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https://w.atwiki.jp/mrfrtech/pages/44.html
Market Scenario During the projection period, 2021–2028, the global Crypto Asset Management Market was valued at USD 455.3 million in 2021 and is expected to reach USD 1807.9 million by 2028, with a CAGR of 21.8 percent. Crypto asset management is the practice of administering electronic assets to provide capable service through the use of a distributed electronic ledger network. Rather than depending on multiple wallets for each type of cryptocurrency, crypto asset management tools make it easier to handle all crypto wallet addresses in one place. The burgeoning cryptocurrency market and the increasing use of cryptocurrencies as a means of payment are propelling the crypto asset management industry forward. Cryptocurrencies have emerged as one of the most exciting investment prospects in recent years. As the price of cryptocurrencies continues to rise, an increasing number of institutional investors and wealth managers who have never invested in cryptocurrencies are planning to do so in the future year. The growing popularity of cryptocurrencies encourages more people to invest in them. It can be challenging for new cryptocurrency traders who aren t professionals in the field to break into the market. By employing better portfolio-management technologies, crypto asset management systems enable users to manage all crypto assets in one place. The development of crypto asset management platforms has made it easier for inexperienced investors to participate in the cryptocurrency market. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/10730 Competitive Outlook Coinbase, Inc. (US), Gemini Trust Company, LLC. (US), Crypto Finance AG (Germany), Crypto Finance AG (Germany), Bakkt Holdings, Inc. (US), BitGo, Inc. (US), Ledger SA (France), METACO SA (Switzerland), ICONOMI Limited (UK), EXODUS MOVEMENT, INC. (US), Xapo, Inc. (Switzerland), Xapo, Inc. (Switzerland), Koine Money Ltd (England), Amberdata, Inc. (US), BINANCE (UK), Tradeium Capital, LLC. (Germany), Opus Labs CVBA (Belgium) Kryptographe Inc (UK), and KOINLY (UK) are the key companies operating in the global crypto asset management market. Segmentation The worldwide crypto asset management market has classified components, deployment mode, application type, application, end-user, and region/country. The crypto asset management market has been divided into solutions and services based on components. During the forecasted period, the solutions category is expected to have the most market share. The crypto asset management market has been divided into cloud and on-premises deployment modes. The on-premises deployment category is predicted to have a bigger market share, but the cloud-based deployment sector is expected to grow at a faster rate over the forecast period. The crypto asset management industry has been divided into web-based and mobile applications based on application type. Within the worldwide crypto asset management market, web-based applications have the largest market share, while mobile-based applications are predicted to grow at the fastest rate throughout the forecast period. The crypto asset management market has been divided