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https://w.atwiki.jp/touhoukashi/pages/3020.html
【登録タグ A-One Akane T TOHO EUROBEAT VOL.6 曲 花映塚 ～ Higan Retour 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 ); 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visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/srns/pages/63.html
初心者向け説明 概略 動画 Integrate all contents management system and all media , and represent central bank with allocate personal exclusive tag administration Integrate ALL CMSes SNS wiki BBS miniblog blog パワーポイント すべてのコンテンツマネージメントシステムを統一する Integrate ALL media ,math media middle media micromdia その上でタグ通貨 Tagcurrencyを運用する Tag currency breaks capitalism. すべてのメディアを統一する 政治を変える 究極のCMSであり、新しい意見集約システムである。 Creating little servicese have not got first priority. Create fundermental platform SRNS first then creaate service on it second. すべてをwiki化するメタSNS This system chnge all web page to looks like wiki ,and it is meta SNS. 社会平面と宗教平面をつなぐ究極のCMS SRNS Connect social and religious aspect , ultimate contents management system ,Social religious network system. 予習 preparation reference ウィキでブログを書くことはできる。I can write blog with wiki. マイクロブログとは字数の制限されたブログであるから、字数を制限してブログを検索すればそれはマイクロブログである。 Microblog is restricted number of letters blog. Searching with restricted 144 letters that is twitter (microblog) SNSの最大の機能はtimefeedである。 SNS main feature is time feeder 他の人が作った記事が自動的に通知される。 Automaticaly notice friends edit. これは検索機能で誰が作ったのかを検索できれば良い。To find that, search who edit article and tell it.Push response. そしてそれが、googleのリアルタイム検索のようにポップアップすれば良いのだ。poping up like google realtime. 誰というところにフレンドリストを持ってくれば、timefeedでフェイスブックの完成だ。 and decide who by friend list. wiki でwysiwigはプラグインで対応する。 匿名掲示板について。anonymous BBS 複数の名前で書き込むことが出来れば良い。名前を切り替えて書き込むSNSで本人と関係ない名前をつければそれは change auther name , diffrent name that is anonymous BBS. 匿名掲示板である。 本人とその変えて書いてある名前の関連性を知っている人間はより親しいweb family である。 Who knows real name , they are web family. Tagging タグをつけられる人間をタグの種類ごとに限定して、記事に対して個人保証をつけ、タグをメディア化し、コネを可視化して不正をなくす Restrict ,the person who can use tag by each words of tag. Make personal insurelance per arcicle. By this tagging ,A word of tag become one media. then cumulate and classify it. How to 詳細 detail 最も大事な文章 クラウド cloud にある文章 editable on skydrive 編集できます。 方法は、コメント単位で権限管理およびタグを付与し、タグの種類ごとにタグをつける人間を限定できるバックグラウンドと、引用を簡単にする部分指定機能付きウェブサムネイルをフロントエンドにおいて、wikipediaなどの信用のおける情報に個人のメモを差し挟み 都合のよいときにだけ公開するようにして、意見の集約をはかりたい。 Devide sentences into per comment ,administrate readable etitable visible and tagging per comment. Providing bockground that can restrict the person ,who can edit tag per word, and easy quote system partial webthumnail ,then set it frontend. Then import reliable classified big data like wikipedia,and insert personal memo ,then release it to public, when user want to do it ,without disconnect relation between memo and article. 名前 コメント
https://w.atwiki.jp/vocalive/pages/183.html
LIVEと行事一覧DB データベース (DataBase for Vocaloid Live Concerts and Events)-ライブ技術一覧 メニューMENU +←クリック目次 [←Click here for CONTENTS] ↓↓↓現在のページ名（Current Page Name）↓ 自動作成目次(contents) 行事紹介（Vocaloid Live Concert and Event Information） 【TECH/Oversea/AniMiku Vocaloid Live Concerts Software Development USA】 AniMiku Mascot Development of AniMiku "Ani-Chan" (マスコットキャラの作成と育成） ダイジェスト映像・動画配信・写真等（Summary Video, Live Streaming Photo） チケット情報・グッズ情報・BD/CD・その他 (Ticket Goods Information, etc.) 技術情報・出演ボーカロイド・スクリーン・MMD・3Dモデル・プロジェクター・ソフト・舞台等 (Technology・Vocaloid Name・Screen・MikuMikuDance・3D Model・Projector・Software) 出演者・製作者・関連ブログ等 (Musician, Staff, Related Blog and Credit) セットリスト（演奏曲目）・その他 (Set List, name of music) Summary in English and other language（英語等での紹介） 行事を行う団体や個人等 (Organizer and Group) スポンサー・協賛等 (Sponsor and Support) 関連行事 (Related Event Info.) 紹介記事・参考サイト・謝辞・文献等 (News, References, Acknowledgement and Credit) Blog Memo・メモ帳 EDIT Page ライブ技術一覧 ((TECHNOLOGY of Vocaloid Live Concert and Event) 1各自で研究開発中の投影ボードとスクリーンの一部 2手作りライブ等の為の技術情報 Technology for the Vocaloid Handmade Live Concert 3将来応用可能なライブ関連技術及び研究 Research and Development for Future Mascot and Vocaloid Development マスコットキャラ及びボーカロイドの作成と育成 ギミック Gimmick of Live Concert コンテスト Contest スクリーンに投影可能なテスト素材動画 Videos for Testing メンバー募集案内 Member Request ライブ録画技術 Video Recording Technique 動画作成のコツとMMD [Tips for Making Video & MMD]+MEMO 参考文献 References 各自で研究開発中のKinectと遠隔操作等の一部 Remote Control & Kinect 各自で研究開発中の同期システム Synchronization System 技術関係のMEMO 技術関係のMEMO2 perm 過去のライブの反省会等の一部 過去のライブの反省会等の一部 MEMO 配信と動画up技術 Streaming and Uploading Tech of Video ls(TECH) 3D Printer English/Test Video to Put on Screen 投影テスト用映像 English/Translation tool 翻訳ツール Oversea/AniMiku Vocaloid Live Concerts & Software Development USA Oversea/HATSUNE MIKU Live Concerts of Miku-UK Project 39UK Oversea/Project MMD Live+39diyMMDConcert USA 日本/Hatsune Miku Hako Vision (Box Vision) Production 日本/Vocaloid Live at Ijirako ミクオン 伊自良ステージ Japan 日本/[TwiPla] 第3回 初音ミクコンサートライブin熊本市立図書館[TwiPla] Live in Kumamoto 日本/ボカパ Vocapa (Vocaloid Live Party) Japan 日本語/会場設備-EVENT Hall info 行事紹介（Vocaloid Live Concert and Event Information） ↓このページ名（Current Page Name）↓ 【TECH/Oversea/AniMiku Vocaloid Live Concerts Software Development USA】 【登録タグ(tag) tags plugin error ページが存在しているかを確認してください。】ますこっと tags plugin error ページが存在しているかを確認してください。 TECH/Oversea/AniMiku Vocaloid Live Concerts & Software Development USA Related page ライブ技術一覧/2手作りライブ等の為の技術情報 AniMiku VOCALOID Concert Live at Tora-Con 2013 http //www.youtube.com/watch?v=fB9hWyaEkGc AniMiku A VOCALOID Concert Animation System Designed and Coded by Re VB P http //www.animiku.net/ Download AniMiku http //www.animiku.net/cms/download-animiku AniMiku Exhibition http //animiku.com/cms/exhibition http //www.animiku.net/cms/node/3 http //animiku.com/cms/tools AniMiku Non-Exhibition AniMiku Exhibition AniMiku blog (from New York) http //www.animiku.net/cms/blog-2/ Blog-AniMiku and Vocalekt Visions at AnimeLA 2012 http //www.animiku.net/cms/blog-2/animiku-and-vocalekt-visions-at-animela-2012/ AniMiku - VOCALOID Concert Animation System Software Overview Demonstration http //www.youtube.com/watch?v=fIkZBY90n8o New AniMiku Version 3.9 Release Beta Preview http //www.youtube.com/watch?v=okPvBMF3BRA 「Feature Explanation Controllable lighting effects You would be able to control the light s position, color, and brightness Light Source/Glow Mode Parts of the model can be configured to be light sources or to glow. This way, when the main virtual light is dimmed or turned off, these parts of the model will stay lit (for example, the lights on Miku s armbands and skirts). This effect was used in the 39 s concerts. Animated Textures You would be able to load the model in an editor, and load multiple images that will act as frames for the animation (similar to an animated GIF, except higher quality), set the frame delay, and these