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https://w.atwiki.jp/je-pu-pu-mondai/pages/9.html
u style="display none;" ... no changes ... no changes ... no changes ... no changes ... no changes ... no changes ... no changes ... no changes ... no changes ... no changes ... no changes ... a href= http //www.ringtones-dir.com free ringtones /a [http //www.ringtones-dir.com download ringtones] - [HTTP //www.ringtones-dir.com download ringtones] [nokia ringtones|http //www.ringtones-dir.com] - [nokia ringtones|HTTP //www.ringtones-dir.com] http //www.ringtones-dir.com/download/ http //www.ringtones-dir.com ring tones http //www.ringtones-dir.com | ringtones download "samsung ringtones" http //www.ringtones-dir.com [http //www.ringtones-dir.com|ringtones free] /u htmlプラグインエラー このプラグインを使うにはこのページの編集権限を「管理者のみ」に設定してください。 構築中 ロボットの情報 ユーザーエージェント値 je-pu-pu thumbnail ( http //je-pu-pu.ddo.jp/thumbnail/help.php ) IPアドレス 218.123.150.5 2006年5月現在、robot.txtによりロボットに巡回許可を与えているサイトのみ登録される仕様となっています。 しかしこの仕様が再び変更されることも考えられるので、以下に拒否方法についての記述を残しておきます。 ロボットの巡回拒否の方法 ホームページと同じディレクトリに、以下の記述がされたrobots.txtを設置することで回避できます。 User-agent je-pu-pu thumbnail Disallow / もしくは User-agent * Disallow / robots.txtが設置出来ないサーバーの場合の巡回拒否方法 .htaccessファイルを設定できるサーバーの場合、以下の記述を追加する。(hogehogeの部分は自分のサイトのURLに書き換える) 自分のサイト以外からのrefereを遮断する場合(外部からのリンクお断り) SetEnvIf Referer "http //hogehoge/" ref_ok order deny,allow deny from all allow from env=ref_ok je-pu-pu thumbnailのみ弾く場合 SetEnvIf User-Agent "je-pu-pu thumbnail" BadRobot order allow,deny allow from all deny from env=BadRobot deny from 218.123.150.5 上記のSetEnvIf〜が使えないサーバーの場合 order allow,deny allow from all deny from 218.123.150.5 METAタグによる拒否方法 (実際に拒否できるかどうかを本スレで検証中) 上記3つの設定が出来ないサーバーの場合 方法がありません。 この点もje-pu-puサムネイルの大きな問題点です。
https://w.atwiki.jp/mirandaim/pages/4.html
プラグインPopUp OptionFont IRC Protocol 日本語対応版 Yahoo Protocol プラグイン PopUp http //miranda-im.org/download/details.php?action=viewfile id=299 MSNプラグイン等でpopupウィンドウを出すために必要。 ※注意点・・・たまに一切ポップアップしなくなり以降音沙汰無くなる、その時はDBEditerで治せ OptionFont http //miranda-im.org/download/details.php?action=viewfile id=334 Mirandaで使うフォントを変えられる。文字化け対策に有用 IRC Protocol 日本語対応版 http //miranda.s41.xrea.com/ Yahoo Protocol 現在はMiranda本体に付属のプラグインを使ってくれ、ログイン鯖は次の書き換え cs.yahoo.co.jp 5050 ※これ以外のプラグイン・アイコン・サウンドは、基本的に公式のDLサイトにあります。 プラグインに関する大まかな説明は下記テンプレぺージ参照。 http //miranda.s41.xrea.com/temp.html tabsrm専用フォーラム http //hell.at.eu.org/forums/
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.
