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【登録タグ G すばる ちょこふぁん 始原のビート ~ Pristine Beat 幽霊楽団 ~ Phantom Ensemble 曲 最速最強!KUROKOMA-Yeah!cover REMIX】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); 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} /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; 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visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; 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https://w.atwiki.jp/touhoukashi/pages/4280.html
【登録タグ EUROBEAT HOLIC III G Nana Takahashi SOUND HOLIC 今宵は飄逸なエゴイスト(Live ver) ~ Egoistic Flowers. 曲】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; 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} /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
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Computer Organization and Design The Hardware/Software Interface (The Computer Architecture and Design Series) Morgan Kaufmann Pub? David A. Patterson? John L. Hennessy? Peter J. Ashenden? James R. Larus? MorganKaufmannPub? DavidA.Patterson? JohnL.Hennessy? PeterJ.Ashenden? JamesR.Larus? ユーズドブック(洋書)-Computers&Internet? Substores-UnknownASINs-35 Subjects-Computers&Internet-Software-Design&Development-SoftwareDesign? Subjects-Computers&Internet-Databases-General? Subjects-Computers&Internet-Hardware-SystemArchitecture-ComputerDesign? Subjects-Computers&Internet-OperatingSystems-General? Subjects-Computers&Internet-General? I'm Hungry Macmillan Children s Books? Rod Campbell? MacmillanChildren sBooks? RodCampbell? ユーズドブック(洋書)-Children sBooks? Substores-UnknownASINs-35 Subjects-Children sBooks-Baby-3-Pop-Up&Movable-General? Subjects-Children sBooks-Ages4-8-General? Higher-order Perl A Guide To Program Transformation Morgan Kaufmann Pub? Mark Jason Dominus? MorganKaufmannPub? MarkJasonDominus? ユーズドブック(洋書)-Computers&Internet? Substores-UnknownASINs-35 Subjects-Computers&Internet-WebDevelopment-Scripting&Programming-Perl? Subjects-Computers&Internet-Software-Design&Development-Object-OrientedDesign? Subjects-Computers&Internet-Software-Design&Development-SoftwareDevelopment? Subjects-Computers&Internet-Programming-General? IELTS Testbuilder Macmillan ELT? Sam McCarter? Judith Ash? MacmillanELT? SamMcCarter? JudithAsh? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Reference? Substores-UnknownASINs-35 Subjects-Nonfiction-Education-LanguageInstruction-Instruction-EnglishasaForeignLanguage-BooksonCassette? Subjects-Nonfiction-Education-LanguageInstruction-Instruction-EnglishasaForeignLanguage-TOEFLTestPrep? Subjects-Reference-ForeignLanguages-Instruction-EnglishasaForeignLanguage-BooksonCassette? Subjects-Reference-ForeignLanguages-Instruction-EnglishasaForeignLanguage-TOEFLTestPrep? Formats-Audiocassettes-Languages-EnglishasaForeignLanguage? Citizenship A Concise Introduction (Key Themes in Sociology) Blackwell Pub? Thomas Faist? Peter Kivisto? BlackwellPub? ThomasFaist? PeterKivisto? ユーズドブック(洋書)-Nonfiction? Substores-UnknownASINs-35 Subjects-Nonfiction-Politics-Freedom&Security-CivilRights? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Nonfiction-Government-Civics? Stanley, Flat Again Egmont Books Ltd? Jeff Brown? Scott Nash? EgmontBooksLtd? JeffBrown? ScottNash? Substores-UnknownASINs-35 Subjects-Children sBooks-Literature? Computer Architecture A Quantitative Approach Morgan Kaufmann Publishers? John L. Hennessy? David A. Patterson? MorganKaufmannPublishers? JohnL.Hennessy? DavidA.Patterson? ユーズドブック(洋書)-Computers&Internet? Substores-UnknownASINs-35 Subjects-Computers&Internet-Hardware-SystemArchitecture-ComputerDesign? Miffy Egmont Books Ltd? Dick Bruna? EgmontBooksLtd? DickBruna? ユーズドブック(洋書)-Children sBooks? Substores-UnknownASINs-35 Subjects-Children sBooks-PopularCharacters-BookCharacters? Miffy the Fairy Egmont Books Ltd? Dick Bruna? EgmontBooksLtd? DickBruna? ユーズドブック(洋書)-Children sBooks? Substores-UnknownASINs-35 Subjects-Children sBooks-PopularCharacters-BookCharacters? The Physiology Of Crop Yield Blackwell Pub Professional? Robert K. M. Hay? John R. Porter? BlackwellPubProfessional? RobertK.M.Hay? JohnR.Porter? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Substores-UnknownASINs-35 Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-General? Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-Horticulture? Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-CropScience? Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Botany? Subjects-Science-General Subjects-Science-BiologicalSciences-Botany-General? Subjects-Science-AgriculturalSciences-Horticulture? Subjects-Science-AgriculturalSciences-General? Subjects-Science-AgriculturalSciences-Agronomy? Subjects-Science-AgriculturalSciences-CropScience? Baby Sign Language Basics Early Communication for Hearing Babies and Toddlers (Hay House Lifestyles) Hay House Inc? Monta Z. Briant? HayHouseInc? MontaZ.Briant? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Parenting&Families? ユーズドブック(洋書)-Reference? Substores-UnknownASINs-35 Subjects-Nonfiction-Education-Reference-Words&Language-General? Subjects-Nonfiction-Education-LanguageInstruction-Instruction-SignLanguage? Subjects-Parenting&Families-Parenting-Babies&Toddlers-ChildDevelopment? Subjects-Parenting&Families-Parenting-Babies&Toddlers-General? Subjects-Reference-ForeignLanguages-Instruction-SignLanguage? Subjects-Reference-Words&Language-General? Farm 123 Campbell Books? Rod Campbell? CampbellBooks? RodCampbell? ユーズドブック(洋書)-Children sBooks? Substores-UnknownASINs-35 Subjects-Children sBooks-Baby-3-BasicConcepts-Counting? Subjects-Children sBooks-Baby-3-Pop-Up&Movable-General? Subjects-Children sBooks-Ages4-8-General? Archangels Ascended Masters A Guide to Working and Healing With Divinities and Deities Hay House Inc? Doreen Virtue HayHouseInc? DoreenVirtue? ユーズドブック(洋書)-Religion&Spirituality? Substores-UnknownASINs-35 Subjects-Religion&Spirituality-General? Subjects-Religion&Spirituality-NewAge-General? Subjects-Religion&Spirituality-NewAge-Mental&SpiritualHealing? Subjects-Religion&Spirituality-Spirituality-General? Subjects-Religion&Spirituality-Spirituality-Angels? One Gorgeous Baby Campbell Books? Martine Oborne? Ingrid Godon? CampbellBooks? MartineOborne? IngridGodon? Substores-UnknownASINs-35 Subjects-Children sBooks-Baby-3-BasicConcepts-Counting? Subjects-Children sBooks-Baby-3-BoardBooks? Subjects-Children sBooks-Ages4-8-General? The Black Island (Tintin) Mammoth? Herge? Mammoth? Herge? ユーズドブック(洋書)-Comics&GraphicNovels? Substores-UnknownASINs-35 Subjects-Children sBooks-Authors&Illustrators,A-Z-(H)-Herge? Subjects-Comics&GraphicNovels-GraphicNovels-General? What Is Meaning? Fundamentals of Formal Semantics (Fundamentals of Linguistics) Blackwell Pub? Paul Portner? BlackwellPub? PaulPortner? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Reference? Substores-UnknownASINs-35 Subjects-Nonfiction-SocialSciences-Linguistics-Applied? Subjects-Nonfiction-Education-Reference-Words&Language-Semantics? Subjects-Reference-Words&Language-Linguistics? Subjects-Reference-Words&Language-Semantics? Subjects-Reference-General? Inside the World's Fair of 1904 Exploring the Louisiana Purchase Exposition Authorhouse? Elana V. Fox? Authorhouse? ElanaV.Fox? Substores-UnknownASINs-35 Subjects-History-Americas-UnitedStates-19thCentury-TurnoftheCentury? Miffy at the Seaside (Miffy) Egmont Books Ltd? Dick Bruna? EgmontBooksLtd? DickBruna? ユーズドブック(洋書)-Children sBooks? Substores-UnknownASINs-35 Subjects-Children sBooks? Bacillus Thuringiensis A Cornerstone of Modern Agriculture Haworth Pr Inc? Matthew Metz? HaworthPrInc? MatthewMetz? Substores-UnknownASINs-35 Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-General? Subjects-Science-General Subjects-Science-AgriculturalSciences-General? My Fairy Princess Palace Macmillan Children s Books? Maggie Bateson? Louise Comfort? MacmillanChildren sBooks? MaggieBateson? LouiseComfort? ユーズドブック(洋書)-Children sBooks? Substores-UnknownASINs-35 Subjects-Children sBooks-Ages4-8-General? Subjects-Children sBooks-People&Places-SocialScience-Folklore&Mythology? Subjects-Children sBooks-Sports&Activities-ActivityBooks-Cut&Assemble? Subjects-Children sBooks-Sports&Activities-ActivityBooks-General? Email English Macmillan ELT? Paul Emmerson? MacmillanELT? PaulEmmerson? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Reference? Substores-UnknownASINs-35 Subjects-Nonfiction-Education-LanguageInstruction-Instruction-EnglishasaForeignLanguage-General? Subjects-Nonfiction-Education-LanguageInstruction-Instruction-EnglishasaForeignLanguage-Writing? Subjects-Reference-ForeignLanguages-Instruction-EnglishasaForeignLanguage-General? Subjects-Reference-ForeignLanguages-Instruction-EnglishasaForeignLanguage-Writing? Automated Planning Theory and Practice (Morgan Kaufmann Series in Artificial Intelligence) Morgan Kaufmann Pub? Dana S. Nau? Malik Ghallab? Paolo Traverso? Ghallab Malik? MorganKaufmannPub? DanaS.Nau? MalikGhallab? PaoloTraverso? GhallabMalik? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Engineering Substores-UnknownASINs-35 Subjects-Business&Investing-Management&Leadership-Management? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-Robotics? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-TheoryofComputing? Subjects-Computers&Internet-General? Subjects-Engineering-ComputerTechnology-Robotics&Automation? Subjects-Engineering-Mechanical-Robotics? Subjects-Professional&Technical-Engineering-ComputerTechnology-Robotics&Automation? Subjects-Professional&Technical-Engineering-Mechanical-Robotics? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Management? Arm System Developer's Guide Designing and Optimizing System Software (Morgan Kaufmann Series in Computer Architecture and Design) Morgan Kaufmann Pub? Andrew N. Sloss? Dominic Symes? Chris Wright? John Rayfield? MorganKaufmannPub? AndrewN.Sloss? DominicSymes? ChrisWright? JohnRayfield? ユーズドブック(洋書)-Computers&Internet? Substores-UnknownASINs-35 Subjects-Computers&Internet-Software-Design&Development-SoftwareDesign? Subjects-Computers&Internet-Software-Design&Development-SoftwareDevelopment? Subjects-Computers&Internet-ComputerScience-SoftwareEngineering-DesignTools&Techniques? Subjects-Computers&Internet-ComputerScience-SystemsAnalysis&Design? Subjects-Computers&Internet-Hardware-Microprocessors&SystemDesign-General? 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StellaCottrell? ユーズドブック(洋書)-Nonfiction? Substores-UnknownASINs-35 Subjects-Nonfiction-Education-StudySkills? Poppy Cat's Happy Day (Poppy Cat) Macmillan Children s Books? Lara Jones? MacmillanChildren sBooks? LaraJones? ユーズドブック(洋書)-Children sBooks? Substores-UnknownASINs-35 Subjects-Children sBooks-Baby-3-Pop-Up&Movable-General? Subjects-Children sBooks-Ages4-8-General? Subjects-Children sBooks-Animals? Structural Analysis And Synthesis A Laboratory Course in Structural Geology Blackwell Pub? Stephen M. Rowland? Ernest M. Duebendorfer? Ilsa M. Schiefelbein? BlackwellPub? StephenM.Rowland? ErnestM.Duebendorfer? IlsaM.Schiefelbein? Substores-UnknownASINs-35 Subjects-Professional&Technical-ProfessionalScience-EarthSciences-General? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-Geology? Subjects-Science-EarthSciences-General? Subjects-Science-EarthSciences-Geology-General? Subjects-Science-General Malt Whisky Companion Dorling Kindersley Publishers Ltd? 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Never Give In! The Best of Winston Churchill's Speeches Hyperion Books? Winston, Sir Churchill? HyperionBooks? Winston,SirChurchill? Substores-UnknownASINs-35 Subjects-Health,Mind&Body-Self-Help-Motivational? Subjects-History-Americas-UnitedStates-20thCentury-WorldWarII-General? Subjects-History-Europe-England-General? Subjects-History-Europe-England-20thCentury? Blueprints Obstetrics and Gynecology (Blueprints) Lippincott Williams & Wilkins? Tamara L. Callahan? Aaron B. Caughey? Linda J. Heffner? LippincottWilliams&Wilkins? TamaraL.Callahan? AaronB.Caughey? LindaJ.Heffner? ユーズドブック(洋書)-Medicine? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Substores-UnknownASINs-35 Subjects-Medicine-Education&Training-TestPreparation&Review? Subjects-Medicine-Specialties-Obstetrics&Gynecology? Subjects-Professional&Technical-Medical-Medicine-Surgery-Obstetrics&Gynecology? Subjects-Professional&Technical-Medical-Medicine-TestPreparation&Review? Subjects-Science-Medicine-Education&Training-TestPreparation&Review? Subjects-Science-Medicine-Specialties-Obstetrics&Gynecology? Managing Your Boss (Essential Managers) Dorling Kindersley Publishers Ltd? Christina Osborne? DorlingKindersleyPublishersLtd? ChristinaOsborne? Substores-UnknownASINs-35 Subjects-Business&Investing-Careers? Subjects-Business&Investing-Industries&Professions-HumanResources&PersonnelManagement? Subjects-Business&Investing-Management&Leadership-Management? Subjects-Professional&Technical-BusinessManagement-HumanResources&PersonnelManagement? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Management? Subjects-Reference-Careers? Kama Sutra for 21st Century Lovers Dorling Kindersley Publishers Ltd? Anne Hooper? DorlingKindersleyPublishersLtd? AnneHooper? ユーズドブック(洋書)-Health,Mind&Body? Substores-UnknownASINs-35 Subjects-Health,Mind&Body-Sex? Grooming Manual for the Dog And Cat Blackwell Pub Professional? Sue Dallas? Diana North? Joanne Angus? BlackwellPubProfessional? SueDallas? DianaNorth? JoanneAngus? Substores-UnknownASINs-35 Subjects-Home&Garden-AnimalCare&Pets-Cats-General? Subjects-Home&Garden-AnimalCare&Pets-Dogs-Care&Health? Subjects-Home&Garden-AnimalCare&Pets-Dogs-General? Subjects-Home&Garden-AnimalCare&Pets-Dogs-Training? Subjects-Home&Garden-AnimalCare&Pets-General? Subjects-Medicine-VeterinaryMedicine-General? Subjects-Professional&Technical-Medical-VeterinaryMedicine-General? Subjects-Science-Medicine-VeterinaryMedicine-General? Study Skills for Speakers of English As a Second Language (Palgrave Study Guides) Palgrave Macmillan? Marilyn Lewis? Hayo Reinders? PalgraveMacmillan? MarilynLewis? HayoReinders? Substores-UnknownASINs-35 Subjects-Nonfiction-Education-College&University-General? Subjects-Nonfiction-Education-Reference-Dictionaries&Thesauri-English(All)? Subjects-Nonfiction-Education-InstructionMethod-General? Subjects-Nonfiction-Education-General? Subjects-Nonfiction-Education-StudySkills? Subjects-Nonfiction-Education-LanguageInstruction-Instruction-EnglishasaForeignLanguage-General? Subjects-Nonfiction-Education-LanguageInstruction-Instruction-EnglishasaForeignLanguage-Dictionaries? Subjects-Nonfiction-Education-LanguageInstruction-Instruction-EnglishasaForeignLanguage-EnglishLanguageTeaching-Methods? Subjects-Nonfiction-Education-LanguageInstruction-Instruction-Miscellaneous? Subjects-Reference-Dictionaries&Thesauruses-English(All)? Subjects-Reference-ForeignLanguages-Instruction-EnglishasaForeignLanguage-General? Subjects-Reference-ForeignLanguages-Instruction-EnglishasaForeignLanguage-Dictionaries? Subjects-Reference-ForeignLanguages-Instruction-EnglishasaForeignLanguage-EnglishLanguageTeaching-Methods? Subjects-Reference-ForeignLanguages-Instruction-Miscellaneous? Hairspray The Complete Book and Lyrics of the Hit Broadway Musical Applause Theatre & Cinema Books? Mark O Donnell? Thomas Meehan? Scott Wittman? Marc Shaiman? 