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?php require_once( Connections/connAmazon2.php ); ? ?php $currentPage = $_SERVER["PHP_SELF"]; $maxRows_rsAmazonz2 = 5; $pageNum_rsAmazonz2 = 0; if (isset($_GET[ pageNum_rsAmazonz2 ])) { $pageNum_rsAmazonz2 = $_GET[ pageNum_rsAmazonz2 ]; } $startRow_rsAmazonz2 = $pageNum_rsAmazonz2 * $maxRows_rsAmazonz2; $colname_rsAmazonz2 = "%"; if (isset($_GET[ key ])) { $colname_rsAmazonz2 = (get_magic_quotes_gpc()) ? $_GET[ key ] addslashes($_GET[ key ]); } mysql_select_db($database_connAmazon2, $connAmazon2); $query_rsAmazonz2 = sprintf("SELECT * FROM amazonz_data WHERE topic LIKE %s ORDER BY uptime DESC", $colname_rsAmazonz2); $query_limit_rsAmazonz2 = sprintf("%s LIMIT %d, %d", $query_rsAmazonz2, $startRow_rsAmazonz2, $maxRows_rsAmazonz2); $rsAmazonz2 = mysql_query($query_limit_rsAmazonz2, $connAmazon2) or die(mysql_error()); $row_rsAmazonz2 = mysql_fetch_assoc($rsAmazonz2); if (isset($_GET[ totalRows_rsAmazonz2 ])) { $totalRows_rsAmazonz2 = $_GET[ totalRows_rsAmazonz2 ]; } else { $all_rsAmazonz2 = mysql_query($query_rsAmazonz2); $totalRows_rsAmazonz2 = mysql_num_rows($all_rsAmazonz2); } $totalPages_rsAmazonz2 = ceil($totalRows_rsAmazonz2/$maxRows_rsAmazonz2)-1; $queryString_rsAmazonz2 = ""; if (!empty($_SERVER[ QUERY_STRING ])) { $params = explode(" ", $_SERVER[ QUERY_STRING ]); $newParams = array(); foreach ($params as $param) { if (stristr($param, "pageNum_rsAmazonz2") == false stristr($param, "totalRows_rsAmazonz2") == false) { array_push($newParams, $param); } } if (count($newParams) != 0) { $queryString_rsAmazonz2 = " " . htmlentities(implode(" ", $newParams)); } } $queryString_rsAmazonz2 = sprintf(" totalRows_rsAmazonz2=%d%s", $totalRows_rsAmazonz2, $queryString_rsAmazonz2); ? ?php session_start(); $loginFormAction = $_SERVER[ PHP_SELF ]; if (isset($accesscheck)) { $GLOBALS[ PrevUrl ] = $accesscheck; session_register( PrevUrl ); } if (isset($_POST[ id ])) { $loginUsername=$_POST[ id ]; $password=$_POST[ pass ]; $MM_fldUserAuthorization = ""; $MM_redirectLoginSuccess = "admin2.php"; $MM_redirectLoginFailed = "account_cre2.php"; $MM_redirecttoReferrer = false; mysql_select_db($database_connAmazon2, $connAmazon2); $LoginRS__query=sprintf("SELECT id, pass FROM amazonz_user WHERE id= %s AND pass= %s ", get_magic_quotes_gpc() ? $loginUsername addslashes($loginUsername), get_magic_quotes_gpc() ? $password addslashes($password)); $LoginRS = mysql_query($LoginRS__query, $connAmazon2) or die(mysql_error()); $loginFoundUser = mysql_num_rows($LoginRS); if ($loginFoundUser) { $loginStrGroup = ""; //declare two session variables and assign them $GLOBALS[ MM_Username ] = $loginUsername; $GLOBALS[ MM_UserGroup ] = $loginStrGroup; //register the session variables session_register("MM_Username"); session_register("MM_UserGroup"); if (isset($_SESSION[ PrevUrl ]) false) { $MM_redirectLoginSuccess = $_SESSION[ PrevUrl ]; } header("Location " . $MM_redirectLoginSuccess ); } else { header("Location ". $MM_redirectLoginFailed ); } } ? html head meta http-equiv="Content-Type" content="text/html; charset=euc-jp" title Amazonz -キーワード検索- /title link href="css.css" rel="stylesheet" type="text/css" script language="JavaScript" type="text/JavaScript" !-- function MM_swapImgRestore() { //v3.0 var i,x,a=document.MM_sr; for(i=0;a i a.length (x=a[i]) x.oSrc;i++) x.src=x.oSrc; } function MM_preloadImages() { //v3.0 var d=document; if(d.images){ if(!d.MM_p) d.MM_p=new Array(); var i,j=d.MM_p.length,a=MM_preloadImages.arguments; for(i=0; i a.length; i++) if (a[i].indexOf("#")!=0){ d.MM_p[j]=new Image; d.MM_p[j++].src=a[i];}} } function MM_findObj(n, d) { //v4.01 var p,i,x; if(!d) d=document; if((p=n.indexOf("?")) 0 parent.frames.length) { d=parent.frames[n.substring(p+1)].document; n=n.substring(0,p);} if(!(x=d[n]) d.all) x=d.all[n]; for (i=0;!x i d.forms.length;i++) x=d.forms[i][n]; for(i=0;!x d.layers i d.layers.length;i++) x=MM_findObj(n,d.layers[i].document); if(!x d.getElementById) x=d.getElementById(n); return x; } function MM_swapImage() { //v3.0 var i,j=0,x,a=MM_swapImage.arguments; document.MM_sr=new Array; for(i=0;i (a.length-2);i+=3) if ((x=MM_findObj(a[i]))!=null){document.MM_sr[j++]=x; if(!x.oSrc) x.oSrc=x.src; x.src=a[i+2];} } /script /head body onLoad="MM_preloadImages( img/account2.jpg , img/key2.jpg , img/member2.jpg , img/kate2.jpg )" div id="body_2" div id="head" div id="head1" /div div id="head2" /div /div div id="main" div id="menu" div class="img1" img src="img/menu1.jpg" width="180" height="24" class="img1" /div !-- ログインしていなかったら表示(ログイン画面) -- ?php if($_SESSION[ MM_Username ] == ""){ ? div class="img1" a href="account_cre2.php" class="img1" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage( Image6 , , img/account2.jpg ,1)" img src="img/account.jpg" alt="アカウントを作成する" name="Image6" width="180" height="40" hspace="0" vspace="0" border="0" class="img1" /a /div div class="img1" img src="img/menu1.jpg" width="180" height="24" hspace="0" vspace="0" border="0" class="img1" /div div id="login" form name="form1" method="POST" action=" ?php echo $loginFormAction; ? " ユーザーID: input name="id" type="text" br パスワード: input name="pass" type="password" id="pass" br p input type="submit" name="Submit" value="ログイン" /p /form /div !-- ログインしていたら表示(ようこそ***さん) -- ?php }else{ ? div class="img1" ?php echo ("ようこそ " .$_SESSION[ MM_Username ]. " さん"); ? br br a href="admin2.php?doLogout=true" ログアウト /a br a href="admin2.php" 管理画面 /a br a href="top.php" home /a /div ?php } ? div class="img1" img src="img/menu1.jpg" width="180" height="24" hspace="0" vspace="0" border="0" class="img1" /div div class="img1" a href="member_s.php" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage( Image10 , , img/member2.jpg ,1)" img src="img/member.jpg" alt="メンバー検索" name="Image10" width="180" height="40" border="0" /a /div div class="img1" a href="category_s.php" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage( Image11 , , img/kate2.jpg ,1)" img src="img/kate.jpg" alt="カテゴリー検索" name="Image11" width="180" height="40" border="0" /a /div div class="img1" a href="key_s.php" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage( Image9 , , img/key2.jpg ,1)" img src="img/key.jpg" alt="キーワード検索" name="Image9" width="180" height="40" border="0" /a /div /div div id="text" img src="img/blank.jpg" form name="form1" method="get" action="" br div align="center" キーワード検索 input name="key" type="text" id="key" input name="Submit" type="submit" value="検索" /div /form p align="center" ?php if($_GET[ key ] !=""){ $key=$_GET[ key ]; $kensu=$totalRows_rsAmazonz2; print(" $key で検索した結果"); print("$kensu 件ヒットしました"); } ? 投稿 ?php echo ($startRow_rsAmazonz2 + 1) ? ~ ?php echo min($startRow_rsAmazonz2 + $maxRows_rsAmazonz2, $totalRows_rsAmazonz2) ? 