https://w.atwiki.jp/mainichi-matome/pages/529.html
The story below is originally published on Mainichi Daily News by Mainichi Shinbun (http //mdn.mainichi.jp). They admitted inventing its kinky features, or rather deliberately mistranslating them from the original gossip magazine. In fact, this is far from the general Japanese' behavior or sense of worth. このページは、毎日新聞事件の検証のための配信記事対訳ページです。直接ジャンプして来られた方は、必ずFAQをお読みください。 ※ この和訳はあくまでもボランティアの方々による一例であり、翻訳の正確さについては各自判断してください。もし誤訳（の疑い）を発見した場合には、直接ページを編集して訂正するか翻訳者連絡掲示板に報告してください。 Schoolgirls sniff gold in pantie crackdown「パンティー取締りの陰で、女子高生たちが金の臭いを嗅ぐ」 拡散状況 関連ページ Schoolgirls sniff gold in pantie crackdown 「パンティー取締りの陰で、女子高生たちが金の臭いを嗅ぐ」 （2004年6月19日配信） Naughty Japanese schoolgirls lost one of their greatest sources of pocket money earlier this month after the Tokyo Metropolitan Government outlawed the trade in soiled knickers from the underaged, according to Shukan Taishu (6/28). Tokyo's Burusera Ordinance, which takes its name from the Japanese-English contraction of the words "bloomer seller," bans the purchase of used panties from anybody under the age of 18, as well as any activities that would facilitate such a sale. みだらな日本の女子学生たちは、今月はじめに東京都が未成年者の汚れたパンティーの売買を違法として禁止した後、彼女たちの最大の小遣い銭稼ぎ源を失った。週刊大衆６月２８日号より。東京都ブルセラ条例（"bloomer seller"の日本語略語から名付けられた）は１８歳以下の青少年からの使用済みパンティーの購入、および、そのような販売を促進するような一切の活動を、を禁止した。 Offenders of the ordinance enacted June 1 face a fine of up to 500,000 yen. ６月１日に制定された同条例の違反者は５０万円の罰金を強いられる。 "There were about 30 burusera shops, mostly in Shibuya and Shinjuku, but more than 10 of these have already shut down. A lot of online burusera sites have already stopped trading, too," adult entertainment industry writer Yukio Murakami tells Shukan Taishu. "Authorities have apparently cracked the whip. I think this probably means the end of burusera stores." 「渋谷と新宿を中心にブルセラショップは約３０店あったが、１０店以上がもうすでに閉店した。同じく、多くのオンラインブルセラサイトはもうすでに売買を停止した、」とアダルト娯楽産業系作家のムラカミ ユキオ氏は週刊大衆に言う、「当局は明らかに法のムチを振り下ろした。これはおそらくブルセラショップの終焉を意味すると思う。」 Burusera shops look bust and sordid schoolgirls appear out of pocket. But that doesn't mean the trade in soiled skids won't continue. ブルセラショップは壊滅したと思われ、あさましい女子学生たちは損をしたようである。しかし、それはオリモノで汚れたパンティー売買が続かなくなると言うことではない。 "Underage sellers aren't punished under the ordinance, so the girls are pretty composed about the whole thing," says Gomez Yamada, a writer specializing on teen girl topics. "The ordinance may have shut down the burusera stores, but it has only sparked a thriving trade in schoolgirls using mobile phone sites to conduct direct sales to customers without needing a middleman. They'll arrange to meet in some dark spot like a karaoke box or beside a building, then remove and hand over their panties on the spot in exchange for payment. What's more, they're charging 5,000 to 10,000 yen a pair, about five times what they would have got from a burusera shop. Some girls are even happy the ordinance has come into effect because it's done away with the burusera shops that were eating into their profits." 