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Business Analytics Industry, Segments Of The Tech World Reports, Recent Trends, Size, Was the Largest Region During Forecast Period 2027 Market Overview The Business Analytics Industry is projected to grow at a substantial CAGR during the forecast period. As per the business analytics market research report, the global market for business analytics is projected to grow swiftly. According to analysts, the enormous volumes of digital data as well as continuous developments in business analytics tools will drive the market growth during the forecast period. The business analytics market research report offers a comprehensive analysis of the global business analytics market and its application, end-user, industry, service, software, deployment, and region segments. The lack of awareness along with reluctance in adoption are the elements that could influence the business analytics market advancement throughout the forecast period. The business analytics market research report by expert analysts is developed to assist organizations in the business analytics market. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/6698 Competitive Analysis Availability of active marketplaces and lucrative offerings by platforms are presumed to drive the business analytics market growth worldwide. The global business analytics market could be challenged by the high cost of storage solutions, nevertheless, organizations in the business analytics market will carry the growth rate forward. The business analytics market research report presents company profiles of major companies active in the business analytics market globally. Furthermore, the global business analytics market report offers an all-inclusive analysis of the market collected from the business analytics market’s primary and secondary sources covering both decision makers and thought leaders. The business analytics market research report highlights such key areas assisting businesses operating in the business analytics market to build better growth strategies. Segmental Overview The global business analytics market has been segmented based on application, end-user, industry, service, software, deployment, and region. Based on deployment, the market for business analytics is segmented based on on-cloud and on-premises. Additionally, the market based on end-user, is segmented into BFSI, education, energy and power, government, healthcare, manufacturing, media and entertainment, retail, telecom, and IT, and other. The global market for business analytics is also covered based on industry segments which is further split into data mining, marketing analytics, supply chain analytics, finance analytics, and others. Based on software, the market for business analytics is segmented based on content analytics, corporate performance management suites, data discovery and visualization software, data warehousing platform, location intelligence, advanced and predictive analytics, and others. Major elements such as continued storage of data could obstruct the business analytics market growth. However, according to the business analytics market research report, the rise of smart data discovery capabilities along with an increase in investments across different industry areas will propel growth throughout the forecast period. The business analytics market is set to register growth at a high CAGR owing to these key factors. The exploration of application, end-user, industry, service, software, deployment, and region segments along with regional markets has been given in the global business analytics market research report. The research analysts studying the business analytics market have put out market forecasts in the business analytics market research report in order to support business analytics market-based companies. The business analytics market research report provides an extensive understanding of the business analytics market based on the information and forecasts till 2023. Regional Analysis North America, Europe, Asia Pacific and the rest of the world regional market for business analytics are predominantly covered in the global business analytics market research report. Country-level business analytics markets spread across North America – the United States, Canada, and Mexico are also covered in the report. In South America – Brazil and other country-level business analytics markets are covered in the report. In Asia-Pacific (APAC) region, the country-level business analytics markets covered are Japan, India, China, and others. The business analytics market research report also explores the regional market for business analytics present in Europe in the United Kingdom, France, Italy, Spain, and Germany, etc. The business analytics market research report also covers regional markets from the rest of the world alongside business analytics markets of Africa and the Middle East. Industry News The flagship Viya artificial intelligence, analytical and data processing platform is now available as a cloud-based, cloud-based carrier, which runs on Azure Cloud Platform, integrated with Azure S services. SAS is the provider of large-scale data analysis applications. Tuesday, SAS said that the latest containerized version of Viya is immediately available for Azure and supports other cloud platforms, such as AWS, Google Cloud Platform and Red Hat OpenShift. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/business-analytics-market-6698 Table of Contents 1Executive Summary 2Scope of the Report 2.1Market Definition 2.2Scope of the Study 2.2.1Research objectives 2.2.2Assumptions Limitations 2.3Markets Structure 3Market Research Methodology 3.1Research Process 3.2Secondary Research 3.3Primary Research 3.4Forecast Model Continued…. Similar Report B2B Telecommunication Market Information by Solution (Unified Communication and Collaboration), Deployment (Fixed, Mobile), Organization Size (Large, Enterprise), Application (Industrial, Commercial) and regions Trending #MRFR Report** https //ictmrfr.blogspot.com/2022/04/geofencing-market-companies-growth-with.html https //blogfreely.net/pranali004/telecom-expense-management-market-size-impressive-cagr-changing-business-scope https //postheaven.net/pranali004/financial-app-industry-impressive-cagr-changing-business-needs-scope-of https //market-research-future.tribe.so/post/openstack-service-market-research-impressive-cagr-changing-scope-of-current--6263de46791566c10c79891e https //www.scutify.com/articles/2022-04-24-infrastructure-as-a-service-industry-cagr-changing-business-scope-of-current-and-future-industry- About Market Research Future At Market Research Future (MRFR), we enable our customers to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. 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2024年 入試日程 旭川 募集人員:10名 出願:9月2日-6日 17時郵送必着 1次:10月26日 8:45-10:45 生命科学/11:30-13:00 英語 発表:11月8日 2次:11月23日 9:00- 個人面接 最終:12月19日 1次配点:生命科学 300/英語 100 計400 2次配点:100 https //www.asahikawa-med.ac.jp/uploads/files/admission/exam/faculity_app_guidebook/%E7%B7%A8%E5%85%A5/appguide_2025_med_hennyu.pdf(2024.07.24) https //www.asahikawa-med.ac.jp/admission/exam/faculty_schedule/(2024.05.24) ※車での来場可 病院駐車場利用(有料) 秋田 2次 試験日平日 2日連続! 募集人員:5名 出願:9月5日‐13日 17時郵送必着 1次:書類選抜 発表:10月15日 2次:11月21日‐22日 21日 小論文・生命科学/22日 面接 最終:12月16日 https //www.med.akita-u.ac.jp/selection/md/file/med_admission_r7.pdf(2024.07.18) ※要項に試験時間割記載無し 金沢 試験日平日 TOEFL iBT(Home Editionを含む) 募集人員:5名(一般枠1名、基礎研究枠1名、地域枠3名) 出願:8月19日‐23日 郵送必着(22日消印有効) 1次:書類選考 発表:9月11日 2次:9月20日 10:00-12:00 生命科学 発表:10月4日 3次:10月18日 集合時間 9;00/12:15 どちらか 最終:11月13日 https //www.med.kanazawa-u.ac.jp/outline/docs/R7hennyuyoko.pdf(2024.07.01) 琉球 試験日平日 TOEFL iBT 61、TOEIC L R 600、英検準1級以上 募集人員:5名 出願:8月1日-8日 17時郵送必着 1次:9月10日 9:00-12:20 生命科学総合試験Ⅰ、Ⅱ 発表:9月27日 2次:10月17日 9:00-12:30 小論分/13:30-17:00 個人面接 最終:11月1日 https //www.u-ryukyu.ac.jp/wp-content/uploads/2024/06/R7_igakubu_2nenzihenyu.pdf(2024.06.24、反映06.29) 弘前 TOEFL iBT 募集人員:20名 出願:10月28日-11月1日 17時郵送必着 1次:11月24日 13:00-15:00 基礎自然科学・数学/TOEFL受験結果の審査 発表:12月6日 2次:12月22日 13:00-16:00 志望理由書に基づく個人面接 最終:1月22日 配点:500-1次 300/2次 200 1次-TOEFL 100(120点満点を換算)、基礎自然科学・数学 200/2次-個人面接 200 https //nyushi.hirosaki-u.ac.jp/wp-content/uploads/2024/06/r7igaku-hennyuyoukou.pdf(2024.06.25、反映06.29) 富山 TOEFL iBT or TOEIC L R スコア必須、点数記載なし 募集人員:5人 出願:7月22日-26日 17時郵送必着(25日消印有効) 1次:9月1日 10:00-11:00 課題作文/13:00-16:00 総合試験 一般的な英和辞書の持込可 発表:9月27日 2次:11月3日 最終:11月29日 http //www.sugitani.u-toyama.ac.jp/nyuushi/gakubu/R7gakushi-hennnyuu.pdf(公表日不明、反映06.29) 長崎 試験日平日 外部英語試験スコア必須※ 募集人員:5人 出願:7月12日-19日 17時郵送必着 1次:8月23日 10:00-11:30 生命科学系科目 配点-生命科学 600/英語 50 発表:9月25日 2次:10月4日 10:00-11:30 小論分/13:00- 面接 配点-小論文 200/面接 200/書類審査 200 最終:10月23日 https //www.med.nagasaki-u.ac.jp/med/data/001_02_youkou2024.pdf(2024.06.10 反映06.22) ※英語試験:TOEFL 1BT 42、TOEIC L R/S W 1150、英検 or S-CBT 1950、ケンブリッジ英検 140、IELTS 4.0、GTEC(4技能版) 960、TEAP 225、TEAP CBT 420以上 滋賀 HBの黒鉛筆必携・シャープペン使用不可 募集人員:15名 出願:8月26日-30日 17時郵送必着・持参可 1次:9月28日 10:00-12:30 総合問題/14:00-15:00 外国語(英語) 発表:10月10日 2次:10月22日 9:00-10:30 小論分Ⅰ/11:00-12:30 小論分Ⅱ/13:30- 面接 最終:11月15日 https //www.shiga-med.ac.jp/sites/default/files/2024-06/07_bachelor_1.pdf(2024.06.21) 要項に入学者選抜状況あり 浜松 募集人員:5名 出願:7月29日-8月7日 17時郵送必着 1次:8月31日 10:00-12:00 生命科学/外国語(英語) 13:00-14:00 発表:9月20日 2次:10月19日 10:00-11:20 小論文/12:30-15:00 面接(個人) 最終:11月22日 配点:1次 180-生命科学 120/外国語(英語) 60、2次 330-1次 180/小論分 60/面接 90 https //www.hama-med.ac.jp/admission/15261e109b7f817a15b9a76f889a9c8d_1.pdf(2024.06.20) 北大 TOEFL-ITP530、TOEFL-iBT71、TOEIC L R680 以上 募集人員:5名 出願:7月16日‐24日 17時郵送必着 1次:8月18日 9:30-11:30 生命科学総合問題 発表:9月12日 2次:10月6日 10:30-11:30 課題論文/12:30- 面接 最終:11月4日 https //www.med.hokudai.ac.jp/sch-med/admissions/doc/gakushi-boshu_r7.pdf(2024.06.05) 神戸 試験日平日! 募集人員:5名 出願:7月4日-10日 17時郵送必着 1次:8月6日 13:00-15:00 生命科学と英語の総合問題 発表:8月22日 2次:9月3日 10 00- 口述試験 最終:9月20日 https //www.med.kobe-u.ac.jp/education/sm/exam/docs/hen_2025.pdf(2024.06.03) 愛媛 TOEIC L R 600以上 募集人員:5人 出願:6月24日‐28日 郵送出願(28日消印有効) 1次:7月20日 10:00-12:00 自然科学総合問題 発表:8月9日 2次:8月26日 or 27日 9:00-17:00 個人面接 最終:9月12日 https //www.ehime-u.ac.jp/wp-content/uploads/2024/05/R7_igaku_transfer-2.pdf(2024.05.31) 群馬 出願単位要件あり 募集人員:15名(一般枠12名・地域医療枠3名) 出願:7月24日‐29日 郵送必着 1次:9月1日 9:30-11:00 小論文1/13:30-15:00 小論分2 発表:9月24日 2次:10月6日 面接 最終:10月22日 https //www.med.gunma-u.ac.jp/pdf/transfer_R07-v2.pdf(2024.05.28) 旭川(概略) 募集人員:10名 出願:9月2日-6日 1次:10月26日 発表:11月8日 2次:11月23日 最終:12月19日 https //www.asahikawa-med.ac.jp/admission/exam/faculty_schedule/(2024.05.24) 高知 TOEIC L R、TOEFL iBT、IELTS のいずれか必須 募集人員:5人 出願:6月10日-13日 17時郵送必着 1次:7月6日 9:00-11:30 総合問題 発表:7月25日 2次:8月22日‐23日(2日日程) 22日 9:00-18:00頃 面接/23日 9:00-18:00頃 グループワーク 最終:9月5日 https //p1.ssl-dl.jp/dl/56926-b9df758b53a74af8406095ff667378bf(2024.05.13) https //p1.ssl-dl.jp/dl/56871-9226b7e786c0c98f7e6238eb9de88def(2024.05.09) 出願不可: 医学部医学科の卒業者及び退学・除籍を含めて在籍歴のある者 2015年実施試験以降において,本選抜の第2次選抜を受験した者 島根 TOEIC L R 600以上 募集人員:2年次 5名(うち地域枠2名) 3年次 5名(うち地域枠2名)-歯科医師,獣医師,薬剤師のいずれかの免許を保持する者(2025年3月末までに取得見込み含む) 出願:7月16日-19日 17時郵送必着(18日消印有効) 1次:8月24日 12:20-13:20 英語/14:00-15:30 自然科学総合問題 発表:9月6日 2次:9月21日/22日 面接 最終:10月9日 https //www.shimane-u.ac.jp/_files/00343527/20240510_00.pdf(2024.05.10) 福井 募集人員:5名 出願:7月8日-12日 16時郵送必着 1次:8月31日 10:00-12:00 自然科学総合 発表:9月20日 2次:書類選抜 1次試験合格者に対し、1次選考結果と出願書類により判定 発表:10月4日 3次:11月2日 面接 最終:11月22日 https //www.u-fukui.ac.jp/wp/wp-content/uploads/r7gakushi_yoko.pdf(2024.05.07) 自動車での試験場来場可 山口 募集人員:10名(地域枠3名以内) 出願:7月29日-8月1日 17時郵送必着 1次:9月29日 9:30-11:00 自然科学/12:30-15:00 小論文 発表:10月18日 2次:11月17日 8:30-17:40 面接 最終:11月29日 https //www.yamaguchi-u.ac.jp/med/wp-content/uploads/2024/04/bbdacda65db3b87c5022a541ee3827ad.pdf(2024.04.19) 鳥取 全定員地域枠 募集人員:5人 出願:5月27日-6月7日 17時必着・持参可 試験:6月29日 10:00-12:00 基礎科学/13:00-14:00 英語/14:30- 面接 最終:8月2日 https //www.admissions.adm.tottori-u.ac.jp/wp-content/uploads/2024/04/r7_igakuka_hennyuugaku_youkou.pdf(2024.04.18) 筑波 募集人員:5名 出願:6月3日-7日 郵送必着 試験 1日目:7月13日 10:00-12:00 学力試験(1)英語・数学/13:30-15:30 学力試験(2)化学・生物/16:30-17:30 適性試験(1) 筆記試験 2日目:10:00-18:00 適性試験(2) 面接 最終:7月25日 https //ac.tsukuba.ac.jp/wp/wp-content/uploads/2024/04/R7_hennyu.pdf(2024.04.11) ※TOEFL iBT,TOEIC,IELTS のいずれかを受験している者 は そのスコア提出もあり(必須ではない) 滋賀(概略) 出願:8月26日-30日 1次:9月28日 発表:10月10日 2次:10月22日 最終:11月29日 https //www.shiga-med.ac.jp/admission/undergraduate/schedule-of-examinations(2024.04.11反映) ※募集要項公表:6月下旬予定 福井(概略) 募集人員: 出願:7月8日-12日 1次:8月31日 発表:9月20日 2次:書類選考 最終:11月22日 https //www.u-fukui.ac.jp/user_admission/examination/essential_point/info_trans/(2024.04.11反映) 浜松(概略) 1次:8月31日 2次:10月19日 https //www.hama-med.ac.jp/admission/faculty/scedule.html(2024.04.03反映) 大分 試験日平日! 