1985 (Comecon Data) Greenwood Pub Group? Vienna Institute? GreenwoodPubGroup? ViennaInstitute? ジャンル別? Substores-UnknownASINs-8 Subjects-Business&Investing-Economics-Statistics? Subjects-Business&Investing-International-General? Subjects-Nonfiction-Economics-Statistics? Subjects-Professional&Technical-Accounting&Finance-Economics-Statistics? Risky Business Communicating Issues of Science, Risk, and Public Policy (Contributions to the Study of Mass Media and Communications) Greenwood Pub Group? Lee Wilkins? Philip Patterson? GreenwoodPubGroup? LeeWilkins? PhilipPatterson? ジャンル別? Substores-UnknownASINs-8 Subjects-Business&Investing-BusinessLife-Communication-General? Subjects-Nonfiction-SocialSciences-Sociology-SocialSituations? Subjects-Nonfiction-SocialSciences-MediaStudies? Subjects-Nonfiction-SocialSciences-Communication-ContemporaryIssues? Subjects-Nonfiction-SocialSciences-Linguistics-General? Subjects-Nonfiction-Education-Reference-Words&Language-Communication? Subjects-Nonfiction-Government-PublicPolicy? Subjects-Reference-Words&Language-Communication? Subjects-Reference-Writing-Journalism? Subjects-Science-General Because They Were Jews A History of Antisemitism (Contributions to the Study of World History, No 4) Greenwood Pub Group? Meyer Weinberg? GreenwoodPubGroup? MeyerWeinberg? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Asia? Subjects-History-HistoricalStudy-SocialHistory? Subjects-History-World-Jewish-General? Subjects-Nonfiction-SocialSciences-Anthropology-Cultural? Subjects-Nonfiction-SocialSciences-Sociology-SocialGroups? Families and the Gravely Ill Roles, Rules, and Rights (Contributions in Medical Studies) Greenwood Pub Group? Richard Sherlock? C. Mary Dingus? GreenwoodPubGroup? RichardSherlock? C.MaryDingus? ジャンル別? Substores-UnknownASINs-8 Subjects-Business&Investing-BusinessLife-Ethics? Subjects-Health,Mind&Body-General? Subjects-Medicine-Physician&Patient-MedicalEthics? Subjects-Medicine-InternalMedicine? Subjects-Nonfiction-Philosophy-Ethics&Morality? Subjects-Professional&Technical-Medical-Medicine-MedicalEthics? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-BusinessEthics? Subjects-Science-Medicine-Physician&Patient-MedicalEthics? Subjects-Science-Medicine-InternalMedicine? A Nuclear-Weapon-Free Zone in the Middle East Problems and Prospects (Contributions in Military Studies) Greenwood Pub Group? Mahmoud Karem? GreenwoodPubGroup? MahmoudKarem? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Military-General? Subjects-History-Military-Weapons&Warfare-Nuclear? Subjects-Nonfiction-Politics-International-Relations? Subjects-Nonfiction-Politics-International-UnitedNations? Subjects-Nonfiction-CurrentEvents-ArmsControl? Subjects-Professional&Technical-Law-InternationalLaw? Prescriptions The Dissemination of Medical Authority (Contributions in Medical Studies, No 27) Greenwood Pub Group? Gayle L. Ormiston? Raphael Sassower? GreenwoodPubGroup? GayleL.Ormiston? RaphaelSassower? ジャンル別? Substores-UnknownASINs-8 Subjects-Business&Investing-BusinessLife-Ethics? Subjects-Medicine-Administration&Policy-General? Subjects-Medicine-Administration&Policy-PublicHealth? Subjects-Medicine-General? Subjects-Medicine-Physician&Patient-MedicalEthics? Subjects-Professional&Technical-Medical-Administration&MedicineEconomics-General? Subjects-Professional&Technical-Medical-Medicine-MedicalEthics? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-BusinessEthics? Subjects-Science-History&Philosophy-PhilosophyofMedicine? Subjects-Science-Medicine-Administration&Policy-General? Subjects-Science-Medicine-Administration&Policy-PublicHealth? Subjects-Science-Medicine-General? Subjects-Science-Medicine-Physician&Patient-MedicalEthics? Ranks and Columns Armed Forces Newspapers in American Wars (Contributions to the Study of Mass Media and Communications) Greenwood Pub Group? Alfred E. Cornebise? GreenwoodPubGroup? AlfredE.Cornebise? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Military-Strategy? Subjects-Reference-Writing-Journalism? Press Freedoms A Descriptive Calendar of Concepts, Interpretations, Events, and Court Actions, from 4000 B.C. to the Present Greenwood Pub Group? Louis Edward Ingelhart? GreenwoodPubGroup? LouisEdwardIngelhart? ジャンル別? Substores-UnknownASINs-8 Subjects-Law-ConstitutionalLaw-HumanRights? Subjects-Law-General? Subjects-Nonfiction-Politics-Freedom&Security-CivilRights? Subjects-Nonfiction-SocialSciences-PoliticalScience-Rights? Subjects-Nonfiction-Law-ConstitutionalLaw-HumanRights? Subjects-Nonfiction-Law-General? Culture of War Invention and Early Development (Contributions in Military Studies) Greenwood Pub Group? Richard A. Gabriel? GreenwoodPubGroup? RichardA.Gabriel? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Military-General? Subjects-History-World-General? Subjects-History-MilitaryScience? Subjects-Nonfiction-SocialSciences-Sociology-Culture? The Fragmentation of New England Comparative Perspectives on Economic, Political, and Social Divisions in the Eighteenth Century (Contributions in American History) Greenwood Pub Group? Bruce C. Daniels? GreenwoodPubGroup? BruceC.Daniels? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Americas-UnitedStates-19thCentury-General? Subjects-History-Americas-UnitedStates-ColonialPeriod-General? Subjects-History-Americas-UnitedStates-General? Subjects-History-Americas-UnitedStates-State&Local-General? Subjects-History-Americas-UnitedStates-State&Local-NewEngland? Subjects-History-Americas-UnitedStates-State&Local-Northeast? The Ambiguous Relationship Theodore Roosevelt and Alfred Thayer Mahan (Contributions in Military Studies) Greenwood Pub Group? Richard W. Turk? GreenwoodPubGroup? RichardW.Turk? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Americas-UnitedStates-20thCentury-General? Subjects-History-Americas-UnitedStates-General? Subjects-History-Military-Naval? Subjects-History-Military-UnitedStates-General? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Nonfiction-SocialSciences-SpecialGroups-EthnicStudies? Chronology of an Oral Tradition Quest for a Chimera (Oxford Studies in African Affairs) Greenwood Pub Group? David P. Henige? GreenwoodPubGroup? DavidP.Henige? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Africa-General? The Declining Hegemon The United States and European Defense, 1960-1990 (Contributions in Military Studies) Greenwood Pub Group? Joseph Lepgold? GreenwoodPubGroup? JosephLepgold? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Military-General? Subjects-History-MilitaryScience? Subjects-Nonfiction-Politics-International-Relations? Subjects-Nonfiction-SocialSciences-SpecialGroups-EthnicStudies? Subjects-Nonfiction-SocialSciences-PoliticalScience-LevelsofGovernment-FederalGovernment? Subjects-Science-History&Philosophy-HistoryofTechnology? Theatrical Designers An International Biographical Dictionary Greenwood Pub Group? Thomas J. Mikotowicz? GreenwoodPubGroup? ThomasJ.Mikotowicz? ジャンル別? Substores-UnknownASINs-8 Subjects-Arts&Photography-Art-General? Subjects-Arts&Photography-PerformingArts-Theater-General? Subjects-Arts&Photography-PerformingArts-Theater-Stagecraft? Subjects-Biographies&Memoirs-General? Subjects-Entertainment-PerformingArts-Theater-General? Subjects-Entertainment-PerformingArts-Theater-Stagecraft? Giovanni Maria Bononcini of Modena A Chapter in Baroque Instrumental Music Greenwood Pub Group? William Klenz? GreenwoodPubGroup? WilliamKlenz? ジャンル別? Substores-UnknownASINs-8 Subjects-Entertainment-Music-MusicalGenres-Classical-ChamberMusic? Subjects-Entertainment-Music-MusicalGenres-Classical-General? Civilian Indoctrination of the Military World War I and Future Implications for the Military-Industrial Complex (Contributions in Military Studies) Greenwood Pub Group? Penn Borden? GreenwoodPubGroup? PennBorden? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Americas-UnitedStates-20thCentury-WorldWarI? Subjects-History-Europe-General? Subjects-History-Military-General? Subjects-History-Military-Life&Institutions? Faust in Literature (University of Durham Publications) Greenwood Pub Group? J. Smeed? GreenwoodPubGroup? J.Smeed? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Americas? Subjects-History-Military-General? Subjects-History-Military-UnitedStates-General? Subjects-Literature&Fiction-Classics-UnitedStates-General? Subjects-Literature&Fiction-General? Subjects-Literature&Fiction-History&Criticism-UnitedStates-General? Subjects-Nonfiction-SocialSciences-SpecialGroups-EthnicStudies? Subjects-Nonfiction-SocialSciences-Library&InformationScience-General? Subjects-Nonfiction-Education-LanguageInstruction-Instruction-Miscellaneous? Subjects-Reference-ForeignLanguages-Instruction-Miscellaneous? Subjects-Reference-General? Theatre Companies of the World United States of America, Western Europe (Excluding Scandinavia Greenwood Pub Group? William Young? GreenwoodPubGroup? WilliamYoung? ジャンル別? Substores-UnknownASINs-8 Subjects-Arts&Photography-PerformingArts-Theater-History&Criticism? Subjects-Entertainment-PerformingArts-Theater-History&Criticism? Christian Communication A Bibliographical Survey (Bibliographies and Indexes in Religious Studies) Greenwood Pub Group? Paul A. Soukup? GreenwoodPubGroup? PaulA.Soukup? ジャンル別? Substores-UnknownASINs-8 Subjects-Reference-Publishing&Books-Bibliographies&Indexes-Religion? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-General? Patty Duke A Bio-Bibliography (Bio-Bibliographies in the Performing Arts) Greenwood Pub Group? Stephen L. Eberly? GreenwoodPubGroup? StephenL.Eberly? ジャンル別? Substores-UnknownASINs-8 Subjects-Arts&Photography-PerformingArts-Theater-Acting&Auditioning? Subjects-Arts&Photography-PerformingArts-Theater-General? Subjects-Entertainment-Television-Direction&Production? Subjects-Entertainment-PerformingArts-Theater-Acting&Auditioning? Subjects-Entertainment-PerformingArts-Theater-General? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-Art&Photography? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-General? Geriatric Nursing Assistants An Annotated Bibliography With Models to Enhance Practice (Bibliographies and Indexes in Gerontology, 12) Greenwood Pub Group? George H. Weber? GreenwoodPubGroup? GeorgeH.Weber? ジャンル別? Substores-UnknownASINs-8 Subjects-Medicine-BasicScience? Subjects-Medicine-Nursing-Gerontology? Subjects-Medicine-Specialties-Geriatrics? Subjects-Medicine-InternalMedicine? Subjects-Nonfiction-SocialSciences-Gerontology? Subjects-Parenting&Families-AgingParents-General? Subjects-Professional&Technical-Medical-Nursing-Gerontology? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-Medicine? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-Science? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-General? Subjects-Science-Medicine-BasicScience? Subjects-Science-Medicine-Nursing-Gerontology? Subjects-Science-Medicine-Specialties-Geriatrics? Subjects-Science-Medicine-InternalMedicine? Substores-UnknownASINs-8 洋書
https://w.atwiki.jp/elvis/pages/4894.html
Ruin Probability (Statistical Science and Applied Probability Series) World Scientific Pub Co Inc? Sren Asmussen? WorldScientificPubCoInc? SrenAsmussen? Substores-UnknownASINs-68? Subjects-Business&Investing-Industries&Professions-Insurance-General? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-Statistics? Subjects-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Mathematics-Applied-Probability&Statistics? Warble Fly Control in Europe Symposium on Warble Fly Control in Europe, Brussels, 16-17 September 1982 Aa Balkema? C. Boulard? AaBalkema? C.Boulard? ユーズドブック(洋書)-Medicine? Subjects-Medicine-VeterinaryMedicine-Parasitology? Subjects-Professional&Technical-Medical-VeterinaryMedicine-Parasitology? Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-General? Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-Entomology? 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No Immediate Danger Prognosis for a Radioactive Earth Book Pub Co? Rosalie Bertell? BookPubCo? RosalieBertell? ジャンル別? Subjects-Engineering-Nuclear? Subjects-Health,Mind&Body-MentalHealth-Abuse&SelfDefense-DomesticViolence? Subjects-Outdoors&Nature-Conservation-General? Subjects-Outdoors&Nature-Environment-Conservation? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Nuclear? Subjects-Professional&Technical-Medical-Administration&MedicineEconomics-PublicHealth-Toxicology? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-Nature&Ecology-Environment-Conservation? Rosalie Bertell Scientist, Eco-Feminist, Visionary (Women Who Rock) Womens Pr? Mary-Louise Engels? WomensPr? Mary-LouiseEngels? ジャンル別? Subjects-Biographies&Memoirs-General? Subjects-Biographies&Memoirs-Professionals&Academics-Scientists? 