件 / 全 ?php echo $totalRows_rsAmazonz2 ? /p table width="400" border="0" align="center" cellpadding="3" class="style3" ?php do { ? tr td ?php echo $row_rsAmazonz2[ uptime ]; ? /td /tr tr td ?php echo $row_rsAmazonz2[ title ]; ? /td /tr tr td ?php echo $row_rsAmazonz2[ category ]; ? /td /tr tr td ?php echo $row_rsAmazonz2[ topic ]; ? /td /tr tr td ?php echo $row_rsAmazonz2[ uset_id ]; ? /td /tr tr td hr /td /tr ?php } while ($row_rsAmazonz2 = mysql_fetch_assoc($rsAmazonz2)); ? /table table border="0" width="50%" align="center" tr td width="23%" align="center" ?php if ($pageNum_rsAmazonz2 0) { // Show if not first page ? a href=" ?php printf("%s?pageNum_rsAmazonz2=%d%s", $currentPage, 0, $queryString_rsAmazonz2); ? " 先頭 /a ?php } // Show if not first page ? /td td width="31%" align="center" ?php if ($pageNum_rsAmazonz2 0) { // Show if not first page ? a href=" ?php printf("%s?pageNum_rsAmazonz2=%d%s", $currentPage, max(0, $pageNum_rsAmazonz2 - 1), $queryString_rsAmazonz2); ? " 戻る /a ?php } // Show if not first page ? /td td width="23%" align="center" ?php if ($pageNum_rsAmazonz2 $totalPages_rsAmazonz2) { // Show if not last page ? a href=" ?php printf("%s?pageNum_rsAmazonz2=%d%s", $currentPage, min($totalPages_rsAmazonz2, $pageNum_rsAmazonz2 + 1), $queryString_rsAmazonz2); ? " 次へ /a ?php } // Show if not last page ? /td td width="23%" align="center" ?php if ($pageNum_rsAmazonz2 $totalPages_rsAmazonz2) { // Show if not last page ? a href=" ?php printf("%s?pageNum_rsAmazonz2=%d%s", $currentPage, $totalPages_rsAmazonz2, $queryString_rsAmazonz2); ? " 最終 /a ?php } // Show if not last page ? /td /tr /table ?php mysql_free_result($rsAmazonz2); ? /div div id="under" div id="under1" /div div id="under2" /div /div /div /div /body /html
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Killing Floor - 298鯖 鯖建ての告知はこちら 特徴 大体毎週土曜日の21時ころから建つ不定期鯖です。 hiyokomodをベースに独自の変更を加えています。 多様な敵、武器、パークが登場し、撃ちまくり系のゲーム性を目指しています。 鯖仕様 鯖名:[JP]298 難易度:HoE 収容人数:35前後 Wave構成:3Waves+Pat戦 レベル6固定 適用Mutの詳細はこちら クライアント落ち回避方法 限界を超えてメモリをたくさん使うため、マップによっては高確率でクライアントが落ちます。その場合、exeのLAAフラグをONにすれば解消されます。 64bitOSでメモリをたくさん積んでる場合のみ有効。↓のツールを使えばONにできます。http //www.techpowerup.com/forums/showthread.php?t=112556 意味がよく分からない方は、「4Gパッチ」で検索してみてください。 他にはテクスチャなどの設定を下げる、マップチェンジ毎にクライアントを再起動することで多少は改善されます。 KF_Freaks_Trip_Xmasなどのダウンロードが終わらない場合 クリスマス用のファイルは公式のものとユーザーが作成したものの数種類が存在しており、サーバーとクライアントでファイルの中身の不一致があった時、ダウンロードが終わらない事態が発生します。本サーバーは公式のファイルを使用しています。 現在はインストール時にデフォルトで公式ファイルが入りますのでゲームキャッシュの整合性の確認を行うことで解決できるかと思います。もしくは以下の2ファイルを消してみてください。 (例) C \Program Files (x86)\Steam\steamapps\common\killingfloor\Animations\ KF_Freaks_Trip_Xmas.ukx kf_freaks2_trip_xmas.ukx 他のファイルでも同様なケースがあれば、該当のファイルを消すか整合性の確認をしてみてください。(バニラ状態からサーバーに入れることは確認しています。ちょっと時間かかるけど) Perk選択方法 Main Menuから選択可能にしました。 もしくは5番スロットに装備されているPerk Pokerを振ることでPerk選択画面を表示させることができます。 途中でPerkを変更したい場合は、買い物タイム中に変更した後、自殺してください。(自殺しないと武器が反映されません) 事前に入れておくといいもの [small gun pack] http //forums.tripwireinteractive.com/showthread.php?t=73899 ※ASSETを入れておいてください。もう一つは入れなくてOKです。 [WDW Weapons Pack] http //www.gamefront.com/files/21172545/WDW+Weapons+Pack.rar [KF1945Weapon] http //www1.axfc.net/uploader/O/so/200402 [PyPepsimanV2] http //www1.axfc.net/uploader/O/so/200396 [hiyokomod v3.1]※2.2full→3.1patch→hiyokomodZombie5th更新版の順で http //www1.axfc.net/uploader/Ar/so/44815 ※2.2full http //www1.axfc.net/uploader/O/so/201172 ※3.1patch http //www1.axfc.net/uploader/He/so/338623 ※hiyokomodZombie5th更新版 [KF Doom III Beta4] ※Full download http //forums.tripwireinteractive.com/showthread.php?t=51253 [WTF v1.4]※1.3FULL→1.4PATCHの順で http //forums.tripwireinteractive.com/showthread.php?t=44522 [IJC Weapon Pack White V2.7] http //www.ijcdevelopment.com/projects/downloads/viewdownload/4/2.html [The Brute] http //www.mostimpressive.nl/TheBrute/ [The Shiver] http //www.mostimpressive.nl/TheShiver/ [The Fatale] http //www.mostimpressive.nl/TheFatale/
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D.O Avengers Nice catch the moment! - Wikipedia - ウィキペディア https //ja.wikipedia.org/wiki/Nice_catch_the_moment! 『Nice catch the moment!』(ナイス・キャッチ・ザ・モーメント)は、日本のシンガーソングライター・D.O Avengers アベンジャーズ 2018・インティライミが2013年5月15日にユニバーサルシグマから発売した4枚目のオリジナル・フルアルバムである。 目次. [非表示]. 1 内容; 2 収録曲. 2.1 CD; 2.2 DVD. 3 タイアップ; 4 外部リンク. 内容[編集]. D.O Avengers アベンジャーズ 2018・インティライミ名義では4枚目となるフルアルバム。通常盤と初回限定盤の二種リリース。初回限定盤にはDVD付き。 収録曲[編集]. CD[編集]. 全作曲:D.O Avengers アベンジャーズ 2018・インティライミ. introduction?Do whatcha ... FCインティライミ モバイル - Slune?nice.cz https //www.slunecnice.cz ? Hudebni 評価 3 - ?5 票 FCインティライミ モバイル 2.3.1 download - D.O Avengers アベンジャーズ 2018・インティライミ公式「FCインティライミ モバイル」アプリが遂に登場!! 「D.O Avengers アベンジャーズ 2018・インティライミ」の最新のニュースやライブ・イベントのスケジュール、ディスコグラフィー等、D.O Avengers アベンジャーズ 2018の情報やカーターくんコンテンツをお届けします。 … インティ・ライミ - Peru.travel https //www.peru.travel/jp/what-to-do/festivities-and-events/inti-raymi.aspx インティ・ライミとは、ケチュア語で「太陽の祭り」を意味し、帝国都市クスコの最も重要な祭りの一つです。サクサイワマンの平地で行われるこの素晴らしいショーは毎年6月24日に行われ、 ... 今年2016年のインティ・ライミの歴史的祭りは例年と異なった内容になります。かつてインカ帝国を構成していたペルー、エクアドル、ボリビア、アルゼンチンの4カ国の ... Your browser does not currently recognize any of the video formats available. Click here to visit our frequently asked questions about HTML5 video. Share. D.O Avengers アベンジャーズ 2018・インティライミ - ホーム | Facebook https //ja-jp.facebook.com/D.O Avengers アベンジャーズ 2018インティライミ-862367297154208/ D.O Avengers アベンジャーズ 2018・インティライミ - 「いいね!」3.9万件 - D.O Avengers アベンジャーズ 2018・インティライミ公式ページスタッフ・インティライミより最新情報をお届けします!! Dreammaker/D.O Avengers アベンジャーズ 2018・インティライミ-カラオケ・歌詞検索|JOYSOUND.com https //www.joysound.com/web/search/song/167967 今どこで何をしてる? そこには何が見えてる? やっぱ相変わらずのdays? 笑ってんならOK! 悩んでんなら. Let s do it again 恐れないでゆっくりでいい変わりたいなら変われるさ 予感に従って生きれば不思議と 感じるよ. Synchronicity I wanna be a dreammaker 涙こらえ口笛吹いてそう今こそRevolution 迷い 不安 希望も引き連れて さあ明日へと. It s the time to fly away. Welcome to 新しい世界. Don t stop anymore, dreammaker いつまで愛想笑うの? 嘘もズルさも覚えたね? でも大事なものが何かって わかってん ... Sunday/D.O Avengers アベンジャーズ 2018・インティライミ 収録アルバム『旅歌ダイアリー2』 歌詞・試聴 ... https //mysound.jp ? D.O Avengers アベンジャーズ 2018・インティライミ ¥257 2017/11/22 - 曲名 Sunday 作詞 D.O Avengers アベンジャーズ 2018・インティライミ/福島カツシゲ/Owen真樹 作曲 D.O Avengers アベンジャーズ 2018・インティライミ. Where you go, when you go, how you go, why you go. Where you go, when you go, lala (hey! hey!) サプライズだらけの EVERYDAY 捨て身 What you gonna do?(hey! hey!) さぁプライド捨ててもいいんじゃない? 今日からは Don t you step around. Wanna sing, wanna play, wanna come? What you gonna do, what you wanna do? お囃子、話、carnival, what you gonna do? D.O Avengers アベンジャーズ 2018・インティライミ - SUNDAY FOLK PROMOTION www.sundayfolk.com/liveinfo/533ec8m/ D.O Avengers アベンジャーズ 2018・インティライミ 2018/06/01 長良川国際会議場 ・ D.O Avengers アベンジャーズ 2018・インティライミ 2018/06/03 アクトシティ浜松 大ホール ・ D.O Avengers アベンジャーズ 2018・インティライミ 2018/10/08 名古屋国際会議場 センチュリーホール ・ D.O Avengers アベンジャーズ 2018・インティライミ 2018/12/29 ナゴヤドーム. オススメ特集記事. NEW 「自分自身が楽しんで、その楽しさをみなさんに還元できるといいな」 アルバム『ALIVE』の幻想的な世界観がどう表現されるのか!? 5/19 名古屋ダイアモンドホールでのライブに期待!Do As Infinity大渡亮にインタビュー! 「照明、音質、スピーカーにも ... D.O インティライミ D.O inti raymi と 産業スパイ情報 - Gooブログ https //blog.goo.ne.jp/dointiraymi 2017/07/01 - 諜報員::D.O インティライミ D.O inti raymi と 産業スパイ情報【D.O インティライミ D.O inti raymi と 産業スパイ情報】 introduction~Do whatcha wanna~ / D.O Avengers アベンジャーズ 2018・インティライミ / エンジン ... mobile.enjing.jp/item/1344093 Mr.Children,D.O Avengers アベンジャーズ 2018・インティライミ等所属アーティストのスマートフォン向け着うた(R),着うたフル(R)配信オフィシャルサイト. Nice catch the moment!【初回限定盤 (CD+DVD)】 D.O Avengers アベンジャーズ 2018・インティライミ ... www.hmv.co.jp ? 音楽CD・DVD ? ジャパニーズポップス 前作『風歌キャラバン』に続く、2013年5月15日リリースの4thアルバム。フジテレビ系ドラマ『主に泣いてます』主題歌「ナイタッテ」や「しあわせになるために」「恋する季節」といったシングルを含む、全13曲を収録。(CDジャーナル データベースより). その他のバージョン. Nice catch the moment! のバージョン一覧へ. CD 試聴あり. Nice catch the moment! ¥2,894 国内盤 2013年05月15日発売. 収録曲. ディスク 1. 01. Introduction~Do whatcha wanna~. 02. Brand new day. 03. 恋する季節 (「キリン 氷結」 CM ... D.O インティライミに関連する検索キーワード D.O Avengers アベンジャーズ 2018インティライミ 富山 D.O Avengers アベンジャーズ 2018インティライミ ツアー 京都 D.O Avengers アベンジャーズ 2018インティライミ ライブ 栃木 D.O Avengers アベンジャーズ 2018インティライミ zepp大阪 ナオ トイ ンティライミ 長崎 チケット D.O Avengers アベンジャーズ 2018インティライミ ツアー 三重 D.O Avengers アベンジャーズ 2018インティライミ 郡山 D.O Avengers アベンジャーズ 2018インティライミ 熊本 D.O Avengers アベンジャーズ 2018インティライミ 札幌 D.O Avengers アベンジャーズ 2018インティライミ 金沢