into two categories based on end-user individual users and enterprises. Banking, financial services, insurance, retail and e-commerce, healthcare, travel and hospitality, and others are the subcategories of the enterprise. During the forecasted period, the retail and eCommerce segment is likely to increase at the fastest rate. Regional Analysis The global crypto asset management industry is predicted to generate considerable revenue from various continents during the forecasted period. The crypto asset management market has been broken down into four regions North America, Europe, Asia-Pacific, and the Rest of the World. The United States, Canada, and Mexico make up North America. The United Kingdom, Germany, France, Italy, Spain, and the rest of Europe make up Europe. China, Japan, India, South Korea, Australia, and the Rest of Asia-Pacific make up Asia-Pacific. Industry News Gemini Trust Company, LLC, a US-based cryptocurrency exchange, expanded its operations in Southeast Asia on July 21, 2021, and opened satellite offices across the region, notably in Australia and Hong Kong, to boost its geographical presence. Genesis Capital, a renowned New York-based cryptocurrency firm that caters to institutional investors, purchased London-based custodian Volt on May 21, 2020. Genesis Capital will be able to recruit a wider range of institutional clients as a result of this transaction. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/crypto-asset-management-market-10730 Table of Contents 1Executive Summary 2Scope of the Report 2.1Market Definition 2.2Scope of the Study 2.2.1Research objectives 2.2.2Assumptions Limitations 2.3Markets Structure Continued…. View Similar Report Internet of things (IoT) Market https //ictmrfr.blogspot.com/2022/04/internet-of-things-market-growth-key.html B2B Telecommunication Market https //www.scutify.com/articles/2022-04-12-b2b-telecommunication-market-analysis--geographic-growth-opportunities-for-it-security-and-data- Cash Management System Market https //market-research-future.tribe.so/post/cash-management-system-market-size-receives-a-rapid-boost-in-economy-due-to--625d5382d24f49591bd3befb https //ict268262635.wordpress.com/2022/04/06/digital-business-card-market-major-application-third-party-usage-micro-market-pricing-analysis-and-geographical-analysis-forecast-to-2030/ About Market Research Future At Market Research Future (MRFR), we enable our customers to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com
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【登録タグ D EUROBEAT HOLIC IV SOUND HOLIC aki 曲 月時計 ～ ルナ・ダイアル 紅 -KURENAI-】 【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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TOP BIOGRAPHY MEDIA ※情報はweb・掲載誌等より収拾しています。 未掲載情報をご存知の方は＜MASTER＞より管理人までご報告下さい。 2006 2007 2008 2009 2010 2008年 1/27 ＜音楽専科社＞ ARENA SPECIAL vol.42 2/9 ＜ソニーマガジンズ＞ PATiPATi 3月号 ＜Wild Strawberry＞ コラボデザインシルバーアクセサリ発売 2/10 ＜音楽専科社＞ ARENA37℃ 3月号 ＜主婦と生活社＞ PASH! 2/13 ＜MMV＞ 1st Mini-Album ＜Stand Up!＞ リリース 2/22 ＜MMV＞ 美容少年★セレブリティ スペシャルDVD第1巻 2/27 ＜シンコー・ミュージック＞ B・PASS 4月号 ＜東京ニュース通信社＞ TVガイド増刊 Top Stage vol.56 ＜学研＞ Look at Star！