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The Cosmic Republic Notes for a Non-Peripatetic History of the Birth of Philosophy in Greece (Philosophica, Vol. 3) Antonio Capizzi? Very High Energy Cosmic-Ray Interactions Viith International Symposium Ann Arbor, Mi June 21-27, 1992 (Aip Conference Proceedings) Lawrence Jones? Cosmic Enigma (Masters of Modern Physics) Joseph Silk? The Second Compton Symposium College Park, MD 1993 (Aip Conference Proceedings) M.D.) Compton Symposium 1993 (College Park?Neil Gehrels?Carl E. Fichtel?Jay P. Norris? The Cosmic Enigma (Masters of Modern Physics Series) Joseph Silk? Godland Hello, Cosmic! (Godland) Joe Casey?Tom Scioli? Space Technology and Applications International Forum, 1998 (Aip Conference Proceedings) S. El-Genk? Space Technology and Applications International Forum - 1999 (Aip Conference Proceedings) Mohamed S. El-Genk? 3 K Cosmology Ec-Tmr Conference Rome, Italy October 1998 (Aip Conference Proceedings) Luciano Maiani?F. Melchiorri?N. Vittorio? Solar Wind Nine Proceedings of the Ninth International Solar Wind Conference (Aip Conference Proceedings) Mass.) International Solar Wind Conference 1998 (Nantucket?Shadia Rifai Habbal? 26th International Cosmic Ray Conference Icrc Xxvi, Invited, Rapporteur, and Highlight Papers (Aip Conference Proceedings) Utah) International Cosmic Ray Conference 1999 (Salt Lake City?Brenda L. Dingus?David B. Kieda?Michael H. Salamon?Salamon. M. H.? Cosmic Explosions Tenth Astrophysics Conference (Aip Conference Proceedings) October Astrophysics Conference?Stephen S. Holt?William W. Zhang? Acceleration and Transport of Energetic Particles Observed in the Heliosphere Ace-2000 Symposium (Aip Conference Proceedings) Calif.) Ace-2000 Symposium (2000 Indian Wells?R. A. Mewaldt?J. R. Jokipii?M. A. Lee?E. Mobius?T. H. Zurbuchen? Anatomy of the Body of God Being the Supreme Revelation of Cosmic Consciousness Frater Achad? Cosmic Consciousness The Man-God Whom We Await - 1913 Ali Nomad? Akashic Brotherhood Balance, Ascension and the Cosmic All (Mage) Emrey Barnes? Cosmic Horizons Astronomy at the Cutting Edge (American Museum of Natural History Book) Neil De Grasse Tyson?Steven Soter? Naked Soul Astral Travel Cosmic Relationships Marlene M. Druhan? Circle of the Cosmic Muse A Wiccan Book of Shadows Maria Kay Simms? Questions from Your Cosmic Dance John Coleman? Before the Big Bang The Origins of the Universe and the Nature of Matter Ernest J. Sternglass? Terrestrial and Cosmic Spherules Proceedings of the 1998 Annual Meeting Tecos Hungary) Tecos Meeting (1998 Budapest?Csaba H. Detre?Cs. H. Detre? The Cosmic Embrace An Illustrated Guide to Sacred Sex John Stevens? The Cosmic Dance An Invitation to Experience Our Oneness Joyce Rupp?Mary Southard? Cosmic Mystique Henry A. Garon? Estrella, Estrellita / Mates, Dates and Cosmic Kisses Cuando se dara cuenta de que soy su media naranja / Boys out of this world, or alien beings? (Chicas / Girls) Cathy Hopkis? The Search for David A Cosmic Journey of Love George Schwimmer? La pandilla cosmica/ The Cosmic Gang Sergio Gonzalez Rodriguez? Your Cosmic Kids Using Astrology to Understand Your Children Trish MacGregor? Frontiers in Physics From Colliders to Cosmology Chateau Lake Louise, 19-25 February 1989 Alta.) Lake Louise Winter Institute 1989 (Chateau Lake Louise?B. A. Campbell?W. Israel?A. N. Kamal?F. C. Khanna?Alan Astbury? Cosmic Ordering The Next Adventure Barbel Mohr?Dawn Bailiff? Cosmic Tarot Tarot Cosmico Norbert Losche? Kick Start A Cosmic Biker Babe's Guide To Life And Changing the Planet Carol Setters? Cosmic Questions (Annals of the New York Academy of Sciences) James B. Miller? Cosmic Questions James B. Miller? Cosmic Discoveries The Wonders of Astronomy David H. Levy?Wendee Wallach Levy?Wendee Wallach-Levy? Proceedings of the Workshop on Cosmic Axions Brookhaven National Laboratory April 13-14, 1989 C. Jones?A. Melissinos? Cosmic Codes Hidden Messages Chuck Missler? Cosmic Codes Hidden Messages Chuck Missler? How to Read Your Astrological Chart Aspects of the Cosmic Puzzle Donna Cunningham? Cosmic Doctrine Dion Fortune? Cosmic Explosions The Beasts And Their Lair Edo Berger? The Battle Between the Moon and Sun The Separation of Women's Bodies from the Cosmic Dance Jenny Kien? Cosmic Ray Conference Randall B. Hicks? Fluid Dynamics And Dynamos In Astrophysics And Geophysics (The Fluid Mechanics of Astrophysics and Geophysics) Andrew M. Soward?Christopher A. Jones?David W. Hughes?N. O. Weiss?A. M. Soward? Cosmic X-ray Astronomy D. J. Admas? Cosmic Telepathy A How-To Study Guide to Mental Telepathy T. Lobsang Rampa? Ordering from the Cosmic Kitchen The Essential Guide to Powerful, Nourishing Affirmations Patricia J. Crane? Unmasking the Pagan Christ An Evangelical Response to the Cosmic Christ Idea Stanley E. Porter?Stephen J. Bedard? The Cosmic Doctrine Dion Fortune? The Cosmic Follies Simon Louvish? Keep It Together! Cosmic Boogie With the Deviants And the Pink Fairies Rich Deakin? Star Signs For You and Your Pet (Cosmic Kits) John G. Sutton? Sweet Dreamer A Guide for Young Dreamers (Cosmic Kits) Lori Reid?Bee Willey? Scent Sense An Essential Guide to Aromatherapy (Cosmic Kits) Janet Denhard?Aisleen Adams? Color Crazy A Guide to Understanding the Colors in Lour Life (Cosmic Kits) Lori Reid?Sarah Gibb? Cosmic Ordering Connection Stephen Richards? Cosmic Fusion The Inner Alchemy of the Eight Forces Mantak Chia? Leonardo Da Vinci, the Last Supper A Cosmic Drama And an Act of Redemption Michael Ladwein? Cosmic Wisdom Beyond Astrology Adrian Geoffrey Gilbert? Optics of Cosmic Dust. Part I. (Astrophysics Space Physics Reviews) N. V. Voshchinnikov? Divine Astrology Cosmic Reconnection Enlisting the Aid of Planetary Powers Lyn Birkbeck? Tahirih Thealogy - Female Cosmic Christ Spirit of the Age Starr Saffa? The Essential Pattern Finding Our Cosmic Connection Rosalind Thorp? Cosmic Keys to Perfect Health Lessons on How to Achieve Wholeness Through the Transformational Properties of the Fourteen Cosmic Minerals and Universal Laws Shepherd Edwin A. Peter? Riders of the Cosmic Circuit, the Millennial Edition The Dark Side of Superconsciousness Tal Brooke? The Bus Cosmic Ejaculations of the Daily Mind in Transit Steve Abee? Cosmic Cow (Green Integer, 57) Sam Eisenstein? Cosmic Cliff Notes Linda Grace? The Cosmic Blueprint New Discoveries in Nature's Creative Ability to Order the Universe P. C. W. Davies? God, Science, and the Cosmic Jigsaw I. J. Kampel?Jonathan Kingsley? Rocket and the Magical Cosmic Candies Kimberly Sawler?Ty Walls? Cosmic Chemistry Kara Griffin? Cosmic Moral Law (Complete Works Series) Omraam M. Aivanhov? Cosmic Balance (Izvor Collection) Omraam Mikhael Aivanhov? Basics of Cosmic Structures Ludwik M Celnikier? Cosmic Velocity Fields Francois R Bouchet?Marc Lachieze- Rey? Propagation and Polarization of Radiation in Cosmic Media A. Z. Dolginov?Yu. N. Gnedin?Silant Ev N. A.? Cosmic Christology in Paul the Pauline School