「未成年の売り手たちはその条例では罰せられない、だから少女たちは総じて極めて冷静である、」と１０代少女の話題を専門とする作家のヤマダ ゴメスは言う、「その条例はブルセラショップを閉鎖したであろう、しかし、それは仲介人を介さずお客の直接販売を可能にする携帯サイトを利用した、女子学生たちの儲かる商売に火を付けただけである。彼女たちはいくつかの人目につかない場所（カラオケボックスや建物の影のような）を待ち合わせの場所にしておき、そのような場所でお金と交換でパンティーを脱いで手渡すだろう。それどころか、彼女たちはパンティー１枚につき５０００円から１万円を請求するだろう、これは彼女たちがブルセラショップから得ていた金額の約５倍となろう。ある少女たちにとってその条例が実施されればうれしいすらあろう、なぜならば、それは彼女たちの利益をピンハネしていたブルセラショップを潰すものであるからである。」 Panty selling girls have already found ways to circumvent the crackdown on selling skives. パンティーを売っている少女たちはもうすでにパンティー販売取締の裏をかく方法を見つけている。 "We put photos of us in our school uniforms up for sale at about 4-5,000 yen each, then provide some dirty panties as a free giveaway to buyers. That way, we're selling photos," a 17-year-old schoolgirl identified only as Miss A tells Shukan Taishu. 「私たちは制服を着た写真を１枚４～５０００円で売りにだす、それで何枚かの汚れたパンティーをサービスをして提供する。ようは、私たちは写真を売っているわけ。」と女Ａとだけ名乗る１７才の女学生が週刊大衆に説明する。 It could be an effective plan. 期待した効果がありそうなプランだ。 "Even the metropolitan government would have a hard time outlawing the sale of photos," a domestic news reporter on a major daily says. 「東京都と言えども写真の販売を不法行為として取り締まるには苦労するだろう。」と主要日刊紙の国内新聞記者は言う。 Another 17-year-old, referred to as Miss B, claims she can still make a yen catering to those who don't want a whiff of trouble, but would settle for something else. 女Ｂと言う別の１７才は、トラブルに巻き込まれたくないけど、何か他のもので良いという奴らを対象にして、まだお金を稼ぐことができると主張する。 "You don't need to sell your panties. Now, the thing to do is just let the guys pay to smell the knickers you're wearing," she says. "Girls we call kagaseya (sniffers), get about 10,000 yen for a date with a guy. They take him into a karaoke box, then let him stick his head up their skirt and sniff between their legs to his heart's content." 「パンティーを売る必要はない。そこで、やることは奴らに着ているパンティーの臭いを嗅がしてお金を払わせるわけ、」と彼女は言う。「私たちが嗅がせ屋(sniffers)って呼んでいる女の子は１人のオトコとデートして１万円ぐらい稼ぐ。彼女たちはオトコをカラオケボックスに連れ込んで、オトコにスカートの中に頭を突っ込ませてそれで股間を心ゆくまでクンクン嗅がせてあげる。」 Schoolgirl specialist Yamada warns the enterprising entrepreneurs not to get ahead of themselves. 女子学生スペシャリストのヤマダはそんな先進的実業家たちは背伸びしないように警告する。 "Everybody starts off thinking that just selling their panties is not too bad, but about 90 percent of those girls end up prostituting themselves within six months, no, three months of making their first panty sale," he tells Shukan Taishu. "Lots of girls feel liberated by dropping their panties. Next thing they know, though, they've dropped their guard, too." 「みんなは彼女たちのパンティーを売っているだけなら全然悪くないと考えだすが、そんな少女の９０％は最後には売春するようになる、最初のパンティーを売ってから６ヶ月以内に、いや違う、３ヶ月。」と彼は週刊大衆に言う。「多くの少女たちはパンティーを下ろすことによって開放感を感じる。