textures will be animated by the renderer in real-time Transition Effects Currently the transition effect is a fade in or out. Possibly in the future I may add other effects Soft Shadows/Self Shadow The program will render realistic shadows on the model, improving the 3D effect」 AniMiku and MikUSA Release AniMiku - Hatsune Miku Full Scale Holographic Performance of 1/6! http //www.youtube.com/watch?v=k-WgZQgzWx0 AniMiku Live Hatsune Miku Concert at Tora-Con 2012 Official Video http //www.youtube.com/watch?v=9F2c4YrvzQs AniMiku Live Concert at Tora-Con Mascot Development of AniMiku "Ani-Chan" (マスコットキャラの作成と育成） http //akiglancy.deviantart.com/art/Ani-chan-369093012 Mascot of Animiku made by Aki Glancy http //akiglancy.deviantart.com/ MMD Development of "Ani-Chan" Model MMD Ani-Chan Release Mascot of Animiku MMD made by Digitrevx. http //digitrevx.deviantart.com/ imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 http //digitrevx.deviantart.com/art/MMD-Ani-Chan-Release-Mascot-of-Animiku-386682659?q=gallery%3ADigitrevx%2F42498145 qo=1 Link to download page of AniMiku "Ani-Chan" http //www.animiku.com/cms/about/ani-chan [MMD] Remote control feat. Racing Miku, and Ani-chan http //www.youtube.com/watch?v=fQQWLo29Stw [MMD] Ani-Chan - [Animiku] - Sweet Devil http //www.youtube.com/watch?v=_sAlKlcn-04 AniMiku VOCALOID Concert Live at Tora-Con 2013 http //www.youtube.com/watch?v=fB9hWyaEkGc Concert title AniMiku VOCALOID Concert Live at Tora-Con 2013 This is the official video of the AniMiku concert at Tora-Con 2013. Date March 23 2013 Time 6 00 PM EST Location Tora-Con, Rochester Institute of Technology, Ingle Auditorium On March 23, we returned to Tora-Con 2013 to put on a much improved show from the previous year. This concert contained a setlist similar to the one we used at VocaNoIro, but with more songs and a different rendering setup. In this concert, we featured songs from Doriko DaniwellP Mitchie M Vocalekt Visions LamazeP iroha(sasaki) Dr. Yun EmpathP Otomania featuring the characters Miku Rin Gumi SeeU CUL Once again, the concert was put on using the latest version of the AniMiku 3.9 Beta, which features a rendering engine designed and built entirely by Re VB-P specifically for creating a holographic-like effect on stage (although it is not a true hologram by definition.) A special thanks goes out to everyone who helped to put this event together, from animators and choreographers to venue tech crew and Tora-Con. It was with your help that were were able to put on an awesome show yet again! To eliminate confusion, all content used in this concert was licensed in its entirety. The characters were used by permission of the respective companies, and the songs were used by direct permission from the respective producers. Romeo and Cinderella was used by an ASCAP venue performance license, which allowed us to use songs in the JASRAC database. Songs Romeo and Cinderella (Doriko) Nekomimi Switch (DaniwellP) Eazy Dance (Mitchie M) Lemon Ice Bar (Vocalekt Visions) Wavefile (LamazeP) Tatsumaki (Vocalekt Visions) Meltdown (iroha(sasaki)) Overseas Travels (Vocalekt Visions) Star (Dr. Yun) Paparoach (Dr. Yun) Leaving Donna (EmpathP) White Knight (EmpathP) Ievan Polkka (Otomania) Summer Festival (Vocalekt Visions) Animation tourbux Hino RaikuP 1FNPony Starful Choreography tourbux Myokuju Yukie Dong Planning/Rendering/Production Re VB-P Editing Shinji (39diymmdconcert) Special Thanks Tora-Con MIKUBOOK SBS Artech Mabcim Powered by AniMiku live 3D rendering engine Version 3.9 ■イベント名称： ■会場： ■日程： 主催： CG製作： Twitter ダイジェスト映像・動画配信・写真等（Summary Video, Live Streaming Photo） 関連映像 (Related Videos) チケット情報・グッズ情報・BD/CD・その他 (Ticket Goods Information, etc.) チケット情報一覧 official goods 技術情報・出演ボーカロイド・スクリーン・MMD・3Dモデル・プロジェクター・ソフト・舞台等 (Technology・Vocaloid Name・Screen・MikuMikuDance・3D Model・Projector・Software) AniMiku VOCALOID Concert Live at Tora-Con 2013 http //www.youtube.com/watch?v=fB9hWyaEkGc 技術内容が不明の部分は、空けておいて下さい。 (IF YOU DO NOT UNDERSTAND, LEAVE THE TECHNOLOGY SECTION OPEN.) Screen 投影スクリーンの種類 (Screen Type)： スクリーンの素材（Materials for making screen）： スクリーン素材の網の目等のメッシュのサイズ：Mesh number # or Mesh size of Screen： スクリーン素材の製品カタログ番号等（Product Number of materials for making screen）： スクリーン素材の透過率(%)及び色等（Light Transmittance (%) of screen, Color）： 投影スクリーン等への映り込み状態(Reflection)：Very low or nothing 鮮明度 Clearness, resolution of screen： maybe Very High 舞台の高さ（stage height）： スクリーンの高さ（Screen height）： スクリーンの大きさ又は横の長さ (Screen Size)： スクリーンの継ぎ目の数(Junction within the screen)=(つないで使用された投影ボード等の枚数-1、?) ：0 number of materials used for making main screen：1 使用された投影ボード等の枚数（Number of board used）：1 音響設備及び音響状態 (Sound)： プロジェクタの種類・台数 (Projector)：1 使用ソフト (Software)： Projection software Powered by AniMiku live 3D rendering engine Version 3.9 3D model： Producer of 3D Model：モデル製作： スクリーン及び映像の解像度（Resolution of Screen and video）： 投影時の色補正（Color Adjustment to view on screen）： MMDのモデルの種類（Model Type of MikuMikuDance）： Motion Computer and OS： レンダリング ソフトRendering software Powered by AniMiku live 3D rendering engine Version 3.9 レンダリング速度等 fps フレーム速度(frame speed) fps カメラ等 (Camera)： 技術説明動画・写真等 (Tech Video Photo)： 会場設備のホームページ (Homepage of the Event Hall)： 会場設備 その他 (others)： 衣装モジュール及びデザイン： (Clothing design of the models) 同期システム (Synchronization system)： 選曲 (music selection)： 出演者・製作者・関連ブログ等 (Musician, Staff, Related Blog and Credit) 演奏者と関連ブログ セットリスト（演奏曲目）・その他 (Set List, name of music) セットリスト LIVE SET LIST SET LIST and Producer links of Vocaloid wiki Vocaloid concert directory http //vocaloid.wikia.com/wiki/Vocaloid_concert_directory Live Events http //vocaloid.wikia.com/wiki/Live_Events Summary in English and other language（英語等での紹介） 行事を行う団体や個人等 (Organizer and Group) スポンサー・協賛等 (Sponsor and Support) 関連行事 (Related Event Info.) 紹介記事・参考サイト・謝辞・文献等 (News, References, Acknowledgement and Credit) 情報一覧MEMO Blog Memo・メモ帳 EDIT Page If do not know about editing web page of this Wiki, DO NOT EDIT. Click HERE to Edit Current Page or click following URL to edit this page. http //www18.atwiki.jp/vocalive/editx/183.html Make sure to rewrite correct page number after (/vocalive/editx/) or (/vocalive//editx/PAGE NUMBER.html) to edit current page. [ページ保存] button below the editing window=means SAVE the page after editing to finish editing. [プレビュー] button below the editing window=means PREVIEW the page during editing. input the code number shown to perform these command. To cancel editing, just use Web browser button out side the editing window to go back. or CLOSE the editing page of the Web browser s window. If you make mistake, DO NOT SAVE the page. Do NOT press [ページ保存] button. [» タグ ]box below the editing window=means make TAG of this page after editing. If you have any problem, insert "HELP" in the TAG to identify the page at later for repair. EDIT & MAKE Page コメント・Comment 名前 コメント
