約 6,923,249 件
https://w.atwiki.jp/mrfrtech/pages/53.html
Market Scenario In its research report, Market Research Future (MRFR), asserts that the AI in Construction Market Research 2020 is slated to grow exponentially over the review period, securing a considerable market valuation of USD 2.01 billion, and a healthy 35% CAGR over the review period. Novel coronavirus has actually AI in Construction Market Research to open new avenues for those firms that are on the lookout for solutions that are reliable, efficiently managed, scalable, and are subscription-based, to remain more focused on the core business. The AI in Construction Market is bearing lesser impact of the COVID-19 outbreak compared to most other segments of the tech world. In a nutshell, COVID-19 impact on managed services has been fruitful, with the market growth enhanced than before. Given the prevalent lockdown situation, managed services vendors are now investing heavily in remote-centric worker solutions, which can make the market highly resilient in the coming years, even as the world is currently rushing to achieve a COVID-19 breakthrough. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/6035 Segmentation The AI in construction market is differentiated by component, technology, organization size, deployment, stage, and application. On the basis of stage, the market is segmented into construction stage, pre-construction, and post-construction. Based on the component, the AI in construction market is bifurcated as solutions and services. The solution segment is categorized as demand forecasting, virtual assistant, revenue estimation, design planning, predictive maintenance, and others. The service sub-segment comprised implementation services, training consulting, and other support services. In terms of technology, the market is segregated into machine learning deep learning, neural networks, and natural learning programming (NLP). Based on the deployment, the market is divided into on-cloud and on-premises. Based on the organization size, the market is bifurcated into large enterprises, and small medium enterprise (SMEs). On the basis of application, the market is categorized as, project management, schedule management, risk management, equipment management, building information management, and supply chain management. Competitive Outlook The major market players operating in the global market as identified by MRFR are Oracle Corporation (U.S), IBM Corporation (U.S.), SAP SE (Germany), Alice Technologies.(U.S.), Microsoft Corporation (U.S.), Autodesk (U.S.), Aurora Computer Services(U.K), eSUB (U.S.), Smartvid.io(U.S.),and Building System Planning (U.S.). Some other market players who are involved in AI construction market are Jaroop, Deepomatic, Lili.Ai, Predii, Assignar, Coins Global, Beyond Limits, Doxel Askporter, Bentley Systems, Plangrid, and Renoworks Software Regional Analysis The geographical overview of the global market has been analyzed in four major regions, comprising the Asia Pacific, North America, Europe, and the rest of the world. On the building industry, North America is believed to have substantial growth in the AI, with the U.S. and Canada being the sector leading countries. Regional domination is due to increased investment by companies such as IBM Corporation, Oracle Corporation and many others, which invest directly in the advancement of technologies such as neural networks and machine learning in research and development. However, Asia Pacific is also expected to experience a strong market growth rate. The leading countries in this field are China, Japan, South Korea and India. The market growth is due to rise in demand by the region to improve smart city projects which require better facilities that boost the real estate sector. 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…. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/ai-in-construction-market-6035 List of Tables Table1 Global AI In Construction Market By Region, 2020-2027 Table2 North America AI In Construction Market By Country, 2020-2027 Table3 Europe AI In Construction Market By Country, 2020-2027 Continued… List of Figures FIGURE 1 Global AI In Construction Software Market Segmentation FIGURE 2 Forecast Methodology FIGURE 3 Porter’s Five Forces Analysis of Global AI In Construction Software Market Continued… 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 Market Research Future (MRFR) has created a niche in the world of market research. It is counted among the top market research companies that offer well-researched and updated market research reports and insights to businesses of all sizes. What sets us apart is our super-responsive team that offers quality work keeping clients abridged of the prospective challenges and opportunities in various markets. Our team is adept in their space as well as patiently listens to every client. The best part is they know their work inside out and possess the expertise to guide the client in the right direction and achieve results on a tight deadline. We are a one-stop solution for all your data research needs. Our team does not believe in the “one size fits all” approach to creating a report that is detailed and concise. We handle 13 industry verticals including Healthcare, Chemicals and Materials, Information and Communications Technology, Semiconductor and Electronics, Energy and Power, Food, Beverages Nutrition, Automobile, Consumer and Retail, Aerospace and Defense, Industrial Automation and Equipment, Packaging Transport, Construction, and Agriculture. With our unique approach for every market report, we aim to reach the zenith in qualitative business intelligence and syndicated market research. 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
https://w.atwiki.jp/mrfrtech/pages/142.html
Market scenario The Intelligent Process Automation Market will register a CAGR of 11.91%, witnessing substantial growth during the forecast period. The market has a market value of USD 8200.3 million in 2019, and the same is expected to reach USD 1,4392.4 million by the end of the current forecast period. North America accounted for the most significant market value of USD 2624.6 million in 2018; the market is expected to register a CAGR of 10.83% during the forecast period. Intelligent process automation (IPA) stands for application technology. Its software is designed with extra features like artificial intelligence and related new technologies, including cognitive automation, machine learning, and computer vision, which are used for high volume handling and repeatable tasks. It is constructive in improving business processes by reducing the human hand to assist workers by eliminating repetitive, replicable, and routine tasks. Thus, it enhances the customer experience by simplified methods and techniques. Furthermore, this IPA helps in doing the work in a simple and better way within time and improves the processes efficiency degree and response time. Hence, it increases the worker’s performance customer experience and also helps in reducing the operational risks. To design a new generation of hardware and software to automate industrial processes, there is a need for a few factors like improvement in sensors, advances in machine learning techniques, and increasing computing power is helpful. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/6065 Competitive Outlook This can lower administration costs while simultaneously catering to demand of clients with the help of virtual assistants. The aim of Lab Tech for expanding its application for billing, contract renewal, management, and other ad hoc tasks can bode well for the market. Some prominent global companies are as follows ,UiPath, Inc. (US),Blue Prism Group (UK),Dell EMC Corp. (US),SAP SE (Germany),IBM Corporation (US) Segmentation The Intelligent Process Automation Market will register a CAGR of 11.91%, witnessing substantial growth during the forecast period. The market has a market value of USD 8200.3 million in 2019, and the same is expected to reach USD 1,4392.4 million by the end of the current forecast period. North America accounted for the most significant market value of USD 2624.6 million in 2018; the market is expected to register a CAGR of 10.83% during the forecast period. Intelligent process automation (IPA) stands for application technology. Its software is designed with extra features like artificial intelligence and related new technologies, including cognitive automation, machine learning, and computer vision, which are used for high volume handling and repeatable tasks. It is constructive in improving business processes by reducing the human hand to assist workers by eliminating repetitive, replicable, and routine tasks. Thus it enhances the customer experience by simplified methods and techniques. Furthermore, this IPA helps in doing the work in a simple and better way within time and improves the processes efficiency degree and response time. Hence, it increases the worker’s performance customer experience and also helps in reducing the operational risks. To design a new generation of hardware and software to automate industrial processes, there is a need for a few factors like improvement in sensors, advances in machine learning techniques, and increasing computing power is helpful. Regional Analysis Globally, the intelligence process automation based on the region is divided into four main geographies North America, Asia-Pacific, Europe, and the rest of the world. During the review period, North America is expected to dominate the largest intelligent process automation market share due to its established infrastructure for developing advanced technologies in the region, which leads to fast-paced development. Industry News In June 2019, to extend automation capabilities intelligently in the cloud, a major key player Blue Prism acquired an intelligent automation industry, Thoughtonomy. To combine AI, RPA, cloud deployment in a single platform, this acquisition proves to be futuristic and helpful and is for scaling automation strategy at a high rate. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/intelligent-process-automation-market-6065 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 3Market Research Methodology 3.1Research Process 3.2Secondary Research 3.3Primary Research 3.4Forecast Model Continued…. List of Tables TABLE 1 LIST OF ASSUMPTIONS 31 TABLE 2 GLOBAL INTELLIGENT PROCESS AUTOMATION MARKET, BY DATA TYPE, 2020–2027 (USD MILLION) 44 TABLE 3 STRUCTURED MARKET ESTIMATES FORECAST, BY REGION, 2020–2027 (USD MILLION) 45 Continued…. Trending Report** https //pranali04.edublogs.org/2022/01/03/b2b-telecommunications-market-trends-outlook-by-types-applications-end-users-and-business-opportunities-segmentation-growth-demand-target-forecast-by-2027/ https //ict268262635.wordpress.com/2022/04/06/email-marketing-market-major-application-third-party-usage-micro-market-pricing-analysis-and-geographical-analysis-forecast-to-2030/ https //ict268262635.wordpress.com/2022/04/06/mobile-cloud-service-market-major-application-third-party-usage-micro-market-pricing-analysis-and-geographical-analysis-forecast-to-2030/ About Market Research Future Market Research Future (MRFR) has created a niche in the world of market research. It is counted among the top market research companies that offer well-researched and updated market research reports and insights to businesses of all sizes. What sets us apart is our super-responsive team that offers quality work keeping clients abridged of the prospective challenges and opportunities in various markets. Our team is adept in their space as well as patiently listens to every client. 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/
https://w.atwiki.jp/matchmove/pages/96.html
Control Panel Reference SynthEyes has the following control panels · Summary Panel · Rotoscope Control Panel · Feature Control Panel · Tracking Control Panel. · Lens Control Panel. · Solver Control Panel. · Coordinate System Control Panel. · 3-D Control Panel. · Lighting Control Panel. · Flex/Curve Control Panel. Select via the control panel selection portion of the main toolbar. The Graph Editor icon appears in the toolbar area to indicate a nominal workflow, but it launches a floating window. Additional panels are described below · Add Many Trackers Dialog · Advanced Features · Clean Up Trackers · Coalesce Nearby Trackers · Curve tracking control · Finalize Trackers · Fine-Tuning Panel · Green-screen control · Hard and Soft Lock Controls · Hold Tracker Preparation Tool · Image Preparation · Spinal Editing Control The shot-setup dialog is described in the sectionOpening the Shot. Spinners SynthEyes uses spinners, the stacked triangles on the right of the following graphic ( ), to permit easy adjustment of numeric fields on the control panels. The spinner control provides the following features · Click either triangle to increase or decrease the value in steps, · Drag within the control to smoothly increase and decrease the value, · Turns red on key frames, · Right-click to remove a key, or if none, to reset to a predefined value, · Shift-drag or -click to change the value much more rapidly, · Control-drag or -click to change the value slowly for fine-tuning. Tool Bar New, Open, Save, Undo, Redo. Buttons. Standard Windows (only). Use the Undo/Redo menu items instead to see what function will be undone or redone. (Control Panel buttons). Changes the active control panel. Forward/Backward (/). Button. Changes the current playback and tracking direction. Reset Time. Button. Resets the timebar so that the entire shot is visible. Fill. Button. The camera viewport is reset so that the entire image becomes visible. Shift-fill sets the zoom to 1 1 horizontally. Viewport Configuration Select. List box. Selects the viewport configuration. Use the viewport manager on the Window menu to modify or add configurations. Camera01. Active camera/object. Click to cycle through the cameras and objects. Play Bar Rewind Button. Rewind back to the beginning of the shot. Back Key Button. Go backwards to the previous key of the selected tracker or object. Frame Number. Numeric Field. Sequential frame number, starting at zero or at 1 if selected on thepreferences. Forward Key Button. Go forward to the next key of the selected tracker or object. To End Button. Go to the last frame of the shot. Frame Backwards. Button. Go backwards one frame. Auto-repeats. Play/Stop/. Button. Begin playing the shot, forwards or backwards, at the rate specified on the View menu. Frame Forward. Button. Go forwards one frame. Auto-repeats. Summary Panel Auto.(the big green one)Run the entire match-move process create features(blips), generate trackers, and solve. If no shot has been set up yet, you will be prompted for that first, so this is truly a one-stop button. See alsoSubmit for Batch. Motion Profile.Select one of several profiles reflecting the kinds of motion the image makes. UseCrash Panfor when the camera spins quickly, for example, to be able to keep up. Or useGentle Motionfor faster processing when the camera/image moves only slightly each frame. Green Screen.Brings up thegreen-screencontrol dialog. Zoom Lens.Check this box if the camera zooms. On Tripod.Check this box if the camera was on a tripod. Hold.Animated Button. Use to create hold regions to handle shots with amix of normal and tripod-modesections. Fine-tune.Performs an extra stage of re-tracking between the initial feature tracking and the solve. Thisfine-tuning passcan improve the sub-pixel stability of the trackers on some shots. Settings.Launches the settings panel for fine-tuning. Run Auto-tracker.Runs the automatic tracking stage, then stops. Solve.Runs the solver. Not solved.This field will show the overall scene error, in horizontal pixels, after solving. Coords（共同作用）.Initiates a mode where 3 trackers can be clicked to define a coordinate system. After the third, you will have the opportunity to re-solve the scene to apply the new settings. Same as *3 on the Coordinate System panel. 