しかし、次に彼女たちが知るのは、ガードも下ろしてしまったことである。」 ※ 署名なし June 19, 2004 ### Schoolgirls sniff gold in pantie crackdown The Mainichi Shimbun June 19, 2004 Source http //mdn.mainichi-msn.co.jp/waiwai/archive/news/2004/06/20040619p2g00m0dm999000c.html http //www.crnjapan.com/abuse/aarticles/2004/en/20040619-waiwai_burusera.html 編集中：7/17 拡散状況 CRNジャパン(日本の子供の人権ネットワーク) http //www.crnjapan.com/abuse/aarticles/2004/en/20040619-waiwai_burusera.html 英語サイト http //forums.beyondunreal.com/showthread.php?t=138192 Schoolgirls sniff gold in pantie crackdown (オランダサイト ノルウェー語) http //www.vegan.nu/forum/index.php?iso=no topic=18758 c=1 Mainichi - Schoolgirls Sniff Gold in Pantie Crackdown (スペインサイト Ecxite.スペイン) http //directory.excite.es/regional/asia/japan/society_and_culture/issues 関連ページ CRNジャパン(日本の子供の人権ネットワーク) WaiWaiの記事を転載した英語サイト：B シーファーが日本を児童ポルノ大国呼ばわりした原因 元記事一覧 毎日新聞英語版から配信された記事2004年
https://w.atwiki.jp/thecockrockshockpop/pages/453.html
http //www.wingertheband.com/ member Kip Winger vocal, bass Reb Beach guitar Rod Morgenstein drums John Roth guitar ex-member Paul Taylor keyboards CDBetter Days Comin' IV In The Heart Of The Young Winger DVDLive ( 2007 ) Live @ The Palace Of Auburn Hills, MI October 14th 1990 LiveLive @ Club Citta', Kawasaki January 11st 2014 sat Live @ Yokohama Blitz, Kanagawa Nov. 9th 2007 Autograph2014 2007 CD Better Days Comin' April 22 2014 1. Midnight Driver of A Love Machine / 2. Queen Babylon / 3. Rat Race / 4. Better Days Comin' / 5. Tin Soldier / 6. Ever Wonder / 7. So Long China / 8. Storm in Me / 9. Be Who You Are, Now / 10. Out of This World IV October 25th 2006 1. Right Up Ahead / 2. Blue Suede Shoes / 3. Four Leaf Clover / 4. M16 / 5. Your Great Escape / 6. Disappear / 7. On A Day Like Today / 8. Livin' Just To Die / 9. Short Flight To Mexico / 10. Generica / 11. Can'T Take It Back / 12. Blue Suede Shoes ( acoustic ver. / JP Bonus Track ) In The Heart Of The Young August 25th 1990 1. Can't Get Enough 2. Loosen Up 3. Miles Away 4. Easy Come Easy Go 5. Rainbow In The Rose 6. In The Day We'll Never See 7. Under One Condition 8. Little Dirty Blonde 9. Babtized By Fire 10. You Are The Saint 11. In The Heart Of The Young Winger December 21st 1988 1. Madalaine / 2. Hungry / 3. Seventeen / 4. Without The Night / 5. Purple Haze / 6. State O Emergency / 7. Time To Surrender / 8. Poison Angel / 9. Hangin On / 10. Headed For A Heartbreak / 11. Higher Higher DVD Live ( 2007 ) November 9th 2007 1. Blind Revolution Mad / 2. Loosen Up / 3. Easy Come Easy Go / 4. Your Great Escape / 5. Down Incognito / 6. Rainbow in The Rose / 7. Generica / 8. Junk Yard Dog / 9. Right Up Ahead / 10. Reb's Guitar Solo / 11. You Are The Saint, I Am The Sinner / 12. Rod's Drum Solo / 13. Headed For A Heartbreak / 14. Can't Get Enough / 