Colossians Ephesians in the Context of Graeco-Roman Cosmology, With a New Synopsis of the Greek Texts (Wissenschaftliche Untersuchungen Zum Neuen Testament 2, 171) GEURT HENDRIK VAN KOOTEN? Cosmic Trigger Robert Anton Wilson? Cosmic Consciousness A Study in the Evolution of the Human Mind Richard Maurice Bucke? Reviews in Modern Astronomy The Cosmic Circuit of Matter (Reviews in Modern Astronomy) Reinhard E. Schielicke? Cosmic Dances of the Zodiac Lacquanna Paul?Robert Powell? Cosmic Explosions (Springer Proceedings in Physics) J. M. Marcaide?Kurt W. Weiler? Cosmic Magnetic Fields (Lecture Notes in Physics) R. Wielebinski?Rainer Beck? Lectures in Astrobiology The Early Earth And Other Cosmic Habitats for Life (Advances in Astrobiology and Biogeophysics) Christian De Duve?France) Exobio 9 (1999 Propriano?Muriel Gargaud?Herve Martin?Jacques Reisse? Exploring the Cosmic Frontier Astrophysical Instruments for the 21st Century (Eso Astrophysics Symposia) A. P. Lobanov?J. A. Zensus?C. Cesarsky?P. J. Diamond? High Energy Cosmic Rays (Springer-Praxis Books in Astrophysics and Astronomy) Todor Stanev? Phenomenal Cosmic Power...itty Bitty Living Space Luke Lang? The Cold Universe Saas-Fee Advanced Course 32, Lecture Notes 2002 Swiss Society for Astrophysics and Astronomy (Saas-Fee Advanced Course ... Lecture Notes, 2002.) A. W. Blain?F. Combes?Bruce T. Draine?D. Pfenniger?Y. Revaz? Space Physics An Introduction to Plasmas and Particles in the Heliosphere and Magnetospheres (Advanced Texts in Physics Physics and Astronomy Online Library) May-Britt Kallenrode? Astrophysics of the Diffuse Universe (Astronomy and Astrophysics Library) Michael A. Dopita?Ralph S. Sutherland? Relativistic Hadrons in Cosmic Compact Objects (Lecture Notes in Physics) A. Zdziarski?M. Sikora? The Role of Dust in the Formation of Stars Proceedings of the Eso Workshop Held at Garching, Germany, 11-14 September 1995 (Eso Astrophysics Symposia) Ralf Siebenmorgen?Hans Ulrich Kaufl? Cosmic Ray Astrophysics (Astronomy and Astrophysics Library) Reinhard Schlickeiser? Soviet Scientific Reviews, Section E Astrophysics and Space Physics Reviews (Soviet Scientific Reviews Section E Astrophysics and Space Physics Reviews) R. A. Syunyaev? Cosmic-ray Generated Magnetohydrodynamic Turbulence (Soviet Scientific Reviews Series, Section E) V. N. Fedorenko? Cosmic Trigger Robert Anton Wilson? The Creative Myth and the Cosmic Hero Text and Context in Ernest Becker's the Denial of Death (The Reshaping of Psychoanalysis, Vol 3) Ron Evans? St. Paul's Cosmic War Myth A Military Version of the Gospel (Westminster College Library of Biblical Symbolism, Vol. 2.) Peter W. MacKy? The Divine Struggle Divine - Cosmic - Human Relationship in Jer IX (European University Studies Theology, 23) Arasakumar Rayappan? The Threat to the Cosmic Order Psychological, Social, and Health Implications of Richard Wagner's Ring of the Nibelung (Mental Health Library Series, Monograph 4) Peter Ostwald?Leonard S. Zegans? Prayer and the Quest for Healing Our Personal Transformation and Cosmic Responsibility Barbara Fiand? Hildegard Prophet of the Cosmic Christ (Crossroad Spiritual Legacy Series) Renate Craine? Gender Reversal and Cosmic Chaos A Study on the Book of Ezekiel (Journal for the Study of the Old Testament. Supplement Series, 368) S. Tamar Kamionkowski?Tamar S. Kamionkowski? Cosmic Conflict Ellen Gould Harmon White? Einstein and the Poet In Search of the Cosmic Man William Hermanns? Einstein and the Poet In Search of the Cosmic Man William Hermanns? The Singer A Classic Retelling of the Cosmic Conflict Calvin Miller? The Singer A Classic Retelling of Cosmic Conflict Calvin Miller? Cosmic Womb Arthur W. Osborn? Mathematics of the Cosmic Mind L. Gordon Plummer? Cosmic Debris The Asteroids (Isaac Asimov's New Library of the Universe) Isaac Asimov?Greg Walz-Chojnacki? Thomas Hardy and the Cosmic Mind A New Reading of the Dynasts James Osler Bailey? Cosmic Frontiers An Introductory Course in Astronomy William W. Suggs? Armageddon The Cosmic Battle of the Ages (Lahaye, Tim F.) Tim F. LaHaye?Jerry B. Jenkins? Cosmic Impressions Signs of God in Physics Walter Thirring? Armageddon The Cosmic Battle of the Ages (Left Behind, 11) Tim F. LaHaye?Jerry B. Jenkins?Steve Sever? Armageddon The Cosmic Battle of the Ages (Left Behind, 11) Tim F. LaHaye?Jerry B. Jenkins?Steve Sever? Armageddon The Cosmic Battle of the Ages (Lahaye, Tim F. Left Behind Series.) Tim F. Lahaye?Jerry B. Jenkins? Down Gilead Lane Cosmic Confusion (Down Gilead Lane, 3) Cbh Ministries? Down Gilead Lane Cosmic Confusion (Down Gilead Lane, 3) Cbh Ministries? Masters of Consciousness--a Guide Book for the Cosmic Traveler Yoga Kat? Cosmic Christmas Max Lucado? The Cosmic Drama An Exposition of the Book of Revelation Herschel H. Hobbs? Gods, Spirits, Cosmic Guardians A Comparative Study of the Encounter Experience Hilary Evans? Cosmic Crystals R. Bonewitz? Dion Fortune's the Cosmic Doctrine Dion Fortune? Points of Cosmic Energy Blanche Merz? Cosmic Forces of Mu James Churchward? Starlight Elixirs and Cosmic Vibrational Healing Michael Smulkis?Fred Rubenfeld? Cosmic Critiques How and Why Ten Science Fiction Stories Work Isaac Asimov?Martin Harry Greenberg? Cosmic Magnetism Percy Seymour? Treatise on Cosmic Fire Alice A. Bailey? Cosmic Pulse of Life Trevor James Constable? Mystic Path to Cosmic Power Vernon Howard? Cosmic Rays at Ground Level A.W. Wolfendale? Cosmic Crystals Ra Bonewitz? Crack in the Cosmic Egg Joseph Chilton Pearce? Physics of Solar Cosmic Rays Kunitomo Sakurai? Human Needs and Cosmic Answers Adam Bittleston? Cosmic Christ (Cloth) Hans-Werner Schroeder? Cosmic Light Shows (Eye on the Universe) Bobbie Kalman?April Fast? Cosmic Light Shows (Eye on the Universe) Bobbie Kalman?April Fast? Dawn Gray's Cosmic Adventure (Dawn Gray S.) David Bell? Cosmic Patterns John H. Nelson? Critical Astrology Investigating the Cosmic Connection Richard Nolle? Money Signs A Cosmic Guide to Personal Riches Elbert Wade? Cosmic Astrology June Wakefield? Solar Flare Prediction Constance Sawyer? The Life Era Cosmic Selection and Conscious Evolution Eric Chaisson? Cosmic Countdown What Astronomers Have Learned About the Life of the Universe Francine Jacobs? Spider-Man The Cosmic Adventures Gerry Conway?David Michelinie? Cosmic Harmony and Political Thinking in Early Stuart England (Transactions of the American Philosophical Society, V. 69, Pt. 7.) James Daly? Cosmic Inventor Reginald Aubrey Fessenden 1866-1932 (Transactions of the American Philosophical Society) Frederick Seitz?