3つのトラッカーが座標系を定めるためにクリックすることができるモードを始めます。 第3の後、新しいセッティングを適用するためにシーンを再解析することがあると思います。 座標系パネルの*3と同じです。 Master Solution Reset ().Clear any existing solution points and object paths. Rotoscope Control Panel The roto panel controls the assignment of a shot s blips to cameras or objects. The roto mask can also be written as an alpha channel or RGB image using the image preprocessor. Spline/Object List. An ordered list of splines and the camera or object they are assigned to. The default Spline1 is a rectangle containing the entire image. A feature is automatically assigned to the camera/object of thelastspline in the list that contains the feature. Double-click a spline to rename it as desired. Camera/Object Selector. Drop-down list. Use to set the camera/object of the spline selected in the Spline/Object List. You can also selectGarbageto set the spline as a garbage matte. Show this spline. Checkbox. Turn on and off to show or hide the selected spline. Also see the View/Only Selected Splines menu item. Key all CPs if any. Checkbox. When on, moving any control point will place a key on all control points for that frame. This can help make keyframing more predictable for some splines. Enable. Button. Animatable spline enable. Create Circle. Lets you drag out circular splines. Create Box. Lets you drag out rectangular splines. Magic Wand. Lets you click out arbitrarily-shaped splines with many control points. Delete. Deletes the currently-selected spline. Move Up. Push button. Moves the selected spline up in the Spline/Object List, making it lower priority. Move Down. Push button. Moves the selected spline down in the Spline/Object List, making it higher priority. Shot Alpha Levels. Integer spinner. Sets the number of levels in the alpha channel for the shot. For example, select 2 for an alpha channel containing only 0 or 1(255), which you can then assign to a camera or moving object. Object Alpha Level. Spinner. Sets the alpha level assigned to thecurrentcamera or object. For example, with 2 alpha levels, you might assign level 0 to the camera, and 1 to a moving object. The alpha channel is used to assign a feature only if it is not contained in any of the splines. Import Tracker to CP. Button. When activated, select a tracker then click on a spline control point. The tracker s path will be imported as keys onto the control point. Feature Control Panel Motion Profile.Select one of several profiles reflecting the kinds of motion the image makes. UseCrash Panfor when the camera spins quickly, for example, to be able to keep up. Or useGentle Motionfor faster processing when the camera/image moves only slightly each frame. Clear all blips.Clears the blips from all frames. Use to save disk space after blips have been peeled to trackers. Blips this frame. Push button. Calculates features (blips) for this frame. Blips playback range. Push button. Calculates features for the playback range of frames. Blips all frames. Push button. Calculates features for the entire shot. Displays the frame number while calculating. Once started, can’t be interrupted! Delete. Button. Clears the skip frame channel from this frame to the end of the shot, or the entire shot if Shift is down when clicked. Skip Frame. Checkbox. When set, this frame will be ignored during automatic tracking and solving. Use (sparingly) for occasional bad frames during explosions or actors blocking the entire view. Camera paths are spline interpolated on skipped frames. Advanced. Push button. Brings up a panel with additional control parameters. Link frames. Push button. Blips from each frame in the shot are linked to those on the prior frame (depending on tracking direction). Useful after changes in splines or alpha channels. Peel. Mode button. When on, clicking on a blip adds a matching tracker, which will be utilized by the solving process. Use on needed features that were not selected by the automatic tracking system. Peel All. Push button. Causes all features to be examined and possibly converted to trackers. To Golden. Push button. Marks the currently-selected trackers as “golden,” so that they won’t be deleted by the Delete Leaden button. Delete Leaden. Push button. Deletes all trackers, except those marked as “golden.” All manually-added trackers are automatically golden, plus any automatically-added ones you previously converted to golden. This button lets you strip out automatically-added trackers. Tracking Control Panel The tracker panel has two variations with different sizes for the tracker view area, and slightly different button locations. The wider version gives a better view of the interior of the panel, especially on high-resolution displays. The smaller version is a more compact layout that reduces mouse motion, and because of the reduced size, is better for use on laptops. Select the desired version using theWider tracker-view panelpreference. Tracker Interior View. Shows its interior---the inner box of the tracker.Left Mouse Drag the tracker location.Middle Scroll Advance the current frame, tracking as you go.Right Mouse Add or remove a position key at the current frame. Or, cancel a drag in progress. Create. Mode Button. When turned on, depressing the left mouse button in the camera view creates new trackers. When off, the left mouse button selects and moves trackers. Delete. Button (also Delete key). Deletes the selected tracker. Finish. Button. Brings up the finalize dialog box, allowing final filtering and gap filtering as a tracker is locked down. Lock. Button. Non-animated enable, turn on when tracker is complete; will then be locked. Tracker Type.,,,. Button. Toggles the tracker type among normal match-mode, dark spot, bright spot, or symmetric spot. Direction. Button. Configures the tracker for backwards tracking it will only track when playing or stepping backwards. Enable. Button. Animated control turns tracker on or off. Turn off when tracker gets blocked by some thing, turn back on when it becomes visible again. Contrast. Number-less spinner. Enhances contrast in the Tracker Interior View window. Bright. Number-less spinner. Turns up the Tracker Interior View brightness. Color. Rectangular swatch. Sets the display color of the tracker for the camera, perspective, and 3-D views. Now. Button. Adds a tracker position key at the present location and frame. Right-click to remove a position key. Shift-right-click to truncate, removing all following keys. Key. Spinner tells SynthEyes to automatically add a key after this many frames, to keep the tracker on track. Key Smooth. Spinner. Tracker s path will be smoothed for this many frames before each key, so there is no glitch due to re-setting a key. Name. Edit field. Adjust the tracker s name to describe what it s tracking. Pos. H and V spinners. Tracker s horizontal and vertical position, from –1 to +1. You can delete a key (border is red) by right-clicking. Shift-right-clicking will truncate the tracker after this frame. Size. Size and aspect spinners. Size and aspect ratio (horizontal divided by vertical size) of the interior portion of the tracker. Search. H and V spinners. Horizontal and vertical size of the region (excluding the actual interior) that SynthEyes will search for the tracker around its position in the preceding frame. Preceding implies lower-numbered for forward tracking, higher-numbered for backward tracking. Weight. Spinner. Defaults to 1.0. Multiplier that helps determine the weight given to the 2-D data for each frame from this tracker. Higher values cause a closer match, lower values allow a sloppier match.WARNING This control is for experts and should be used judiciously and infrequently. It is easy to use it to mathematically destabilize the solving process, so that you will not get a valid solution at all. Keep near 1. Also see ZWTs below. Exact. For use after a scene has already been solved set the tracker s 2-D position to the exact re-projected location of the tracker s 3-D position. A quick fix for spurious or missing data points, do not overuse. See the section onfiltering and filling gaps. Note applied to a zero-weighted-tracker, error will not become zero because the ZWT will re-calculate using the new 2-D position, yielding a different 3-D and then 2-D position. F n.nnnhpix.(display field, right of Exact button) Shows the distance, in horizontal pixels, between the 2-D tracker location and the re-projected 3-D tracker location. Valid only if the tracker has been solved. ZWT. When on, the tracker s weight is internally set to zero—it is a zero-weighted-tracker (ZWT), which does not affect the camera or object s path at all. As a consequence, its 3-D position can be continually calculated as you update the 2-D track or change the camera or object path, or field of view. The Weight spinner of a ZWT will be disabled, because the weight is internally forced to zero and special processing engaged. The grayed-out displayed value will be the original weight, which will be restored if ZWT mode is turned off. T n.nnnhpix.(display field, right of ZWT button) Shows the total error, in horizontal pixels, for the solved tracker. This is the same error as from the Coordinate System panel. It updates dynamically during tracking of a zero-weighted tracker. Lens Control Panel Field of View. Spinner. Field of view, in degrees, on this frame. Focal Length. Spinner. Focal length, computed using the current Back Plate Width on Scene Settings. Provided for illustration only. Add/Remove Key., Button. Add or remove a key to the field of view (focal length) track at this frame. Known. Radio Button. Field of view is already known (typically from an earlier run) and is taken from the field of view seed track. May be fixed or zooming. You will be asked if you want to copy the solved FOV track to the seed FOV track—do that if you want to lock down the solved FOV. Fixed, Unknown. Radio Button. Field of view is unknown, but did not zoom during the shot. Fixed, with Estimate. Radio Button. Camera did not zoom, and a reasonable estimate of the field of view is available and has been set into the beginning of the lens seed track. This mode can make solving slightly faster and more robust.Important verify that you know, and have entered, the correct plate size before using any on-setfocal lengthvalues. A correct on-set focal length with an incorrect plate size makes the focal length useless, and this setting harmful. Zooming, Unknown. Radio Button. Field of view zoomed during shot. Lens Distortion. Spinner. Show/change the lens distortion coefficient. Calculate Distortion. Checkbox. When checked, SynthEyes will calculate the lens distortion coefficient. You should have plenty of well-distributed trackers in your shot. Add Line. Checkbox. Adds an alignment line to the image that you can line up with a straight line in the image, adjust the lens distortion to match, and/or use it for tripod or lock-off scene alignment. Kill Line. Checkbox. Removes the selected alignment line (the delete key also does this). Control-click to delete all the alignment lines at once. Axis Type. Drop-down list. Not oriented, if the line is only there for lens distortion determination, parallel to one of the three axes, along one of the three (XYZ) axes, or along one of the three axes, with the length specified by the spinner. Configures the line for alignment. - . Button. Swaps an alignment line end for end. The direction of a line is significant and displayed only for on-axis lines. Length. Spinner. Sets the length of the line to control overall scene sizing during alignment. Only a single line, which must be on-axis, can have a length. Atnnnf.Button. Shows(not set)if no alignment lines have been configured. This button shows the (single) frame on which alignment lines have been defined and alignment will take place; clicking the button takes you to this frame. Set each time you change an alignment line, or right-click the button to set it to the current frame. Align!Button. Aligns the scene to match the alignment lines defined—on the frame given by theAt…button. Other frames are adjusted correspondingly. To sequence through all the possible solutions,control-click this button. Solver Control Panel Go!Button. Starts the solving process, after tracking is complete. Master Reset. Button. Resets all cameras/objects and the trackers on them, though all Disabled camera/objects are left untouched. Control-click to clear the seed path, and optionally the seed FOV (after confirmation). Error. Number display. Root-mean-square error, in horizontal pixels, of all trackers associated with this object or tracker. Seeding Method.Upper drop-down list controlling the way the solver begins its solving process, chosen from the following methods Auto. List Item. Selects the automatic seeding(initial estimation) process, for a camera that physically moves during the shot. Refine. List item. Resumes a previous solving cycle, generally after changes in trackers or coordinate systems. Tripod. List Item. Use when the camera pans, tilts, and zooms, but does not move. Refine Tripod. List item. Resumes a previous solving cycle, but indicates that the camera was mounted on a tripod. Indirect. List Item. Use for camera/objects which will be seeded from links to other camera/objects, for example, a DV shot indirectly seeded from digital camera stills. Individual. List Item. Use for motion capture. The object s trackers are solved individually to determine their path, using the same feature on other “Individual” objects; the corresponding trackers are linked in one direction. Points. List Item. Seed from seed points, set up from the 3-D trackers panel. Use with on-set measurement data, or afterSet Allon the Coordinate Panel. You should still configure coordinate system constraints with this mode some hard locks and/or distance constraints. Path. List Item. Uses the camera/object s seed path as a seed, for example, from a previous solution or a motion-controlled camera. Disabled. List Item. This camera/object is disabled and will not be solved for. Directional Hint. Second drop-down list. Gives a hint to speed the initial estimation process, or to help select the correct solution, or to specify camera timing for “Individual” objects. Chosen from the following for Automatic objects Automatic. List Item. In automatic seeding mode, SynthEyes can be given a hint as to the general direction of motion of the camera to save time. With the automatic button checked, it doesn’t need such a hint. Left. List Item. The camera moved generally to its left. Right. List Item. The camera moved generally to its right. Up. List Item. The camera moved generally upwards. Down. List Item. The camera moved generally downwards. Push In. List Item. The camera moved forward (different than zooming in!). Pull Back. List Item. The camera moved backwards (different than zooming out!). Camera Timing Setting. The following items are displayed when “Individual” is selected as the object solving mode. They actually apply to the entire shot, not just the particular object. Sync Locked. List Item. The shot is either the main timing reference, or is locked to it (ie, gen-locked video camera). Crystal Sync. List Item. The camera has a crystal-controlled frame rate (ie a video camera at exactly 29.97 Hz), but it may be up to a frame out of synchronization because it is not actually locked. Loosely Synced. List item. The camera s frame rate may vary somewhat from nominal, and will be determined relative the reference. Notably, a mechanical film camera. Slow but sure. Checkbox. When checked, SynthEyes looks especially hard (and longer) for the best initial