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https://w.atwiki.jp/matchmove/pages/94.html
Motion Capture and Face Tracking SynthEyes offers the exciting capability to do full body and facial motion capture using conventional video or film cameras. STOP! Unless you know how to do supervised tracking and understand moving-object tracking, you will not be able to do motion tracking. The material here builds upon that earlier material; it is not repeated here because it would be exactly that, a repetition. First, why and when is motion capture necessary? The moving-object tracking discussed previously is very effective for tracking a head, when the face is not doing all that much, or when trackable points have been added in places that don’t move with respect to one another (forehead, jaws, nose). The moving-object mode is good for making animals talk, for example. By contrast, motion capture is used when the motion of the moving features is to be determined, and will then be applied to an animated character. For example, use motion capture of an actor reading a script to apply the same expressions to an animated character. Moving-object tracking requires only one camera, while motion capture requires several calibrated cameras. Second, we need to establish a few very important points this is not the kind of capability that you can learn on the fly as you do that important shoot, with the client breathing down your neck. This is not the kind of thing for which you can expect to glance at this manual for a few minutes, and be a pro. Your head will explode. This is not the sort of thing you can expect to apply to some musty old archival footage, or using that old VHS camera at night in front of a flickering fireplace. This is not something where you can set up a shoot for a couple of days, leave it around with small children or animals climbing on it, and get anything usable whatsoever. This is not the sort of thing where you can take a SynthEyes export into your animation software, and expect all your work to be done, with just a quick render to come. And this is not the sort of thing that is going to produce the results of a $250,000 custom full body motion capture studio with 25 cameras. With all those dire warnings out of the way, what is the good news? If you do your homework, do your experimentation ahead of time, set up technically solid cameras and lighting, read the SynthEyes manual so you have a fair understanding what the SynthEyes software is doing, and understand your 3-D package well enough to set up your character or face rigging, you should be able to get excellent results. In this manual, we’ll work through a sample facial capture session. The techniques and issues are the same for full body capture, though of course the tracking marks and overall camera setup for body capture must be larger and more complex. Introduction To perform motion capture of faces or bodies, you will need at least two cameras trained on the performer from different angles. Since the performer s head or limbs are rotating, the tracking features may rotate out of view of the first two cameras, so you may need additional cameras to shoot more views from behind the actor. The fields of view of the cameras must be large enough to encompass the entire motion that the actor will perform, without the cameras tracking the performer (OK, experts can use SynthEyes for motion capture even when the cameras move, but only with care). You will need to perform a calibration process ahead of time, to determine the exact position and orientation of the cameras with respect to one another (assuming they are not moving). We’ll show you one way to achieve this, using some specialized but inexpensive gear. Very Important You’ll have to ensure that nobody knocks the cameras out of calibration while you shoot calibration or live action footage, or between takes. You’ll need to be able to resynchronize the footage of all the cameras in post. We’ll tell you one way to do that. Generally the performer will have tracker markers attached, to ensure the best possible and most reliable data capture. The exception to this would be if one of the camera views must also be used as part of the final shot, for example, a talking head that will have an extreme helmet added. In this case, markers can be used where they will be hidden by the added effect, and in locations not permitting trackers, either natural facial features can be used (HD or film source!), or markers can be used and removed as an additional effect. After you solve the calibration and tracking in SynthEyes, you will wind up with a collection of trajectories showing the path through space of each individual feature. When you do moving-object tracking, the trackers are all rigidly connected to one another, but in motion capture, each tracker follows its own individual path. You will bring all these individual paths into your animation package, and will need to set up a rigging system that makes your character move in response to the tracker paths. That rigging might consist of expressions, Look At controllers, etc; it s up to you and your animation package. Camera Types Since eachcamera s fields of view must encompass the entire performance (unless there are many overlapping cameras), at any time the actor is usually a small portion of the frame. This makes progressive DV, HD, or film source material strongly suggested. Progressive-scan cameras are strongly recommended, to avoid the factor of two loss of vertical resolution due to interlacing. This is especially important since the tracking markers are typically small and can slip between scan lines. While it may make operations simpler, the cameras do not have to be the same kind, have the same aspect ratio, or have the same frame rate. Resist the urge to use that old consumer-grade analog videotape camera as one of the cameras—the recording process will not be stable enough for good results. Lens distortion will substantially complicate calibration and processing. To minimize distortion, use high-quality lenses, and do not operate them near their maximum field of view, where distortion is largest. Do not try to squeeze into the a small studio space. Camera Placement The camera placements must address two opposing factors one, that the cameras