https://w.atwiki.jp/clickvip/pages/273.html
SET LIST for 3contries Radio 一番クリックした奴が優勝inパー速 外交部 Part3 http //ex14.vip2ch.com/test/read.cgi/part4vip/1183099640/ Travelling (J-POP/WOMAN) Shonen Jidai (Old J-POP/MAN) Memories Custom (J-POP/GROUP) Kimiwo Nosete (ANIME/WOMAN) UE WO MUITE ARUKOU (Old J-POP/MAN) Sima-Uta (J-POP/GROUP) OSCA (J-POP/WOMAN) Genisis Of Aquerion (ANIME) HANA (Traditional/Choras) Merry Christmas Mr.Lawrence (CINEMA/INSTRUMENTAL) Utada Hikaru - Travelling [2001] hanocha4821.jpg The singer, Utada Hikaru (1983-), one of the most well known Japanese artist has been making continuous hits ever since she debuted in 1998, Japan. The concept of this song "Traveling" is to cheer up everyone.It is simply about an ordinary person on Friday afternoon, but its upbeat rhythm and music are surely catchy. Hope you enjoy it, too. lyrics of the song, "Traveling" 歌詞的Traveling Inoue Yosui - Shounen Jidai [1992] hanocha4826.jpg "Shonen Jidai (boyhood)" is singing about a boy s sentimentality over the end of Summer Now that fun Summer days have passed, my heart is filled with happy memory. I am seeking the continued path of those happy days. Inoue Yosui (1948-) originally composed this song as a main theme of the movie with same title. However, the song has been widely used on TV programs and advertisements, and also on school book of music. This song has been very popular among various generation and became one of the most famous works of his. Spitz - Memories Custom [2000] hanocha4822.jpg Spitz is Japanese veteran rock band formed in 1987. As we can often hear their songs on TV dramas or commercials, it has got big popularity among all ages and genders.The characteristic of the band is a high range of the vocal, the wonder lyric, and the sound mixed pop rock. This is so abstract and memorable number of their works. "Memories-Custom". Kimi Wo Nosete (from "Castle in the Sky") [1986] hanocha4823.jpg Do you know Japanese animation film "Laputa Castle in the Sky" (1986) by Miyazaki Hayao ? His animation films are loved nationally cross over generations. Perhaps many people in the world know him through his works such as "Spirited Away" and "Howl s Moving Castle". The film "Castle in the Sky" is one of his best from his early works. Its plot is an adventure of a young boy and a girl in an alternative world motived by the late 19th Century of Europe. While it has been 20 years since the film is released, its quality and popularity are never faded today. Naturally, its theme song "Kimi Wo Nosete" got a nation-wide popularity in Japan. It is on school book of music, and sung by many people today. This song is composed by Hisaishi Joe (1950-), known as cooperation with film director such as Miyazaki Hayao and Kitano Takeshi. http //en.wikipedia.org/wiki/Hayao_Miyazaki http //en.wikipedia.org/wiki/Joe_Hisaishi http //en.wikipedia.org/wiki/Castle_in_the_Sky Sakamoto Kyu - UE O MUITE ARUKOU(SUKIYAKI) [1961] hanocha4828.jpg Sakamoto Kyu (1941-1985) was a popular singer who was active mainly in 1960 s and 1970 s. This is his most popular song. "UE O MUITE ARUKOU", or probably known as "SUKIYAKI", is selling over 10 million records worldwide since its release in Japan in 1961. In 1962, this song made a big hit in France, Belgium, Holland, and the UK. In the UK, Kenny Ball played this song and ranked the UK hit chart in 10th. In the US, this song earned the "Golden Disk Award" for the first time to Non-American record. While you can find word-to-word translation in the URL below, it sings about a man walking on the street at summer night. He is looking up sky, trying not to drop tears from his eyes. lyrics of the song, "Ueomuitearukou" The boom - Sima-Uta [1992] hanocha4824.jpg "Shima Uta" is from the impressions of the author Miyazawa Kazufumi (1966-) s visit on Okinawa. While Okinawa s lovely southern islands for holiday resort, it also has a tragic side. Near the end of the 2nd world war, it was a battle site often referred as the "the Typhoon of Steel". "Shima Uta" hopes to send out an message from Okinawa to the world across the ocean the message is that the battle (the war) took away friends, lovers, family members, and everyone. What could we do to stop it. What can we do now not to repeat the same sort of tragedy happen again. Tokyo Jihen - OSCA (Oscar) [2007] hanocha4820.jpg This is the newest hit song from Japan released on last July, OSCA by Tokyo Jihen. Every single instruments sound very unique, and so does the vocal. It s famous singer Shiina Ringo (1978-) who is the main vocal of the band. Their style is sort of strange, and really unique that gets many people addicted to. The lyric on the song is almost meaningless! I know you guys gonna be addicted to this. Enjoy the art of nonsense. Sousei no Aquarion (from "Genesis of Aquarion") [2005] hanocha4825.jpg This is the main theme song of "Genesis of Aquerion", which is a science fiction animation on the Earth in the future. In this story, once a disaster destroyed the world 12 thousands years before, and remaining human beings battle against disaster. This song got cult-like popularity among VIPPERs, and almost all Japanese Clickers have taken to this song. There s no limit of the power to accelerate their clicking speed. Taki Rentarou - Hana(Flower) [1900] hanocha4829.jpg Taki Rentarou (1879-1903) is one of the most important figure of Japanese modern music, and he is one of the first composer who expressed Japanese sensibility by using the idiom of European music.Even though he died at a young age, he had composed some prominent songs. This song, "Hana (Flower)" is one of the most popular songs composed by him. It is originally written for 2 female voice and piano accompaniment, and appeared in 1900, the late Meiji era. The motif of the song is the spring scenery of Sumida-gawa (Sumida River), which flows in Tokyo.The expression of the lyric much accords with melody, therefore we really love it, and still sing it. Sakamoto Ryuichi - Merry Christmas, Mr. Lawrence [1983] hanocha4827.jpg Sakamoto Ryuichi (1952-) is Japanese musician with a worldwide reputation, who is an Academy Awards-winning, Grammy-winning, and Golden Globe-winning. Sakamoto started his career from the late 1970s and joined the synth techno trio "Yellow Magic Orchestra" (YMO). The band succeeded internationally and influenced on the acid house and techno movements of the following decade. Next, he made a great success as film score composer. This is the main score of "Merry Christmas Mr.Lawrence", made him known to a broader public. The film, set in in Japanese war camp during the Second World War, deals with the peculiar friendship between Japanese soldiers and English prisoners beyond their position or culture.