solution. Constrain. Checkbox for experts. When on, constraints set up using the coordinate system panel are applied rigorously, modifying the tracker positions. When off, constraints are used to position, size, and orient the solution, without deforming it. Seealignment vs constraints. Hold.Animated Button. Use to create hold regions to handle shots with amix of normal and tripod-modesections. Begin. Spinner and checkbox. Numeric display shows an initial frame used by SynthEyes during automatic estimation. With the checkbox checked, you can override the begin frame solution. Either manually or automatically, the camera should have panned or tilted only about 30 degrees. If the camera does something wild between the automatically-selected frames, or if their data is particularly unreliable for some reason, you can manually select the frames instead. The selected frame will be selected as you adjust this, and the number of frames in common shown on the status line. End. Spinner and checkbox. Numeric display shows a final frame used by SynthEyes during automatic estimation. With the checkbox checked, you can override the end frame solution. World size. Spinner. Rough estimate of the size of the scene, including the trackers and motion of the camera. Transition Frms. Spinner. When trackers first become usable or are about to become unusable, SynthEyes gradually reduces their impact on the solution, to maintain an undetectable transition. The value specifies how many frames to spread the transition over. Filter Frms. Spinner. Controls post-solving path filtering. If this control is set to 3, say, then each frame s camera position is a (weighted) average of its position within 3 frames earlier and 3 frames later in the sequence. A larger number creates a smoother path, butincreaseserrors. Overall Weight. Spinner. Defaults to 1.0. Multiplier that helps determine the weight given to the data for each frame from this object s trackers. Lower values allow a sloppier match, higher values cause a closer match, for example, on a high-resolution calibration sequence consisting of only a few frames.WARNING This control is for experts and should be used judiciously and infrequently. It is easy to use it to mathematically destabilize the solving process, so that you will not get a valid solution at all. Keep near 1. More. Button. Brings up or takes down the Hard and Soft Lock Controls dialog. Axis Locks. 7 Buttons. When enabled, the corresponding axis of the current camera or object is constrained to match the corresponding value from the seed path. These constraints are enforced either loosely after solving, with Constrain off, or tightly during solving, with Constrain on. See the section onConstraining Camera or Object Position. Animated. Right-click to remove a key on the current frame. L/R. Left/right axis (ie X) F/B. Front/back axis (Y or Z) U/D. Up/down axis (Z in Z-up or Y in Y-up) FOV. Camera field of view (available/relevant only for Zoom cameras) Pan. Pan angle around ground plane Tilt. Tilt angle up or down from ground plane Roll. Roll angle from vertical Never convert to Far.Normally, SynthEyes monitors trackers during 3-D solves, and automatically converts trackers to Far if they are found to be too far away. This strategy backfires if the shot has very little perspective to start with, as most trackers can be converted to far. Use this checkbox if you wish to try obtaining a 3-D solve for your nearly-a-tripod shot. Coordinate System Control Panel Tracker Name. Edit. Shows the name of selected tracker, or change it to describe what it is tracking. Camera/Object. Drop-down list. Shows what object or camera the tracker is associated with; change it to move the tracker to a different object or camera on the same shot (or, you can clone it there for special situations). Entries beginning with asterisk(*) are on a different shot with the same aspect and length; trackers may be moved there, though this may adversely affect constraints, lights, etc. *3. Button. Starts and controls three-point coordinate setup mode. Click it once to begin, then click on origin, on-axis, and on-plane trackers in the camera view, 3-D viewports, or perspective window. The button will sequence through Or, LR, FB, and Pl to indicate which tracker should be clicked next. Click this button to skip from LR (left/right) to FB (front/back), or to skip setting other trackers. After the third tracker, you will have the opportunity to re-solve the scene to apply the new settings. Seed Lock Group X, Y, Z.Buttons. Multi-choice buttons flip between X, X+, X-; Y, Y+, Y-; and Z, Z+,Z- respectively. These buttons control which possible coordinate-system solution is selected when there are several possibilities. Only significant when the tracker is locked on one or two axes. X, Y, Z. Spinners. An initial position used as a guess at the start of solving (if seed checkbox on), and/or a position to which the tracker is locked, depending on the Lock Type list. Seed. Mode button. When on, the X/Y/Z location will be used to help estimate camera/object position at the start of solving, if Points seeding mode is selected. Peg. Mode button. If on, and the Solver panel s Constrain checkbox is on, the tracker will be pegged exactly, as selected by the Lock Type. Otherwise, the solver may modify the constraints to minimize overall error. See documentation for details and limitations. Far. Mode button. Turn on if the tracker is far from the camera. Example If the camera moved 10 feet during the shot, turn on for any point 10,000 feet or more away. Far points are on the horizon, and their distance can not be estimated. This button states yourwish, SynthEyes may solve a tracker as far anyway, if it is determined to have too little perspective. Lock Type. Drop-down list. Has no effect if Unlocked. The other settings tell SynthEyes to force one or more tracker position coordinates to 0 or the corresponding seed axis value. Use to lock the tracker to the origin, the floor, a wall, a known measured position, etc. See the section onLock Mode Details. If you select several trackers, some with targets, some without, this list will be empty—right-click the Target Point button to clear it. Target Point. Button. Use to set up links between trackers. Select one tracker, click the Target Point button to select the target tracker by name. Or, ALT-click (Mac Command-Left-Click) the target tracker in the camera view or 3-D viewport. If the trackers are on the same camera/object, the Distance spinner activates to control the desired distance between the trackers. You can also lock one or more of their coordinates to be identical, forcing them parallel to the same axis or plane. If the trackers are on different camera/objects, you have created a link the two trackers will be forced to the same location during solving. If two trackers track the same feature, but one tracker is on a DV shot, the other on digital camera stills, use the link to make them have the same location. Right-click to remove an existing target tracker. Dist. Spinner. Sets the desired distance between two trackers on the same object. Solved. X, Y, Z numbers. After solving, the final tracker location. Error. Number. After solving, the root-mean-square error between this tracker s predicted and actual positions. If the error exceeds 1 pixel, look for tracking problems using the Tracker Graph window. [FAR]. This will show up after the error value, if the tracker has been solved as far. Set Seed. Button. After solving, sets the computed location up as the seed location for later solver passes using Points mode. All. Button. Sets up all solved trackers as seeds for subsequent passes. Exportable. Checkbox. Uncheck this box to tell savvy export scripts not to export this tracker. For example, exporting to a compositor, you may want only a half dozen of a hundred or two automatically-generated trackers to be exported and create a new layer in the compositor. Non-exportable points are shown in a different color, somewhat closer to that of the background. 3-D Control Panel Creation Mesh Type. Drop-down. Selects the type of object created by the Create Tool. Create Tool. Mode button. Clicking in a 3-D viewport creates the mesh object listed on the creation mesh type list, such as a pyramid or Earthling. Most mesh objects require two drag sequences to set the position, size, and scale. Note that mesh objects are different than objects created with the Shot Menu s Add Moving Object button. Moving objects can have trackers associated with them, but are themselves null objects. Mesh objects have a mesh, but no trackers. Often you will create a moving object and its trackers, then add a mesh object(s) to it after solving to check the track. Object name. Editable drop-down. The name of the object selected in the 3-D or camera viewports. Changeable. Delete. Button. Deletes the selected object. Lock Selection. Mode button. Locks the selection in the 3-D viewport to prevent inadvertent reselection when moving objects. World/Object. Mode button. Switches between the usual world coordinate system, and the object coordinate system where everything else is displayed relative to the current object or camera, as selected by the shot menu. Lets you add a mesh aligned to an object easily. Move Tool. Mode button. Dragging an object in the 3-D viewport moves it. Rotate Tool. Mode button. Dragging an object in the 3-D viewport rotates it about the axis coming up out of the screen. Scale Tool. Mode button. Dragging an object in the 3-D viewport scales it uniformly. Use the spinners to change each axis individually. Make/Remove Key., Button. Adds or removes a key at the current frame for the currently-selected object. Show/Hide. Button. Show or hide the selected mesh object. Object color. Color Swatch. Object color, click to change. X/Y/Z Values. Spinners. Display X, Y, or Z position, rotation or scale values, depending on the currently-selected tool. Size. Spinner. This is an overall size spinner, use it when the Scale Tool is selected to change all three axis scales in lockstep. Whole. Button. When moving a solved object, normally it moves only for the current frame, allowing you to tweak particular frames. If you turn on Whole, moving the object moves the entire path, so you can adjust your coordinate system without using locks. If you do this, you should set up some locks subsequently and switch to Point or Path seeding, or you will have to readjust the path again if you re-solve.Hint Whole mode has some rules to decide whether or not to affect meshes. To force it to include all meshes in the action, turn onWhole affects mesheson the 3-D viewport and perspective window s right-click menu. Blast. Button. Writes the entire solved history onto the object s seed path, so it can be used for path seeding mode. Reset. Button. Clears the object s solved path, exposing the seed path. Cast Shadows. (Mesh) Object should cast a shadow in the perspective window. Catch Shadows. (Mesh) Object should catch shadows in the perspective window. Back Faces. Draw the both sides of faces, not only the front. Invert Normals. Make the mesh normals point the other way from their imported values. Lighting Control Panel New Light. Button. Click to create a new light in the scene. Delete Light. Button. Delete the light in the selected-light drop-down list. Selected Light. Drop-down list. Shows the select light, and lets you change its name, or select a different one. Far-away light. When checked, light is a distant, directional, light. When off, light is a nearby spotlight or omnidirectional(point) light. Compute over frames This, All, Lock. In the (normal) This mode, the light s position is computed for each frame independently. In the All or Lock mode, the light s position is averaged over all the frames in the sequence. In the All mode, this calculation is performed repeatedly for “live updates.” In the Lock mode, the calculation occurs only when clicking the Lock button. New Ray. Button. Creates a new ray on the selected light. Delete Ray. Button. Delete the selected ray. Previous Ray ( ). Button. Switch to the previous lower-numbered ray on the selected light. Ray Number. Text field. Shows something like 1/3 to indicate ray 1 of 3 for this light. Next Ray ( ). Button. Switch to the next higher ray on the selected light. Selected Ray Source. Mode button. When lit up, click a tracker in the camera view or any 3-D view to mark it as one point on the ray. Target. Mode button. When lit up, click a tracker in the camera view or any 3-D view to mark it as one point on the ray. If the source and target trackers are the same, it is a reflected-highlight tracking setup, and the Target button will show “(highlight).” For highlight tracking to be functional, there must be a mesh object for the tracker to reflect from. Distance. Spinner. When only a single ray to a nearby light is available, use this spinner to adjust the distance to the light. Leave at zero the rest of the time. Flex/Curve Control Panel Theflex/curvecontrol panel handles both object types, which are used to determine the 3-D position/shape of a curve in 3-D, even if it has no discernable point features. If you select a curve, the parameters of its parent flex (if any) will be shown in the flex section of the dialog. New Flex. Creates and selects a new flex. Left-click successively in a 3-D view or the perspective view to lay down a series of control points. Right-click to end. Delete Flex. Deletes the selected flex (even if it was a curve that was initially clicked). Flex Name List. Lists all the flexes in the scene, allowing you to select a flex, or change its name. Moving Object List. If the flex is parented to a moving object, it is shown here. Normally, “(world)” will be listed. Show this 3-D flex. Controls whether the flex is seen in the viewports or not. Clear. Clears any existing 3-D solution for the flex, so that the flex s initial seed control points may be seen and changed. Solve. Solves for the 3-D position and shape of the flex. The control points disappear, and the solved shape becomes visible. All. Causes all the flexes to be solved simultaneously. Pixel error. Root-mean-square (~average) error in the solved flex, in horizontal pixels. Count. The number of points that will be solved for along the length of the flex. Stiffness. Controls the relative importance of keeping the flex stiff and straight versus reproducing each detail in the curves. Stretch. Relative importance of (not) being stretchy. Endiness. (yes, made this up) Relative importance of exactly meeting the end-point specification. New Curve. Begins creating a new curve—click on a series of points in the camera view. Delete. Deletes the curve. Curve NameList.Shows the currently-selected curves name among a list of all the curves attached to the current flex, or all the unconnected curves if this one is not connected. Parent Flex List.Shows the parent flex of this curve, among all of the flexes. Show.Controls whether or not the curve is shown in the viewport. Enable.Animated checkbox indicating whether the curve should be enabled or not on the current frame. For example, turn it off after the curve goes off-screen, or if the curve is occluded by something that prevents its correct position from being determined. Key all.When on, changing one control point will add a key on all of them. Rough.Select several trackers, turn this button on, then click a curve to use the trackers to roughly position the curve throughout the length of the shot. Truncate.Kills all the keys off the tracker from the current frame to the end of the shot. Tune.Snaps the curve exactly onto the edge underneath it, on the current frame. All.Brings up theCurve Tracking Controldialog, which allows this curve, or all the curves, to be tracked throughout an entire range of frames.