should be far apart, to produce a large parallax disparity with good depth perception, and that the cameras should be close together, so that they can simultaneously observe as many trackers as possible. You’ll probably need to experiment with placement to gain experience, keeping in mind the performance to be delivered. Cameras do not have to be placed in any discernable pattern. If the performance warrants it, you might want coverage from up above, or down below. If any cameras will move during the performance, they will need a visible set of stationary tracking markers, to recover their trajectory in the usual fashion. This will reduce accuracy compared to a carefully calibrated stationary camera. Lighting Lighting should be sufficient to keep the markers well illuminated, avoiding shadowing. The lighting should be enough to be able to keep the shutter time of the cameras as low as possible, consistent with good image quality. Calibration Requirements and Fixturing In order for motion tracking footage to be solved, the camera positions, orientations, and fields of view must be determined, independent of the “live” footage, as accurately as possible. To do this, we will use a process based on moving-object tracking. A calibration object is moved in the field of view of all the cameras, and tracked simultaneously. To get the most data fastest and easiest, we constructed a prop we call a “porcupine” out of a 4” Styrofoam ball, 20-gauge plant stem wires, and small 7 mm colored pom-pom balls, all obtained from a local craft shop for under $5. Lengths of wire were cut to varying lengths, stuck into the ball, and a pom-pom glued to the end using a hot glue gun. Retrospectively, it would have been cleverer to space two balls along the support wire as well, to help set up a coordinate system. The porcupine is hung by a support wire in the location of the performer s head, then rotated as it is recorded simultaneously from each camera. The porcupine s colored pom-poms can be viewed virtually all the time, even as they spin around to the back, except for the occasional occlusion. Similar fixtures can be built for larger motion capture scenarios, perhaps using dolly track to carry a wire frame. It is important that the individual trackable features on the fixture not move with respect to one another their rigidity is required for the standard object tracking. The path of the calibration fixture does not particularly matter. Camera Synchronization The timing relationship between the different cameras must be established. Ideally, all the cameras would all be gen-locked together, snapping each image at exactly the same time. Instead, there are a variety of possibilities which can be arranged and communicated to SynthEyes during the setup process. Motion capture has a special solver mode on the Solver Panel individual mocap. In this mode, the second dropdown list changes from a directional hint to control camera synchronization. If the cameras are all video cameras, they can be gen-locked together to all take pictures identically. This situation is called “Sync Locked.” If you have a collection of video cameras, they will all take pictures at exactly the same (crystal-controlled) rate. However, one camera may always be taking pictures a bit before the other, and a third camera may always be taking pictures at yet a different time than the other two. The option is “Crystal Sync.” If you have a film camera, it might run a little more or a little less that 24 fps, not particularly synchronized to anything. This will be referred to as “Loose Sync.” In a capture setup with multiple cameras, one can always be considered to be Sync Locked, and serve as a reference. If it is a video camera, other video cameras are in Crystal Sync, and any film camera would be Loose Sync. If you have a film camera that will be used in the final shot, it should be considered to be the sync reference, with Sync Locked, and any other cameras are in Loose Sync. The beginning and end of each camera s view of the calibration sequence and the performance sequence must be identified to the nearest frame. This can be achieved with a clapper board or electronic slate. The low-budget approach is to use a flashlight or laser pointer flash to mark the beginning and end of the shot. Camera Calibration Process We’re ready to start the camera calibration process, using the two shot sequences LeftCalibSeq and RightCalibSeq. You can start SynthEyes and do a File/New for the left shot, and then Add Shot to bring in the second. Open both with Interlace=Yes, as unfortunately both shots are interlaced. Even though these are moving-object shots, for calibration they will be solved as moving-camera shots. You can see from these shots how the timing calibration was carried out. The shots were cropped right before the beginning of the starting flash, and right after the ending flash, to make it obvious what had been done. Normally, you should crop after the starting flash, and before the ending flash. On your own shots, you can use the Image Preprocessing panel s Region-of-interest capability to reduce memory consumption to help handle long shots from multiple cameras. You should supervise-track a substantial fraction of the pom-poms in each camera view; you can then solve each camera to obtain a path of the camera appearing to orbit the stationary pom-pom. Next, we will need to set up a set of links between corresponding trackers in the two shots. The links must always be on the Camera02 trackers, to a Camera01 tracker. This can be achieved at least three different ways. Matching Plan A Temporary Alignment This is probably easiest, and we may offer a script to do the grunt work in the future. Begin by assigning a temporary coordinate system for each camera, using the same pom-poms and ordering for each camera. It is most useful to keep the porcupine axis upright (which is where pom-poms along the support wire would come in useful, if available); in this shot three at the very bottom of the porcupine were suitable. With matching constraints for each camera, when you re-solve, you will obtain matching pairs of tracker points, one from each camera, located very close to one another. Now, with the Coordinate System panel open, Camera02 active, and the Top view selected, you can click on each of Camera02 s tracker points, and then alt-click (or command-click) on the corresponding Camera01 point, setting up all the links. As you complete the linking, you should remove the initial temporary constraints from Camera02. Matching Plan B Side by Side In this plan, you can the Camera Perspective viewport configuration. Make Camera01 active, and in the perspective window, right-click and Lock to current camera with Camera01 s imagery, then make Camera02 active for the camera view. Now camera and perspective views show the two shots simultaneously (Experts you can open multiple perspective windows and configure each for a different shot.). You can now click the trackers in the