vol.38 2/29 ＜音楽専科社＞ ARENA SPECIAL vol.43 3/1 ＜ソノラマMOOK＞ Good Come vol.4 3/8 ＜ソニーマガジンズ＞ PATiPATi 4月号 3/10 ＜音楽専科社＞ ARENA37℃ 4月号 連載＜青春の軌跡①＞ 3/28 ＜MMV＞ 美容少年★セレブリティ オリジナルDVD ＜涼の美容少年★カルテ＞ 3/29 ＜音楽専科社＞ ARENA SPECIAL vol.44 4/9 ＜ソニーマガジンズ＞ PATiPATi 5月号 4/10 ＜音楽専科社＞ ARENA37℃ 5月号 ＜青春の軌跡②＞ 4/23 ＜ソノラマMOOK＞ Good Come vol.5 4/25 ＜MMV＞ 美容少年★セレブリティ スペシャルDVD第1巻 4/28 ＜音楽専科社＞ ARENA SPECIAL vol.45 5/9 ＜ソニーマガジンズ＞ PATiPATi 6月号 5/10 ＜音楽専科社＞ ARENA37℃ 6月号 ＜青春の軌跡③＞ 5/27 ＜シンコー・ミュージック＞ B・PASS 6月号 ＜学研＞ Look at Star！7月号 5/28 ＜音楽専科社＞ ARENA SPECIAL vol.46 5/末 ＜廣済堂出版＞ Neo Actor vol.2 6/2 ＜ソノラマMOOK＞ Good Come vol. 6/4 ジャイブ CAST－PRIX PREMIUM ＜MMV＞ 1st Single ＜START＞ リリース 6/9 ＜ソニーマガジンズ＞ PATiPATi 7月号 6/10 ＜音楽専科社＞ ARENA37℃ 7月号 ＜青春の軌跡④＞ ＜アニカン＞ アニカンR vol.15 6/19 ＜カドカワムック＞ ザテレビジョンHOMME vo.3 7/9 ＜ソニーマガジンズ＞ PATiPATi 8月号 7/10 ＜音楽専科社＞ ARENA37℃ 8月号 ＜青春の軌跡⑤＞ 7/14 ＜ソニーマガジンズ＞ Wat s in ? 8月号 7/22 ＜東京ニュース通信社＞ Good Come vol. 7/27 ＜シンコー・ミュージック＞ B・PASS 8月号 7/29 ＜音楽専科社＞ ARENA SPECIAL vol.48 7/31 ＜アニカン＞ ヤンヤン 8/1 ＜日刊広島新聞＞ 夏季特別号 8/4 ジャイブ CAST－PRIX PREMIUM 8/9 ＜モブキャスト＞ ドラマ WILD STRAWBERRY DVD 1～3巻 ＜ソニーマガジンズ＞ PATiPATi 9月号 8/10 ＜アニカン＞ アニカンR vol.17 ＜音楽専科社＞ ARENA37℃ 9月号 ＜青春の軌跡⑥＞ 8/29 ＜音楽専科社＞ ARENA SPECIAL vol.49 8/31 ＜廣済堂出版＞ Neo Actor vol.5 9/3 ＜MMV＞ 1st Live DVD ＜Stand Up !＞ リリース 10/1 ＜MMV＞ 2nd Single ＜Your story／あの空へ＞ リリース 11/8 PATi PATi 12月号 11/10 VISUALBOY BRUSH Vol.1 11/13 Cinema☆Cinema no.15 11/15 PATI☆ACT vol.1 12/3 GOOD☆COME vol.9 LOOK at STAR！特別編集『STAGE ACTORS 08』 CAST-PRIX 12/13 演劇プルミエ 12/28 ARENA SPECIAL ▲ 2007年 3/23 ＜集英社＞ PINKY 5月号 3/28 ＜MMV＞ミュージカルテニスの王子様劇中使用曲よりリリース ＜SCD＞ ファイナリスト ＜FCD＞ ABSOLUTE KING 立海 feat.六角～First Service 3/30 ＜MMV／DVD＞ ミュージカルテニスの王子様 ABSOLUTE KING 立海 feat.六角～First Service 4/23 ＜集英社＞ PINKY 6月号 7/18 ＜扶桑社＞Men s Photo-Book ＜Half moon＞ 7/24 ＜DVD＞ 葉っぱのフレディ2006年公演 ＜マーク役＞ 7/25 ＜MMV／SCD＞ ミュージカルテニスの王子様 ベストアクターズシリーズ008 7/28 ＜マガジンハウス＞ Hanako WEST 8/1 ＜ミュージカル出版社＞ 月刊ミュージカル 8月号 8/17 ＜ポニーキャニオン＞ Men s DVD ＜Flight From The Labyrinth＞ 8/27 ＜学研＞ Look at Star！vol.32 9/12 ＜ソノラマMOOK＞ Good Come vol.2 10/2～12/25 ＜TV東京系列＞ ドラマ 美容少年☆セレブリティ ＜涼役＞ 10/4 ジャイブ CAST－PRIX PREMIUM autumn 10/10 ＜主婦と生活社＞ PASH！ 10/23 ＜朝日ソノラマ＞ HERO Vision ＜主婦と生活社＞ JUNON 10/27 ＜学研＞ Look at Star！vol.34 12/4 ジャイブ CAST-PRIX PREMIUM winter 12/18 ＜東京ニュース通信社＞ TVガイド増刊 Top Stage vol.54 12/28 ＜音楽専科社＞ ARENA SPECIAL vol.41 ▲ 2006年 11/9 ＜集英社＞ 週刊少年ジャンプ内劇プリ 11/15 LAWSON TICKET WITH Loopi 12月号 11/28 ＜マガジンハウス＞Hanako West 1月号 ▲
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html title dinamic filter /title body body bgcolor="rosybrown" /etc/sysconfig/iptables-config br IPTABLES_MODULES="ip_conntrack_ftp" br pre NEWがないと一切の通信がダメ。ポートが開かない。NEWだけは特別なのだ アプリI/OSADAPROTSPDPCONN.STAT FTPOUT自分FTP鯖TCPー２１NEW（一番最初のステータスですよ）、ESTABLISHED コマンドチャンネル？ FTPINFTP鯖自分TCP２１ーESTABLISHED（全部ACKがついてますから？） コマンドチャンネル？ ポート番号２１ってFTPの制御用のポートだよね 何番のポートと何番のポートで通信しますよでRELATED（関係のある）通信になる ↓データチャンネル FTPOUT自分FTP鯖TCPーーRELATED、ESTABLISHED FTPINFTP鯖自分TCPーーESTABLISHED font size=5 color=darkblue b iptables追加ftpパッシブモードクライアントルール /b /font #dinamicfilter ftp comand-ch -A OUTPUT -p tcp --dport 21 -m state --state NEW,ESTABLISHED -j ACCEPT -A INPUT -p tcp --sport 21 -m state --state ESTABLISHED -j ACCEPT #dinamicfilter ftp date-ch -A OUTPUT -p tcp -m state --state RELATED,ESTABLISHED -m helper --helper ftp -j ACCEPT -A INPUT -p tcp -m state --state ESTABLISHED -m helper --helper ftp -j ACCEPT -m state 接続状態の指定 接続状態にはNEW、INVALID、ESTABLISHED、RELATEDが指定できる -m helper unknown -A 指定したチェインにルールを追加する -F -Aとは逆でチェインの内容を削除する font size=5 color=darkblue b 検証 /b /font [root@neteng18 ~]# [root@neteng18 ~]# ftp 192.168.128.1 Connected to 192.168.128.1. 