https://w.atwiki.jp/touhoukashi/pages/4972.html
【登録タグ CHICACO ESQUARIA PSYCHIC DREAMER T ルナティックドリーマー 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/w3cwiki/pages/4.html
W3C Multimodal Application Developer Feedback W3C Working Group Note 14 April 2006 This version http //www.w3.org/TR/2006/NOTE-mmi-dev-feedback-20060414/ Latest version http //www.w3.org/TR/mmi-dev-feedback/ Previous version This is the first publication. Editors Andrew Wahbe, VoiceGenie Technologies Gerald McCobb, IBM Klaus Reifenrath, Nuance Raj Tumuluri, Openstream Sunil Kumar, V-Enable Copyright © 2006 W3C® (MIT, ERCIM, Keio), All Rights Reserved. W3C liability, trademark and document use rules apply. Abstract Several years of multimodal application development in various business areas and on various device platforms has provided developers enough experience to provide detailed feedback about what they like, dislike, and want to see improve and continue. This experience is provided here as an input to the specifications under development in the W3C Multimodal Interaction and Voice Browser Activities. Status of this Document This section describes the status of this document at the time of its publication. Other documents may supersede this document. A list of current W3C publications and the latest revision of this technical report can be found in the W3C technical reports index at http //www.w3.org/TR/. This document is a W3C Working Group Note. It represents the views of the W3C Multimidal Interaction Working Group at the time of publication. The document may be updated as new technologies emerge or mature. Publication as a Working Group Note does not imply endorsement by the W3C Membership. This is a draft document and may be updated, replaced or obsoleted by other documents at any time. It is inappropriate to cite this document as other than work in progress. This document is one of a series produced by the Multimodal Interaction Working Group (Member Only Link), part of the W3C Multimodal Interaction Activity. The MMI activity statement can be seen at http //www.w3.org/2002/mmi/Activity. Comments on this document can be sent to www-multimodal@w3.org, the public forum for discussion of the W3C s work on Multimodal Interaction. To subscribe, send an email to www-multimodal-request@w3.org with the word subscribe in the subject line (include the word unsubscribe if you want to unsubscribe). The archive for the list is accessible online. This document was produced by a group operating under the 5 February 2004 W3C Patent Policy. This document is informative only. W3C maintains a public list of any patent disclosures made in connection with the deliverables of the group; that page also includes instructions for disclosing a patent. An individual who has actual knowledge of a patent which the individual believes contains Essential Claim(s) must disclose the information in accordance with section 6 of the W3C Patent Policy. Table of Contents * 1 Introduction * 2 What developers liked o 2.1 Reusable and pluggable modality components o 2.2 Modular modality components o 2.3 Declarative synchronization between modalities o 2.4 Scripting and semantic interpretation o 2.5 Styling * 3 What developers would like to see o 3.1 Global grammars o 3.2 Speech grammars for HTML links and controls o 3.3 Speech prompts for voice-enabled HTML links and controls o 3.4 Speech-enabled widgets o 3.5 Use speech to activate links and change focus o 3.6 Back functionality * 4 What developers would like to see continue and improve o 4.1 Support for both off-line and on-line multimodal interaction o 4.2 Support for events distributed over the network o 4.3 Support for implicit events o 4.4 VoiceXML tag and feature support o 4.5 Support for both directed and user-initiated dialogs o 4.6 Mixed-initiative interaction o 4.7 Access to speech confidence scores and n-best list by the application o 4.8 Access to device details o 4.9 Choice of ASR o 4.10 Controlling N-Best choice of ASR 1 Introduction IBM, VoiceGenie Technologies, Nuance, V-Enable, and OpenStream customers have been developing multimodal applications in a broad range of business areas, including Field-Force Productivity, Health Care and Life Sciences, Warehouse and Distribution, Industrial Plant Floor, Financial and Information Services, Directory Assistance, and the Mobile Web. Customer device platforms have included PC s (desktops, laptops, and tablets), PDA s, kiosks, appliances, equipment consoles, and web browser-based smart phones. The multimodal applications primarily extended the traditional GUI mode of interaction with speech, with the location of the speech services either local on the device or distributed on a remote server. Several XML markup languages were used to develop these applications, including XHTML+Voice (X+V) and xHMI. During the process of developing these applications, developers found features they liked about the development environment they were using and found features they thought were lacking. Their experiences were collected and are summarized here as feedback for the W3C Multimodal Interaction and Voice Browser Working Groups to consider when specifying future multimodal and voice authoring capabilities. We also solicit comments from the wider multimodal development community on the extent to which these observations are consistent with their own development experiences. The developers surveyed were expert in various programming languages and application environments. Developers expert in C/C++ and Java generally speech enabled native applications on small devices. Device platforms included Windows Mobile, BREW, embedded Linux, Symbian, and J2ME. Developers expert in the Web generally speech enabled browser based applications. Web browser platforms included Opera, Access NetFront, Windows Mobile Internet Explorer, and the Nokia Series 60. Web developers understood the web programming model very well but generally were new to speech. They liked XHTML, XML namespaces, XML Events, CSS, JavaScript, and VoiceXML with its ability to hide platform details. Developers expert in VoiceXML and dictation had backgrounds in speech and telephony and generally worked on adding GUI to voice and dictation applications. 2 What developers liked 2.1 Reusable and pluggable modality components Developers preferred to develop modality components that are reusable and pluggable. Use Case VoiceXML modality component A VoiceXML modality component is reused without modification in different multimodal applications. 2.2 Modular modality components Modular modality components are preferred because they can be authored separately by the modality experts. Use Case XHTML and VoiceXML modality components A VoiceXML expert authors the voice modality component and an XHTML expert authors the GUI component. Modality component coordination is handled independently, for example, by X+V sync and cancel elements. 2.3 Declarative synchronization between modalities Implicit event support includes both implicit event generation and implicit event handling. At different stages in the operation of the modality component, there will be either event generation or event handling by the component itself. Use Case X+V sync element The X+V sync element provides a declarative synchronization of XHTML form control elements and the VoiceXML field element. The sync element allows input from one speech or visual modality to set the field in the other modality. Also, setting the focus of an input element that is synchronized with a VoiceXML field updates the FIA to visit that VoiceXML field. 2.4 Scripting and semantic interpretation Developers liked support for modality component integration via scripting and semantic interpretation. Use Case Timed notifications of an operating room medical procedure A timed notification changes dynamically as time progresses. The notification depends on the current state of the application as well as the notification state. For a GUI+speech multimodal application a notification may be a TTS output and a new GUI page, corresponding to the next step of an operating room medical procedure. Use Case Integrated pen and speech interaction with a map The user says "zoom in here" while drawing an area on a map. The application responds by enlarging the detail of the area within the boundary drawn by the user. 2.5 Styling Developers liked CSS for styling each modality. For example, the CSS3 module for styling speech based on SSML was useful for styling the voice modality. Use Case TTS rendering of a news article on the web The news article is read by the computer in a realistic voice that uses a different sounding voices for headlines, section headings, and text. There are also a pauses between paragraphs and before article headlines. 3 What developers would like to see 3.1 Global grammars Developers would like support for top-level ("global") grammars that are active across multiple windows (e.g., HTML frames or portlets) of the application. Use Case Top-level menus An application has top level menus "buy", "sell", and "trade". At any time while involved in the "buy" dialog, a user can say "trade" and be switched to the "trade" multimodal dialog. 3.2 Speech grammars for HTML links and controls Developers would like support for explicitly adding speech grammars to activate HTML links and controls. An automatically created speech grammar may not capture everything the user may say. Use Case Hotel booking application get list of hotels Before booking a hotel reservation the user looks up a list of available hotels. On the page along with the reservation is a link labeled "Available Hotels." The developer anticipates that besides "available hotels", the user may say "show me the available hotels" or ask "what hotels are available", and adds these two phrases to the grammar for activating the link. Use Case Hotel booking application submit reservation The reservation form s submit button says "submit reservation", but the developer anticipates that a user might say "submit booking" instead, and adds "submit booking" to the grammar for activating the button. 3.3 Speech prompts for voice-enabled HTML links and controls Developers would like support for explicitly adding speech prompts to voice-enabled HTML hyperlinks and controls. The prompts can provide more information than the visual labels attached to the HTML hyperlinks and input fields. Use Case Hotel booking application enter Hotel name The user is prompted to enter a hotel name with the following TTS "please enter a hotel name. You can get a list of available hotels by saying show me available hotels. " 3.4 Speech-enabled widgets Developers would like to see speech enabled UI widgets which contain a simple dialog flow (e.g. widgets which contain confirmation or disambiguation steps). This allows an author to configure the dialog properties (prompts, grammars, confirmation-mode, confidence thresholds, etc.) of an HTML control or hyperlink. Use Case Hotel booking application confirm hotel The user says the name of one of the available hotels. The application repeats the name of the hotel back to the user and asks if it is correct. If the user says yes then the application fills in the HTML field with the user s input. 3.5 Use speech to activate links and change focus It should be easy to use speech to do more than fill in HTML form controls. For example, there should be declarative support for activating an HTML link or changing focus within an HTML page. Use Case Speech enabled bookmark page A page that displays the user s bookmarks is speech-enabled such that each bookmark has an associated grammar for moving the browser to the bookmarked page. 3.6 Back functionality Developers like to see support for a consistent and intuitive "back" handling across modalities. The browser "Back" multimodal functionality should be built-in and not require custom code. Use Case Browser "back" button The user can either press the browser back button or say "browser go back" to return to the previous multimodal page. All spoken commands which control the browser are preceded by "browser" so there is no collision with an application grammar. 