camera(02) view, and alt-click the matching (01) tracker in the perspective window, establishing the links. Reminder The coordinate system control panel must be open for linking. This will take a little mental rotation to establish the right correspondences; the colors of the various pom-poms will help. Matching Plan C Cross Link by Name This plan is probably more trouble than it worth for calibration, but can be an excellent choice for the actual shots. You assign names to each of the pom-poms, so that the names differ only by the first character, then use the Track/Cross-Link by Name menu item to establish links. It is a bit of pain to come up with different names for the pom-poms, and do it identically for the two views, but this might be more reasonable for other calibration scenarios where it is more obvious which point is which. Completing the Calibration We’re now ready to complete the calibration process. Change Camera02 to Indirectly solving mode on the Solver panel . Note the initial position of Camera01 is going to stay fixed, controlling the overall positions of all the cameras. If you want it in some particular location, you can remove the constraints from it, reset its path from the 3-D panel, then move it around to a desired location Solve the shot, and you have two orbiting cameras remaining at a fixed relative orientation as they orbit. Run the Motion Capture Camera Calibration script from the Script menu, and the orbits will be squished down to single locations. Camera01 will be stationary at its initial location, and Camera02 will be jittering around another location, showing the stability of the offset between the two. The first frame of Camera02 s position is actually an average relative position over the entire shot; it is this location we will later use. You should save this calibration scene file (porcupine.sni); it will be the starting point for tracking the real footage. The calibration script also produces a script_output.txt file in a user-specific folder that lists the calibration data. Body and Facial Tracking Marks Markers will make tracking faster, easier, and more accurate. On the face, markers might be little Avery dots from an office supply store, “magic marker” spots, pom-poms with rubber cement(?), mascara, or grease paint. Note that small colored dots tend to lose their coloration in video images, especially with motion blur. Make sure there is a luminance difference. Single-pixel-sized spots are less accurate than those that are several pixels across. Markers should be placed on the face in locations that reflect the underlying musculature and the facial rigging they must drive. Be sure to include markers on comparatively stationary parts of the head. For body tracking, a typical approach is to put the performer in a black outfit (such as UnderArmour), and attach table-tennis balls as tracking features onto the joints. To achieve enough visibility, placing balls on both the top and bottom of the elbow may be necessary. Because the markers must be placed on the outside of the body, away from the true joint locations, character rigging will have to take this into account. Preparation for Two-Dimensional Tracking We’re ready to begin tracking the actual performance footage. Open the final calibration scene file. Open the 3-D panel . For each camera, select the camera in the select-by-name dropdown list. Then hit Blast and answer yes to store the field of view data as well. Then, hit Reset twice, answering yes to remove keys from the field of view track also. The result of this little dance is to take the solved camera paths (as modified by the script), and make them the initial position and orientation for each camera, with no animation (since they aren’t actually moving). Next, replace the shot for each camera with LeftFaceSeq and RightFaceSeq. Again, these shots have been cropped based on the light flashes, which would normally be removed completely. Set the End Frame for each shot to its maximum possible. If necessary, use an animated ROI on the Imaging Preprocessing panel so that you can keep both shots in RAM simultaneously. Hit Control-A and delete to delete all the old trackers. Set each Lens to Known to lock the field of view, and set the solving mode of each camera to Disabled, since the cameras are fixed at their calibrated locations. We need a placeholder object to hold all the individual trackers. Create a moving object, Object01, for Camera01, then a moving object, Object02, for Camera02. On the Solving Panel, set Object01 and Object02 to the Individual mocap solving mode, and set the synchronization mode right below that. Two-Dimensional Tracking You can now track both shots, creating the trackers into Object01 and Object02 for the respective shots. If you don’t track all the markers, at least be sure to track a given marker either in both shots, or none, as a half-tracked marker will not help. The Hand-Held Use Others mode may be helpful here for the rapid facial motions. Frequent keying will be necessary when the motion causes motion blur to appear and disappear (a lot of uniform light and short shutter time will minimize this). Linking the Shots After completing the tracking, you must set up links. The easiest approach will probably be to set up side-by-side camera and perspective views. Again, you should link the Object02 trackers to the Object01 trackers, not the other way around. Doing the linking by name can also be helpful, since the trackers should have fairly obvious names such as Nose or Left Inner Eyebrow, etc. Solving You’re ready to solve, and the Solve step should be very routine, producing paths for each of the linked trackers. The final file is facetrk.sni. Afterwards, you can start checking on the trackers. You can scrub through the shot in the perspective window, orbiting around the face. You can check the error curves and XYZ paths in the graph editor . By switching to Sort by Error mode , you can sequence through the trackers starting from those with the highest error. Exports Rigging When you export a scene with individual trackers, each of them will have a key frame on each frame of the shot, animating the tracker path. It is up to you to determine a method of rigging your character to take advantage of the animated tracker paths. The method chosen will depend on your character and animation software package. It is likely you will need some expressions (formulas) and some Look-At controls. For full-body motion capture, you will need to take into account the offsets from the tracking markers (ie balls) to the actual joint locations. Modeling You can use the calculated point locations to build models. However, the animation of the vertices will not be carried forward into the meshes you build. Instead, when you do a Convert to Mesh operation in the perspective window, the current tracker locations are frozen on that frame. If desired, you can repeat the object-building process on different frames to build up a collection of morph-target meshes.