220 (vsFTPd 2.0.5) 530 Please login with USER and PASS. 530 Please login with USER and PASS. KERBEROS_V4 rejected as an authentication type Name (192.168.128.1 root) neteng18 331 Please specify the password. Password 230 Login successful. Remote system type is UNIX. Using binary mode to transfer files. ftp ascii 200 Switching to ASCII mode. ftp get welcome local welcome remote welcome 227 Entering Passive Mode (192,168,128,1,115,140) 150 Opening BINARY mode data connection for welcome (24 bytes). WARNING! 2 bare linefeeds received in ASCII mode File may not have transferred correctly. 226 File send OK. 24 bytes received in 0.00013 seconds (1.9e+02 Kbytes/s) ftp quit 221 Goodbye. [root@neteng18 ~]# cat /proc/net/ip_conntrack tcp 6 112 TIME_WAIT src=192.168.128.212 dst=192.168.128.1 sport=45107 dport=29580 packets=4 bytes=216 src=192.168.128.1 dst=192.168.128.212 sport=29580 dport=45107 packets=4 bytes=240 [ASSURED] mark=0 secmark=0 use=1 tcp 6 117 TIME_WAIT src=192.168.128.212 dst=192.168.128.1 sport=54614 dport=21 packets=21 bytes=1201 src=192.168.128.1 dst=192.168.128.212 sport=21 dport=54614 packets=15 bytes=1139 [ASSURED] mark=0 secmark=0 use=2 [root@neteng18 ~]# cat welcome Welcome to ftp server! b font size=4 color=darkblue ノーマルモード /font /b FTP上でpassiveと打つとON/OFFを切り替えることができる パッシブモードの設定だとコマンドをやっても通信ができないのですよう ー私案ー 合意はもうできている上で 要はノーマルということはFTP鯖からの２０番ポートからのTCPデータを受信できればよいだから アプリI/OSADAProtSPDPState FTPINFTP鯖自分TCP２０ーRELATED,ESTABLISHED FTPOUT自分FTP鯖TCPー２０ESTABLISHED FTPクライアントの設定ノーマルデータCHを送受信するにはこれだけで良い #dinamicfilter ftp date-ch -A INPUT -p tcp --sport 20 -m state --state RELATED,ESTABLISHED -m helper --helper ftp -j ACCEPT -A OUTPUT -p tcp --dport 20 -m state --state ESTABLISHED -m helper --helper ftp -j ACCEPT font size=5 color=darkblue b 検証 /b /font [root@neteng18 ~]# ftp 192.168.128.1 Connected to 192.168.128.1. 220 (vsFTPd 2.0.5) 530 Please login with USER and PASS. 530 Please login with USER and PASS. KERBEROS_V4 rejected as an authentication type Name (192.168.128.1 root) neteng18 331 Please specify the password. Password 530 Login incorrect. Login failed. ftp quit 221 Goodbye. [root@neteng18 ~]# ftp 192.168.128.1 Connected to 192.168.128.1. 220 (vsFTPd 2.0.5) 530 Please login with USER and PASS. 530 Please login with USER and PASS. KERBEROS_V4 rejected as an authentication type Name (192.168.128.1 root) neteng18 331 Please specify the password. Password 230 Login successful. Remote system type is UNIX. Using binary mode to transfer files. ftp passive Passive mode off. ftp ls 200 PORT command successful. Consider using PASV. 150 Here comes the directory listing. -rw-r--r-- 1 518 500 24 Feb 25 02 34 welcome 226 Directory send OK. ftp get welcome local welcome remote welcome 200 PORT command successful. Consider using PASV. 150 Opening BINARY mode data connection for welcome (24 bytes). 