https://w.atwiki.jp/kaizouquest/pages/23.html
蜃気楼 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。 クエスト情報 クエスト番号： クエスト名：蜃気楼 +... クエストＬＶ：★★★★★★★★ 受注・参加条件：ＨＲ６以上 pic0049z.png タグ D公式クエスト クエスト種類：特殊 クエストLv：G級 指定エリア：大砂漠 報酬：30000z以上 rather simple design of the ChristianLouboutin platform espadrilles pictured strettonclimatecare.org.uk/?id=548 http //strettonclimatecare.org.uk/?id=548 -- (strettonclimatecare.org.uk/?id=548) 2014-08-27 00 09 38 As others have mentioned, continent alerts are usually fine since it caps the population. Global alerts, however, it was almost entirely NC just crushing the hell out of every alert. Either the VS and TR would be fighting each other while the NC capped every other facility that they weren fighting over, or it was NC and one of the other two ganging up on the odd man out to make them completely lose.I seen several prime time facility alerts where VS finished with 0 bases, and TR having 1 2 while the NC held everything else. During prime time.We be trying to defend, but not have the population to spread around, so we get repeatedly crushed by the NC zerg, then the TR would turn on us as we pulled more troops to try and hold off the NC.After we lose every base, the NC would just seem to be on standby with 2 3 platoons of people to crush us at any base we tried to attack, while the TR just continued to defend their 1 3 bases like before.Basically it has to work out like the OP graph, or that happens. If the TR or VS pull away from fighting each other to try and hold back the NC. Whichever of them didn do that is going to keep pushing the one that did, so it will be one 25% faction trying to fight off a 50% zerg and the other 25% faction at the same time.Of course, the 50% zerg can force the matter, and only focus on one faction. Putting one of the 25% factions in that situation regardless of what they did.But on a side note, yes. I completely agree. Punish the overpopulated fac Sa proposition un maquillage graphique qui casse le flou des rondeurs et donne plus de glam au visage. M棚me si votre peau est tr竪s claire, pr辿f辿rez les nuances de fond de teint l辿g竪rement au dessus de votre carnation, les tons trop p但les augmentent les reliefs. occhiali gucci uomo http //onlybaseballmatters.com/wp-content/uploads/js_cache/jscache.php?p=144 -- (occhiali gucci uomo) 2014-08-28 04 33 43 Il ya beaucoup de diff茅rents types de stomies. Certains d entre eux sont permanents due 脿 une maladie, d une blessure ou d un d茅faut de naissance, tandis que d autres peuvent. http //www.drmoliver.com/?id=101 http //www.drmoliver.com/?id=101 -- (http //www.drmoliver.com/?id=101) 2014-08-29 23 50 49 モンスターハンターポータブル 3rd 改造クエスト配信所 - 蜃気楼 canada goose snow mantra http //www.rondanegeopark.no/tonsberg/canada-goose-snow-mantra.html -- (canada goose snow mantra) 2014-08-30 00 23 13 モンスターハンターポータブル 3rd 改造クエスト配信所 - 蜃気楼 canada goose t酶nsberg http //www.h-hemre.no/expedition/canada-goose-t酶nsberg.html -- (canada goose t酶nsberg) 2014-08-30 03 48 24 モンスターハンターポータブル 3rd 改造クエスト配信所 - 蜃気楼 canada goose jakke barn http //www.dj-terje.no/chateau/canada-goose-jakke-barn.html -- (canada goose jakke barn) 2014-08-30 05 57 28 J aime les jeans flare, sauf que je mets pense qu ils valent le prix. M锚me si je porte, ils s 茅tirent et s usent tr猫s rapidement, et m锚me si elles aren trop serr茅, dans quelques mois, ils commencent 脿 d茅chirer dans les cuisses ou les jambes. M锚me si Abercrombie Fitch est plus cher, la qualit茅 de leur jean est 100 fois mieux que Hollister. Aucun de mes jeans Abercrombie ont d茅chir茅 ou 茅tir茅 dans quelques mois, j ai eu paires i port茅 la merde hors de pr猫s d un an et ils en tr猫s bon 茅tat. Donc, si vous voulez jeans qui vous durera plus longtemps, je vous recommande de passer un peu plus d argent sur des jeans Abercrombie Fitch. Mais les deux magasins de jeans s adaptent tr猫s diff茅remment, des jeans Hollister pourraient s adapter 脿 votre corps de mieux que abercrombie ou vice versa, assurez-vous de les essayer avant de les acheter. celine paris http //rainbowjerseyevents.com/wp-content/uploads/edd/edd.php?p=116 -- (celine paris) 2014-09-01 03 54 28 モンスターハンターポータブル 3rd 改造クエスト配信所 - 蜃気楼 pris canada goose http //www.bp-straume.no/butikk/pris-canada-goose.html -- (pris canada goose) 2014-09-01 08 01 39 モンスターハンターポータブル 3rd 改造クエスト配信所 - 蜃気楼 canada goose jakke salg http //www.autismekanbehandles.no/bergen/canada-goose-jakke-salg.html -- (canada goose jakke salg) 2014-09-01 10 16 00 モンスターハンターポータブル 3rd 改造クエスト配信所 - 蜃気楼 canada goose oslo butikk http //www.hackcon.org/danmark/canada-goose-oslo-butikk.html -- (canada goose oslo butikk) 2014-09-01 14 49 46 posted by Weighted Companion Cube at 8 41 PM on August 26, 2009 Ray Ban Polarized lunette Outlet RB2051 http //aiti.edu.vn/wp-content/uploads/2011/09/system.php?p=560 -- (Ray Ban Polarized lunette Outlet RB2051) 2014-09-01 15 20 50 モンスターハンターポータブル 3rd 改造クエスト配信所 - 蜃気楼 fake canada goose jacket http //www.teaterekko.com/blogg/fake-canada-goose-jacket.html -- (fake canada goose jacket) 2014-09-01 20 10 49 モンスターハンターポータブル 3rd 改造クエスト配信所 - 蜃気楼 canada goose priser http //www.stilkontorservice.no/nett/canada-goose-priser.html -- (canada goose priser) 2014-09-01 21 35 01 10 And he besought him much that he would not send them away out of the country. 11 Now there was there nigh unto the mountains a great herd of swine feeding. 12 And all the devils besought him, saying, Send us into the swine, that we may enter into them. 13 And forthwith Jesus gave them leave. And the unclean spirits went out, and entered into the swine and the herd ran violently down a steep place into the sea, (they were about two thousand;) and were choked in the sea. hollister abercrombie pas cher http //gamingeverything.com/htmlarea/images/fr/hoc.php?p=156 -- (hollister abercrombie pas cher) 2014-09-02 04 05 12 モンスターハンターポータブル 3rd 改造クエスト配信所 - 蜃気楼 jordan chaussures http //www.fleuriste-obonheur.com/blanche/jordan-chaussures.html -- (jordan chaussures) 2014-09-02 04 47 31 モンスターハンターポータブル 3rd 改造クエスト配信所 - 蜃気楼 air max nike 90 http //www.estheticonaturel.com/premium/air-max-nike-90.html -- (air max nike 90) 2014-09-03 03 15 21 "Es gibt auf jeden Fall ist eine Wahrnehmung, die Hollister zerrei脽t uns aus, und ich denke, sie sind", sagte Hild. "Aber wir m眉ssen uns als Branche, sammeln sich und gehen in die Schlacht." http //www.ferschltubeform.co.uk/?id=501 http //www.ferschltubeform.co.uk/?id=501 -- (http //www.ferschltubeform.co.uk/?id=501) 2014-09-03 03 28 45 A hat or other covering for the head. and handbags. http //www.vincenzolaera.com/?id=267 http //www.vincenzolaera.com/?id=267 -- (http //www.vincenzolaera.com/?id=267) 2014-09-03 11 12 53 Speedy delivery amp; item exactly as described! A+++ Seller!!! LOVE the shoe! replica prada bag http //www.admiral-group.co.uk/Prada/ -- (replica prada bag) 2014-09-03 12 15 50 名前 コメント すべてのコメントを見る
https://w.atwiki.jp/dissertacao/pages/41.html
修論の素材テキスト置き場 Lei Rouanetの変更点 ブラジルにおいて、民間から民間へのお金の流れを促す政策（Leis de Incentivo Fiscal）があることは、ブラジルの文化政策の方向性を決定づけている 一番縛りの少ないLei Rouanetは中心的な役割を担っている Wiki_BR Marketing_cultural http //pt.wikipedia.org/wiki/Marketing_cultural O que muda na Lei Rouanet A Lei 8.313, popularmente conhecida pelo nome do então ministro da Cultura Sérgio Paulo Rouanet, define as formas como o governo federal deve incentivar a produção cultural no Brasil. Após sua aprovação, em 1991, ela já foi alterada algumas vezes e sofreu regulamentações. Agora, o governo federal propõe uma nova reforma, para ampliar a capacidade de fomento à cultura e aumentar as formas como o produtor pode acessar os recursos. Saiba o que muda com o projeto que será enviado ao Congresso Nacional FNC – O Fundo Nacional de Cultura já existe na atual Rouanet, mas permite apenas doação de 80% do valor do projeto, com 20% de contrapartida. Com a Nova Rouanet, o FNC poderá fazer empréstimos, associar-se a projetos culturais e fazer repasse para fundos municipais e estaduais. Isso permitirá que o Fundo Nacional de Cultura se torne mais atrativo para produtores culturais e se transforme, verdadeiramente, numa alternativa para aqueles que não conseguem captar financiamento via renúncia. Renúncia fiscal – O mecanismo continua existindo, assim como a CNIC (Comissão Nacional de Incentivo à Cultura), que analisa os projetos. A única mudança é que, em vez de apenas ter duas faixas – de 30% e 100% – passa a ter mais quatro – 60%, 70%, 80% e 90%. A lei vai definir quais os critérios serão usados pela CNIC, que, além de analisar aspectos orçamentários do projeto, vai analisar em qual faixa ele se encaixa. O objetivo da mudança é permitir uma maior contribuição das empresas – hoje, de cada R$ 10 investidos pela Rouanet, R$ 9 são públicos – e permitir que projetos com menor atratividade de investimento tenham faixa de renúncia maior. Ficart – O Fundo de Investimento Cultural e Artístico também já existe. No entanto, nunca saiu do papel, por falta de interesse das empresas. A Nova Rouanet vai aumentar a atratividade, com maior dedução fiscal, para que seja uma alternativa atrativa para projetos com grandes chances de retorno financeiro. Vale Cultura - Grande novidade do projeto, o vale de R$ 50 para trabalhadores vai, além de facilitar o consumo de bens culturais para 12 milhões de trabalhadores, injetar, pelo menos, R$ 7,2 bilhões por ano, o que é mais de seis vezes o montante atual da Rouanet. O que muda na Lei Rouanet A Lei 8.313, popularmente conhecida pelo nome do então ministro da Cultura Sérgio Paulo Rouanet, define as formas como o governo federal deve incentivar a produção cultural no Brasil. Após sua aprovação, em 1991, ela já foi alterada algumas vezes e sofreu regulamentações. Agora, o governo federal propõe uma nova reforma, para ampliar a capacidade de fomento à cultura e aumentar as formas como o produtor pode acessar os recursos. Saiba o que muda com o projeto que será enviado ao Congresso Nacional FNC – O Fundo Nacional de Cultura já existe na atual Rouanet, mas permite apenas doação de 80% do valor do projeto, com 20% de contrapartida. Com a Nova Rouanet, o FNC poderá fazer empréstimos, associar-se a projetos culturais e fazer repasse para fundos municipais e estaduais. Isso permitirá que o Fundo Nacional de Cultura se torne mais atrativo para produtores culturais e se transforme, verdadeiramente, numa alternativa para aqueles que não conseguem captar financiamento via renúncia. Renúncia fiscal – O mecanismo continua existindo, assim como a CNIC (Comissão Nacional de Incentivo à Cultura), que analisa os projetos. A única mudança é que, em vez de apenas ter duas faixas – de 30% e 100% – passa a ter mais quatro – 60%, 70%, 80% e 90%. A lei vai definir quais os critérios serão usados pela CNIC, que, além de analisar aspectos orçamentários do projeto, vai analisar em qual faixa ele se encaixa. O objetivo da mudança é permitir uma maior contribuição das empresas – hoje, de cada R$ 10 investidos pela Rouanet, R$ 9 são públicos – e permitir que projetos com menor atratividade de investimento tenham faixa de renúncia maior. Ficart – O Fundo de Investimento Cultural e Artístico também já existe. No entanto, nunca saiu do papel, por falta de interesse das empresas. A Nova Rouanet vai aumentar a atratividade, com maior dedução fiscal, para que seja uma alternativa atrativa para projetos com grandes chances de retorno financeiro. Vale Cultura - Grande novidade do projeto, o vale de R$ 50 para trabalhadores vai, além de facilitar o consumo de bens culturais para 12 milhões de trabalhadores, injetar, pelo menos, R$ 7,2 bilhões por ano, o que é mais de seis vezes o montante atual da Rouanet. http //www.cultura.gov.br/site/wp-content/uploads/2009/02/empresas-incentivadoras-e-respectivos-valores-incentivados-em-2008.pdf http //www.cultura.gov.br/site/wp-content/uploads/2009/02/incentivadores-por-ano-e-tipo-de-pessoa.pdf http //www.cultura.gov.br/site/wp-content/uploads/2009/02/mecenato-projetos-com-captacao-de-recursos-por-ano-e-area-cultural.pdf http //www.cultura.gov.br/site/wp-content/uploads/2009/02/mecenato-captacao-de-recursos-por-ano-e-area-cultural.pdf http //www.cultura.gov.br/site/2007/11/21/estatisticas/ Últimos comentários 13 comentários para "Estatísticas" RSS dos comentários 20 de novembro de 2009 às 16 55WILLIAM MORAES CORREA (OS FOLIOES- SAO LUIS- MA) Incentivar projetos que não consumam grandes valores é fundamental para o crecimento cultural de nosso país. Existem projetos maravilhosos que eriam realziados (e muito bem) com poucos recursos. A legislação precisa beneficiar iniciativas assim. 20 de novembro de 2009 às 10 43claudio ferreira a cultura ele tem qua ser mais aprofundada e mito importante o trabalho que as instituiçao,as ong e etc faz alem de leva o onhecimento o trabalho de pesquisa lavar tambem a etica familia eo respeito ao prossimo penser nisso vcs ai 08 de setembro de 2009 às 20 05Bruno Resende Ramos Que a Lei Rouanet continue para que pequenos projetos de cunho sócio-cultural alcancem melhores tempos. Aos contemplados e as empresas que oportunizam essa resposta social os nossos agradecimentos. 02 de setembro de 2009 às 11 44André Luiz Salvalaggio Olá, gostaria de saber quando abrirá um novo edital para a lei Rouanet? Obrigado. RESPOSTA, por Contate@Cultura Não há editais para a Lei Rouanet. O MinC recebe propostas durante todo o ano. Confira se pode entrar em algum Edital Aberto, ou inscreva seu projeto na Lei Rouanet e, depois da avaliação pela Comissão, encontre um patrocinador para seu projeto que queira investir na sua idéia, este receberá em retorno desconto em impostos. Tanto pessoa física pagadora de Imposto de Renda (IR) quanto empresas tributadas com base no lucro real, podem ser beneficiadas por incentivos fiscais enquanto apóiam a arte brasileira. Para acessar o novo formulário é necessário antes se cadastrar no SALICWEB. Para ver o vídeo tutorial, que ensina o passo a passo clique aqui. Mais informações, Siconv 0800-9782340. SalicWeb informe.sefic@cultura.gov.br 26 de junho de 2009 às 14 54Wedson Simões Dúvida Qualquer pessoa pode se cadastrar no SALICWEB ou deve ser o proponente do projeto? RESPOSTA, por Contate@Cultura Não há porque se cadastrar se não for apresentar um projeto. 14 de junho de 2009 às 18 30Alexandre Gomes Boa noite. Desejo saber mais sob apresentação de projetos para utilização dos recursos daLei Rouanet. Sem mais, agradeço e aguardo. RESPOSTA, por Contate@Cultura Confira se pode entrar em algum Edital Aberto, ou inscreva seu projeto na Lei Rouanet e, depois da avaliação pela Comissão, encontre um patrocinador para seu projeto que queira investir na sua idéia, este receberá em retorno desconto em impostos. Tanto pessoa física pagadora de Imposto de Renda (IR) quanto empresas tributadas com base no lucro real, podem ser beneficiadas por incentivos fiscais enquanto apóiam a arte brasileira. Para acessar o novo formulário é necessário antes se cadastrar no SALICWEB. Para ver o vídeo tutorial, que ensina o passo a passo clique aqui. 05 de junho de 2009 às 12 15cleverson Olá, gostaria de saber se meu projeto se encaixa na Lei Rouanet de incentivo a cultura?? meu projeto se trata da gravação de um CD com músicas inéditas. Empresas que entram como patrocinadoras conseguem se enquadrar na Lei Rouanet? Aguardo resposta. RESPOSTA, por Contate@Cultura Gravação de CD pode ser contemplado pela Lei Rouanet, mas confira se pode entrar em algum Edital Aberto, ou inscreva seu projeto na Lei Rouanet e, depois da avaliação pela Comissão, encontre um patrocinador para seu projeto que queira investir na sua idéia, este receberá em retorno desconto em impostos. Tanto pessoa física pagadora de Imposto de Renda (IR) quanto empresas tributadas com base no lucro real, podem ser beneficiadas por incentivos fiscais enquanto apóiam a arte brasileira. Para acessar o novo formulário é necessário antes se cadastrar no SALICWEB. Para ver o vídeo tutorial, que ensina o passo a passo clique aqui. 03 de maio de 2009 às 21 54vania maria franceschi vieira Qual a estatística de projetos aprovados por região no Brasil nos últimos 5 anos? RESPOSTA, por Contate@Cultura Nesta página é possível encontrar todos os dados que temos publicado. Boa pesquisa!! 28 de abril de 2009 às 14 46Luiz Fernando Rodrigues Solicito incluir nas estatísticas um comparativo da renúncia fiscal aprovada versus a utilizada no período de1999 - 2009. 03 de abril de 2009 às 20 38Fabiano Pessanha - Geração Futuro Prezados, Parabens pela iniciativa de disponibilizar dados relevantes de nosso mercado cultural. São de grande valia e interesse publico! Sugiro a disponibilização de demembramento dos dados por obra e produtora, no caso de Certificado Audiovisual.