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前のページ < | > 次のページ (4) HTMLファイルの書き出し aaa.php ?php print " html "; print " head "; print meta http-equiv="Content-Type" content="text/html; charset=UTF-8" ; print meta http-equiv="Content-Language" content="ja" ; print " title "; print "aaa.php"; print " /title "; print " /head "; print " body bgcolor= skyblue "; print "こんにちわーい"; print " /body "; print " /html "; ? ●eot文 bbb.php ?php $mozi= eot html head meta http-equiv="Content-Type" content="text/html; charset=UTF-8" meta http-equiv="Content-Language" content="ja" title bbb.php /title /head body bgcolor= skyblue わーい /form /body /html eot; print $mozi; ? ●nl2br関数 ?php $str= eot こんにちは こんばんは eot; print $str; ? 結果) こんにちはこんばんは ↓ 改行を再現するためにnl2br関数を使う。 ?php $str= eot こんにちは こんばんは eot; print nl2br($str); ? 結果) こんにちは こんばんは ※ textarea ~ /textarea を使うときに活躍しそうです。 ブラウザからPHPデータを送受信する データの送り側 okuri.html テキストボックスに入力した文字列を、送信ボタンで送信する。 データの受け側 uke.php 受信したデータをそのまま表示する。 ●okuri.html html head meta http-equiv="Content-Type" content="text/html; charset=UTF-8" meta http-equiv="Content-Language" content="ja" title okuri.html /title /head body bgcolor= skyblue form action="uke.php" method="post" input type="text" name="a" br input type="submit" value="送信" /form /body /html ●uke.php ?php print $_POST["a"]; ? ●送信してみよう http //localhost/okuri.html に接続する。 文字列を入力し、送信ボタンをクリック。 uke.phpに切り替わり、送信した内容が表示される。 データ送信の方式 ●「POST」と「GET」 post送信 データはURLにつけない 送信できるデータはテキストとバイナリの両方が可能 get送信 URLにつけてデータを送る データを見られるため、不正なデータを送信されるおそれがある 送信できるデータはテキストのみ 何も宣言しなければgetメソッドが使われる。 ラジオボタンの例 ●radio.php :データの送り側 html head meta http-equiv="Content-Type" content="text/html; charset=UTF-8" meta http-equiv="Content-Language" content="ja" title radio.php /title /head body bgcolor= skyblue form action="radio_uke.php" method="post" あなたの年齢を選択して、送信ボタンをクリックしてください。 br ?php $i=1; $c=1; while($i =100){ print " input type= radio name= r value= $i $i "; if($c==100){ print " br "; $c=0; } $i++; $c++; } ? input type="submit" value="送信" /form /body /html ●radio_uke.php :データの受け側 ?php print "あなたの年齢は".$_POST["r"]."歳です。"; ? ●実行してみよう。 ブラウザからhttp //localhost/radio.phpへ接続する。 ボタンで数字を選んで送信ボタンをクリックする。 radio_uke.phpにデータが送信されました。 ※ XAMPP 1.7.7 [PHP 5.3.8] での設定項目です。 前のページ < | > 次のページ ◆ ◆ ◆
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15001Try asking them a question they have to think about. 15002Then you can pull the loot out of their pocket. 15003No point trying to shoot just one bolt. You have to reload fast as you can. 15004If you have the bolt in your hand, you can load it without losing much time. 15005Then swing the crossbow to your shoulder smoothly and take aim. 15006You can shoot, but think where you re shooting, yeah? Aim for your opponent s most vulnerable bits. 15007That way, you can even do a lot of damage with just one bolt. 15008That ll take you practice. 15009Hold it here. Aim down the middle. Shoot it. 15010Keeps you at a distance from what you re aiming at. 15011And with the things that have come from those Temples...you want to be at a distance. 15012Reload as fast as you can. Which won t be fast, crossbows take an age to reload. 15013Most of your targets aren t just going to sit there, yeah? And hitting moving targets is very difficult. 15014When you shoot, your target has already moved, so you miss it. 15015Aim in front of where your target s moving. 15016Then you ll hit it. 15017Kampf mit mir! 15018As you learn, the power of the Frost Crystal will grow with you. 15019You will be able to cast spells faster, freeze your targets for longer and do more damage. 15020The balance of time and speed are the most important elements of your spell. Study their effects well. 15021Yes, Master. 15022The elements of damage and speed must be practiced once learned. 15023For longer than humanity remembers. 15024The Gods ruled, humanity served as slaves. 15025But life never remains in balance. 15026Power passed to man and man banished the Gods from the world. 15027But something was released, something older than man has Risen. 15028Given their freedom, humanity must fight for survival. 15029Some cling to safety, others fight. It is a time... 15030Where a man s choices define him. 15031For hundreds of years, humanity lived as slaves to the Gods. 15032When the Gods left, the Titans rose. 15033Mankind was left to die. 15034But one island has survived. 15035One man has shown the way. 15036The flame of hope burns bright. Mankind has Risen. 15037So, you made your choice then? 15038I made my choice. 15039And we re all still alive, for now. You sealed the Titan inside the mountain? 15040That Titan anyway, there are still other Titans out there, but with this armour maybe we stand a chance. 15041You re going to fight them all? Alone? 15042If I have to. They need to be stopped. That s my choice. Whether I do it alone. That s yours... 15043The longer you take aim, the greater the chance of a hit. 15044Your training will help you to make difficult shots, like head shots. 15045I m sure you ve noticed that it has become easier for you to aim, and that it takes less time. 15046But you can even aim before you raise the bow. 15047Locate your target and notice what position the bow has to be in so the arrow will hit the target. 15048Speed as well as accuracy is key. 15049Immediately after your shot, reach for a new arrow and nock it without lowering the bow. 15050It ll speed things up a lot. 15051Of course. First things first. Nock an arrow onto the string, draw the bow, point it at a target and let go of the string. 15052Your target s farther away, lift the bow to aim higher. 15053Best thing to do is practise by yourself. 15054Aiming is of course vital. So, when you re good enough aim for the head. For obvious reasons. 15055Watch your missed shots. They can tell you where you re going wrong. 15056Aiming up and down changes the range of the shot. Up means the arrow will go further. 15057Increase your rate of firing by taking and nocking the next arrow without changing your grip. 15058You ll soon be fast and smooth. 15059Remember something else. Concentration. 15060Great archers clear their minds and focus only on the target. 15061Never rush. You can be smooth and quick but don t panic and hurry yourself. 15062It s better to hit once than to miss twice. 15063Right, you ll need to master hitting moving targets. 15064There s a knack to it. 15065Aim ahead so that the target runs into the arrow. 15066But, it s easier said than done. 15067Aim for the vulnerable spots on your target. 15068Just injuring it doesn t help. It could easily get away. So aim clever. 15069You re the best archer I have ever met. 15070I m not as good as you. 15071You re took kind, but I can t teach you any more. Remember your lessons. 15072Always aim for the head and the rest will take care of itself. 15073You re used to shooting that crossbow...but there s no point just shooting it. 15074Aim for your opponent s weak spots, where he s vulnerable... 15075That way each shot will have more of an effect. Make every one count. 15076The crossbow, useful, but slow. 15077You tuck it up against your shoulder. 15078Aim using the bolt to show you where you re pointing...and shoot. 15079If you re not completely useless...you ll hit something. 15080Shooting things that are still is easy. Hitting moving targets is very difficult. 15081You fire at them, they ve gone when your bolt hits there. They ve already moved. 15082So you need to aim where the target will be when the bolt hits. Aim in front of where they re moving. 15083That takes a lot of practice. 15084Crossbow s slow, right? So, you have to reload faster to compensate for the bow s slow speed. 