15. Seventeen / 16. Who's The One / 17. Miles Away / 18. Madalaine Live @ The Palace Of Auburn Hills, MI October 14th 1990 1. Madalaine / 2. LOOSEN UP / 3. You Are The Saint, I Am The Sinner / 4. Easy Come Easy Go / 5. Drums Solo ～ Crowed Cheer / 6. Guitar Solo / 7. Seventeen / 8. Headed For A Heartbreak / 9. Can't Get Enough Live Live @ Club Citta', Kawasaki January 11st 2014 sat Kawasaki Rock City 2014 Day 2 1. Pull Me Under / 2. Can't Get Enuff / 3. Madalaine / 4. Hungry / 5. Seventeen / 6. Without the Night / 7. Purple Haze / 8. State of Emergency / 9. Time to Surrender / 10. Poison Angel / 11. Hangin On / 12. Headed for A Heartbreak / 13. Down Incognito / 14. Easy Come Easy Go Kip Winger (vo,b), Reb Beach (g), Rod Morgenstein (ds), John Roth (g), Paul Taylor (key) Live @ Yokohama Blitz, Kanagawa Nov. 9th 2007 1. S.E. / 2. Blind Revolution Mad / 3. Easy Come Easy Go / 4. Your Great Escape / 5. Down Incognito / 6. Hungry / 7. Jam ～ Country Song / 8. Miles Away / 9. Rainbow In The Rose / 10. Generica / 11. Reb's Guitar Solo / 12. You Are The Saint, I Am The Sinner / 13. Rod's Drum Solo / 14. Headed For A Heartbreak / 15. Can't Get Enough / 16. Madalaine / 17. Seventeen Autograph 2014 Kip Winger Reb Beach Rod Morgenstein John Roth Paul Taylor 2007 Kip Winger Reb Beach Rod Morgenstein John Roth
https://w.atwiki.jp/gamedev55/pages/61.html
■http //unity3d.com/unity/download/download-windows Unity 4.0.0f7 UnitySetup-4.0.0.exe 645 MB (677,037,872 バイト) 要2.3GB 、、、ファイルがでかいなぁ ■「Activate the free version of Unity」 、、、↑セットアップの途中で選ぶ。 ■「ブロック崩し」のチュートリアル http //japan.unity3d.com/developer/document/tutorial/my-first-unity/01.html ■Unity Script Reference http //docs.unity3d.com/Documentation/ScriptReference/ ・Runtime Classes http //docs.unity3d.com/Documentation/ScriptReference/20_class_hierarchy.html ■DontGoThroughThings http //wiki.unity3d.com/index.php?title=DontGoThroughThings
https://w.atwiki.jp/parepan/pages/234.html
Flex 開発環境構築メモ 2010/05/20 必要なコンポーネント JRE …Flexコンパイラで使用する。Flexインストール前にインストールが必要 JRE 1.4、1.5 または 1.6 が必要 .NET Framework 3.5 …FlashDevelop の実行に必要。 Flex 4 SDK …コンパイラ FLASHDevelop …フリーの IDE（統合環境) Adobe Flash Player（単体稼動版 activeXではない方） JREのDownloadhttp //www.filehippo.com/jp/download_jre_32/ Flex 4 SDK の Download http //opensource.adobe.com/wiki/display/flexsdk/Download+Flex+4 サイト内の「Stable Builds（安定版)」のRTM版(正式リリース直前版)を利用 FlashDevelopのdownloadhttp //www.flashdevelop.org/community/viewforum.php?f=11 Adobe Flash Playerのdownloadhttp //www.adobe.com/support/flashplayer/downloads.html Flex インストール手順 1.Flex SDK を保存するディレクトリを作成 C \flex4 2.Flex SDK ZIP ファイルをこのディレクトリに展開 3.