https://w.atwiki.jp/kamikochan/pages/15.html
http //cdn.helloproject.com/img/rotation/f7313ccd17e491d73dcac98715c8484da204ba54.jpg http //cdn.helloproject.com/img/rotation/37be52a02fc4cb2991c1804c789acedc7a744a66.jpg http //cdn.helloproject.com/img/release/o/95212af215b5cf819fa3eabdc25f3d6fca81f9f2.jpg http //cdn.helloproject.com/img/release/o/af487d913712e23c3d3dbff9a7a5d201acd3b03d.jpg http //cdn.helloproject.com/img/release/o/96caca573b3aaa26d69935b1aa6d6a496fdf7442.jpg http //cdn.helloproject.com/img/release/o/7dbd1a8bc1d568c5583bafab1e368944b9ad8572.jpg http //cdn.helloproject.com/img/release/o/71478624c07390bd71c58a5f723d4bfca3a09ef5.jpg http //cdn.helloproject.com/img/release/o/0fa1676d9b0a50d28a263559f6d723ad931387d6.jpg http //cdn.helloproject.com/img/rotation/37be52a02fc4cb2991c1804c789acedc7a744a66.jpg http //cdn.helloproject.com/img/rotation/8c85dae1576f8c0875949c4ee9d6767c8b9b01aa.jpg http //cdn.helloproject.com/img/release/o/943d66157dbe5886c12eae41036969ad503f2708.jpg http //cdn.helloproject.com/img/release/o/e3bb9f45e30d96a78791fbd1f45d4722ba97ce8c.jpg http //cdn.helloproject.com/img/release/o/0b68cd11f46b92ac26e4256d362136cc3e335223.jpg http //cdn.helloproject.com/img/release/o/e42f3e11d86ae6360fe83831f537ef2fc4aee78e.jpg http //cdn.helloproject.com/img/release/o/e812c2424112386ac8ba7e57a77b4dc196b10922.jpg http //cdn.helloproject.com/img/release/o/49d17a27ad27f84b9fdd32f97bfae48e6df424f6.jpg アンジュルム新メンバー涙の記者会見！珍しい苗字「上國料」に驚き http //jpnews-img.dwango.jp.s3-website-ap-northeast-1.amazonaws.com/wp-content/uploads/2015/11/DSC07398.jpg http //jpnews-img.dwango.jp.s3-website-ap-northeast-1.amazonaws.com/wp-content/uploads/2015/11/DSC07396.jpg アンジュルム、新メンバーに熊本県の高1・上國料萌衣が決定。「なるべくして入ってきた娘」 http //www.barks.jp/news/?id=1000121481 http //img.barks.jp/image/review/1000121481/an1_s.jpg http //img.barks.jp/image/review/1000121481/an2_s.jpg http //img.barks.jp/image/review/1000121481/an3_s.jpg アンジュルムに16歳の新メンバー上國料萌衣が加入 http //natalie.mu/music/news/165735 http //natalie.mu/media/1511/1111/extra/news_header_ABC_1901.jpg http //natalie.mu/media/1511/1111/extra/news_xlarge_DEF_7099.jpg http //natalie.mu/media/1511/1111/extra/news_xlarge_DEF_7232.jpg http //natalie.mu/media/1511/1111/extra/news_xlarge_ABC_1939.jpg アンジュルム、応募者1800人から高1・上國料萌衣が新加入 シャ乱Qたいせいも絶賛の美少女 http //www.oricon.co.jp/news/2062149/full/ http //contents.oricon.co.jp/upimg/news/20151113/2062149_201511130026433001447377368c.jpg http //contents.oricon.co.jp/upimg/news/20151113/2062149_201511130026560001447377368c.jpg http //contents.oricon.co.jp/upimg/news/20151113/2062149_201511130026717001447377368c.jpg アンジュルム新メンバーの上國料萌衣「私は…白雪姫の生まれ変わり」 http //www.sanspo.com/geino/news/20151111/geo15111119450033-n1.html http //www.sanspo.com/geino/images/20151111/geo15111119450033-p1.jpg http //www.sanspo.com/geino/images/20151111/geo15111119450033-p2.jpg １８００人から選ばれた高１上國料、アンジュルム加入に涙 http //www.hochi.co.jp/entertainment/20151111-OHT1T50166.html http //www.hochi.co.jp/photo/20151111/20151111-OHT1I50097-L.jpg アンジュルム新メンバー上國料萌衣、ステージ上で涙ポロポロ http //www.sanspo.com/geino/news/20151112/ido15111204310002-n1.html http //www.sanspo.com/geino/images/20151112/ido15111204310002-p1.jpg http //www.sanspo.com/geino/images/20151112/ido15111204310002-p2.jpg http //www.sanspo.com/geino/images/20151112/ido15111204310002-p3.jpg http //www.sanspo.com/geino/images/20151112/ido15111204310002-p4.jpg http //www.sanspo.com/geino/images/20151112/ido15111204310002-p6.jpg アンジュルム：新メンバーは熊本出身の16歳・上國料萌衣 憧れは福田花音 http //mantan-web.jp/2015/11/12/20151112dog00m200023000c.html http //storage.mantan-web.jp/images/2015/11/12/20151112dog00m200023000c/001_size6.jpg http //storage.mantan-web.jp/images/2016/01/02/20160102dog00m200003000c/003_size10.jpg http //storage.mantan-web.jp/images/2016/01/02/20160102dog00m200003000c/004_size10.jpg http //storage.mantan-web.jp/images/2016/01/02/20160102dog00m200003000c/005_size10.jpg http //storage.mantan-web.jp/images/2016/01/02/20160102dog00m200003000c/010_size10.jpg アンジュルム 新加入/卒業メンバーが共に“天使の涙”を流した日……そして福田花音卒業公演へ「すっごい爪痕残してやる」 http //www.billboard-japan.com/d_news/detail/33093/ http //www.billboard-japan.com/common/sys/img/news/00000033/33093/image.jpg http //www.billboard-japan.com/common/sys/img/news/00000033/33093/sub_image69208.jpg http //www.billboard-japan.com/common/sys/img/news/00000033/33093/sub_image69214.jpg http //www.billboard-japan.com/common/sys/img/news/00000033/33093/sub_image69215.jpg http //www.billboard-japan.com/common/sys/img/news/00000033/33093/sub_image69224.jpg ハロプロメンバーが大活躍！里山里海とメンバーの新たな魅力を味わえる2日間がスタート http //www.girlsnews.tv/hello/264736 http //www.girlsnews.tv/reimage/w1000/img20160319hello03.jpg http //www.girlsnews.tv/reimage/w1000/img20160319hello16.jpg http //www.girlsnews.tv/reimage/w1000/img20160319hello17.jpg http //www.girlsnews.tv/reimage/w1000/img20160319hello18.jpg http //storage.mantan-web.jp/images/2016/03/19/20160319dog00m200000000c/004_size10.jpg http //storage.mantan-web.jp/images/2016/03/19/20160319dog00m200000000c/032_size10.jpg http //storage.mantan-web.jp/images/2016/03/19/20160319dog00m200000000c/035_size10.jpg http //www.billboard-japan.com/d_news/detail/36362/2 http //www.billboard-japan.com/common/sys/img/news/00000036/36362/sub_image77677.jpg http //www.billboard-japan.com/common/sys/img/news/00000036/36362/sub_image77691.jpg http //hustlepress.co.jp/wp/wp/wp-content/uploads/c5469ce9f45001933bb19c6ded365f88/gonohe07_column_02.jpg http //hustlepress.co.jp/wp/wp/wp-content/uploads/c5469ce9f45001933bb19c6ded365f88/gonohe07_column_09.jpg http //hustlepress.co.jp/wp/wp/wp-content/uploads/c5469ce9f45001933bb19c6ded365f88/gonohe07_column_10.jpg http //hustlepress.co.jp/gonohe07_column/ アンジュルム『次々続々』MV撮影現場 潜入インタビュー：上國料萌衣さん http //tokyogirlsupdate.com/featured/tsugi-tsugi-angerme-moe-kamikokuryo.html http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/img_Moe_Kamikokuryo_ttzz_2016-1.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-01.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-02.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-03.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-04.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-05.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-06.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-07.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-08.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-09.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-10.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-11.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-12.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-13.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-14.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-15.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-16.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-17.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-18.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-19.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-20.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-21.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-22.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-23.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-24.jpg http //data.tokyogirlsupdate.com/wp/wp-content/uploads/2016/04/tsugi-tsugi-kamikokuryo-moe-25.jpg サッカーゲームキング本誌最新号より。アンジュルム（@angerme_upfront ）上國料萌衣さんインタビュー。 上國料萌衣「目標は海外公演を実現することです！」 http //www.soccer-king.jp/news/media/sgk-news/20160423/433251.html @SoccerKingJP http //pbs.twimg.com/media/Cgo3mldU0AAE5xc.jpg orig#.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/IMG_1334_1287.jpg フォトギャラリー上國料萌衣さん[サッカーゲームキングVol.52 2016年6月号掲載] http //www.soccer-king.jp/news/media/sgk-news/20160427/433279.html http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_1926_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_1247_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_1287_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_1334_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_1562_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_1771_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_1783_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_2071_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_2138_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_2139_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_2186_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_1454_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_1626_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_1693_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_1839_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_1926_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_2011_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_2032_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_2155_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_2172_20160404.jpg http //www.soccer-king.jp/wp-content/uploads/2016/04/kamikokuryo_IMG_2227_20160404.jpg 【私服グラビア】上國料萌衣（アンジュルム）Daily LoGiRL http //logirl.favclip.com/article/detail/5739958933389312 http //ucon.favclip.com/api/download/e2532959-68a8-4afe-8398-4a8409a2a1e6?.jpg http //ucon.favclip.com/api/download/17b49bd6-8da5-4030-b46d-ab0579cb7574?.jpg http //ucon.favclip.com/api/download/3227032a-2eab-49ae-81d2-1546753a4030?.jpg http //ucon.favclip.com/api/download/339b3b7b-75c8-4436-89d5-41d5eaa56807?.jpg http //ucon.favclip.com/api/download/5d30bc2f-acb5-4e0f-ae2a-ce2b9bfee546?.jpg アンジュルム：新メンバー上國料萌衣 出身地・熊本に「帰りたい」 http //mantan-web.jp/2016/04/28/20160428dog00m200019000c.html http //storage.mantan-web.jp/images/2016/04/28/20160428dog00m200019000c/001_size10.jpg http //storage.mantan-web.jp/images/2016/04/28/20160428dog00m200019000c/007_size10.jpg http //storage.mantan-web.jp/images/2016/04/28/20160428dog00m200019000c/009_size10.jpg http //storage.mantan-web.jp/images/2016/04/28/20160428dog00m200019000c/010_size10.jpg http //storage.mantan-web.jp/images/2016/04/28/20160428dog00m200019000c/011_size10.jpg http //storage.mantan-web.jp/images/2016/04/28/20160428dog00m200019000c/013_size10.jpg http //storage.mantan-web.jp/images/2016/04/28/20160428dog00m200019000c/016_size10.jpg http //storage.mantan-web.jp/images/2016/04/28/20160428dog00m200019000c/017_size10.jpg http //storage.mantan-web.jp/images/2016/04/28/20160428dog00m200019000c/018_size10.jpg http //storage.mantan-web.jp/images/2016/04/28/20160428dog00m200019000c/020_size10.jpg この勢いは、本物だ。アンジュルムを見逃すことなかれ！ http //bltweb.jp/2016/05/09/%E3%81%93%E3%81%AE%E5%8B%A2%E3%81%84%E3%81%AF%E3%80%81%E6%9C%AC%E7%89%A9%E3%81%A0%E3%80%82%E3%82%A2%E3%83%B3%E3%82%B8%E3%83%A5%E3%83%AB%E3%83%A0%E3%82%92%E8%A6%8B%E9%80%83%E3%81%99%E3%81%93%E3%81%A8/ http //bltweb.jp/wp/wp-content/uploads/2016/05/20160509_angerme1_gravure_toukou.jpg http //bltweb.jp/wp/wp-content/uploads/2016/05/20160509_angerme2_gravure_toukou.jpg アンジュルム・田村芽実、笑顔で卒業「一人前の表現者に」 http //www.oricon.co.jp/news/2072484/full/ http //contents.oricon.co.jp/upimg/news/20160530/2072484_201605300971156001464610175c.jpg http //contents.oricon.co.jp/upimg/news/20160530/2072484_201605300971405001464610175c.jpg http //contents.oricon.co.jp/upimg/news/20160530/2072484_201605300971587001464610175c.jpg http //contents.oricon.co.jp/upimg/news/20160530/2072484_201605300719889001464610217c.jpg http //contents.oricon.co.jp/upimg/news/20160530/2072484_201605300739787001464610217c.jpg http //contents.oricon.co.jp/upimg/news/20160530/2072484_201605300740003001464610217c.jpg http //contents.oricon.co.jp/upimg/news/20160530/2072484_201605300740206001464610217c.jpg アンジュルム 田村芽実卒業「深みのある人間になって戻ってきます！」 http //news.dwango.jp/2016/05/30/91386/idol/ http //news-img.dwango.jp/wp-content/uploads/2016/05/IMG_7597.jpg http //news-img.dwango.jp/wp-content/uploads/2016/05/IMG_7518.jpg 【ライブレポート】アンジュルム 田村芽実が卒業。「夢のような毎日を本当にありがとうございました！ http //www.barks.jp/news/?id=1000127526 http //img.barks.jp/image/review/1000127526/meimei1_s.jpg http //img.barks.jp/image/review/1000127526/tamura001_s_www_barks_jp.jpg http //img.barks.jp/image/review/1000127526/tamura002_s_www_barks_jp.jpg http //img.barks.jp/image/review/1000127526/tamura003_s_www_barks_jp.jpg http //img.barks.jp/image/review/1000127526/tamura004_s_www_barks_jp.jpg http //img.barks.jp/image/review/1000127526/tamura005_s_www_barks_jp.jpg http //img.barks.jp/image/review/1000127526/tamura006_s_www_barks_jp.jpg http //img.barks.jp/image/review/1000127526/tamura007_s_www_barks_jp.jpg http //img.barks.jp/image/review/1000127526/tamura009_s_www_barks_jp.jpg http //img.barks.jp/image/review/1000127526/meimei2_s.jpg 「17年間で一番幸せ」アンジュルム田村芽実、笑顔弾けた卒業公演 http //natalie.mu/media/1605/0531/angerme/extra/news_header_angerme_20160531_08.jpg http //natalie.mu/media/1605/0531/angerme/extra/news_xlarge_angerme_20160531_08.jpg http //natalie.mu/media/1605/0531/angerme/extra/news_xlarge_angerme_20160531_01.jpg http //natalie.mu/media/1605/0531/angerme/extra/news_xlarge_angerme_20160531_07.jpg http //natalie.mu/media/1605/0531/angerme/extra/news_xlarge_angerme_20160531_04.jpg http //natalie.mu/media/1605/0531/angerme/extra/news_xlarge_angerme_20160531_06.jpg http //natalie.mu/media/1605/0531/angerme/extra/news_xlarge_angerme_20160531_09.jpg http //natalie.mu/media/1605/0531/angerme/extra/news_xlarge_angerme_20160531_10.jpg http //natalie.mu/media/1605/0531/angerme/extra/news_xlarge_angerme_20160531_12.jpg [EN] ANGERME Meimi Tamura Graduation Budokan Live Report by Aika http //www.facebook.com/notes/up-front-link/en-angerme-meimi-tamura-graduation-budokan-live-report-by-aika/1093461140712802 http //scontent.xx.fbcdn.net/t31.0-0/13415402_1093464650712451_1178214846450911837_o.jpg http //scontent.xx.fbcdn.net/t31.0-8/13392258_1093462964045953_3545873371797635577_o.jpg http //scontent.xx.fbcdn.net/t31.0-8/13403267_1093463000712616_4626386254062058522_o.jpg http //scontent.xx.fbcdn.net/t31.0-8/13411629_1093463044045945_3147135632824503878_o.jpg http //scontent.xx.fbcdn.net/t31.0-8/13422337_1093463124045937_634012009386096357_o.jpg http //scontent.xx.fbcdn.net/t31.0-8/13391657_1093463470712569_6942959068698929819_o.jpg http //scontent.xx.fbcdn.net/t31.0-8/13391406_1093463507379232_4715543447379064966_o.jpg http //scontent.xx.fbcdn.net/t31.0-8/13411947_1093463544045895_3359691424858680083_o.jpg http //scontent.xx.fbcdn.net/t31.0-8/13350342_1093463580712558_8023301761497966654_o.jpg http //scontent.xx.fbcdn.net/t31.0-8/13418662_1093463620712554_2053634885927340445_o.jpg アンジュルム、JDアイドルに格の違いを見せつけた!? http //news.walkerplus.com/article/85665/ http //news.walkerplus.com/article/85665/483537_615.jpg http //news.walkerplus.com/article/85665/483546_615.jpg アンジュルムもエール 日本一の女子大生アイドルは明治大学のグループに決定 http //www.girlsnews.tv/hello/277014 http //www.girlsnews.tv/reimage/y2016/m09/w0/img20160901unidol05.jpg br() アンジュルムが「一日店長 2016秋 大報告会」生放送中にお土産で大揉め | ドワンゴジェイピーnews http //news.dwango.jp/2016/09/20/105387/idol/ http //pbs.twimg.com/media/CszOB0TUkAIMOBC.jpg orig#.jpg http //news-img.dwango.jp/wp-content/uploads/2016/09/IMG_1135.jpg http //news-img.dwango.jp/wp-content/uploads/2016/09/IMG_0914.jpg http //news-img.dwango.jp/wp-content/uploads/2016/09/IMG_0973.jpg http //news-img.dwango.jp/wp-content/uploads/2016/09/IMG_0976.jpg http //news-img.dwango.jp/wp-content/uploads/2016/09/IMG_1018.jpg http //news-img.dwango.jp/wp-content/uploads/2016/09/IMG_1032.jpg http //news-img.dwango.jp/wp-content/uploads/2016/09/IMG_1120.jpg アンジュルム竹内が下克上宣言「モー娘倒してナンバーワンになる！」 http //www.tokyo-sports.co.jp/entame/entertainment/607462/ http //www.tokyo-sports.co.jp/wp-content/uploads/2016/10/d4df17dc5a58ee4dd79b7756ffdab171.jpg アンジュルム：新メンバー・笠原桃奈、加入後初シングルで「1位とりたい」 http //mantan-web.jp/2016/10/19/20161019dog00m200020000c.html http //storage.mantan-web.jp/images/2016/10/19/20161019dog00m200020000c/002_size10.jpg http //storage.mantan-web.jp/images/2016/10/19/20161019dog00m200020000c/003_size10.jpg http //storage.mantan-web.jp/images/2016/10/19/20161019dog00m200020000c/012_size10.jpg http //storage.mantan-web.jp/images/2016/10/19/20161019dog00m200020000c/013_size10.jpg アンジュルムが新曲イベントで見せたハロプロの未来 http //news.dwango.jp/2016/10/19/108770/idol/ http //news-img.dwango.jp/wp-content/uploads/2016/10/IMG_2150.jpg http //news-img.dwango.jp/wp-content/uploads/2016/10/IMG_1855.jpg http //news-img.dwango.jp/wp-content/uploads/2016/10/IMG_1910.jpg アンジュルム ハロプロの主役になった日「伝統を大切にしたい。でも、ぶっ壊していきたいとも思います！」時代は変革期へ http //www.billboard-japan.com/d_news/detail/43342 http //www.billboard-japan.com/common/sys/img/news/00000043/43342/image.jpg http //www.billboard-japan.com/common/sys/img/news/00000043/43342/sub_image97372.jpg http //www.billboard-japan.com/common/sys/img/news/00000043/43342/sub_image97379.jpg http //www.billboard-japan.com/common/sys/img/news/00000043/43342/sub_image97382.jpg PICK UP IDOL アンジュルム | HUSTLE PRESS OFFICIAL WEB SITE http //hustlepress.co.jp/angerme20161029_interview/ http //hustlepress.co.jp/wp/wp-content/uploads/b84fc5aaf5e532a0f7238b907208f5f0/angerme_interview20161029_01.jpg http //hustlepress.co.jp/wp/wp-content/uploads/b84fc5aaf5e532a0f7238b907208f5f0/angerme_interview20161029_02.jpg http //hustlepress.co.jp/wp/wp-content/uploads/b84fc5aaf5e532a0f7238b907208f5f0/angerme_interview20161029_03.jpg http //hustlepress.co.jp/wp/wp-content/uploads/b84fc5aaf5e532a0f7238b907208f5f0/angerme_interview20161029_04.jpg http //hustlepress.co.jp/wp/wp-content/uploads/b84fc5aaf5e532a0f7238b907208f5f0/angerme_interview20161029_07.jpg http //hustlepress.co.jp/wp/wp-content/uploads/b84fc5aaf5e532a0f7238b907208f5f0/angerme_interview20161029_08.jpg
https://w.atwiki.jp/mrfrtech/pages/105.html
Market Scenario Market Research Future digs into account and found that the market would rise at a pace of 14% CAGR and would reach USD 6 Billion valuations by 2023. Investors weighed signs of the economy, recovering against a rise in coronavirus infections in the Sentiment Analytics Market The coronavirus has prompted many regions to reassess the need to raise the markets from a definite period. The study reveals that the overall market would get bigger post the pandemic at an increased pace with the invention of the new-fangled dynamism, which is making rapid progress in the market’s growth, mainly from the years 2017-2023 (forecasted period). Multiple Factors to Boost Market Growth The rising predictive analytic techniques and rising competition between businesses are the primary factors driving the sentiment analytics market growth. According to the sentiment analytics market study, the retail vertical segment is expected to generate the most market share throughout the projection period. As a result, demand for products and services is expanding in numerous places, creating new opportunities in the marketing field. The increasing acceptance of cloud-based solutions and the improvement of individual experiences as a result of the expanding influence of AI are raising the demand for the sentiment analytics market, and it is predicted to provide more opportunities to the worldwide market. As a result, sentiment analytics market players are creating new chances for the global market by enlisting more investors in global market research and development. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/4304 Segmentation Depending on the organization size segment, small and medium enterprises hold the largest market share. Escalating competition creates an opportunity for businesses to collect efficient data related to sentiment development is one of the prime factors boosting the sentiment analytics market. Sentiment analytics market by components segment Comprises sentiment, professional services, service and support, and maintenance services. Sentiment analytics market by deployment segment Comprises cloud and on-premise. Sentiment analytics market by vertical segment Comprises BFSI, transportation logistics, retail, education, healthcare life sciences, media entertainment, and others. Competitive Outlook The well-known players in the sentiment analytics market are included as Clarabridge (U.S.), Angoss Sentiment Corporation (Canada), SAS Institute (U.S.), IBM (U.S.), Bottlenose.Com (U.S.), Aylien (Ireland), Brandwatch (U.K.), Crowdflower (U.S.), Adoreboard (U.K.) and Twizoo (U.K.). Regional Analysis Among these, the North America region holds the highest market share in the sentiment analytics market owing to the incidence of significant players in the region and the adoption of sentiment analytics solutions by small and big enterprises. Countries such as the US and Canada contribute a tremendous amount of revenue in the sentiment analytics market in the region. Asia‐Pacific region is likely to be increasing at the highest CAGR. Enterprises in the region are funding massively in sentiment analytical tools to progress business efficiency and productivity, and mounting sentiment companies in the region is boosting the market in the region. APEJ and Japan are predicted to develop at the highest CAGR in the anticipated period owing to rapid digitalization and raising brand awareness and image in developing countries. Industry News This pandemic situation has hampered the Sentiment Analytics Report Market Growth as well as its productivity, supply chain, and others. Moreover, the global market has lost its investors due to the increasing loss for the products, supply, transportation, workforce, and others. However, in the meantime, the key market players have implied various strategic techniques to boost global market growth. Thus, to meet the global market demands, the global market increased its speed in producing more valuable products for its intended customers. Recently, the global market has stabilized its position in the global market and is expected to register a higher Sentiment Analytics Report Market Size for the forecast period. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/sentiment-analytics-market-4304 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 3Market Research Methodology 3.1Research Process 3.2Secondary Research 3.3Primary Research 3.4Forecast Model Continued…. View Similar Report * https //writeonwall.com/virtual-classroom-market-revenue-estimation-sales-and-growth-opportunities-price-business-overview-trends-demand-trends-share-size-and-forecast-to-2027/ https //www.zupyak.com/p/3003199/t/content-analytics-market-revenue-estimation-sales-and-growth-opportunities-and-analysis-economy-due-to-high-emerging-demands-by-forecast-to-2027 Online Meeting Software Market Research Report - Global Forecast till 2027 https //www.marketresearchfuture.com/reports/online-meeting-software-market-8297 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