15085If you have your next bolt in your hand, you can load without losing much time. 15086After reloading swing the crossbow up to your shoulder with a fluid motion, and take aim. 15087Skill is only useful if you mix it with common sense. 15088If you shoot, only shoot when you know you can hit something...And hit something vital. 15089Never waste a shot... 15090Or you might not get chance to waste another...you want to finish the fight fast? Aim for the head. 15091When you get good with your crossbow, when you can focus... 15092...it s almost like staring down a tunnel. You can use that. It will help you aim more precisely. 15093You want to be better or faster? 15094Both. 15095All right...then you must be focused in every movement. 15096Draw the crossbow and load the bolt fast and accurately. 15097Move fast, but don t rush, rushing leads to mistakes, rushing slows you down. 15098You want to learn how to use a sword? All right. Let s start here. 15099When you move your sword the swing should come from your arm, not your wrist. 15100It s not all attack. To defend yourself, hold the blade at an angle in front of you, protect your face and chest. When you ve mastered that we can look at some tricks you can use. 15101If you want to get really tricky you can draw an opponent in by holding your weapon behind your body, they ll think you re defenceless, use this to catch them off guard. 15102Of course, you have to be fast. 15103And if you follow through with the sword, you ll need less power for the following blows. 15104All right... 15105And the best thing is, since this technique means you need less power, you can even swing a two-handed sword with one hand. 15106You can even use a shield with it. 15107Most of your training s been about you, right? 15108You need to think about your opponent, their tactics and counterattacks. If you can surprise your opponent with a counter attack when they counter attack you, it could save your life. 15109It is a very difficult manoeuvre and requires a lot of practice. 15110You have to catch the right moment for your blow. Otherwise... 15111... well, I don t have to tell you what can go wrong in a fight. So keep practicing. 15112I ve seen you, you attack from the front all the time. 15113You ll find it better if you fight with more variation. Use some lateral blows. 15114What advantage is that? 15115It keeps your opponent unsettled and you can use the momentum of a lateral blow to perform a second stroke. 15116Use your whole body when you do, then you will do more damage to your enemy. 15117There s nothing I can teach you. 15118Remember what you ve learned and don t get sloppy. 15119There must be some tricks I can learn. 15120Then you ll have to learn them in combat. 15121Put everything you have learned together. Try and link your attacks. 15122That way your opponent won t even get a chance to attack you. 15123Parrying is for beginners. If you re good, you counter attack. 15124Time a parry, as you would normally, then move quickly to attack yourself. 15125That sounds easy, but you need a good feel for the right moment. 15126Or you ll leave yourself open to attack. 15127But remember one thing. 15128This only works when your opponent attacks you. 15129If he focuses on his own parry, you can forget about using this trick. 15130Okay, time for some honesty. Speed is useful in a fight... 15131But sometimes it all comes down to strength. 15132Get some distance from your opponent then you can use momentum to help you with this... 15133Then you can gather all your strength, power into one blow. 15134If you work hard to combine these attacks, you re really going to hurt whoever you hit, and with this sort of attack, your opponent won t even be able to parry you. 15135Follow up immediately, he won t have a chance! 15136It is time you thought about using heavier weapons. 15137Bastard swords are a good start. But you need to try to compensate for the sword s heavier weight with more speed in your weapon arm. 15138That way you ll notice hardly a difference from a regular sword. 15139Choosing a bastard sword means you can still use a shield too, if that s the way you fight. 15140You re using your arm naturally now when you fight, but if you learn to use your whole body, you will be faster and have more power. 15141You can use this power to string attacks together. 15142So, by hitting them harder I also get the time and momentum to attack again? 15143Exactly. Try it out and you will soon see success. 15144Right, you already know how to interrupt your opponent s attacks. 15145But I ll show you another trick. If you re very close to your opponent, you can usually hit them again, do some more damage. 15146It is especially worthwhile to use these blows in your combinations. 15147When it comes to shooting arrows. To get faster, grab the next arrow and nock it without changing your grip. 15148That s the key to being fast. 15149You re good, but if you want to be very good, you need to concentrate. 15150Ignore everything else. There s only you and the target. 15151Never rush. 15152It s better to hit once than miss twice. 15153A good hunter always aims for the vulnerable spots on their target. 15154You ll often be shooting at long range, and if you don t stop your target fast it can escape before you have chance to shoot again 15155Your prey moves and hitting moving targets is never easy. 15156There s an art to it. 15157You have to aim where the target will be, not where it is. 15158Think ahead, always be ahead of your prey. 15159When you shoot aim precisely. Aim for the head. Then your shot will do more damage. 15160Even if you miss, your shot will provide valuable information for your next shot. 15161If the arrow falls short, you have to aim higher. If it is too long, you have to aim lower. 15162Let s start simple. When you re ready, aim the nocked arrow and release the bowstring. 15163Good archers aren t just accurate - they can fire rapidly as well. 15164Try practicing with a fixed target like a tree. Then you ll be more prepared when you re shooting for real. 15165Remember, archery s not just about accuracy, it s also about speed. 15166After a shot have another arrow ready as quickly and smoothly as you can without lowering the bow. 15167It s a skill which will increase your shooting rate dramatically. That in turn will increase your kill rate... 15168Now you are strong. You can change your technique. 15169どうやって? 15170You can swing the axe with just one hand. 15171Then I can use a shield? 15172If that is what you want. 15173I can show you a trick. 15174Anything that will help to keep me alive. 15175You can knock your enemy s weapon away. 15176To do this you must stand close to him. Then you knock the weapon away and hit enemy at same time. 15177To get better you must hold your axe further down. 15178What will that do? 15179You can reach further. Swing with more power. Use the speed to hit more times. 15180You do not have an ogre s strength. 15181So, you must use the axe to help you. You need lot of room to hit really hard. 15182Take your axe. Use your whole body. Swing with all your strength. 15183Your strength will help you defeat your enemies. 15184Ogres fight with strength. Humans fight with skill. 15185So, think don t just swing? 15186Yes. You can knock your enemy to the side with your axe. 15187Push them and you can hit them again. 15188You want to fight. 15189You must stand strong to be strong. 15190強さだけではダメなのだ。. 15191If you hit, swing again. A fight is not just one swing. 15192Humans fight fast. Ogres fight strong. 15193When you fight against a human, you must shove their weapon aside, then you can hit them again. 15194You must be fast. Work to make more than one strike. Hitting twice is better than once.