226 File send OK. 24 bytes received in 8.6e-05 seconds (2.7e+02 Kbytes/s) ftp quit 221 Goodbye. [root@neteng18 ~]# cat /proc/net/ip_conntrack tcp 6 96 TIME_WAIT src=192.168.128.1 dst=192.168.128.212 sport=20 dport=35862 packets=5 bytes=333 src=192.168.128.212 dst=192.168.128.1 sport=35862 dport=20 packets=3 bytes=164 [ASSURED] mark=0 secmark=0 use=1 tcp 6 79 TIME_WAIT src=192.168.128.212 dst=192.168.128.1 sport=35714 dport=21 packets=16 bytes=911 src=192.168.128.1 dst=192.168.128.212 sport=21 dport=35714 packets=13 bytes=888 [ASSURED] mark=0 secmark=0 use=1 tcp 6 112 TIME_WAIT src=192.168.128.212 dst=192.168.128.1 sport=35715 dport=21 packets=23 bytes=1364 src=192.168.128.1 dst=192.168.128.212 sport=21 dport=35715 packets=18 bytes=1410 [ASSURED] mark=0 secmark=0 use=3 tcp 6 107 TIME_WAIT src=192.168.128.1 dst=192.168.128.212 sport=20 dport=60047 packets=5 bytes=292 src=192.168.128.212 dst=192.168.128.1 sport=60047 dport=20 packets=3 bytes=164 [ASSURED] mark=0 secmark=0 use=1 [root@neteng18 ~]# a href="index.html" 戻る /a /body /html
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Market Analysis The global Smart Commute Market Growth is predicted to touch USD 104.22 billion and at a whopping 25.52% CAGR between 2020- 2027, states the recent Market Research Future (MRFR) analysis. Smart commute, simply put, is traveling from a particular place to another regularly through metro, bicycle pooling, bike pooling, vanpooling, and others. Traffic management, parking management, smart ticketing, mobile app, and others are different solutions. These services provide eco-friendly traveling experience to people and make an active alternative to transportation for enterprise employees that can pick from effective commute option, which along with reducing the congestion, also helps in lowering the transportation cost. Various factors are propelling the global smart commute app market share. According to the recent MRFR report, such factors include high demographic rates, growing urban population, the use of smart and connected technologies in transportation infrastructure, growing demand for transportation as a service, decline in ownership of vehicles with shared mobility. Additional factors adding market growth include several upcoming railway projects, growing urbanization and industrialization, demand for public transport and smart transportation solutions as well as related components, services, and software, advances in technology like the implementation of electronic payment systems, traveler information systems, and automatic vehicle location systems, and benefits such as an increase in traveler convenience, reduce traffic congestion, lower emission levels, and improve fuel economy. On the contrary, high component cost, concerns about security and management data storage, the slow growth rate of GDP, susceptibility to cyberattacks, and the on-going COVID-19 impact are factors that may impede the global smart commute application market growth over the forecast period. Get a Free Sample @ https //www.marketresearchfuture.com/sample_request/6975 Market Segmentation The MRFR report highlights an inclusive segmental analysis of the global smart commute market based on solution and type. Based on type, the global smart commute market is segmented into metro, bicycle pooling, bike pooling, vanpooling, carpooling, and others. Based on the solution, the global smart commute market is segmented into traffic management, parking