4 What developers would like to see continue and improve 4.1 Support for both off-line and on-line multimodal interaction Multimodal interaction should be supported both for applications that are on-line, that is, are connected to the network, as well as for off-line applications. If the multimodal application goes from an on-line to an off-line state, multimodal interaction should still be supported by the modality components that run locally on the device. Use Case Access of medical information while walking down a hallway A doctor carrying a wireless tablet accesses patient medical information while walking down a hallway. Loss of wireless connectivity does not prevent the multimodal application from interacting with the doctor or presenting information it has stored on the doctor s tablet. Use Case Multimodal application in hospital operating room An off-line multimodal application in an operating room delivers timely instructions to the doctor. 4.2 Support for events distributed over the network Because a modality may be distributed on a remote server, there must be support for distributed events between a modality and the interaction manager. Use Case Driving directions A user accesses a multimodal driving directions application using a cell-phone. The application tells the user to turn right at the next intersection. An arrow pointing right pops up over a map. The application had received an event to display an arrow from the server. 4.3 Support for implicit events Implicit event support includes both implicit event generation and implicit event handling. At different stages in the operation of the modality component, there will be either event generation or event handling by the component itself. For example, the VoiceXML modality component could implicitly generate a focus event when the FIA selects a new form input item. Use Case Hotel booking application name, address, phone number A hotel booking application has a form with separate HTML input fields for entering name, street address, city, state and phone number. When the user selects one of the fields the user hears a prompt for entering the correction information into the field. The visual input focus is coordinated with the speech input focus. 4.4 VoiceXML tag and feature support VoiceXML support should include, for example, the object and mark tags and the "record while recognition is in progress" feature. Use case Windows program for calculating stock purchase totals The object element can be used to load a reusable platform-specific plug-in. For example, the application would load a Windows program which calculates stock purchase totals using the object element. Use case Read part of an e-mail message The mark tag can be used to mark how much of the text was actually read before the user left the page. When the user returns to the page the rest of the text can be read beginning where the user left off. Use case Unrecognized user input The recording of an unrecognized user input can be logged by the speech recognizer. 4.5 Support for both directed and user-initiated dialogs There must be arbitrary as well as procedural speech access to the visual application. For a dialog mechanism used in conjunction with a visual form there should be support for user-initiated dialogs. For example, the user should be able to jump to arbitrary points in the dialog by changing the visual focus (e.g., by clicking on a text box). Use Case Form filling for air travel reservation The air travel reservation application takes the user step by step through making a reservation, beginning with the origin and destination of the flight. After the user has been given a selection of flights, the user clicks on the visual departure date field to change the departure date. Use Case Application with two HTML forms The user is taken step-by-step through filling out a set of HTML fields in a form. Before all the fields have been filled, the user clicks on a field belonging to the other form. 4.6 Mixed-initiative interaction Dialog mechanisms that combine speech and text input must support mixed-initiative interaction. Use Case Flight reservation application A flight reservation application has separate HTML input fields for entering destination airport, date of travel and seating class. With a single utterance "I d like to go to San Francisco on April 20th, business class" the user fills in all the fields at one time. 4.7 Access to speech confidence scores and n-best list by the application Confidence scores and n-best lists are useful for example to allow the user to pick from a set of results supplied by an input recognizer. Use Case Select a football player A user says the name of a favorite football player. A number of players matched the user s input with the same low confidence score. Instead of asking the user to repeat the name, the application displays a visual list of player names that was matched. The user selects a name from the list. 4.8 Access to device details The developer would like access to device information such as, for example, the cell phone number, phone model, and display screen size. Typically in any mobile application the content is very specific to the device and at times personalized for the user. Access to device specific details such device model (e.g., Nokia 6680) helps the application reduce the grammar size and render device specific content. Access to user information such as the phone number allows the application to personalize the content for the user. Use Case Mobile appointment application When user George accesses the appointment application the application says "Welcome George " and presents a list of appointments for the day. The user can select any of his appointments by saying an appointment label shown on his phone. Each label is short enough to fit entirely on George s display. 4.9 Choice of ASR The developer would like to have more control over ASR. An example is the capability of a multimodal application to choose between a local ASR or network based ASR depending on the location of the grammar. The developer should be allowed to pick the ASR depending on the application logic. Use Case Music search mobile application In a music search mobile application the application uses network-based ASR to perform a search for a particular Artist/Album such as Green Day , 50 Cent etc. In case of network-based recognition the grammar is changing dynamically and is large in size. The same music application may use local ASR for the purpose navigating through the application using commands such as Home , Next Page etc. 4.10 Controlling N-Best choice of ASR The application should be able to control the number of results it wants from ASR based on either a number N (say return top 5 matches) or confidence score (say return 0.8 score). The developer should be able to author this N-Best list control. Use Case Select a football player mobile application As with the previous football player selection use case, the list of players is visually displayed for the user to select. The user can make a selection from the visual presentation. The ASR may return more than 10 results as part of its N-Best response mechanism. However, the application depending on the screen size may choose to display only the top 5 entries on the screen. The application requests only the top 5 players in the N-best result instead of receiving 10 results and then ignoring the last 5 results.
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Home » Admin and Setup » Installing the database Installing the Database This document attempts to provide information for both experienced and novice users alike. If the command line is your preference, we have command line examples for you to follow. There are also simple GUI approaches, as described in the pgAdmin section. And if all you want is a quick install for demo purposes, then check out our automated installers information. For additional information, you might also read Perry Clark s blog post "Installing PostBooks... the long way." Quick Overview This quick overview assumes you are not using one of the automated installers. Download and extract the xTuple ERP client application to a local directory Download and install PostgreSQL Initialize PostgreSQL for xTuple (This simply means adding the super user admin and the group xtrole .) Create a database using UTF-8 encoding Download and restore an xTuple database on your new database Automated Installers Automated installers are currently available for PostBooks on Windows and Mac. You can download the installers from the PostBooks project pages on SourceForge. The installers are perfect for users interested in demo-ing the product. When you run the installer, everything is handled for you Installs (and starts) PostrgreSQL Loads a demo PostBooks database Installs the PostBooks client Enterprise users should not rely on the installer for their production systems. Instead, install production databases manually as described in this document. The reason for this is that the installers make certain assumptions which may not be recommended for production environments. PostgreSQL Considerations Before you can start using xTuple ERP, you must first have PostgreSQL 8.1.x or later installed and properly configured. Also make sure to check the SupportedPostgresVersions page for the latest details on which PostgreSQL version will work best with your xTuple ERP version. For information related to easy database administration using the open source tool pgAdmin, please see the pgAdmin section below. And for additional information related to installing PostgreSQL, please visit www.postgresql.org where you will find in-depth documentation and other resources related to PostgreSQL. xTuple ERP uses encryption for credit card processing--and because of this, the PostgreSQL "pgcrypto" module is required to support encryption in xTuple ERP. You should be sure to include the pgcrypto module when installing PostgreSQL. If you do not, you will encounter errors. Detailed Instructions The following paragraphs detail the steps (long version) required to both initialize your PostgreSQL instance to support the xTuple Database and load the database schema. To skip these details, see the (short version) Command Line Examples section below. Or skip to the pgAdmin section below to learn about initializing and loading your database using pgAdmin, a free GUI database administration tool. Once you have the PostgreSQL server running, the next step is to establish the user admin and the group xtrole on your PostgreSQL instance. This is done by executing the init.sql script, which is available in the downloads area. The complete text of the init.sql file is as follows -- ** PLEASE NOTE, THE GROUP ROLE IS NOW xtrole , not openmfg -- This script creates the group xtrole and the user admin -- -- -- Create the xtrole group CREATE GROUP xtrole; -- -- Create the admin user with createdb and createuser -- permissions. Place the user in the xtrole group and -- set the password to the default of admin. -- CREATE USER admin WITH PASSWORD admin CREATEDB CREATEUSER IN GROUP xtrole; -- End of init.sql If you are initializing the database server instance from the command line, the init.sql script must be loaded by the postgres superuser. This is not required if you are using pgAdmin to initialize the database server. Please also note that since the default password the admin user is "admin," you ll want to change it immediately. You may create a different admin user with a different name if you choose to. However, do this with caution as all documentation examples refer to the default admin user. When you have finished executing the init.sql script, you should next create a new PostgreSQL database to contain the xTuple Database schema. Use UTF-8 encoding when creating the database. You can name the database anything you want. Shorter names that are easy to remember are preferred. Once the database has been created, you are ready to load the xTuple schema into it. There are several starter schema to choose from, including the following empty.backup - This is an empty database with no data, but all the tables and structures created. quickstart.backup - This database contains a basic Chart of Accounts and also the Account Assignments required to run the full range of transactions. demo.backup - This database (if available) contains a suite of sample data built on top of the quickstart database Like the init.sql script, the database schema can be loaded on the command line. Alternately, you may use GUI tools like pgAdmin III to execute the script and load the schema. For information on loading the databases using pgAdmin, please see the pgAdmin section below. The .backup format of the xTuple