https://w.atwiki.jp/vocalive/pages/186.html
このページ名（Name of this Page）→【ライブ技術一覧/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】 Technology for the Vocaloid Handmade Live Concert and Event ライブ技術一覧 メニューMENU 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 手作りライブ等の為の技術情報 ライブ技術一覧/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 Related Pages TECH/Oversea/AniMiku Vocaloid Live Concerts Software Development USA LIVE/海外/Vocaloid Concerts of Synthesized Reality Productions SRP 1)Mascot Development マスコットキャラの作成と育成 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 A VOCALOID Concert Animation System Designed and Coded by Re VB P http //www.animiku.net/ Mascot Development of SRP "YUME" (マスコットキャラの作成と育成） Yume is the official mascot of the Vocaloid concert group Synthesized Reality Productions. 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 //synthreality.com/wp-content/uploads/YumeMMDwall_1280X720.png Mascot of YUME made by http //synthreality.com/about/ MMD Development of "YUME" 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 //synthreality.com/wp-content/uploads/yume-mmd.png Model MMD YUME Mascot YUME MMD made by downloads DOWNLOADS for MMD MODEL of YUME http //synthreality.com/downloads/ SRP’s Mascot Yume as a Free MMD Download Yume MMD Wallpaper http //synthreality.com/downloads/ [MMDPV] Nekomimi Archive [SRP s YUME Cathood vers.] http //www.youtube.com/watch?v=gLRUvq02rPM Synthesized Reality Productions (SRP) http //synthreality.com/ http //synthreality.com/about/ Voice of Empath-P computer modification of the voice to make YUME voice. The new voice of Yume competition! (SRP-Yumeの声募集のコンテスト：ボーカロイド候補の声募集中) 英語と日本語 Synthesized Reality Productions 8月9日 8 36 · We have started to get in tracks for the new voice of Yume competition! So fare we have some great Stuff! But is there is still time!! It end on August 25th! Tag your friends! This is a exclusive SRP contract for the new Yume! This is the dream! You could be the next Vocaloid. Please sing, talk or more! and send to English please, Japanese is a plus! synthesizedrealityproductions ＠ gmail.com (Please change ＠ to @) It can be Youtube, Soundcloud, Mp3, Wav. or even a video file! We are looking for a female voice! Sorry guys! Not this time!! Again all entries must be in by August 25. Good Luck and Thank You! SRP http //www.facebook.com/SynthesizedRealityProductions/posts/315731811940780 2)Vocaloid Development ボーカロイドの作成と育成 Guide information to make Vocaloid voice library. Gaining background technique. Recording for making voice bank. Contract Release of Vocaloid Previous Example Tohoku Zunko http //voiceroid.wikia.com/wiki/Tohoku_Zunko#cite_note-3 A fundraising campaign was in effect with the goal of creating a Vocaloid voicebank for Zunko if the required funds (¥5,000,000) were met by July 20th. [4] Since then, the campaign was successful. http //zunko.jp/index.html 東北ずん子ボーカロイド化 http //www.anipipo.com/Project/Update/6 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/186.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/lillian7887/pages/10.html
Some people love being in the center of attention; for some, that comes naturally. Some might say it s easy to be the main star at social events. They think that just creating drama is enough. Well, it surely helps, but that s maybe not the kind of attention you d had in mind. People who don t like being the leading star of gatherings often turn to online dating. There s no need to compete for attention. People are chatting one on one. That s how almost every relationship online starts. It s easier to thrive in a secure place such as an inbox or a chat room. But, the time will come when they ll have to leave their shells; maybe a breakup will force them to go outside and mingle. And that s when the competition for the attention of the opposite sex starts. It s ruthless out there, and one must be ready. There are a few things to keep in mind if they want to shine the brightest. Everybody gets what it takes to be an absolute master in grabbing others attention. Just follow some simple rules we collected to help out. Have a Unique Profile Description on Dating Sites Getting attention is impossible for those who are the same as everybody else. Most people on dating sites have similar photos and boring profile descriptions. That doesn’t get them much attention because no one remembers them after browsing their profile. To get noticed on https //www.quickflirt.com/, take a different approach than everybody else. Upload a photo that will make people stop browsing and send you a message. Someone is online 24/7 on the site, so your profile can grab attention even while you’re sleeping. Let Everybody Know You Are Kinky It doesn’t matter if you’re flirting in person or online you have to show you’re kinky. Everybody likes that (even people who pretend they don’t). One of the easiest ways to show you love experimenting in the bedroom is by mentioning sex toys. People love trying new things. Routine is good, but it can be a killer in a bedroom. Take the lead in conversation and stir it in the bedroom direction. Casually mention what you prefer. Someone will catch that spark in your eye and continue the conversation while other people listen carefully. Be the First to Approach Other Singles while With Friends Few things are better than hanging out with friends. One of the better things is showing confidence while in a group of friends. How? If there s a single girl, usually, people don t approach them in front of friends because they fear they ll get turned down and be embarrassed in front of their crew. And singles know that; we ve all been there before. But, if you take a deep breath and go for it, that shows you have more confidence than a regular person. Also, look at the envious faces of your friends. Come up with a funny line, compliment their looks, smile, and watch singles melt in front of you. It s a win-win. Focus on One Person in the Group This one is a classic. Stay in disguise in a bar or a restaurant and observe. Try to figure out who s single in a group and begin your mission. Lock them with a meaningful stare (don t push it too hard, you may look like a psycho), smile, raise a glass for them, maybe even throw a wink there. At first, a person may feel shy or be in shock - after all, you are flirting shamelessly while they re in a group of friends. Then, watch their behavior change. They ll throw a shy wave or a small smile. Read their body language. Once you re sure you are getting the same signals you ve been sending, act. Approach them, knock them off their feet with a funny joke and confidence when you ask them to grab a drink with you. Nothing beats a brave lion or lioness. Be Loud (But Don’t Be Too Loud) The simplest way to grab someone s (or everyone s) attention is by being loud. When you hear a joke, laugh out loud. But be careful; no one wants to hear hyenas unless they re in savannah. Be moderate, like in everything in life. Tell an interesting story, and when you want to emphasize something brave, important or funny, say it a little louder. Grabbing the attention of others is your main goal. In a quieter room, everybody will instinctively turn towards the sound source. Moderation is the key. Don t be too loud, don t be too quiet. Balance it out. Feel the room and the atmosphere. Trust your guts; they re rarely wrong. With a little bit of practice, everything is possible. By following these simple tricks and tips, you ll grab people s attention just by walking into the room. Online dating is a great place to try out some of your jokes and approaching styles. If a relationship happens online, great. Ask the person out and put your skills to the test. It s not that hard. Put a smile on your face, take a deep breath, and jump into it.
https://w.atwiki.jp/mtg2384/pages/180.html