ユーザ環境変数の設定 [コントロールパネル]-[システム]-[詳細設定]-[環境変数]-[システム環境変数] 変数名 PATH 変数値 C \flex4\bin ※変数値を複数設定する場合は値と値を「;」で区切る コンパイルはDosを立ち上げて、asファイルを設置しているディレクトリに移動し、 \ mxmlc xxxxx.as FlashDevelopのインストール手順 ・Downloadしたファイルをダブルクリックしデフォルトの内容でインストール FlashDevelopの日本語化 参考URL http //flashdevelop.jp/%E6%97%A5%E6%9C%AC%E8%AA%9E%E3%81%A7%E5%88%A9%E7%94%A8%E3%81%99%E3%82%8B%E3%81%AB%E3%81%AF 1.FlashDevelopを起動 2.メインメニューから［Tools］→［Program Settings...］メニューをクリックします。［Settings］ダイアログが開きます。 3.表示された「Settings」ダイアログ左にある「FlashDevelop」をクリックし、右側画面を一番下までスクロールすると Selected Locale］という項目あるので「en_US」を「ja_JP」に変更します 4.FlashDevelop を終了し、再度起動すると日本語環境で表示されます。 FlashDevelopの基本設定 参考URL http //www.syboos.jp/flex/doc/flash-develop-basic-settings.html 設定完了後、FlashDevelopを再起動 CTRL + F8 でコンパイル SWFの実行が可能であるが、コンパイル後、 「この操作に対して指定されたファイルには、アプリケーションが関連付けられていません。」と表示される。 メニューの「プロジェクト」→「プロジェクト設定」で表示された画面の「書き出し」タブ内下の「プロジェクトをテスト」 を「新しいタブでムービーを再生」を選択 ・・・・でも現象変わらず。。。。 trace文がOutputパネルに出力されるようにAdobe Flash Player 10 Debugger Versions を 下記サイトからダウンロードしてインストール。 http //www.adobe.com/support/flashplayer/downloads.html
https://w.atwiki.jp/wot_rgz/pages/138.html
車両一覧Tierごとに。 次に作る戦車は？ 気の向くままに スキン導入法（簡単に） Games\World_of_Tanks\res_mods\(最新バージョンのフォルダ)\vehicles\国籍\車両名 ってな感じの順番になるように入れる。 一部車両のは解凍したときに、バージョン違いのフォルダの中に入ってると思うので、自分で移動させてね まとめたものはこちらhttp //ux.getuploader.com/wot_rgz/download/49/%E3%81%BE%E3%81%A8%E3%82%81.zip Tier10 Obj430http //ux.getuploader.com/wot_rgz/download/34/obj430.zip T110E5http //ux.getuploader.com/wot_rgz/download/31/T110E5.zip M48 Pattonhttp //ux.getuploader.com/wot_rgz/download/30/M48.zip 9.20リモデル対応版https //ux.getuploader.com/wot_rgz/download/55 T95E6http //ux.getuploader.com/wot_rgz/download/33/A95_T95_E6.zip TVP T50/51 http //ux.getuploader.com/wot_rgz/download/42/TVPT5051.zip Grille 15http //ux.getuploader.com/wot_rgz/download/40/Grille.zip Rhm.Pzw. http //ux.getuploader.com/wot_rgz/download/54/Rhm.Pzw.zip Super Conqueror https //ux.getuploader.com/wot_rgz/download/58 FV217 Badger https //ux.getuploader.com/wot_rgz/download/61 FV4005 理系３種の神器スキンhttp //ux.getuploader.com/wot_rgz/download/45/FV4005K.zip 理系３種の神器スキン(発光ver)http //ux.getuploader.com/wot_rgz/download/46/FV4005%E7%99%BA%E5%85%89.zip Conqueror Gun Carriage あまぞん印をつけただけhttp //ux.getuploader.com/wot_rgz/download/50/CGC.zip ＨＤ化に伴い死亡確認 Strv 103B http //ux.getuploader.com/wot_rgz/download/51/Strv103b.zip comingsoon Tier9 T49http //ux.getuploader.com/wot_rgz/download/44/T49.zip SkodaT50http //ux.getuploader.com/wot_rgz/download/32/TVP_T50.zip T-10http //ux.getuploader.com/wot_rgz/download/37/T10.zip Obj263 https //ux.getuploader.com/wot_rgz/download/71 T-54lthttp //ux.getuploader.com/wot_rgz/download/27/54lt.zip Tier10LT実装時のリモデルにより、めっちゃずれてる。