募集人員:10名 出願:4月22日‐26日 17時郵送必着・26日のみ持参可 1次:書類 発表:6月7日 2次:6月18日 10:00-12:00 生命科学に関する総合問題/13:30-15:00 英語 発表:7月10日 3次:7月29日 9:00-17:00 個人面接と発表、グループディスカッション 最終:8月19日 配点:1次書類 100/2次 300-生命科学 200、英語 100/3次 300-個人面接 150、発表およびグループディスカッション 150 https //www.oita-u.ac.jp/000061415.pdf(2024.03.18) 阪大 TOEFL-iBT or TOEIC R L 必須 募集人員:10名 出願:6月3日-7日 郵送必着(5日消印有効) 1次:7月6日 10:00-11:30 物理学/12:30-14:00 化学/14:30-16:30 生命科学 発表:7月18日 2次:7月27日 10:00-11:30 小論文/13:00- 面接 最終:8月13日 配点:物理学 100、化学 100、生命科学 150、英語 換算表使用(要項10P)/小論文 50、面接 50 https //www.med.osaka-u.ac.jp/wp-content/uploads/2024/03/R7_gakushihennyuu_admissionguideline.pdf(2024.03.18反映) 名古屋 1次・2次ともに試験日平日! IELTS、TOEFL-iBT、TOEICいずれか必須 募集人員:4名 出願:5月1日-9日 16時郵送必着 1次:6月6日 10:00-11:30 生命科学を中心とする自然科学/英語は外部試験のみ 換算表による評価(要項9ページ) 発表:6月14日 2次:7月4日 10:00-11:30 小論文/13:00- 面接 最終:7月19日 https //www.med.nagoya-u.ac.jp/medical_J/admission/pdf/c818cc045446ed141ea81aa8887b55fdb0267a59.pdf(2024.03.07) 医科歯科 1次・2次ともに試験日平日! TOEFL iBT 80以上必須 募集人員:5名 出願:Web出願サイト登録期間 5月13日-17日 15時/書類提出:5月13日-17日 17時郵送必着 1次:6月12日 9:30-11:00 自然科学総問題(英語により出題する場合がある) 発表:6月24日 2次:7月10日 面接 (時間は後日通知する) 最終:7月24日 https //www.tmd.ac.jp/files/topics/38214_ext_04_3.pdf(発表2024.02.16、反映03.05) 鹿児島 TOEFL iBT(Home Edition 可)64以上 もしくは TOEIC L&R 720以上 募集人員:10名 出願:5月7日-10日 17時郵送必着 10日のみ持参可 1次:6月1日 9:00-11:30 学力試験 発表:6月14日 2次:7月6日 9:00- 個別面接 最終7月16日 配点:1次 400、2次 100 合計 500 https //www.kufm.kagoshima-u.ac.jp/~med/images/contents/2024%E5%B9%B4%E5%BA%A6_%E5%8C%BB%E5%AD%A6%E7%A7%91%E5%AD%A6%E5%A3%AB%E7%B7%A8%E5%85%A5%E5%AD%A6%E5%8B%9F%E9%9B%86%E8%A6%81%E9%A0%85%E7%A2%BA%E5%AE%9A.pdf(発表2024.02.13、反映03.05) 香川 TOEIC 600以上必須 募集人員:5人 出願:5月7日-17日 17時郵送必着(15日消印有効)・17日のみ持参可 1次:6月8日 14:00-16:30 自然科学総合問題 発表:6月20日 2次:7月7日 9 00- 面接 最終:7月18日 配点:合計 550:TOEIC 150/自然科学総合問題 300/面接 100 https //www.kagawa-u.ac.jp/files/3317/0528/1476/HP20252.pdf(2024.01.26公表/02.01反映) 岡山 TOEFL 60点以上 必須、出願時単位修得要件あり 募集人員:5人 出願:4月10日-19日 17時郵送必着(18日消印有効) 1次:書類選抜 発表:5月27日 2次:6月29日 9:00-10:30 生物学(配点:200)/10:50-11:50 小論文(60)/13:00-15:30 面接(180) 最終:7月22日 配点再掲:生物学 200/小論文 60/面接 180 https //oumed.okayama-u.ac.jp/med/wp-content/uploads/sites/2/2024/01/00_Application-Guide.pdf(2024.01.09) ※TOEFL:Home Edition(自宅受験)によるスコアも含む 単位修得要件:医学科における教養教育に相当する授業科目 自然科学系科目 (数学,化学,物理学,生物学等) 10単位以上 大学名 試験日平日! TOEFL or TOEIC 必須 募集人員: 出願: 1次:発表: 2次:最終: 2次:発表 3次:最終:
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} #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/touhoukashi/pages/2345.html
【登録タグ Imaginary Night T 天秤亭 幻想の永遠祭 香月ゆか 曲】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
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Exporting to Your Animation Package Once you are happy with the object paths and tracker positions, use the Export menu items to save your scene. The following options are currently available (note that this list is constantly being expanded; check the web site) · 3ds max 4 or later (Maxscript). Should be usable for 3D Studio MAX 3 as well. Separate versions for 3dsmax 5 and earlier, and 3dsmax 6 and later. · After Effects (via a special maya file) · Bentley Microstation · Blender · Carrara · Cinema 4D (via Lightwave scene) · Combustion · ElectricImage (less integrated due to EI import limitations) · FLAIR motion control cameras (Mark Roberts Motion Control) · Flame (3-D) · Fusion 5 · Hash Animation Master. Hash 2001 or later. · Houdini · Inferno 3-D Scene. · Lightwave LWS. Use for Lightwave, Cinema 4D · Maya scene file · Mistika · Motion – 2-D · Nuke (D2 Software, subsidiary of Digital Domain) · Particle Illusion · Poser · Realsoft 3D · Shake (several 2-D/2.5-D plus Maya for 3-D scenes) · SoftImage XSI, via a dotXSI file · Toxik · trueSpace · Vue 5 and 6 Infinite · VIZ (via 3ds Max scene) SynthEyes offers a scripting language, SIZZLE™, that makes it easy to modify the exported files, or even add your own export type. See the separate SIZZLE User Manual for more information. New export types are being added all the time, check the export list in SynthEyes and the support site for the latest packages or beta versions of forthcoming exporters. General Procedures You should already have saved the scene as a SynthEyes file before exporting. Select the appropriate export from the list in the File/Exports area. SynthEyes keeps a list of the last 3 exporters used on the top level of the File menu as well. Hint SynthEyes has many exports. To simplify the list, clickScript/System Script Folder, create a new folder “Unused” in it, and move all the scripts for applications you do not use into that folder. You will have to repeat this process when you later install new builds, however. There is also an export-again option, which repeats the last export performed by this particular scene file, with the most-recently-used export options, without bring up the export-options dialog again to save time for repeated exports. When you export, SynthEyes uses the file name, with the appropriate file extension, as the initial file name. By default, the exported file will be placed in a default export folder (as set using the preferences dialog). In most cases, you can either open the exported file directly, or if it is a script, run the script from your animation package. For your convenience, SynthEyes puts the exported file name onto the clipboard, where you can paste it (via control-V or command-V) into the open-file dialog of your application, if you want. (You can disable this from the preferences panel if you want.) Note that the detailed capabilities of each exporter can vary somewhat. Some scripts offer popup export-control dialogs when they start, or small internal settings at the beginning of each Sizzle script. For example, 3ds max does not offer a way to set the units from a script before version 6 and the render settings are different, so there slightly different versions for 3dsmax 5 and 6+. Settings in the Maya script control the re-mapping of the file name to make it more suitable for Maya on Linux machines. If you edit the scripts, using a text editor such as Windows’ Notepad, you may want to write down any changes as they must be re-applied to subsequent upgraded versions. Be aware that not all packages support all frame rates. Sometimes a package may interpret a rate such as 23.98 as 24 fps, causing mismatches in timing later in the shot. Or one package may produce 29.96 vs 29.97 in another. Handle image sequences and use frame counts rather than AVIs, QTs, frame times, or drop-frame time codes wherever possible. TheCoordinate System control panel offers an Exportable checkbox that can be set for each tracker. By default, all trackers will be exported, but in some cases, especially for compositors, it may be more convenient to export only a few of the trackers. In this case, select the trackers you wish to export, hit control-I to invert the selection, then turn off the checkbox. Note that particular export scripts can choose to ignore this checkbox. Setting the Units of an Export SynthEyes uses generic units a value of 10 might mean 10 feet, 10 meters, 10 miles, 10 parsecs—whatever you want. It does not matter to SynthEyes. This works because match-moving never depends on the overall scale of the scene. SynthEyes generally tries to export the same way as well—sending its numbers directly as-is to the selected animation or compositing package. However, some software packages use an absolute measurement system where, for instance, Lightwave requires that coordinates in a scene file always be in meters. If you want something else inside Lightwave, it will automatically convert the values. For such software, SynthEyes needs to know what units you consider yourself to be using within SynthEyes. It doesn’t care, but it needs to tell the downstream package the right thing, or pre-scale