Database schemas is a compressed format used by the pg_restore binary. This format may be loaded seamlessly using pgAdmin. To load a .backup file using pgAdmin, connect to the database you created. Right-click on the database object and select the option Restore . On the resulting screen, use the ellipses to navigate to the location of the .backup file on your local machine. With the .backup file selected, simply click OK. To learn more about the psql utility or the pgAdmin application, please consult the PostgreSQL documentation. Command Line Examples The following examples demonstrate the steps needed to initialize, create, and load an xTuple Database. You may give the database you create any name which does not conflict with the rules for naming PostgreSQL databases. However, we recommend that you choose a simple name with all lowercase characters. For example, we have used a database named production in the following example. With a clean PostgreSQL instance installed, you can use the following commands to get started psql -U postgres -f init.sql template1 createdb -U admin production pg_restore -U admin -d production quickstart.backup -v The first command line example uses the psql utility to load the init.sql script. This script creates the user admin and the group xtrole . The first option ( -U postgres ) tells the system to connect as the postgres user. This user is typically the default PostgreSQL superuser. The next option ( -f init.sql ) tells psql to read the init.sql script and execute the commands. The last option ( template1 ) tells psql which database to connect to. You are not required to run the init.sql script against the template1 database. You may also run it against another database you create. Also In newer versions of PostgreSQL, the postgres database is the new default template. By default, the init.sql script will create the admin user with the password of "admin". You should be sure to change the password once you have your xTuple system installed and running. The second command line example uses createdb to create a new database. Notice that this command uses the same first two options as used in the psql command to specify the user to connect as. Note that now we are using the option -U admin to indicate we want to connect as the admin user created previously. The last option is the name of the new database we want to create (e.g., production ). The third command line example loads the schema for the xTuple quickstart Database. The .backup file format is a compressed format and is used by the pg_restore binary. The -d switch enables you to specify the database into which the restore will be performed (i.e., the production database in this example.) Next, we specify the name of the .backup file with the path to its location if necessary. Finally, we specify -v for verbose output. It is important to keep in mind that if you configured PostgreSQL to listen on a port other than the default port of 5432, you will need to specify this with -p XXXX where XXXX is the port number. If you want a .sql file instead of a .backup, you can easily do this using pg_restore, as follows pg_restore -f quickstart.sql quickstart.backup This example says use pg_restore to create a file called quickstart.sql from the file called quickstart.backup . This completes the command line examples section. Using pgAdmin To Get Started pgAdmin is a free, cross-platform GUI tool for administering PostgreSQL databases. In this section we assume you have PostgreSQL already installed on your system. The following screenshots and narrative describe how to get xTuple ERP running on your PostgreSQL server. We will describe how to accomplish two main objectives Configuring PostgreSQL for xTuple Loading the xTuple database(s) Configuring for xTuple Since you already have PostgreSQL installed, the first thing to do is initialize the server so xTuple databases will run successfully on it. While that last sentence may sound complicated, the reality is you only have to do the following things Link pgAdmin to your PostgreSQL server Create a group called "xtrole" Create a user "admin" Put the user "admin" in the group "xtrole" This section assumes you installed PostgreSQL on your local drive (a.k.a. "localhost" or "127.0.0.1"). Okay, so the first thing to do is to create a link between your pgAdmin application and your PostgreSQL database. If that link already exists, then you can skip this step. But if not, simply select the "File" menu option and then select the "Add Server" option. Add New Server When you are presented with the new server screen, enter the information as it s shown in the next screenshot. You have flexibility in some of the options you choose. However, the following must be used Host = localhost or 127.0.0.1 Port = 5432 Username = postgres Password = Password used for postgres user when you installed PostgreSQL Server Definition Once you have the connection between pgAdmin and PostgreSQL completed, the next step is to configure PostgreSQL so xTuple databases will run successfully on it. The first thing to do then is to create the "xtrole" group. By right-clicking on the Group Roles section, you can select the "New Group Role" option. Group Roles When creating the new group role for "xtrole", you only need to enter a minimal amount of information. Enter the same information as it s shown in the next screenshot. The Role name should be lower case. And the only Role Privilege you need is "Inherits rights from parent roles". That s it. No password required. And you don t have to add any information under the other tabs that are shown. Group Role for xtrole Now that you have the "xtrole" group role define, the next step is to create the "admin" user and place the user in the group "xtrole". The next screenshot shows how you can access the screen for creating a new login role. Login Roles The screen for creating a login role for "admin" looks similar to the screen we saw before for creating the "xtrole" group. However, this time we will need to add more information--and select more options. You have some flexibility over some of the options you choose, but the following should be the same as shown in the screenshot Role name = admin Role Privileges = Select all If you don t need the account to expire at a certain point, then just leave the expiration date blank. That will keep the account open indefinitely. Login Role for admin User Once the "admin" user s properties have been defined, select the Role membership tab. It s on this screen you make the user "admin" a member of the group "xtrole". The following screenshot shows the end result of this action. By using the double arrows " " you can move "admin" from not being a member in "openmfg" to being a member in "openmfg". Admin in Group xtrole And that s all you need to initialize PostgreSQL for xTuple. You can now load xTuple ERP databases onto the server and connect to them using your xTuple ERP client application. Creating New Database The last getting started step is to create a database and load (i.e., restore) an xTuple ERP backup file into it. The next screenshot shows how right-clicking on the "Databases" element enables you to access the "New Database" option. List of Databases You can name your database anything you want to. In our example we will be calling our new database "dbTest". When you are creating a new database with pgAdmin, be sure to use the following values, as shown in the screenshot Owner = admin Encoding = UTF8 Template = template1 You can leave everything else with the default values pgAdmin gives you. And there s no need to enter additional information under any of the other tabs. Create New Database The database we just created now appears in the list of databases, as you can see in the next screenshot. Our final step is now to load an xTuple database backup file into the database we created. For the purposes of this example, we will assume you have already downloaded the database backup file from either the PostBooks site on SourceForge--or from the xTuple website (Standard and Manufacturing Editions only). Restoring from Backup File As the next screenshot shows, we can reach the "Restore" option by right-clicking on the new database we just created. The "Restore" option is the one we need to load the xTuple .backup file. Restore Backup File The Restore screen looks just like the next screenshot. All you have to do here is Browse your computer for the xTuple .backup file you downloaded Select it the .backup file so the path to it appears in the "Filename" field You should leave the other options not-selected--except for the last one, which will give you more verbose messaging during the load process (this can be helpful). And then simply select the OK button to begin the restore process. Begin Restore BeginRestore.png Don t worry if the restore takes several minutes to complete. This is normal. At the end of the process you will see log messages which look like those shown in the following screenshot. Depending on the circumstances of your PostgreSQL installation (e.g., whether previous databases have been installed there, etc.), the messages pgAdmin reports may vary. The ideal scenario on a fresh PostgreSQL install is for 0 errors to be reported and an exit code = 0. However, as the next screenshot shows, pgAdmin may report a number of errors and a non-zero exit code. If this is the result you get, don t be alarmed. Simply review the list of errors by using the scroll bar in the "Restore Database" screen. Scroll to the top and review the list of errors which were reported. Most if not all of the errors you get can safely be ignored. Here are some examples of error messages which can safely be ignored. The first error reports that the PostgreSQL procedural language plpgsql is already installed--and so it does not need to be restored pg_restore creating PROCEDURAL LANGUAGE plpgsql pg_restore [archiver (db)] Error while PROCESSING TOC pg_restore [archiver (db)] Error from TOC entry 2121; 2612 48797691 PROCEDURAL LANGUAGE plpgsql pg_restore [archiver (db)] could not execute query ERROR language "plpgsql" already exists Command was CREATE PROCEDURAL LANGUAGE plpgsql; Likewise, you may see other messages such as the following two, which both indicate functionality already exists and does not need to be restored from the .backup file Example 1 pg_restore [archiver (db)] Error from TOC entry 18; 1255 7469922 FUNCTION armor(bytea) admin pg_restore [archiver (db)] could not execute query ERROR function "armor" already exists with same argument types Command was CREATE FUNCTION armor(bytea) RETURNS text AS $libdir/pgcrypto , pg_armor LANGUAGE c IMMUTABLE STRICT; Example 2 pg_restore [archiver (db)] Error from TOC entry 20; 1255 7470043 FUNCTION crypt(text, text) admin pg_restore [archiver (db)] could not execute query ERROR function "crypt" already exists with same argument types Command was CREATE FUNCTION crypt(text, text) RETURNS text AS $libdir/pgcrypto , pg_crypt LANGUAGE c IMMUTABLE STRICT; In short, you should review any error messages you get when restoring an xTuple database backup file. However, in many cases the errors that are being reported can safely be ignored. Use your common sense when reviewing error messages. If you come across an error message which concerns you, search the xTuple forums to see if others have been concerned about the same thing. Quite often others in the community will have seen the same errors you are concerned about. Once the restore is completed, select the OK button. Restore Complete To see that the restore operation loaded the xTuple database successfully, simply refresh your pgAdmin view. Then expand the new database element to see the xTuple schema (i.e., tables, functions, etc.) listed under the Schema element. The following screenshot shows the "api" and "public" schema found in every xTuple database. Database Schema Loaded Successfully So that s all you have to do. Now simply locate your xTuple client application and open it up. Then use the following login options Server = localhost or 127.0.0.1 Database = dbTest (or whatever you named yours) Port = 5432 Username = admin Password = admin You can use the same steps described above to add more databases to your PostgreSQL server. However, if you are running a production database, we recommend that you run only the production database on the server--and don t load other databases onto the same PostgreSQL instance.