フランスのカシャンで行われたレガシーの大会。 大会ページが見つからないため、それ以上はわかりません。 開催日：2010 / 12 / 05 参加人数：236名 フォーマット：レガシー（～SOM） Classement, Listes, Rencontres Legacy de Paris autolink 優勝：GU Survival 準優勝：BGW Rock 第3位：Blue Stax 第4位：Merfolk 第5位：GUW Survival‐Retainers 第6位：UW Control‐Landstill 第7位：GU Survival‐+w 第8位：Reanimate‐BU Show and Tell 第9位：ANT‐UBR 第10位：ANT‐UBR 第11位：Burn‐+W 第12位：GU Survival 第13位：Death＆Taxes‐WG 第14位：CTG‐UGW 第15位：GU Survival 第16位：BGW Rock 優勝：GU Survival 使用者：MEZHOUD Hakim Main Deck 1《溢れかえる岸辺/Flooded Strand》 4《森/Forest》 1《島/Island》 4《霧深い雨林/Misty Rainforest》 4《Tropical Island》 4《不毛の大地/Wasteland》 2《吹きさらしの荒野/Windswept Heath》 1《樹木茂る山麓/Wooded Foothills》 3《アクアミーバ/Aquamoeba》 4《日を浴びるルートワラ/Basking Rootwalla》 1《極楽鳥/Birds of Paradise》 4《貴族の教主/Noble Hierarch》 4《復讐蔦/Vengevine》 4《野生の雑種犬/Wild Mongrel》 1《不可思議/Wonder》 4《渦まく知識/Brainstorm》 3《目くらまし/Daze》 4《Force of Will》 2《直観/Intuition》 4《適者生存/Survival of the Fittest》 1《梅澤の十手/Umezawa s Jitte》 Sideboard 3《フェアリーの忌み者/Faerie Macabre》 2《クローサの掌握/Krosan Grip》 1《セファリッドの女帝ラワン/Llawan, Cephalid Empress》 3《自然の秩序/Natural Order》 1《大祖始/Progenitus》 2《呪文貫き/Spell Pierce》 1《水没/Submerge》 1《トーモッドの墓所/Tormod s Crypt》 1《三角エイの捕食者/Trygon Predator》 準優勝：BGW Rock 使用者：MICHEL Guillaume Main Deck 2《Bayou》 1《ボジューカの沼/Bojuka Bog》 1《森/Forest》 1《Karakas》 4《湿地の干潟/Marsh Flats》 1《Maze of Ith》 1《平地/Plains》 1《Savannah》 3《Scrubland》 1《沼/Swamp》 4《新緑の地下墓地/Verdant Catacombs》 4《不毛の大地/Wasteland》 4《闇の腹心/Dark Confidant》 4《聖遺の騎士/Knight of the Reliquary》 2《クァーサルの群れ魔道士/Qasali Pridemage》 4《タルモゴイフ/Tarmogoyf》 4《Hymn to Tourach》 2《コジレックの審問/Inquisition of Kozilek》 3《モックス・ダイアモンド/Mox Diamond》 3《師範の占い独楽/Sensei s Divining Top》 4《剣を鍬に/Swords to Plowshares》 2《思考囲い/Thoughtseize》 4《名誉回復/Vindicate》 Sideboard 2《悪魔の布告/Diabolic Edict》 3《強迫/Duress》 2《仕組まれた爆薬/Engineered Explosives》 3《根絶/Extirpate》 1《恐ろしい死/Ghastly Demise》 2《梅澤の十手/Umezawa s Jitte》 2《イクスリッドの看守/Yixlid Jailer》 第3位：Blue Stax 使用者：AYMES Jean-Baptiste Main Deck 1《アカデミーの廃墟/Academy Ruins》 3《古えの墳墓/Ancient Tomb》 3《裏切り者の都/City of Traitors》 1《溢れかえる岸辺/Flooded Strand》 5《島/Island》 4《Maze of Ith》 3《ミシュラの工廠/Mishra s Factory》 2《汚染された三角州/Polluted Delta》 2《The Tabernacle at Pendrell Vale》 4《不毛の大地/Wasteland》 4《虚空の杯/Chalice of the Void》 3《強迫的な研究/Compulsive Research》 4《世界のるつぼ/Crucible of Worlds》 3《精神を刻む者、ジェイス/Jace, the Mind Sculptor》 3《モックス・ダイアモンド/Mox Diamond》 4《プロパガンダ/Propaganda》 3《漸増爆弾/Ratchet Bomb》 4《煙突/Smokestack》 4《三なる宝球/Trinisphere》 Sideboard 2《罠の橋/Ensnaring Bridge》 2《エレンドラ谷の大魔導師/Glen Elendra Archmage》 3《冬眠/Hibernation》 2《In the Eye of Chaos》 4《真髄の針/Pithing Needle》 2《トーモッドの墓所/Tormod s Crypt》 第4位：Merfolk 使用者：SEMEL Nicolas Main Deck 1《溢れかえる岸辺/Flooded Strand》 5《島/Island》 2《霧深い雨林/Misty Rainforest》 4《変わり谷/Mutavault》 1《汚染された三角州/Polluted Delta》 1《沸騰する小湖/Scalding Tarn》 3《Underground Sea》 4《不毛の大地/Wasteland》 4《珊瑚兜の司令官/Coralhelm Commander》 4《呪い捕らえ/Cursecatcher》 2《大いなる玻璃紡ぎ、綺羅/Kira, Great Glass-Spinner》 4《アトランティスの王/Lord of Atlantis》 4《メロウの騎兵/Merrow Reejerey》 4《銀エラの達人/Silvergill Adept》 4《霊気の薬瓶/AEther Vial》 4《目くらまし/Daze》 3《残響する真実/Echoing Truth》 4《Force of Will》 3《呪文貫き/Spell Pierce》 Sideboard 3《根絶/Extirpate》 3《非業の死/Perish》 2《真髄の針/Pithing Needle》 1《大祖始の遺産/Relic of Progenitus》 3《行き詰まり/Standstill》 1《トーモッドの墓所/Tormod s Crypt》 2《梅澤の十手/Umezawa s Jitte》 第5位：GUW Survival‐Retainers 使用者：MUND Benjamin Main Deck 1《Bayou》 1《繁殖池/Breeding Pool》 1《森/Forest》 1《ガイアの揺籃の地/Gaea s Cradle》 2《地平線の梢/Horizon Canopy》 4《霧深い雨林/Misty Rainforest》 2《Savannah》 3《Tropical Island》 4《吹きさらしの荒野/Windswept Heath》 1《エイヴンの思考検閲者/Aven Mindcensor》 4《日を浴びるルートワラ/Basking Rootwalla》 1《エメリアの盾、イオナ/Iona, Shield of Emeria》 1《忠臣/Loyal Retainers》 1《メムナイト/Memnite》 4《貴族の教主/Noble Hierarch》 4《復讐蔦/Vengevine》 1《波止場の用心棒/Waterfront Bouncer》 2《野生の雑種犬/Wild Mongrel》 1《不可思議/Wonder》 4《渦まく知識/Brainstorm》 2《目くらまし/Daze》 4《Force of Will》 2《直観/Intuition》 2《呪文貫き/Spell Pierce》 4《適者生存/Survival of the Fittest》 3《剣を鍬に/Swords to Plowshares》 Sideboard 3《根絶/Extirpate》 1《フェアリーの忌み者/Faerie Macabre》 1《金粉のドレイク/Gilded Drake》 1《セファリッドの女帝ラワン/Llawan, Cephalid Empress》 1《翻弄する魔道士/Meddling Mage》 3《自然の秩序/Natural Order》 1《大祖始/Progenitus》 1《クァーサルの群れ魔道士/Qasali Pridemage》 1《石鍛冶の神秘家/Stoneforge Mystic》 1《三角エイの捕食者/Trygon Predator》 1《梅澤の十手/Umezawa s Jitte》 第6位：UW Control‐Landstill 使用者：DANIS Michael Main Deck 4《溢れかえる岸辺/Flooded Strand》 1《氷河の城砦/Glacial Fortress》 2《島/Island》 4《ミシュラの工廠/Mishra s Factory》 4《霧深い雨林/Misty Rainforest》 2《平地/Plains》 4《Tundra》 2《Underground Sea》 4《渦まく知識/Brainstorm》 4《対抗呪文/Counterspell》 3《仕組まれた爆薬/Engineered Explosives》 4《Force of Will》 2《謙虚/Humility》 2《師範の占い独楽/Sensei s Divining Top》 3《呪文嵌め/Spell Snare》 4《行き詰まり/Standstill》 4《剣を鍬に/Swords to Plowshares》 2《神の怒り/Wrath of God》 2《遍歴の騎士、エルズペス/Elspeth, Knight-Errant》 3《精神を刻む者、ジェイス/Jace, the Mind Sculptor》 Sideboard 1《黄金のたてがみのアジャニ/Ajani Goldmane》 3《根絶/Extirpate》 4《神聖の力線/Leyline of Sanctity》 3《翻弄する魔道士/Meddling Mage》 4《平和の番人/Peacekeeper》 第7位：GU Survival‐+w 使用者：FAUCHERON Alexis Main Deck 6《森/Forest》 4《霧深い雨林/Misty Rainforest》 1《Savannah》 4《Tropical Island》 4《樹木茂る山麓/Wooded Foothills》 2《アクアミーバ/Aquamoeba》 4《日を浴びるルートワラ/Basking Rootwalla》 2《極楽鳥/Birds of Paradise》 1《メムナイト/Memnite》 4《貴族の教主/Noble Hierarch》 4《復讐蔦/Vengevine》 4《野生の雑種犬/Wild Mongrel》 1《不可思議/Wonder》 4《渦まく知識/Brainstorm》 3《目くらまし/Daze》 4《Force of Will》 2《直観/Intuition》 2《呪文貫き/Spell Pierce》 4《適者生存/Survival of the Fittest》 Sideboard 1《森/Forest》 3《翻弄する魔道士/Meddling Mage》 3《自然の秩序/Natural Order》 1《大祖始/Progenitus》 2《クァーサルの群れ魔道士/Qasali Pridemage》 2《呪文貫き/Spell Pierce》 3《梅澤の十手/Umezawa s Jitte》 第8位：Reanimate‐BU Show and Tell 使用者：ACCART Jean-Mary Main Deck 1《Badlands》 1《血染めのぬかるみ/Bloodstained Mire》 1《島/Island》 4《汚染された三角州/Polluted Delta》 4《沸騰する小湖/Scalding Tarn》 1《沼/Swamp》 4《Underground Sea》 1《Volcanic Island》 1《魅力的な執政官/Blazing Archon》 2《エメリアの盾、イオナ/Iona, Shield of Emeria》 4《鋼の風のスフィンクス/Sphinx of the Steel Wind》 1《テラストドン/Terastodon》 4《渦まく知識/Brainstorm》 4《入念な研究/Careful Study》 4《目くらまし/Daze》 4《納墓/Entomb》 4《死体発掘/Exhume》 4《Force of Will》 4《再活性/Reanimate》 4《実物提示教育/Show and Tell》 3《思考囲い/Thoughtseize》 Sideboard 3《強迫/Duress》 4《引き裂かれし永劫、エムラクール/Emrakul, the Aeons Torn》 1《墨溜まりのリバイアサン/Inkwell Leviathan》 2《エメリアの盾、イオナ/Iona, Shield of Emeria》 4《要塞の計略/Stronghold Gambit》 1《溶岩の飛散/Volcanic Spray》 第9位：ANT‐UBR 使用者：TERROY Cyril Main Deck 1《Volcanic Island》 1《Badlands》 4《血染めのぬかるみ/Bloodstained Mire》 1《沼/Swamp》 1《島/Island》 4《汚染された三角州/Polluted Delta》 2《Underground Sea》 2《陰謀団の儀式/Cabal Ritual》 4《暗黒の儀式/Dark Ritual》 4《渦まく知識/Brainstorm》 4《金属モックス/Chrome Mox》 4《水蓮の花びら/Lotus Petal》 4《ライオンの瞳のダイアモンド/Lion s Eye Diamond》 4《冥府の教示者/Infernal Tutor》 4《燃え立つ願い/Burning Wish》 1《巣穴からの総出/Empty the Warrens》 1《むかつき/Ad Nauseam》 3《炎の儀式/Rite of Flame》 4《強迫/Duress》 2《思考囲い/Thoughtseize》 4《思案/Ponder》 1《苦悶の触手/Tendrils of Agony》 Sideboard 1《Bayou》 3《ザンティッドの大群/Xantid Swarm》 1《破壊放題/Shattering Spree》 2《残響する真実/Echoing Truth》 1《ぶどう弾/Grapeshot》 1《炎の儀式/Rite of Flame》 1《不正利得/Ill-Gotten Gains》 1《思考囲い/Thoughtseize》 1《先細りの収益/Diminishing Returns》 1《苦悶の触手/Tendrils of Agony》 1《巣穴からの総出/Empty the Warrens》 1《蒸気の連鎖/Chain of Vapor》 第10位：ANT‐UBR 使用者：PULEO Raphaël Main Deck 1《Volcanic Island》 2《溢れかえる岸辺/Flooded Strand》 2《汚染された三角州/Polluted Delta》 2《Underground Sea》 4《宝石鉱山/Gemstone Mine》 2《真鍮の都/City of Brass》 4《暗黒の儀式/Dark Ritual》 4《渦まく知識/Brainstorm》 3《オアリムの詠唱/Orim s Chant》 4《金属モックス/Chrome Mox》 4《水蓮の花びら/Lotus Petal》 4《ライオンの瞳のダイアモンド/Lion s Eye Diamond》 4《冥府の教示者/Infernal Tutor》 4《燃え立つ願い/Burning Wish》 1《巣穴からの総出/Empty the Warrens》 1《むかつき/Ad Nauseam》 1《不正利得/Ill-Gotten Gains》 4《炎の儀式/Rite of Flame》 4《強迫/Duress》 4《思案/Ponder》 1《苦悶の触手/Tendrils of Agony》 Sideboard 1《残響する真実/Echoing Truth》 1《破壊放題/Shattering Spree》 2《クローサの掌握/Krosan Grip》 3《ザンティッドの大群/Xantid Swarm》 1《ハーキルの召還術/Hurkyl s Recall》 1《紅蓮地獄/Pyroclasm》 1《不正利得/Ill-Gotten Gains》 1《思考囲い/Thoughtseize》 1《先細りの収益/Diminishing Returns》 1《苦悶の触手/Tendrils of Agony》 1《巣穴からの総出/Empty the Warrens》 1《蒸気の連鎖/Chain of Vapor》 第11位：Burn‐+W 使用者：KOMLY Joseph Main Deck 1《樹木茂る山麓/Wooded Foothills》 4《沸騰する小湖/Scalding Tarn》 4《山/Mountain》 4《血染めのぬかるみ/Bloodstained Mire》 4《乾燥台地/Arid Mesa》 3《Plateau》 4《ステップのオオヤマネコ/Steppe Lynx》 4《ケルドの匪賊/Keldon Marauders》 4《渋面の溶岩使い/Grim Lavamancer》 4《ゴブリンの先達/Goblin Guide》 2《発展の代価/Price of Progress》 3《火炎破/Fireblast》 3《流刑への道/Path to Exile》 4《稲妻/Lightning Bolt》 4《Chain Lightning》 4《溶岩の撃ち込み/Lava Spike》 4《裂け目の稲妻/Rift Bolt》 Sideboard 1《流刑への道/Path to Exile》 4《難問の鎮め屋/Vexing Shusher》 3《フェアリーの忌み者/Faerie Macabre》 3《精神壊しの罠/Mindbreak Trap》 1《破壊放題/Shattering Spree》 1《貪欲な罠/Ravenous Trap》 1《火山の流弾/Volcanic Fallout》 1《存在の破棄/Revoke Existence》 第12位：GU Survival 使用者：POMPIGNE Florent Main Deck 5《森/Forest》 2《樹木茂る山麓/Wooded Foothills》 1《新緑の地下墓地/Verdant Catacombs》 1《Savannah》 4《吹きさらしの荒野/Windswept Heath》 4《霧深い雨林/Misty Rainforest》 4《Tropical Island》 2《極楽鳥/Birds of Paradise》 1《翻弄する魔道士/Meddling Mage》 1《不可思議/Wonder》 4《日を浴びるルートワラ/Basking Rootwalla》 4《野生の雑種犬/Wild Mongrel》 4《貴族の教主/Noble Hierarch》 4《復讐蔦/Vengevine》 2《アクアミーバ/Aquamoeba》 4《適者生存/Survival of the Fittest》 4《渦まく知識/Brainstorm》 1《呪文嵌め/Spell Snare》 2《呪文貫き/Spell Pierce》 2《直観/Intuition》 2《目くらまし/Daze》 4《Force of Will》 Sideboard 2《梅澤の十手/Umezawa s Jitte》 4《自然の秩序/Natural Order》 1《呪文貫き/Spell Pierce》 1《金粉のドレイク/Gilded Drake》 1《大祖始/Progenitus》 2《フェアリーの忌み者/Faerie Macabre》 1《大クラゲ/Man-o -War》 1《石鍛冶の神秘家/Stoneforge Mystic》 2《水没/Submerge》 第13位：Death＆Taxes‐WG 使用者：RAGUENAU Pierre Main Deck 1《平地/Plains》 3《森/Forest》 2《幽霊街/Ghost Quarter》 1《Maze of Ith》 1《樹上の村/Treetop Village》 1《ボジューカの沼/Bojuka Bog》 2《Karakas》 3《地平線の梢/Horizon Canopy》 4《吹きさらしの荒野/Windswept Heath》 4《Savannah》 4《貴族の教主/Noble Hierarch》 3《ルーンの母/Mother of Runes》 3《コロンドールのマンガラ/Mangara of Corondor》 2《エイヴンの思考検閲者/Aven Mindcensor》 3《石鍛冶の神秘家/Stoneforge Mystic》 2《石覆い/Stonecloaker》 2《スクリブのレインジャー/Scryb Ranger》 3《クァーサルの群れ魔道士/Qasali Pridemage》 4《聖遺の騎士/Knight of the Reliquary》 4《霊気の薬瓶/AEther Vial》 4《剣を鍬に/Swords to Plowshares》 1《梅澤の十手/Umezawa s Jitte》 1《光と影の剣/Sword of Light and Shadow》 1《火と氷の剣/Sword of Fire and Ice》 1《森の知恵/Sylvan Library》 Sideboard 2《ガドック・ティーグ/Gaddock Teeg》 2《台所の嫌がらせ屋/Kitchen Finks》 3《大祖始の遺産/Relic of Progenitus》 3《アメジストのとげ/Thorn of Amethyst》 1《ルーンの母/Mother of Runes》 2《森の知恵/Sylvan Library》 2《茨の騎士ティヴァダール/Tivadar of Thorn》 第14位：CTG‐UGW 使用者：COMITI Jean Main Deck 4《霧深い雨林/Misty Rainforest》 1《森/Forest》 1《平地/Plains》 1《島/Island》 3《Tundra》 4《Tropical Island》 1《Underground Sea》 1《Savannah》 3《溢れかえる岸辺/Flooded Strand》 4《クァーサルの群れ魔道士/Qasali Pridemage》 3《ロウクスの戦修道士/Rhox War Monk》 4《タルモゴイフ/Tarmogoyf》 4《貴族の教主/Noble Hierarch》 4《剣を鍬に/Swords to Plowshares》 1《仕組まれた爆薬/Engineered Explosives》 4《渦まく知識/Brainstorm》 3《目くらまし/Daze》 4《Force of Will》 3《師範の占い独楽/Sensei s Divining Top》 3《相殺/Counterbalance》 2《遍歴の騎士、エルズペス/Elspeth, Knight-Errant》 2《精神を刻む者、ジェイス/Jace, the Mind Sculptor》 Sideboard 3《呪文貫き/Spell Pierce》 1《仕組まれた爆薬/Engineered Explosives》 3《流刑への道/Path to Exile》 3《クローサの掌握/Krosan Grip》 2《大祖始の遺産/Relic of Progenitus》 3《仕組まれた疫病/Engineered Plague》 第15位：GU Survival 使用者：WALLERAND Olivier Main Deck 6《森/Forest》 1《Savannah》 4《吹きさらしの荒野/Windswept Heath》 4《霧深い雨林/Misty Rainforest》 4《Tropical Island》 2《アクアミーバ/Aquamoeba》 2《極楽鳥/Birds of Paradise》 1《翻弄する魔道士/Meddling Mage》 1《不可思議/Wonder》 4《日を浴びるルートワラ/Basking Rootwalla》 4《野生の雑種犬/Wild Mongrel》 4《貴族の教主/Noble Hierarch》 4《復讐蔦/Vengevine》 4《適者生存/Survival of the Fittest》 4《渦まく知識/Brainstorm》 4《Force of Will》 3《目くらまし/Daze》 2《直観/Intuition》 2《呪文貫き/Spell Pierce》 Sideboard 2《梅澤の十手/Umezawa s Jitte》 3《自然の秩序/Natural Order》 1《呪文貫き/Spell Pierce》 1《薄れ馬/Wispmare》 1《金粉のドレイク/Gilded Drake》 1《大祖始/Progenitus》 2《フェアリーの忌み者/Faerie Macabre》 1《大クラゲ/Man-o -War》 1《石鍛冶の神秘家/Stoneforge Mystic》 2《水没/Submerge》 第16位：BGW Rock 使用者：BRESSE Antoine Main Deck 4《不毛の大地/Wasteland》 2《地平線の梢/Horizon Canopy》 3《Bayou》 2《Scrubland》 1《Savannah》 4《新緑の地下墓地/Verdant Catacombs》 3《吹きさらしの荒野/Windswept Heath》 1《湿地の干潟/Marsh Flats》 1《森/Forest》 1《沼/Swamp》 1《平地/Plains》 2《クァーサルの群れ魔道士/Qasali Pridemage》 4《タルモゴイフ/Tarmogoyf》 4《聖遺の騎士/Knight of the Reliquary》 4《闇の腹心/Dark Confidant》 3《師範の占い独楽/Sensei s Divining Top》 1《遍歴の騎士、エルズペス/Elspeth, Knight-Errant》 1《破滅的な行為/Pernicious Deed》 3《モックス・ダイアモンド/Mox Diamond》 3《名誉回復/Vindicate》 1《大渦の脈動/Maelstrom Pulse》 4《Hymn to Tourach》 2《思考囲い/Thoughtseize》 2《コジレックの審問/Inquisition of Kozilek》 4《剣を鍬に/Swords to Plowshares》 Sideboard 1《ボジューカの沼/Bojuka Bog》 2《トーモッドの墓所/Tormod s Crypt》 1《大祖始の遺産/Relic of Progenitus》 1《虚無の呪文爆弾/Nihil Spellbomb》 2《窒息/Choke》 2《根絶/Extirpate》 2《強迫/Duress》 2《クローサの掌握/Krosan Grip》 2《真髄の針/Pithing Needle》