the values to match your intention. To set the SynthEyes units selection, use the Units setting on the SynthEyes preferences panel. Changing this setting will not change any numbers within SynthEyes; it will only affect certain exports. The exports affected by the units setting are currently these · After Effects (3-D) · Hash Animation Master · Lightwave · 3ds max · Maya · Poser Before exporting to one of these packages, you should verify your units setting. Alternatively, if you observe that your imported scene has different values than in SynthEyes, you should check the units setting in SynthEyes. Hint if you will be exporting to acompositing package, they often measure everything, including 3-D coordinates, in terms of pixels, not inches, meters, etc. Be sure to pick sizes for the scene that will work well in pixels. While you might scale a scene for an actor 2m tall, if you export to a compositor and the actor is two pixels tall that will rarely make sense. Image Sequences Different software packages have different conventions and requirements regarding the numbering of image sequences whether they start at 0 or 1, whether there are leading zeroes in the image number, and whether they handle sequences that start at other numbers flexibly. For example, if you have a shot that originally had frames img1.tif-img456.tif, but you are using only images img100.tif-img150.tif of it, SynthEyes will normally consider it as a 51 frame shot, starting with frame 0 (img100.tif) or, withFirst frame is 1preference on, as frame 1 at img100.tif. Other software sometimes requires that their frame numbers match the file number, so img100.tif must always be frame 100, no matter what frame# they normally start at. SynthEyes gives you the option to pad the beginning of IFLs with extra copies of the first frame, so that the SynthEyes frame number matches the image frame number, by turning on the Match frame# s preference. While this sounds simple, it will cause trouble for many of the exports. It is especially a problem if you do not have the unused frames, as is often the case. By being aware of these differences, you will be able to recognize when your particular situation requires an adjustment to the settings—typically when there is a shift between the camera path animation and the imagery. Generic 2-D Tracker Exporters There are a number of similar exporters that all output 2-D tracker paths to various compositing packages. Why 2-D, you protest? For starters, SynthEyes tracking capabilities can be faster and more accurate. But even more interestingly, you can use the 2-D export scripts to achieve some effects you could not with the compositing package alone. For image stabilizing applications, the 2-D export scripts will average together all the selected trackers within SynthEyes, to produce a synthetic very stable tracker. For corner-pinning applications, you can have SynthEyes output not the 2-D tracker location, but the re-projected location of the solved 3-D point. This location can not only be smoother, but continues to be valideven if the tracker goes off-screen. So suppose you need to insert a painting into an ornate picture-frame using corner pinning, but one corner goes off-screen during part of the shot. By outputting the re-projected 3-D point (Use solved 3-D points checkbox), the corner pin can be applied over the entire shot without having to guess any of the path. Taking this idea one step further, you can create an “extra” point in 3-D in SynthEyes. Its re-projected 2-D position will be averaged with any selected trackers; if there are none, its position will be output directly. So you can do a four-corner pin even if one of the corners is completely blocked or off-screen. By repeating this process several times, you can create any number of synthetic trackers, doing a four-corner insert anywhere in the image, even where there are no trackable features. Of course, you could do this with using a 3-D compositing environment, but that might not be simplest. At present, there are compatible 2-D exporters for AfterEffects, Digital Fusion, Discreet (Combustion/Inferno/Flame), Particle Illusion, and Shake. Note that you will need to import the tracker data file (produced by the correct SynthEyes exporter) into a particular existing tracker in your compositing package. There is also a 2-D exporter that exports all tracker paths into a single file, with a variety of options to change frame numbers and u/v coordinates. A similar importer can read the same file format back in. Consequently, you can use the pair to achieve a variety of effects within SynthEyes, including transferring trackers from SynthEyes file to SynthEyes file, as described in the section onMerging Files and Tracks. This format can also be imported by Fusion. Generic 3-D Exporters There are several 3-D exports that produce plain text files. You can use them for any software SynthEyes don’t already support, for example, non-visual-effects software. You can also use them as a way to manipulate data with little shell, AWK, or Perl scripts, for example. Importantly, you can also use them as a way to transfer data between SynthEyes scene files, for example, to compute some tracker locations to be used by a number of shots. There are several ways to do this, see the section onMerging Files and Tracks. The generic exports are Camera/Object Path for a path, Plain Trackers for the 3-D coordinates of trackers and helper points, and corresponding importers. You can import 3-D locations to create either helper points, or trackers. This latter option is useful to bring in surveyed coordinates for tracking. After Effects 3-D Procedure 1. Export to After Effects in SynthEyes to produce a (special) .ma file. 2. In After Effects, do a File/Import File 3. Change Files of Type to All File Formats 4. Select the .ma file 5. Double-click the Square-whatever composition 6. Re-import the original footage 7. Click File/Interpret Footage/Main and be sure to check the frame rate and pixel aspect. 8. Rewind to the beginning of the shot 9. Drag the re-imported footage from the project window into the timeline as the first layer 10.Tracker nulls have a corner at the active point, instead of being centered on the active point as in SynthEyes. After Effects 2-D Procedure 1. Select one or more trackers to be exported. 