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However it does limit project mastering and output to Ultra HD resolutions or lower. DaVinci Resolve 18 only supports a single processing GPU on Windows and Linux and 2 GPUs on the latest Mac Pro. If you need features such as support for multiple GPUs, 4K output, motion blur effects, temporal and spatial noise reduction, de-interlacing, HDR tools, camera tracker, multiple Resolve FX, 3D stereoscopic tools and remote rendering, please upgrade to DaVinci Resolve 18 Studio. We hope you do decide to upgrade as your facility grows and you do more advanced work! Important information regarding project library management DaVinci Resolve 18 requires a project library upgrade from DaVinci Resolve 17.4.6 and previous versions. We strongly recommend that you backup your existing (disk based and PostgreSQL based) project libraries before performing an upgrade. What's new in DaVinci Resolve 18 Features marked with * are in progress and may change before the final release. Key Features • Blackmagic Cloud to host and manage cloud-based project libraries. • Collaborate securely over the internet using Blackmagic ID. • Upload and review on Presentations with synced markers and comments.* • Support for intelligent path mapping to relink files automatically. • Vastly improved project library performance for network workflows. • Improved project performance, especially when working with large projects. • New Proxy Generator app for auto-creating proxies within watch folders. • Ability to choose between prioritizing proxies or camera originals. • Proxy files in subfolders are automatically assigned in the media pool. Media Edit • Support for reversing shape, iris and wipe transitions in the edit page. • New subtitle improvements including - Support for timed text TTML, XML and embedded MXF/IMF subtitles. - Ability to view and import subtitles from media storage. - Support for relinking subtitle clips from the media pool. - Subtitle region support with multiple simultaneous captions per track. - Set individual presets, text positions and intuitively edit between regions. - Add, rename and manage regions from the timeline context menu. - Ability to import, export and embed multiple subtitle tracks as TTML. • Support for showing up to 25 simultaneous multicam angles on the viewer. • Edit Index now shows clip duration. • Ability to navigate keyframes outside trimmed clip extents. • Ability to navigate retime keyframes using hotkeys. • Smart bin filter for disabled timelines. • Render in place and open in Fusion actions can be assigned shortcuts. • Reset Fusion composition now works on multiple clip selections. Color • New object mask capability in Magic Mask. • Adjustment clips and Fusion generators can bypass color management. • Support for syncing clip groups in remote grading sessions. • Ability to trigger bidirectional tracking from advanced and mini panels. • Support for matte finesse and 3D qualifier in advanced and mini panels. • Dolby Vision highlight clipping support in advanced panels. • Support for bypassing color outputs from advanced panels. • Add key mixers with auto-connected key outs from advanced panels. • ACES support for Blackmagic Gen 5 camera formats. • Support for the HDR Vivid standard. • Reference gamut compression enabled by default in ACES 1.3. Resolve FX • New Resolve FX Depth Map to generate 3D depth based keys in Studio. • New Resolve FX Fast Noise. • New Resolve FX Despill. • New Resolve FX Surface Tracker for tracking warped surfaces in Studio. • Improved Resolve FX Beauty with new ultra mode. • Improved edge strength and filter controls in Resolve FX Edge Detection. • Option to composite from a second input in Resolve FX Transform. • New bokeh preset for Resolve FX Lens Reflections. • Green-purple control for Resolve FX Chromatic Aberration. • Sizing awareness option in Resolve FX lens flare and radial zoom blurs. Fairlight • Ability to convert fixed bus projects to FlexBus in project settings. • Ability to freely order tracks and buses in the mixer via the track index. • Ability to nudge custom millisecond or sub-frame intervals in the timeline. • Improved quality for time stretched audio. • Improved Dolby Atmos immersive mixing, including binaural monitoring. • Native support for Dolby Atmos production for Linux and Apple silicon. • Independent controls to enable automation and expose parameters. • Improved behavior of automated tracks under VCA control. • Improved meters with configurable decay, peak hold and display modes. • Ability to ctrl-alt click to remove gain and elastic wave keyframes. • Ability to double click a clip in the timeline to rename. • Ability to set record clip name prefix at a per-track level. • Support for renaming underlying tracks when renaming a linked group. • Equalizers with improved Q controls and mouse wheel inputs. • Dynamics with enhanced metering, gain display and enable controls. • Dynamics with improved dry mix, soft knee and metering in FlexBus. • Improved plugin management with replace and copy settings in the mixer. • New built in presets for equalizers and dynamics. • Hold shift and double click clips to extend the edit selection range. • Support for applying audio gain on range selection. • Improved waveform display accuracy under crossfades. • Origination time metadata is now persisted when bouncing mix to track. • Option to trim from unity on the Fairlight Desktop Console. • Support for VCA and bus spill on the Fairlight Desktop Console. • Support for using the Fairlight Desktop Console on Linux systems. • Studio monitoring support for FlexBus on consoles. • Fairlight console option to mute speakers on timeline load. • Support for chasing timecode via Fairlight audio interfaces. • Support for user views in the Fairlight Desktop Console. • Improved mapping for audio effects on the Audio Editor panel. • Ability to use alt + solo to invoke solo safe in the Audio Editor panel. • Support for a new clear mutes action in the timeline menu. • Enabling track mixer controls brings window to focus if already open. • Grid and list modes are persisted for patch, bus and VCA assign. Fusion • Multi-button mode selection in inspector for multiple tools. • Support for all modern and future python 3 versions for scripting. • Support for live previews when using the Text+ color picker. • Multiple new composition blend modes. • New expression animated Custom Poly modifier for masks and strokes. • Faster GPU accelerated paint tool with smoother strokes. • Faster duplicate tool with additional blur, glow and size controls. • Improved fade-on and text ripple title performance. • Improved performance for night vision, glitch, TV and other effects. Codecs • Support for video uploads to internet accounts using custom presets. • Support for encoding mono and stereo MP3 audio. • New HyperDeck export preset in the Quick Export and deliver page. • Ability to render individual clips with timeline effects. • Ability to embed Blackmagic RAW metadata in QuickTime renders. • Custom quality and profile media management options where available. • Support for rendering Dolby Vision compatible H.265 clips. • Support for decoding CMYK format TIFF files. • Support for record date and time metadata for JPEG stills. • Alpha channel support in the IO Encode Plugin SDK. • Support for RED SDK 8.2.2. • New 1440p YouTube preset. • Render option to override ACES gamut compression for round trips. • Main10 is now the default H.265 encoding profile on Mac. General • Support for 10-bit viewers on Windows and Linux in Studio. • Stream video output to remote monitoring in Windows and Linux in Studio. • Apple Neural Engine support for DaVinci Neural Engine on M1 and M1 Pro. • Support for Korean localizations in DaVinci Resolve. • PostgreSQL 13 is now bundled with Project Server. • Support for desktop notifications for collaboration chat. • User preference to import Finder tags as clip keywords on Mac. • Support for importing and exporting Final Cut Pro v1.10 XMLs. • Ability to unlink Dropbox comment and marker sync for timelines. • Playback and render now prevents Mac systems from sleeping. • Support for per-system project working paths in collaboration and cloud. • Support for per-system render cache mode in collaboration and cloud. • Support for setting current project settings as default. • Scripting API support for creating Fusion compositions. • Scripting API support for exporting project archives. • Scripting API support to get and set timeline start timecode. • Scripting API support to detect stale media bins and refresh them. • Scripting API support for updating camera raw sidecar files. • General performance and stability improvements. Intelligent path mapping to relink files automatically DaVinci Resolve 18 has the ability to automatically map and manage paths between users and machines using cloud based project libraries. This ability is enabled by default in the project settings. Once the first user adds media to a project, every additional user or machine only needs to perform a relink to their shared copy of the media. DaVinci Resolve will automatically map these paths so that the media does not go offline for other users. Users can also manually manage shared locations between users and