やばい JagTigerhttp //ux.getuploader.com/wot_rgz/download/52/JagTiger.zip Tier8 IS-3http //ux.getuploader.com/wot_rgz/download/35/IS3.zip IS-5http //ux.getuploader.com/wot_rgz/download/48/IS5.zip JagdPanzerllhttp //ux.getuploader.com/wot_rgz/download/29/JP2.zip ラインメタルスコーピオンGhttp //ux.getuploader.com/wot_rgz/download/47/RhmG.zip Tiger2http //ux.getuploader.com/wot_rgz/download/38/Tiger2.zip Tier6 cromwellhttp //ux.getuploader.com/wot_rgz/download/28/Cromwell.zip T37http //ux.getuploader.com/wot_rgz/download/36/T37.zip JagdpanzerlVhttp //ux.getuploader.com/wot_rgz/download/39/JP4.zip ARL V39 （串カツ）http //ux.getuploader.com/wot_rgz/download/53/%E4%B8%B2%E3%82%AB%E3%83%84.zip
https://w.atwiki.jp/hit_hageme/pages/47.html
体験版 /デモ / DEMO HITMAN Codename 47 Demo #1 (Retaliation level) 3D Gamers http //www.3dgamers.com/dlselect/games/hitman/hitmandemo.exe.html Eidos Interactive UK http //www.eidosinteractive.co.uk/downloads/search.html?gmid=82 Demo #2 (The Massacre at Cheung Chau Fish Restaurant) 3D Gamers http //www.3dgamers.com/dlselect/games/hitman/hitmandemo2.zip.html 製品版トライアル - 製品版を60分間体験することができます。購入も可能。 Hitman Codename 47 One Hour Full game Demo - 約245MB Eidosinteractive.com http //www.eidosinteractive.com/downloads/search.html?gmid=82 HITMAN 2 Silent Assassin Demo #1 (Anathema - mission 1) 3D Gamers http //www.3dgamers.com/dlselect/games/hitman2/hitman2demo.zip.html 4Gamer.net http //www.4gamer.net/patch/demo/data/hitman2.html Demo #2 (Invitation to a Party - mission 5) 3D Gamers http //www.3dgamers.com/dlselect/games/hitman2/hitman2_demo.exe.html 4Gamer.net http //www.4gamer.net/patch/demo/data/hitman2m5.html Eidosinteractive.com http //www.eidosinteractive.com/downloads/search.html?gmid=118 Eidos Interactive UK http //www.eidosinteractive.co.uk/downloads/search.html?gmid=128 製品版トライアル - 製品版を60分間体験することができます。購入も可能。 Hitman 2 One Hour Full Game Demo Eidosinteractive.com - HITMAN 2 v1.02 約465MB http //www.eidosinteractive.com/downloads/search.html?gmid=118 Softwrap(Eidos Interactive UK) - HITMAN 2 v1.02 約477MB http //download.softwrap.com/EIDOS/Hitman2GBP.exe ※1.セーブデータを流用すれば、都合120分遊べます。 ※2.Eidos Interactive UK版のほうがパッケージ製品に近いようです。Eidosinteractive.com版は構成が微妙に違うのか、BGM抽出ツールが動かず。 HITMAN Contracts Demo (The Bjarkhov Bomb mission) 3D Gamers http //www.3dgamers.com/dlselect/games/hitman3/hmcontracts_demo.zip.html 4Gamer.net http //www.4gamer.net/patch/demo/hitmancon/hitman.html THE ADRENALINE VAULT http //www.avault.com/pcrl/demo_temp.asp?game=hitcon Eidosinteractive.com http //www.eidosinteractive.com/downloads/search.html?gmid=146 Eidos Interactive UK http //www.eidosinteractive.co.uk/downloads/search.html?gmid=155 HITMAN BLOOD MONEY Demo (DEATH OF A SHOWMAN) 約759MB 3D Gamers http //www.3dgamers.com/dlselect/games/hitman4/hitmanbloodmoneydemo.exe.html 4Gamer.net http //www.4gamer.net/patch/demo/hitmanbm/hitmanbm.shtml gamershell.com http //www.gamershell.com/download_13964.shtml GAMESPOT http //www.gamespot.com/promos/2006/hitman-demo/index.html パッチ / PATCH HITMAN Codename 47 