management, smart ticketing, mobile app, and others. Regional Analysis Based on the region, the global smart commute market report covers the recent trends and growth opportunities across the Asia Pacific (APAC), North America, Europe, the Rest of the World (RoW). Of these, the APAC region is predicted to have the lions share over the forecast period. Strict government norms and regulations related to greenhouse gas emissions, adoption of car sharing services, and the upcoming availability of zero-emission car sharing services are adding to the global smart commute market growth in the region. The global smart commute market in Europe is predicted to have healthy growth over the forecast period. Improved socio-economic conditions in France, the UK, and Germany are adding to the global smart commute market growth in the region. The global smart commute market in North America is predicted to have sound growth over the forecast period. Favorable incentives introduced by the government for promoting carpooling services are adding to the global smart commute market growth in the region. The global smart commute market in the RoW is predicted to have steady growth over the forecast period. Key Players Leading contenders profiled in the global smart commute market report include Carma Technology Corporation (Europe), Turo (US), BlaBlaCar (France), CommuteSMART (US), Oakland Smart Commute (California), Central Indiana Regional Transportation Authority (CIRTA) (US), ZipGo Technologies Pvt. Ltd (India), Metrolinx (Canada), ANI Technologies Pvt. Ltd.(India), Uber Technologies Inc. (India), Quick Ride (India), ePoolers Technologies Pvt. Ltd. (India), and South Florida Commuter Services (US). Industry players have incorporated several strategies such as mergers, new product launches, strategic alliances, geographic expansions, extensive R D activities, new product development, and others to stay at the forefront. Brows Full Report @ https //www.marketresearchfuture.com/reports/smart-commute-market-6975 Table of Contents 1 Executive Summary 2 Scope of The Report 2.1 Market Definition 2.2 Scope of The Study 2.2.1 Research Objectives 2.2.2 Assumptions Limitations 2.3 Market Structure Continued… Similar Report** B2B Telecommunication Market Information by Solution (Unified Communication and Collaboration), Deployment (Fixed, Mobile), Organization Size (Large, Enterprise), Application (Industrial, Commercial) and regions Trending #MRFR Report** https //ictmrfr.blogspot.com/2022/04/geofencing-market-companies-growth-with.html https //blogfreely.net/pranali004/telecom-expense-management-market-size-impressive-cagr-changing-business-scope https //postheaven.net/pranali004/financial-app-industry-impressive-cagr-changing-business-needs-scope-of https //market-research-future.tribe.so/post/openstack-service-market-research-impressive-cagr-changing-scope-of-current--6263de46791566c10c79891e https //www.scutify.com/articles/2022-04-24-infrastructure-as-a-service-industry-cagr-changing-business-scope-of-current-and-future-industry- About Market Research Future At Market Research Future (MRFR), we enable our customers to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. 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