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【登録タグ 5150 E シンフォニック東方Ⅱ 曲 無何有の郷 ～ Deep Mountain 龍5150】 【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 ); 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Exporting to Your Animation Package Once you are happy with the object paths and tracker positions, use the Export menu items to save your scene. The following options are currently available (note that this list is constantly being expanded; check the web site) · 3ds max 4 or later (Maxscript). Should be usable for 3D Studio MAX 3 as well. Separate versions for 3dsmax 5 and earlier, and 3dsmax 6 and later. · After Effects (via a special maya file) · Bentley Microstation · Blender · Carrara · Cinema 4D (via Lightwave scene) · Combustion · ElectricImage (less integrated due to EI import limitations) · FLAIR motion control cameras (Mark Roberts Motion Control) · Flame (3-D) · Fusion 5 · Hash Animation Master. Hash 2001 or later. · Houdini · Inferno 3-D Scene. · Lightwave LWS. Use for Lightwave, Cinema 4D · Maya scene file · Mistika · Motion – 2-D · Nuke (D2 Software, subsidiary of Digital Domain) · Particle Illusion · Poser · Realsoft 3D · Shake (several 2-D/2.5-D plus Maya for 3-D scenes) · SoftImage XSI, via a dotXSI file · Toxik · trueSpace · Vue 5 and 6 Infinite · VIZ (via 3ds Max scene) SynthEyes offers a scripting language, SIZZLE™, that makes it easy to modify the exported files, or even add your own export type. See the separate SIZZLE User Manual for more information. New export types are being added all the time, check the export list in SynthEyes and the support site for the latest packages or beta versions of forthcoming exporters. General Procedures You should already have saved the scene as a SynthEyes file before exporting. Select the appropriate export from the list in the File/Exports area. SynthEyes keeps a list of the last 3 exporters used on the top level of the File menu as well. Hint SynthEyes has many exports. To simplify the list, clickScript/System Script Folder, create a new folder “Unused” in it, and move all the scripts for applications you do not use into that folder. You will have to repeat this process when you later install new builds, however. There is also an export-again option, which repeats the last export performed by this particular scene file, with the most-recently-used export options, without bring up the export-options dialog again to save time for repeated exports. When you export, SynthEyes uses the file name, with the appropriate file extension, as the initial file name. By default, the exported file will be placed in a default export folder (as set using the preferences dialog). In most cases, you can either open the exported file directly, or if it is a script, run the script from your animation package. For your convenience, SynthEyes puts the exported file name onto the clipboard, where you can paste it (via control-V or command-V) into the open-file dialog of your application, if you want. (You can disable this from the preferences panel if you want.) Note that the detailed capabilities of each exporter can vary somewhat. Some scripts offer popup export-control dialogs when they start, or small internal settings at the beginning of each Sizzle script. For example, 3ds max does not offer a way to set the units from a script before version 6 and the render settings are different, so there slightly different versions for 3dsmax 5 and 6+. Settings in the Maya script control the re-mapping of the file name to make it more suitable for Maya on Linux machines. If you edit the scripts, using a text editor such as Windows’ Notepad, you may want to write down any changes as they must be re-applied to subsequent upgraded versions. Be aware that not all packages support all frame rates. Sometimes a package may interpret a rate such as 23.98 as 24 fps, causing mismatches in timing later in the shot. Or one package may produce 29.96 vs 29.97 in another. Handle image sequences and use frame counts rather than AVIs, QTs, frame times, or drop-frame time codes wherever possible. TheCoordinate System control panel offers an Exportable checkbox that can be set for each tracker. By default, all trackers will be exported, but in some cases, especially for compositors, it may be more convenient to export only a few of the trackers. In this case, select the trackers you wish to export, hit control-I to invert the selection, then turn off the checkbox. Note that particular export scripts can choose to ignore this checkbox. Setting the Units of an Export SynthEyes uses generic units a value of 10 might mean 10 feet, 10 meters, 10 miles, 10 parsecs—whatever you want. It does not matter to SynthEyes. This works because match-moving never depends on the overall scale of the scene. SynthEyes generally tries to export the same way as well—sending its numbers directly as-is to the selected animation or compositing package. However, some software packages use an absolute measurement system where, for instance, Lightwave requires that coordinates in a scene file always be in meters. If you want something else inside Lightwave, it will automatically convert the values. For such software, SynthEyes needs to know what units you consider yourself to be using within SynthEyes. It doesn’t care, but it needs to tell the downstream package the right thing, or pre-scale the values to match your intention. To set the SynthEyes units selection, use the Units setting on the SynthEyes preferences panel. Changing this setting will not change any numbers within SynthEyes; it will only affect certain exports. The exports affected by the units setting are currently these · After Effects (3-D) · Hash Animation Master · Lightwave · 3ds max · Maya · Poser Before exporting to one of these packages, you should verify your units setting. Alternatively, if you observe that your imported scene has different values than in SynthEyes, you should check the units setting in SynthEyes. Hint if you will be exporting to acompositing package, they often measure everything, including 3-D coordinates, in terms of pixels, not inches, meters, etc. Be sure to pick sizes for the scene that will work well in pixels. While you might scale a scene for an actor 2m tall, if you export to a compositor and the actor is two pixels tall that will rarely make sense. Image Sequences Different software packages have different conventions and requirements regarding the numbering of image sequences whether they start at 0 or 1, whether there are leading zeroes in the image number, and whether they handle sequences that start at other numbers flexibly. For example, if you have a shot that originally had frames img1.tif-img456.tif, but you are using only images img100.tif-img150.tif of it, SynthEyes will normally consider it as a 51 frame shot, starting with frame 0 (img100.tif) or, withFirst frame is 1preference on, as frame 1 at img100.tif. Other software sometimes requires that their frame numbers match the file number, so img100.tif must always be frame 100, no matter what frame# they normally start at. SynthEyes gives you the option to pad the beginning of IFLs with extra copies of the first frame, so that the SynthEyes frame number matches the image frame number, by turning on the Match frame# s preference. While this sounds simple, it will cause trouble for many of the exports. It is especially a problem if you do not have the unused frames, as is often the case. By being aware of these differences, you will be able to recognize when your particular situation requires an adjustment to the settings—typically when there is a shift between the camera path animation and the imagery. Generic 2-D Tracker Exporters There are a number of similar exporters that all output 2-D tracker paths to various compositing packages. Why 2-D, you protest? For starters, SynthEyes tracking capabilities can be faster and more accurate. But even more interestingly, you can use the 2-D export scripts to achieve some effects you could not with the compositing package alone. For image stabilizing applications, the 2-D export scripts will average together all the selected trackers within SynthEyes, to produce a synthetic very stable tracker. For corner-pinning applications, you can have SynthEyes output not the 2-D tracker location, but the re-projected location of the solved 3-D point. This location can not only be smoother, but continues to be valideven if the tracker goes off-screen. So suppose you need to insert a painting into an ornate picture-frame using corner pinning, but one corner goes off-screen during part of the shot. By outputting the re-projected 3-D point (Use solved 3-D points checkbox), the corner pin can be applied over the entire shot without having to guess any of the path. Taking this idea one step further, you can create an “extra” point in 3-D in SynthEyes. Its re-projected 2-D position will be averaged with any selected trackers; if there are none, its position will be output directly. So you can do a four-corner pin even if one of the corners is completely blocked or off-screen. By repeating this process several times, you can create any number of synthetic trackers, doing a four-corner insert anywhere in the image, even where there are no trackable features. Of course, you could do this with using a 3-D compositing environment, but that might not be simplest. At present, there are compatible 2-D exporters for AfterEffects, Digital Fusion, Discreet (Combustion/Inferno/Flame), Particle Illusion, and Shake. Note that you will need to import the tracker data file (produced by the correct SynthEyes exporter) into a particular existing tracker in your compositing package. There is also a 2-D exporter that exports all tracker paths into a single file, with a variety of options to change frame numbers and u/v coordinates. A similar importer can read the same file format back in. Consequently, you can use the pair to achieve a variety of effects within SynthEyes, including transferring trackers from SynthEyes file to SynthEyes file, as described in the section onMerging Files and Tracks. This format can also be imported by Fusion. Generic 3-D Exporters There are several 3-D exports that produce plain text files. You can use them for any software SynthEyes don’t already support, for example, non-visual-effects software. You can also use them as a way to manipulate data with little shell, AWK, or Perl scripts, for example. Importantly, you can also use them as a way to transfer data between SynthEyes scene files, for example, to compute some tracker locations to be used by a number of shots. There are several ways to do this, see the section onMerging Files and Tracks. The generic exports are Camera/Object Path for a path, Plain Trackers for the 3-D coordinates of trackers and helper points, and corresponding importers. You can import 3-D locations to create either helper points, or trackers. This latter option is useful to bring in surveyed coordinates for tracking. After Effects 3-D Procedure 1. Export to After Effects in SynthEyes to produce a (special) .ma file. 2. In After Effects, do a File/Import File 3. Change Files of Type to All File Formats 4. Select the .ma file 5. Double-click the Square-whatever composition 6. Re-import the original footage 7. Click File/Interpret Footage/Main and be sure to check the frame rate and pixel aspect. 