machines. In order to do this, the first user adds a shared media location to the project settings. This could be a shared cloud folder using a service such as Dropbox or Google Drive. Every additional user can then either just relink their footage, or open project settings and set their local path to that media location. New Proxy Generator app to auto-create proxies in watch folders DaVinci Resolve 18 includes a new Proxy Generator app. You can assign one or multiple watch folders to the Proxy Generator. The Proxy Generator app will scan and automatically generate QuickTime proxies with the selected codec in a Proxy subfolder. When importing media into DaVinci Resolve, any proxies found in these subfolders are automatically linked and assigned as proxies in the media pool. This happens even if the proxies are generated after importing the media to the media pool. Improved Proxy Handling DaVinci Resolve 18 allows the user ability to prefer proxies or prefer camera originals. Depending on the setting chosen in the Playback menu, the selected clip type will be prioritized if both proxies and originals are available. Resolve FX Depth Map for depth keying and grading Resolve FX Depth Map generates a depth alpha channel using the DaVinci Neural Engine, allowing you to separate backgrounds, isolate objects at specific depths and create fog, portrait mode and other distance effects. From the effects library in color page, you can apply Depth Map to a node, enable Depth Map Preview to view results, adjust limits, isolate specific depths and finesse results. You can also disable preview, enable OFX alpha and use the alpha output in subsequent nodes. Resolve FX Surface Tracker for tracking warped surfaces The new Resolve FX Surface Tracker in DaVinci Resolve Studio applies textures or effects to flexible and deformable moving surfaces. If the texture you would like to apply has transparency, you should drag the plugin as an FX node rather than apply it on a corrector node. • The bounds tab allows you to select/create a region where you would like to apply the texture. Additional bounds and holes can be added to define complex surfaces. • The mesh tab allows you to establish a mesh over the surface you would like to track. This acts as the starting point for the tracking. • The track tab is where the analysis is performed. You can adjust the motion range for fast-moving objects and the rigidity of the mesh. • The result tab allows you to control how you would like to use the warped surface for warping or compositing content. Improved Resolve FX Beauty with new ultra beauty mode. The ultra beauty mode, now the default setting for Resolve FX Beauty allows for stronger filtering and more natural results. This more powerful effect can even help with smoothing object surfaces, and even some compression artifacts. Convert fixed bus projects to FlexBus Older fixed bus projects can be converted to FlexBus projects by unchecking the use fixed bus mapping control in project settings under Fairlight. This action permanently converts the project's timelines to FlexBus and cannot be undone. Ordering tracks and buses from the track index You can now drag and drop tracks and buses to freely change order in the track index. This order will be reflected in the meters, mixers and the fader panels. You can choose between a single scrollable view or a split view with a fixed section, indicated by an adjustable split point. Configuring meters decay, peak hold and display modes. Fairlight meters now have a Digital VU mode with combined VU and Peak levels in FlexBus projects. From the Project Settings, under Fairlight, you can select IEC 60268-18, Digital VU, or define your own custom levels, scale and decay. Improved plugin management in the mixer You can now copy settings for pan, EQ, dynamics and third party plugins between tracks and buses in the mixer. This can be invoked in multiple ways • Context menus in the plugin dialog or in the mixer graphs of pan, EQ and dynamics. • Hotkeys Shift+Control+C Shift+Control+V (Shift+Command in Mac OS). • Mixer strip header context menus for full channel settings. Improved Python 3 Support The automatic detection of installed Python versions for scripting has been updated to check for default installations for Python 3.3 to 3.10 (and future versions). If set, the PYTHONHOME environment variable (or the explicit PYTHON3HOME and PYTHON2HOME if you have both installed) will be considered. To explicitly override the version used by DaVinci Resolve and Fusion Studio, you can set FUSION_Python3_Home (formerly FUSION_Python36_Home) to point to the base folder. Expression animated Custom Poly modifiers You can now quickly create and animate Fusion masks and strokes using custom poly modifiers. In addition to common expressions, the Custom Poly supports these functions and variables • (px,py) for the current point on the source poly. • disp for the point's displacement on the poly. • index and num for the current point's index (zero-based) and total number of points. • getx(disp), gety(disp) to access polyline values from specific displacements. - getx_at(disp,time), gety_at(disp,time) for displacements and times. - Use get2, get3 variations for additional inputs. • get[rgba][bdwm](x,y) to access image channels with optional black/duplicate/wrapped/mirrored results. Support for 10-bit viewers on Windows and Linux in Studio. In Preferences, under General, DaVinci Resolve Studio now allows enabling 10-bit precision in viewers in Windows and Linux. You will need a capable Nvidia or AMD graphics card, up to date drivers and a 10-bit capable display. Stream video output to remote monitoring in Windows and Linux in Studio. DaVinci Resolve Studio now supports the ability to stream your video monitoring output to a remote Blackmagic Design video monitoring device. This requires • A Windows and Linux Studio system with an Nvidia graphics card. • Remote Studio clients with a Blackmagic design monitoring device. • Windows and Linux clients need an Nvidia graphics card. On the streaming server, you can allow remote streaming connections in Davinci Resolve Preferences under General. By default, TCP port 16410 is used for streaming connections. On the client, go to the Applications folder on Mac or the Windows start menu to the DaVinci Resolve folder, and run the DaVinci Remote Monitoring application. Set the IP address of the server machine. Configure your DeckLink or UltraStudio card on the client machine and press start. The streaming server can now accept the incoming connection prompt and start streaming its monitoring output to remote clients. Currently, remote streaming reflects the cut, edit, color and deliver viewers. It streams stereo audio and does not show overlays or scopes on the client side. Mac OS clients are limited to 8-bit 4 2 0 video formats. Pre-Installation Notes • PostgreSQL 9.0 is the minimum supported version. • PostgreSQL 13 is the recommended version. • 10-bit viewers on Windows Linux needs a capable graphics card and display. Minimum system requirements • Windows 10 Creators Update. • 16 GB of system memory. 32 GB when using Fusion. • Blackmagic Design Desktop Video 10.4.1 or later. • Integrated GPU or discrete GPU with at least 2 GB of VRAM. • GPU which supports OpenCL 1.2 or CUDA 11. • NVIDIA/AMD/Intel GPU Driver version – as required by your GPU. Installing DaVinci Resolve software Double-click the DaVinci Resolve Installer icon and follow the onscreen instructions. To remove DaVinci Resolve from your system, go to the Programs and Features control panel, select DaVinci Resolve, click on Uninstall and follow the onscreen prompts. Migrating legacy Fairlight projects to DaVinci Resolve In order to import legacy Fairlight DR2 projects into DaVinci Resolve, download and install the following utility on your Windows system https //downloads.blackmagicdesign.com/DaVinciResolve/Fairlight-Project-Importer.zip After installing the utility, you should see an option to "Import Fairlight Project" in the Fairlight menu in DaVinci Resolve. Additional information Please refer to the latest DaVinci Resolve configuration guide for details on Windows support, including certified driver versions for third party hardware. It is available from www.blackmagicdesign.com/support/. You will also need to download and install the latest Blackmagic Design Desktop Video software for monitoring with your Blackmagic Design video hardware. Desktop Video is available from www.blackmagicdesign.com/support/. © 2001-2022 Blackmagic Design Pty. Ltd. All rights reserved. Blackmagic Design, Blackmagic, DeckLink, Multibridge, Intensity, H.264 Pro Recorder and "Leading the creative video revolution" are trademarks of Blackmagic Design Pty. Ltd., registered in the U.S.A and other countries. Adobe Premiere Pro, Adobe After Effects and Adobe Photoshop are registered trademarks of Adobe Systems. Avid Media Composer and Avid Pro Tools are registered trademarks of Avid. Apple Final Cut Pro, Apple Motion and Apple Soundtrack Pro are registered trademarks of Apple Computer. Updated April 27, 2022.
https://w.atwiki.jp/touhoukashi/pages/6534.html
【登録タグ FELT Increase Beat Rebirth Story 4 S 六十年目の東方裁判 ～ Fate of Sixty Years 曲 美歌】 【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 = /(?=^|.*