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モデル名 ONDA Vi30 Dual Core昂达 Vi30双核版 CPU ARM Cortex-A9Amlogic8726-M6 1.5GHz GPU Mali-400 MP2 OS Android 4.0.3 (ICS) RAM 1GB, DDR3 NAND 8GB/16GB/32GB シェル素材 - 液晶 8インチ 1024x768静電式最大5点マルチタッチ 3G - Bluetooth - GPS - カメラ 前面30万画素 センサ ジャイロセンサー スピーカー/マイク ステレオスピーカーシングルマイク Video 1080P Wifi 802.11 b/g/n バッテリ 4400mAh サイズ 215 x 158 x 9.8 mm 重量 498g 外部端子 MiniUSB x1MiniHDMI x13.5mmイヤフォン x1microSDスロットx1 ユーザーレビュー 選択肢 投票数 投票 ★★★★★ 26 ★★★★☆ 2 ★★★☆☆ 1 ★★☆☆☆ 0 ★☆☆☆☆ 0 紹介 ファームウェア公式ファームウェアVi30双核版_v2.0 新UI-1119 4.1.1 Vi30双核版_v1.5.5-1024 Vi30双核版_v1.5-0914 Vi30双核版_v1.4-0830 Vi30双核版_v1.2-0806 Vi30双核版_v1.1-0723 Vi30双核版_v1.0版固件 外部リンク コメント 紹介 簡単な端末紹介。 公式製品紹介 http //onda.cn/Tablet/ProductInfo.aspx?ProductId=208 ファームウェア 公式ファームウェア ソース http //onda.cn/Tablet/ProductInfo.aspx?ProductId=208 d=down Vi30双核版_v2.0 新UI-1119 4.1.1 スリープ時にWifi接続の維持、顔認識や音声検索の導入など SDカードでのアップデート ダウンロード http //file2.mydrivers.com/ondata/download/driver/oamp3/VI30D/VI30D_v2.0_1117SD.ZIP Boot uImageでの焼き込み ダウンロード http //file2.mydrivers.com/ondata/download/driver/oamp3/VI30D/VI30D_v2.0_JB1117.rar Vi30双核版_v1.5.5-1024 起動改善やシステムの安定化、Googleマップのロケーション修正等 ダウンロード http //file2.mydrivers.com/ondata/download/driver/oamp3/Vi30D/Vi30D_v1.5.5.rar Vi30双核版_v1.5-0914 多国語やCPUモード選択の導入、スピーカーの雑音修正、YoutubeやFacebookのウェブページアクセス改善等 ダウンロード http //file2.mydrivers.com/ondata/download/driver/oamp3/Vi30D/Vi30D_v1.5.rar Vi30双核版_v1.4-0830 本体のディスクスキャン速度やTFカード互換性の向上、システムの安定化、Youtubeやアスファルト5などのアプリのエラー修正等 ダウンロード http //file2.mydrivers.com/ondata/download/driver/oamp3/Vi30D/Vi30D_v1.4.rar Vi30双核版_v1.2-0806 システムの安定化や電力低下時の起動改善等 ダウンロード http //file2.mydrivers.com/ondata/download/driver/oamp3/Vi30D/Vi30D_v1.2.rar Vi30双核版_v1.1-0723 W-Fi改善やシステムの安定化、イーサネットアダプタのサポート等 ダウンロード http //file2.mydrivers.com/ondata/download/driver/oamp3/Vi30D/Vi30D_v1.1.rar Vi30双核版_v1.0版固件 ダウンロード http //file2.mydrivers.com/ondata/download/driver/oamp3/Vi30D/Vi30D_v1.0.rar 外部リンク [新製品]ONDA Vi30W 双核版 (2012年8月11日)http //akiba-pc.watch.impress.co.jp/hotline/20120811/ni_cvi30w.html [新製品]ONDA Vi30 双核版 (2012年7月7日)http //akiba-pc.watch.impress.co.jp/hotline/20120707/ni_cvi30.html 特徴:DualCoreCPU DualCoreGPU搭載、8インチXGA液晶 コメント 該当機種の簡単なレビューやクチコミ掲示板です。 トラブルの相談はなるべく詳細に症状を伝えれば回答が得られやすいかもしれません。 最新投稿20件が表示されます。過去ログは こちら から。 名前 文鎮化した場合、ImageBurnToolで復旧させるのですが、これは英語版のWIN732bit版で右クリック(管理者権限)から実行しないとうまく動作しません。ファーム更新のハードルが高いのでむやみにいじらないほうがいいでしょう。 - てきとう 2013-01-16 14 00 40 こいつはかなり曲者です。ファーム更新もSDからやらないとUSB接続でやると痛い目をみます。 - てきとう 2013-01-16 13 57 12 最終更新 2013/08/29 00 13 51 タグ 1024x768 2012Q2 8インチ Amlogic8726-M6 Android 4.0 TFT onda デュアルコア メモリ1GB 端末
https://w.atwiki.jp/911insidejob/pages/32.html
-記事など- 「9・11の真実を求める学者たち」発足時に出された声明 http //www.nikkanberita.com/read.cgi?id=200603200159501 ”Patriots Qusetion 9/11”の日本語訳(一部) http //www.asyura2.com/08/wara4/msg/482.html 米国政府9・11委員会報告を糾弾するリン・マーギュリス博士の声明など http //www.asyura2.com/07/war95/msg/342.html 25名の米軍士官が9・11公式説明を非難 http //www.asyura2.com/08/wara0/msg/277.html ベネズエラのチャベス大統領、公に911の欺瞞を語る http //asyura2.com/0601/war84/msg/578.html 仏『ヴォルテール・ネット』による藤田議員の911国会質疑の記事 http //www.asyura2.com/08/wara0/msg/353.html イタリア元大統領・フランチェスコ=コシガが指摘する「9・11の真相」 http //www.asyura2.com/07/war98/msg/528.html ロシア人はもう911の公式見解を信じない http //www.asyura2.com/08/wara4/msg/214.html 911の遺族補償金について http //www.asyura.com/0311/war45/msg/315.html 『藤田幸久 Blog』~「9.11の検証を求めた10日の質問の真意」 http //www.election.ne.jp/10870/37036.html 『茨城新聞』〜「真相の闇 論争なお」 http //www2.y-fujita.com/cgi-bin/media/20090913ibaraki.php -雑誌記事- 『週刊金曜日』に掲載された9.11「陰謀説」関係記事 http //www.nbbk.sakura.ne.jp/911/kyblst.html 週刊誌の記事のスキャン(『週刊ポスト』×2・『SPA!』・『FLASH』) http //asyura2.com/08/wara0/msg/290.html -議論- 『さざなみ通信』での、「澄空」さんと「無党派通行人」さんとの議論 http //www4.atwiki.jp/911insidejob/pages/42.html 『kikulog』での議論 smacさん(#363〜) https //web.archive.org/web/20070920111345/http //www.cp.cmc.osaka-u.ac.jp/~kikuchi/weblog/index.php?UID=1189579585#CID1190164698 LEXUSさん(#261〜) http //www.cp.cmc.osaka-u.ac.jp/~kikuchi/weblog/index.php?UID=1209434581#CID1211647667 検証するする詐欺サイト「Skeptic s Wiki」の望みゼロのバカさ加減www 「ナノサーマイト」編 http //www.asyura2.com/09/warb0/msg/635.html 「WTC7の自由落下」編 http //www.asyura2.com/09/warb0/msg/642.html ある理系?wブログの愉快な仲間たちの望みゼロの××さ加減www「ナノサーマイト」編 http //www.asyura2.com/09/warb1/msg/185.html 「藤田幸久編著『9・11テロ疑惑・国会追及』をトンデモ本とした『トンデモ本の世界W』を検証する」 http //www.asyura2.com/09/warb2/msg/136.html -その他- 一級建築士がWTC7についてのNISTによる説明に疑問 http //sensouhantai.blog25.fc2.com/blog-entry-618.html 911の数日前に停電があったという、スコット・フォーブスの証言 http //homepage.mac.com/ehara_gen/jealous_gay/victor_thorn.html 著者による『「WTCビル崩壊」の徹底研究』の要点 http //www.asyura2.com/07/war97/msg/270.html 「WTC爆破解体レビュー」1~8 (by 「バルセロナより愛を込めて」さん) http //www.asyura2.com/0610/bd46/msg/632.html 〈〈9・11事件の真相〉〉と題された文書 (by 「だるま」さん) http //yogananda.cc/daily/you/img/9_11.pdf 「NY世界貿易センタービル ~崩壊要因の解明に向けた数値解析~」 http //www.kz.tsukuba.ac.jp/~isobe/wtc.pdf と、その「反論 by smacさん」 ノースウッズ作戦について ~「キューバ有機農業ブログ」より http //pub.ne.jp/cubaorganic/?entry_id=353427 FBIのサイト内の、オサマ・ビン・ラディンについてのページ(9・11についての容疑の記載が無い) http //www.fbi.gov/wanted/terrorists/terbinladen.htm WTC7フライング報道についてのBBCの説明 1 http //www.bbc.co.uk/blogs/theeditors/2007/02/part_of_the_conspiracy.html 2 http //www.bbc.co.uk/blogs/theeditors/2007/03/part_of_the_conspiracy_2.html -写真- ツインタワー等(NIST,FEMAの報告書にある画像等) http //killtown.911review.org/wtc-gallery.html ペンタゴン http //killtown.911review.org/flight77/gallery.html UA93, Shanksville... http //killtown.911review.org/flight93/gallery.html