8. Rewind to the beginning of the shot 9. Drag the re-imported footage from the project window into the timeline as the first layer 10.Tracker nulls have a corner at the active point, instead of being centered on the active point as in SynthEyes. After Effects 2-D Procedure 1. Select one or more trackers to be exported. 2. Export using the After Effects 2-D Clipboard. You can select either the 2-D tracking data, or the 3-D position of tracker re-projected to 2-D. 3. Open the text file produced by the export 4. In the text editor, select all the text, using control-A or command-A. 5. Copy the text to the clipboard with control-C or command-C. 6. In After Effects, select a null to receive the path. 7. Paste the path into it with control-V or command-V. Bentley MicroStation You can exporter to Bentley s Microstation V8 XM Edition by following these directions. Exporting from SynthEyes MicroStation requires that animated backgrounds consist of a consecutive sequence of numbered images, such as JPEG or Targa images. If necessary, the Preview Movie capability in SynthEyes s Perspective window can be used to convert AVIs or MOVs to image sequences. Perform tracking, solving, and coordinate system alignment in SynthEyes. (Exporting coordinates from MicroStation into SynthEyes may be helpful) File/Export/Bentley MicroStation to produce a MicroStation Animation (.MSA) file. Save the file where it can be conveniently accessed from MicroStation. The export parameters are listed below. SynthEyes/MicroStation Export Parameters Target view number. The view number inside MicroStation to be animated by this MSA file (usually 2) Scaling. This is from MicroStation s Settings/DGN File Settings/Working Units, in the Advanced subsection the resolution. By default, it is listed as 10000 per distance meter, but if you have changed it for your DGN file, you must have the same value here. Relative near-clip. Controls the MicroStation near clipping-plane distance. It is a “relative” value, because it is multiplied by the SynthEyes world size setting. Objects closer than this to the camera will not be displayed in MicroStation. Relative view-size.Another option to adjust as needed if everything is disappearing from view in MicroStation. Relative far-clip. Controls the MicroStation far clipping-plane distance. It is a “relative” value, because it is multiplied by the SynthEyes world size setting. Objects farther than this from the camera will not be displayed in MicroStation. Importing into MicroStation Open your existing 3-D DGN file. Or, create a new one, typically based on seed3d.dgn Open the MicroStation Animation Producer from Utilities/Render/Animation File/Import .MSA the .msa file written by the SynthEyes exporter. Set the View Size correctly—this isrequiredto get a correct camera match. Settings/Rendering/View Size Select the correct view # (typically 2) Turn off Proportional Resize Set X and Y sizes as follows. Multiply the height(Y) of your image, in pixels, by the aspect ratio (usually 4 3 for standard video or 16 9 for HD) to get the width(X) value. For example, if your source images are 720x480 with a 4 3 aspect ratio, the width is 480*4/3 = 640, so set the image size to X=640 and Y=480, either directly on the panel or using the “Standard” drop-down menu. This process prevents horizontal (aspect-ratio) distortion in your image. Hit Apply Turn Proportional Resize back on Close the view size tool On the View Attributes panel, turn on the Background checkbox. Bring up the Animation toolbar (Tools/Visualization/Animation) and select the Animation Preview tool. You can dock it at the bottom of MicroStation if you like. If you scrub the current time on the Animation Preview, you’ll move through your shot imagery, with synchronized camera motion. Unless you have some 3-D objects in the scene, you won’t really be able to see the camera motion, however. If desired, use the Tools/3-D Main/3-D Primitives toolbar to create some test objects (as you probably did in SynthEyes). To see the camera cone of the camera imported from SynthEyes, bring up Tools/Visualization/Rendering, and select the Define Camera tool. Select the view with the SynthEyes camera track as the active view in the Define Camera tool, and turn on the Display View Cone checkbox. Transferring 3-D Coordinates If you would like to use within MicroStation the 3-D positions of the trackers, as computed by SynthEyes, you can bring them into MicroStation as follows. You have the option of exporting only a subset of points from SynthEyes to MicroStation. All trackers are exported by default; turn off the Exportable checkbox on the coordinate system panel for those you don’t wish to export. You may find it convenient to select the ones you want, then Edit/Invert Selection, then turn off the box. In SynthEyes, File/Export/Plain Trackers with Set Names=none, Scale=1, Coordinate System=Z Up. This export produces a .txt file listing all the XYZ tracker coordinates. In MicroStation, bring up the Tools/Annotation/XYZ Text toolbar. Click the Import Coordinates tool. Select the .txt file exported from SynthEyes in Step 1. Set Import=Point Element, Order=X Y Z, View=2 (or whichever you are using). Transferring Meshes SynthEyes uses two types of meshes to help align and check camera matches mesh primitives, such as spheres, cubes, etc; and tracker meshes, built from the computed 3-D tracker locations. The tracker meshes can be used to model irregular areas, such as a contoured job site into which a model will be inserted. Both types of models can be transferred as follows In SynthEyes, select the mesh to be exported, by clicking on it or selecting it from the list on the 3-D panel. Select the File/Export/STL Stereolithography export, and save the mesh to a file. In MicroStation, select File/Import STL and select the file written in step 2. You can use the default settings. Meshes will be placed in MicroStation at the same location as in SynthEyes. You can bring up its Element/Information and assign it a material. To Record the Animation Select the Record tool on the Animation toolbar (Tools/Visualization/Animation) Important Be sure the correct (square pixels) output image size is selected, the same one as the viewport size. For example, if your input is 4 3 720x480 DV footage, youMUSTselect640x480output to achieve 4 3 with square pixels (ie 640/480 = 4/3). MicroStation always outputs square pixels. You can output images with any overall aspect you wish, as long as the pixels are square (pixelaspect ratio is 1.0). Note that HD images already have square pixels. Don’t clobber your input images! Be sure to select a different location for your output footage than your input. Blender Directions Blender has a tendency to change around frequently, so the details of these directions might best be viewed more as a guide than the last word. When working with image sequences and blender, it will be a good idea to ensure that the overall frame number is the same as the number in the image file name. Although you can adjust the offset, Blender incorrectly eliminates a frame number of zero. 1. In SynthEyes, export to Blender (Python) 2. Start Blender 3. Delete the default cube and light 4. Change one of the views to the blender Text Editor 5. In the text editor, open the blender script you exported in step 1. 6. Hit ALT-P to run the script 7. Select the camera (usually Camera01) in the 3-D Viewport 8. In a 3-D view, select Camera on the View menu to look through the imported, animated, SynthEyes camera 9. Select View/Background image 10.Click Use Background Image 11.Select your image sequence or movie from the selection list. 12.Adjust the background image settings to match your image. Make sure the shot length is adequate, and that Auto Refresh is on. If the images and animation do not seem to be synced correctly, you probably have to adjust the offset. 13.Decrease the “blend” value to zero, or you can go without the background, and set up compositing within blender. 14.On the View Properties dialog, you might wish to turn off Relationship Lines to reduce clutter. 15.Use a Timeline view to scrub through the shot. Cinema 4D Procedure 1. Export from SynthEyes in Lightwave Scene format (.lws) — see below. 2. Start C4D, open the .lws file 3. From the Objects menu, add a Background 4. Create a new Texture with File/New down below. 5. At right, click on “…” next to the file name for texture. 6. Select your source file. 7. Click on the right-facing triangle button next to the file name, select Edit. 8. Select the Animation panel 9. Click the Calculate button at the bottom. 10.Drag the new texture from the texture editor onto the “Background” on the object list. Background now appears in the viewport. DotXSI Procedure 1. In SynthEyes, after completing tracking, do File/Export/dotXSI to create a .xsi file somewhere. 2. Start Softimage, or do a File/New. 3. File/Import/dotXSI... of the new .xsi file from SynthEyes. The options may vary with the XSI version, but you want to import everything. 