2. Export using the After Effects 2-D Clipboard. You can select either the 2-D tracking data, or the 3-D position of tracker re-projected to 2-D. 3. Open the text file produced by the export 4. In the text editor, select all the text, using control-A or command-A. 5. Copy the text to the clipboard with control-C or command-C. 6. In After Effects, select a null to receive the path. 7. Paste the path into it with control-V or command-V. Bentley MicroStation You can exporter to Bentley s Microstation V8 XM Edition by following these directions. Exporting from SynthEyes MicroStation requires that animated backgrounds consist of a consecutive sequence of numbered images, such as JPEG or Targa images. If necessary, the Preview Movie capability in SynthEyes s Perspective window can be used to convert AVIs or MOVs to image sequences. Perform tracking, solving, and coordinate system alignment in SynthEyes. (Exporting coordinates from MicroStation into SynthEyes may be helpful) File/Export/Bentley MicroStation to produce a MicroStation Animation (.MSA) file. Save the file where it can be conveniently accessed from MicroStation. The export parameters are listed below. SynthEyes/MicroStation Export Parameters Target view number. The view number inside MicroStation to be animated by this MSA file (usually 2) Scaling. This is from MicroStation s Settings/DGN File Settings/Working Units, in the Advanced subsection the resolution. By default, it is listed as 10000 per distance meter, but if you have changed it for your DGN file, you must have the same value here. Relative near-clip. Controls the MicroStation near clipping-plane distance. It is a “relative” value, because it is multiplied by the SynthEyes world size setting. Objects closer than this to the camera will not be displayed in MicroStation. Relative view-size.Another option to adjust as needed if everything is disappearing from view in MicroStation. Relative far-clip. Controls the MicroStation far clipping-plane distance. It is a “relative” value, because it is multiplied by the SynthEyes world size setting. Objects farther than this from the camera will not be displayed in MicroStation. Importing into MicroStation Open your existing 3-D DGN file. Or, create a new one, typically based on seed3d.dgn Open the MicroStation Animation Producer from Utilities/Render/Animation File/Import .MSA the .msa file written by the SynthEyes exporter. Set the View Size correctly—this isrequiredto get a correct camera match. Settings/Rendering/View Size Select the correct view # (typically 2) Turn off Proportional Resize Set X and Y sizes as follows. Multiply the height(Y) of your image, in pixels, by the aspect ratio (usually 4 3 for standard video or 16 9 for HD) to get the width(X) value. For example, if your source images are 720x480 with a 4 3 aspect ratio, the width is 480*4/3 = 640, so set the image size to X=640 and Y=480, either directly on the panel or using the “Standard” drop-down menu. This process prevents horizontal (aspect-ratio) distortion in your image. Hit Apply Turn Proportional Resize back on Close the view size tool On the View Attributes panel, turn on the Background checkbox. Bring up the Animation toolbar (Tools/Visualization/Animation) and select the Animation Preview tool. You can dock it at the bottom of MicroStation if you like. If you scrub the current time on the Animation Preview, you’ll move through your shot imagery, with synchronized camera motion. Unless you have some 3-D objects in the scene, you won’t really be able to see the camera motion, however. If desired, use the Tools/3-D Main/3-D Primitives toolbar to create some test objects (as you probably did in SynthEyes). To see the camera cone of the camera imported from SynthEyes, bring up Tools/Visualization/Rendering, and select the Define Camera tool. Select the view with the SynthEyes camera track as the active view in the Define Camera tool, and turn on the Display View Cone checkbox. Transferring 3-D Coordinates If you would like to use within MicroStation the 3-D positions of the trackers, as computed by SynthEyes, you can bring them into MicroStation as follows. You have the option of exporting only a subset of points from SynthEyes to MicroStation. All trackers are exported by default; turn off the Exportable checkbox on the coordinate system panel for those you don’t wish to export. You may find it convenient to select the ones you want, then Edit/Invert Selection, then turn off the box. In SynthEyes, File/Export/Plain Trackers with Set Names=none, Scale=1, Coordinate System=Z Up. This export produces a .txt file listing all the XYZ tracker coordinates. In MicroStation, bring up the Tools/Annotation/XYZ Text toolbar. Click the Import Coordinates tool. Select the .txt file exported from SynthEyes in Step 1. Set Import=Point Element, Order=X Y Z, View=2 (or whichever you are using). Transferring Meshes SynthEyes uses two types of meshes to help align and check camera matches mesh primitives, such as spheres, cubes, etc; and tracker meshes, built from the computed 3-D tracker locations. The tracker meshes can be used to model irregular areas, such as a contoured job site into which a model will be inserted. Both types of models can be transferred as follows In SynthEyes, select the mesh to be exported, by clicking on it or selecting it from the list on the 3-D panel. Select the File/Export/STL Stereolithography export, and save the mesh to a file. In MicroStation, select File/Import STL and select the file written in step 2. You can use the default settings. Meshes will be placed in MicroStation at the same location as in SynthEyes. You can bring up its Element/Information and assign it a material. To Record the Animation Select the Record tool on the Animation toolbar (Tools/Visualization/Animation) Important Be sure the correct (square pixels) output image size is selected, the same one as the viewport size. For example, if your input is 4 3 720x480 DV footage, youMUSTselect640x480output to achieve 4 3 with square pixels (ie 640/480 = 4/3). MicroStation always outputs square pixels. You can output images with any overall aspect you wish, as long as the pixels are square (pixelaspect ratio is 1.0). Note that HD images already have square pixels. Don’t clobber your input images! Be sure to select a different location for your output footage than your input. Blender Directions Blender has a tendency to change around frequently, so the details of these directions might best be viewed more as a guide than the last word. When working with image sequences and blender, it will be a good idea to ensure that the overall frame number is the same as the number in the image file name. Although you can adjust the offset, Blender incorrectly eliminates a frame number of zero. 1. In SynthEyes, export to Blender (Python) 2. Start Blender 3. Delete the default cube and light 4. Change one of the views to the blender Text Editor 5. In the text editor, open the blender script you exported in step 1. 6. Hit ALT-P to run the script 7. Select the camera (usually Camera01) in the 3-D Viewport 8. In a 3-D view, select Camera on the View menu to look through the imported, animated, SynthEyes camera 9. Select View/Background image 10.Click Use Background Image 11.Select your image sequence or movie from the selection list. 12.Adjust the background image settings to match your image. Make sure the shot length is adequate, and that Auto Refresh is on. If the images and animation do not seem to be synced correctly, you probably have to adjust the offset. 13.Decrease the “blend” value to zero, or you can go without the background, and set up compositing within blender. 14.On the View Properties dialog, you might wish to turn off Relationship Lines to reduce clutter. 15.Use a Timeline view to scrub through the shot. Cinema 4D Procedure 1. Export from SynthEyes in Lightwave Scene format (.lws) — see below. 