Retail service pack 1a patch (英語版専用パッチ) 3D Gamers http //www.3dgamers.com/dlselect/games/hitman/hitman_sp1a.exe.html THE ADRENALINE VAULT http //www.avault.com/pcrl/patches_temp.asp?patch=hitman HITMAN 2 Silent Assassin English retail v1.01 patch (英語版専用パッチ) 3D Gamers http //www.3dgamers.com/dlselect/games/hitman2/hitman2_101_en.exe.html FileShack http //www.fileshack.com/file.x?fid=1492 HITMAN Contracts 3D Gamers - English retail patch v174 (英語版専用パッチ) http //www.3dgamers.com/dlselect/games/hitman3/patch174uk.exe.html HITMAN BLOOD MONEY Eidos Interactive UK - Patch v1.1 English http //www.eidos.co.uk/support/patchinfo.html?ptid=87 ツール / TOOLZ HITMAN 2 Silent Assassin および HITMAN Contracts 専用のBGM抽出ツール http //lima.dyndns.dk/mph/h2sa_ogg/h2sa_ogg.zip MD5ハッシュ値 89b965d3090d8c8eb7d3e1b9f8809ecf CRC32 7A01B6FB
https://w.atwiki.jp/amazonz/pages/19.html
名前 コメント すべてのコメントを見る !-- 記事の先頭に表示されるuptimeにidを付ける a name="?php...id...? new_logからのリンクの着地点として）-- td span class="style3" a name=" ?php echo $row_rsAmazonz2['id']; ? " ?php echo $row_rsAmazonz2['uptime']; ? /a /span /td （コメントは消してもいいです。） -- (szk) 2006-10-31 09 51 28 インデント行は引用みたいに見えてますが、気にしないでください。 -- (szk) 2006-10-24 13 25 48 ?php echo $row_rsAmazonz2['topic']; ? 上の一文を下記に書き換えました。 ?php echo nl2br($row_rsAmazonz2['topic']); ? 詳しい場所はCTRL+Fで探してください。 -- (szk) 2006-10-24 13 19 36 ?php $currentPage = $_SERVER["PHP_SELF"]; $maxRows_rsAmazonz2 = 10; $pageNum_rsAmazonz2 = 0; if (isset($_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); ? !DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http //www.w3.org/TR/html4/loose.dtd" html head meta http-equiv="Content-Type" content="text/html; charset=euc-jp" title ログ表示 /title style type="text/css" .style3 {font-size 10px} /style /head body form name="form1" method="get" action="" div align="center" a href="[[login.php]]" ここからログインしてください /a input name="key" type="text" id="key" input name="Submit" type="submit" value="検索" /div /form table width="400" border="0" align="center" cellpadding="3" ?php do { ? tr !-- 記事の先頭に表示されるuptimeにidを付ける a name="?php...id...? [[new_log]]からのリンクの着地点として）-- td span class="style3" a name=" ?php echo $row_rsAmazonz2['id']; ? " ?php echo $row_rsAmazonz2['uptime']; ? /a /span /td /tr tr td span class="style3" ?php echo $row_rsAmazonz2['title']; ? /span /td /tr tr td span class="style3" ?php echo $row_rsAmazonz2['category']; ? /span /td /tr tr td span class="style3" ?php echo nl2br($row_rsAmazonz2['topic']); ? /span /td /tr tr td span class="style3" ?php echo $row_rsAmazonz2['uset_id']; ? /span /td /tr tr td hr /td /tr ?php } while ($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, $queryString_rsAmazonz2); ? " 最終 /a ?php } // Show if not last page ? /td /tr /table /body /html ?php mysql_free_result($rsAmazonz2); ?