4. Set the camera to Scene1.Camera01 (or whatever you called it in SynthEyes). 5. Open the camera properties. 6. In the camera rotoscopy section, select New from Source and then the source shot. 7. Make sure “Set Pixel Ratio to 1.0” is on. 8. Set “Use…” pixel ratio to “Camera Pixel Ratio” (should be the default) 9. In the Camera section, make sure that Field of View is set to Horizontal. 10.Make sure that the Pixel Aspect Ratio is correct. In SynthEyes, select Shot/Edit Shot to see the pixel aspect ratio. Make sure that XSI has the exact same value 0.9 isnota substitute for 0.889, so fix it! Back story XSI does not have a setting for 720x480 DV, and 720x486 D1 causes errors! 11.Close the camera properties page. 12.On the display mode control (Wireframe, etc), turn on Rotoscope. ElectricImage The ElectricImage importer relies on a somewhat higher level of user activity than normal, in the absence of a scripting language for EI. You can export either a camera or object path, and its associated trackers. 1. After you have completed tracking in SynthEyes, select the camera/object you wish to export from the Shots menu, then select File/Export/Electric Image. SynthEyes will produce two files, an .obm file containing the trajectory, and an .obj file containing geometry marking the trackers. 2. In ElectricImage, make sure you have a camera/object that matches the name used in SynthEyes. Create new cameras/objects as required. If you have Camera01 in SynthEyes, your camera should be Camera 1 in EI. The zero is removed automatically by the SynthEyes exporter. 3. Go to the Animation pull-down menu and select the Import Motion option. 4. In the open dialog box, select All Files from the Enable pop-up menu, so that the .obm file will be visible. 5. Navigate to, and select, the .obm file produced by SynthEyes. This will bring up the ElectricImage motion import dialog box which allows you to override values for position, rotation, etc. Normally, you will ignore all these options as it is simpler to parent the camera/object to an effector later. The only value you might want to change is the start time to offset when the camera move begins. Click OK and you will get a warning dialog about the frame range. This is a benign warning that sets the range of frames rendering option to match the length of the incoming camera data. Hitting cancel will abort the operation, so hit OK and the motion data will be applied to the camera. 6. Select Import Object from the Object pull-down menu. 7. Enable All Files in the pop-up menu. 8. Select the .obj file produced by SynthEyes. 9. Create a hierarchy by selecting one tracker as the parent, or bringing in all trackers as separate objects. 10.If you are exporting an object path, parent the tracker object to the object holding the path. Fusion 5 There are several Fusion-compatible exporters. The main exporter is the Fusion 5 composition export, which can be opened directly in Fusion. The Tracker 2-D Paths export can write all the exportable trackers to a text file, which can then be read in Fusion with the Import SynthEyes Trackers script and assigned to any Point-type input on a node. Select a node and start the Import script from its right-click menu. At present, it appears that you should animate the desired control before importing, then tell the script to proceed anyway when it notices that the control is already animated. There is also a generic 2-D path exporter for Fusion. Houdini Instructions 1. File/New unless you are addding to your existing scene. 2. Open the script Textport 3. Typesource c /shots/scenes/flyover.cmd or equivalent. 4. Change back from COPs to OBJs. Lightwave The Lightwave exporter produces a lightwave scene file (.lws) with several options, one of them crucial to maintaining proper synchronization. As mentioned earlier, Lightwave requires a units setting when exporting from SynthEyes. The SynthEyes numbers are unitless by changing the units setting in the lightwave exporter as you export, you can make that 24 in SynthEyes mean 24 inches, 24 feet, 24 meters, etc. This is different than in Lightwave, where changing the units from 24 inches would yield 2 feet, 0.61 meters, etc. This is the main setting that you may want to change from scene to scene. Lightwave has an obscure preferences-like setting on its Compositing panel (on the Windows menu) named “Synchronize Image to Frame.” The available options are zero or one. Selecting one shifts the imagery one frame later in time, and this is the Lightwave default. However, for SynthEyes, a setting of zero will generally be more useful (unless the SynthEyes preferenceFirst Frame is 1is turned on). The Lightwave exporter from SynthEyes allows you to select either 0 or 1. We recommend selecting zero, and adjusting Lightwave to match. You will only have to do this once, Lightwave remembers it subsequently. In all cases, you must have a matching value on the exporter UI and in Lightwave, or you will cause a subtle velocity-dependent error in your camera matches in Lightwave that will drive you nuts until you fix the setting. The exporter also has a checkbox for using DirectShow. This checkbox applies only for AVIs, and should be on for most AVIs that contain advanced codecs such as DV or HD. If an AVI uses an older codec and is not opened automatically within Lightwave, export again with this checkbox turned off. Nuke The nuke exporter produces a nuke file you can open directly. The pop-up parameter panel lets you indicate if you have a slate frame at the start of the shot, or select renderable or non-rendering tracker marks. The renderable marks are better for tracking, the non-rendering marks better for adding objects within Nuke s 3-D view. Poser Poser struggles a little to be able to handle a match-moved camera, so the process is a bit involved. Hopefully Curious Labs will improve the situation in further releases. The shot must have square pixels to be used properly by Poser; it doesn t understand pixel aspect ratios. So if you have a 720x480 DV source, say, you need to resample it in SynthEyes, AfterEffects or something to 640x480. Also, the shot has to have a frame rate of exactly 30 fps. This is a drag since normal video is 29.97 fps, and Poser thinks it is 29.00 fps, and trouble ensues. One way to get the frame rate conversion without actually mucking up any of the frames is to store the shot out as a frame sequence, then read it back in to your favorite tool as a 30 fps sequence. Then you can save the 640x480 or other square-pixel size. Note that you can start with a nice 720x480 29.97 DV shot, track it in SynthEyes, convert it as above for Poser, do your poser animation, render a sequence out of Poser, then composite it back into the original 720x480. One other thing you need to establish at this time---exactly how many frames there are in your shot. If the shot ranges are 0 to 100, there are 101; from 10 to 223, there are 214. 1. After completing tracking in SynthEyes, export using the Poser Python exporter. 2. Start Poser. 3. Set the number of frames of animation, at bottom center of the Poser interface, to the correct number of frames. It is essential that you do this now, before reading the python script 4. File/Run Python Script on the python script output from SynthEyes. 5. The Poser Dolly camera will be selected and have the SynthEyes camera animation on it. There are little objects for each tracker, and also SynthEyes boxes, cones, etc are brought over into Poser. Open Question How to render out of Poser with the animated movie background. The best approach appears to be to render against black with an alpha channel, then composite over the original shot externally. Shake SynthEyes offers three specific exporters for Shake, plus one generic one 1. MatchMove Node. 2. Tracker Node 3. Tracking File format 4. 3-D Export via the “AfterFX via .ma” or Maya ASCII exports. The first two formats (Sizzle export scripts) produce shake scripts (.shk files); the third format is a text file. The fourth option produces Maya scene files that Shake reads and builds into a scene using its 3-D camera. We’ll start with the simplest, the tracking file format. Select one tracker and export with the Shake Tracking File Format, and you will have a track that can be loaded into a Shake tracker using the load option. You can use this to bring a track from SynthEyes into existing Shake tracking setups. Building on this basis, #2, Tracker Node, exports one or more selected trackers from SynthEyes to create a single Tracker Node within Shake. There are some fine points to this. First, you will be asked whether you want to export the solved 3-D positions, or the tracked 2-D positions. These values are similar, but not the same. If you have a 3-D solution in SynthEyes, you can select the solved 3-D positions, and the export will be the “ideal” tracked (predicted) coordinates, with less jitter than the plain 2-D coordinates. Also, since you might be exporting from a PC to a Mac or Linux machine, the image source file(s) may be named differently perhaps X \shots1\shot1_#.tga on the PC, and //macmachine/Users/tom/shots/shot1_#.tga on the PC. The Shake export script s dialog box has two fields, PC Drive and Mac Drive, that you can set to automatically translate the PC file name into the Mac file name, so that the Shake script will work immediately. In this example, you would set PC Drive to “X \\” and Mac Drive to “//macmachine/Users/tom/”. Finally, the MatchMove node exporter looks not for trackers to export, but for SynthEyes planes! Each plane (created from the 3-D panel) is exported to Shake by creating four artificial trackers (in Shake) at the corners of the plane. The matchmove export lets you insert a layer at any arbitrary position within the 3-D environment calculated by SynthEyes. For example, you can insert a matte painting into a scene at a location where there is nothing to track. You can use a collection of planes, positioned in SynthEyes, to obtain much of the effect of a 3-D camera. The matchmove node export also provides PC to Mac/Linux file name translation. trueSpace Directions Warning trueSpace has sometimes had problems executing the exported script correctly. Hopefully Caligari will fix this soon. 1. In SynthEyes, export to trueSpace Python. 2. Open trueSpace. 3. Right-click the Play button in the trueSpace animation controls. 4. Set the correct BaseRate/PlayRate in the animation parameters to match your source shot. 5. Open the Script Editor. 6. From inside the Script Editor, Open/Assign the python script you created within SynthEyes. 7. Click Play (Time On) in the Script Manager. 8. When the Play button turns off, close the ScriptManager. 9. Open the Object Info panel. 10.Verify that the SynthEyes camera is selected (usually Camera01). 11.Change the Perspective view to be View from Object. 12.Select the Camera01Screen. 13.Open the Material Editor (paint pallete). 14.Right click on Color shaders button. 15.Click on (Caligari) texture map, sending it to the Material Editor color shader. 16.Open the subchannels of the Material Editor (Color, Bump, Reflectance). 17.On the Color channel of the Material Editor, right click on the Get Texture Map button and select your source shot. 18.Check the Anim box. 19.Click the Paint Object button on the Material Editor. 20.Click on File/Display Options and change the texture resolution to 512x512. 21.You may want to set up a render background to overlay animated objects on the background, or you can use an external compositing program. Make the Camera01Screen object invisible before rendering. 22.In trueSpace, you need to pay special attention to get the video playback synchronized with rest of the animation, and to get the render aspect ratio to match the original. For example, you must add the texture map while you are at frame zero, and you should set the pixel aspect ratio to match the original (SynthEyes s shot panel will tell you what it is). Vue 5 Infinite The export to Vue Infinite requires a fair number of manual steps pending further Vue enhancements. But with a little practice, they should only take a minute or two. 1. Export from SynthEyes using the Vue 5 Infinite setting. The options can be left at their default settings unless desired. You can save the python script produced into any convenient location. 2. Start Vue Infinite or do a File/New in it. 3. Select the Main Camera 4. On its properties, turn OFF Always keep level 5. Go to the animation menu, turn ON the auto-keyframe option. 6. Select the Python/Run python script menu item, select the script exported from SynthEyes, and run it. 7. In the main camera view, select the Camera01 Screen object (or the equivalent if the SynthEyes camera was renamed) 8. In the material preview, right-click, select Edit Material. 9. The material editor appears, select Advanced Material Editor if not already. 10.Change the material name to flyover or whatever the image shot name is. 11.Select the Colors tab. 12.Select Mapped picture 13.Click the left-arrow Load icon under the black bitmap preview area 14.In the Please select a picture to load dialog, click the Browse File icon at the bottom --- a left arrow superimposed on a folder 15.Select your image file in the Open Files dialog. If it is an image sequence, select the first image, then shift-select the last. 16.On the material editor, under the bitmap preview area, click the clap-board animation icon to bring up the Animated Texture Options dialog 17.Set the frame rate to the correct value. 18.Turn on Mirror Y 19.Hit OK on the Animated Texture dialog 20.On the drop-down at top right of the Advanced Material Editor, select a Mapping of Object- Parametric 21.Turn off Cast shadows and Receive shadows 22.Back down below, click the Highlights tab 23.Turn Highlight global intensity down to zero. 24.Click on the Effects tab 25.Turn Diffuse down to zero 26.Click the Ambient data-entry field and enter 400 27.Hit OK to close the Advanced Material Editor 28.Select the Animation/Display Timeline menu item (or hit F11) 29.If this is the first time you have imported from SynthEyes to Vue Infinite, you must perform the following steps a. Select File/Options menu item. b. Click the Display Options tab c. Turn off Clip objects under first horizontal plane in main view only , otherwise you will not be able to see the background image. d. Turn off Clip objects under first horizontal plane (ground / water) e. Turn off Stop camera going below clipping plane (ground / water) if needed by your camera motion. f. Hit OK 30.Delete the Ground object 31.If you are importing lights from SynthEyes, you can delete the Sun Light as well, otherwise, spin the Sun Light around to point at the camera screen, so that the image can be seen in the preview window. 32.You may have to move the time bar before the image appears. Vue Infinite only shows the first image of the sequence, so you can verify alignment at frame zero. 33.You will later want to disable the rendering of the trackers, or delete them outright. 34.Depending on what you are doing, you may ultimately wish to delete or disable the camera screen as well, for example, if you will composite an actor in front of your Vue Infinite landscape. 35.The import is complete; you can start working in Vue Infinite. You should make probably save a copy of the main camera settings so that you can have a scratch camera available as you prepare the scene in Vue Infinite. Vue 6 Infinite Export from SynthEyes using the Vue 6 Infinite option, producing a maxscript file. Import the maxscript file in Vue 6 Infinite Adjust the aspect ratio of the backdrop to the correct overall aspect ratio for your shot. This is important since Vue assumes square pixels, and if they aren’t (for all DV, say), the camera match will be off badly
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【登録タグ SOUND HOLIC T aki 令和 -REIWA- 千年幻想郷 ～ History of the Moon 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 = /(?=^|.*
https://w.atwiki.jp/succulents/pages/81.html
このページはhttp //www.bclocalnews.com/vancouver_island_north/northislandmidweek/lifestyles/24031484.htmlからの引用です Thursday, 7/10/2008 4 02 pm Spectacular succulents like it dry By Christine Scott - North Island MidWeek - July 07, 2008 Photograher Jim Dubois found this luscious clump of wild Oregon stonecrop growing in cement near the Campbell River freshwater marina. Stonecrop’s plump foliage may be green or richly bronzed in colour. (JD stonecrop 2.jpg) The plump, fleshy leaves of Oregon stonecrop allow it to endure hot, dry conditions. (JD stonecrop macro.jpg) Microscopic red spider mites feast on succulent stonecrop flowers. Photos by Jim Dubois Mention the word “succulent” and plants might not be the first thing that springs to mind. A juicy steak...now that’s succulent. Still, with water-savings such a hot topic these days, it might be time to consider the virtues of succulent plants. Succulent is the name given to a variety of juicy plants belonging to a variety of plant families. Some of the better-known succulents include aloe, cactus, agave and yucca, but not all succulents are cacti. Plant succulence is an evolutionary modification to extreme heat and a dry, arid environment. One family of wild native plants – stonecrops – may be found growing in the most inhospitable environs in a pavement crack, a pile of concrete, a gravel heap, a rocky slope or seaside in a thimbleful of sand. Stonecrops (sedums) are succulent plants possessing pudgy, swollen leaves filled with juice; this adaptation allows the plant to retain and store water over long periods of time. The star-shaped golden flowers, resembling saxifrage, are literally dew-kissed, filled with juicy nectar. Nectar-seeking fauna such as butterflies must think they’ve found the land of milk and honey upon finding stonecrop. Thirsty red spider mites (Tetranychus urticae) thrive on stonecrop juice. In the Pacific Northwest, four Sedums are commonplace Oregon stonecrop, spreading stonecrop, broad-leaved stonecrop and lance-leaved stonecrop. All grow as perennials on ledges, rocky ridges, scree outcrops or other dry open sites. Long ago, sedums were nicknamed “live-long” because they remain fresh long after they are picked. “Sedum” comes from the Latin “sedeo,” to sit, referring to the succulents’ squatty habit of attaching to stones and rocks. The name “stonecrop” derives from an Old English word meaning “that which is gathered off stones.” The future looks bright for our beloved stonecrops. Due to their ability to withstand heat and retain water, stonecrops rushed to the forefront of the “green” rooftop movement, along with a variety of BC native plants including wild onions, brodiaea, common camas lilies and bearberry. The benefits of a planted roof are many thermal insulation, improved air quality, reduced urban heat, and deflection of noise. Plants in soil return moisture to the atmosphere through the processes of evaporation and transpiration. Possibly the number-one reason to take green living to the rooftops is to create habitat and refuge for flora and fauna. Butterflies, ladybugs and other wildlife flock to lush rooftop gardens; this ecological compensation cannot be underestimated, particularly within our concrete jungles. Long before the concept of green rooftops, First Nations groups ate stonecrop to alleviate thirst and hunger, and some stonecrops are still cultivated for food use in Holland. As a salad green, stonecrop is said to be peppery, thus another nickname “wall-pepper.” Gardeners know stonecrops as attractive, hardy plants, non-invasive and tidy, that will grow in a hot spot without care in barely a speck of sand. These rock-hugging perennials with starry yellow flowers will surely be valued more and more as the precious resource of water becomes increasingly scarce. Christine’s trail guides “Nature Campbell River” and “Nature Strathcona” are available at Save-on Foods and local bookstores. E-mail wildernesswest@shaw.ca
https://w.atwiki.jp/touhoukashi/pages/4735.html
【登録タグ BlazeOut D EastNewSound miko ルーネイトエルフ 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 = /(?=^|.*
https://w.atwiki.jp/touhoukashi/pages/6567.html
【登録タグ Flower Buster M Nana Takahashi SOUND HOLIC 曲 花は幻想のままに 魂の花 ～ Another Dream...】 【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 = /(?=^|.*