2. Start C4D, open the .lws file 3. From the Objects menu, add a Background 4. Create a new Texture with File/New down below. 5. At right, click on “…” next to the file name for texture. 6. Select your source file. 7. Click on the right-facing triangle button next to the file name, select Edit. 8. Select the Animation panel 9. Click the Calculate button at the bottom. 10.Drag the new texture from the texture editor onto the “Background” on the object list. Background now appears in the viewport. DotXSI Procedure 1. In SynthEyes, after completing tracking, do File/Export/dotXSI to create a .xsi file somewhere. 2. Start Softimage, or do a File/New. 3. File/Import/dotXSI... of the new .xsi file from SynthEyes. The options may vary with the XSI version, but you want to import everything. 4. Set the camera to Scene1.Camera01 (or whatever you called it in SynthEyes). 5. Open the camera properties. 6. In the camera rotoscopy section, select New from Source and then the source shot. 7. Make sure “Set Pixel Ratio to 1.0” is on. 8. Set “Use…” pixel ratio to “Camera Pixel Ratio” (should be the default) 9. In the Camera section, make sure that Field of View is set to Horizontal. 10.Make sure that the Pixel Aspect Ratio is correct. In SynthEyes, select Shot/Edit Shot to see the pixel aspect ratio. Make sure that XSI has the exact same value 0.9 isnota substitute for 0.889, so fix it! Back story XSI does not have a setting for 720x480 DV, and 720x486 D1 causes errors! 11.Close the camera properties page. 12.On the display mode control (Wireframe, etc), turn on Rotoscope. ElectricImage The ElectricImage importer relies on a somewhat higher level of user activity than normal, in the absence of a scripting language for EI. You can export either a camera or object path, and its associated trackers. 1. After you have completed tracking in SynthEyes, select the camera/object you wish to export from the Shots menu, then select File/Export/Electric Image. SynthEyes will produce two files, an .obm file containing the trajectory, and an .obj file containing geometry marking the trackers. 2. In ElectricImage, make sure you have a camera/object that matches the name used in SynthEyes. Create new cameras/objects as required. If you have Camera01 in SynthEyes, your camera should be Camera 1 in EI. The zero is removed automatically by the SynthEyes exporter. 3. Go to the Animation pull-down menu and select the Import Motion option. 4. In the open dialog box, select All Files from the Enable pop-up menu, so that the .obm file will be visible. 5. Navigate to, and select, the .obm file produced by SynthEyes. This will bring up the ElectricImage motion import dialog box which allows you to override values for position, rotation, etc. Normally, you will ignore all these options as it is simpler to parent the camera/object to an effector later. The only value you might want to change is the start time to offset when the camera move begins. Click OK and you will get a warning dialog about the frame range. This is a benign warning that sets the range of frames rendering option to match the length of the incoming camera data. Hitting cancel will abort the operation, so hit OK and the motion data will be applied to the camera. 6. Select Import Object from the Object pull-down menu. 7. Enable All Files in the pop-up menu. 8. Select the .obj file produced by SynthEyes. 9. Create a hierarchy by selecting one tracker as the parent, or bringing in all trackers as separate objects. 10.If you are exporting an object path, parent the tracker object to the object holding the path. Fusion 5 There are several Fusion-compatible exporters. The main exporter is the Fusion 5 composition export, which can be opened directly in Fusion. The Tracker 2-D Paths export can write all the exportable trackers to a text file, which can then be read in Fusion with the Import SynthEyes Trackers script and assigned to any Point-type input on a node. Select a node and start the Import script from its right-click menu. At present, it appears that you should animate the desired control before importing, then tell the script to proceed anyway when it notices that the control is already animated. There is also a generic 2-D path exporter for Fusion. Houdini Instructions 1. File/New unless you are addding to your existing scene. 2. Open the script Textport 3. Typesource c /shots/scenes/flyover.cmd or equivalent. 4. Change back from COPs to OBJs. Lightwave The Lightwave exporter produces a lightwave scene file (.lws) with several options, one of them crucial to maintaining proper synchronization. As mentioned earlier, Lightwave requires a units setting when exporting from SynthEyes. The SynthEyes numbers are unitless by changing the units setting in the lightwave exporter as you export, you can make that 24 in SynthEyes mean 24 inches, 24 feet, 24 meters, etc. This is different than in Lightwave, where changing the units from 24 inches would yield 2 feet, 0.61 meters, etc. This is the main setting that you may want to change from scene to scene. Lightwave has an obscure preferences-like setting on its Compositing panel (on the Windows menu) named “Synchronize Image to Frame.” The available options are zero or one. Selecting one shifts the imagery one frame later in time, and this is the Lightwave default. However, for SynthEyes, a setting of zero will generally be more useful (unless the SynthEyes preferenceFirst Frame is 1is turned on). The Lightwave exporter from SynthEyes allows you to select either 0 or 1. We recommend selecting zero, and adjusting Lightwave to match. You will only have to do this once, Lightwave remembers it subsequently. In all cases, you must have a matching value on the exporter UI and in Lightwave, or you will cause a subtle velocity-dependent error in your camera matches in Lightwave that will drive you nuts until you fix the setting. The exporter also has a checkbox for using DirectShow. This checkbox applies only for AVIs, and should be on for most AVIs that contain advanced codecs such as DV or HD. If an AVI uses an older codec and is not opened automatically within Lightwave, export again with this checkbox turned off. Nuke The nuke exporter produces a nuke file you can open directly. The pop-up parameter panel lets you indicate if you have a slate frame at the start of the shot, or select renderable or non-rendering tracker marks. The renderable marks are better for tracking, the non-rendering marks better for adding objects within Nuke s 3-D view. Poser Poser struggles a little to be able to handle a match-moved camera, so the process is a bit involved. Hopefully Curious Labs will improve the situation in further releases. The shot must have square pixels to be used properly by Poser; it doesn t understand pixel aspect ratios. So if you have a 720x480 DV source, say, you need to resample it in SynthEyes, AfterEffects or something to 640x480. Also, the shot has to have a frame rate of exactly 30 fps. This is a drag since normal video is 29.97 fps, and Poser thinks it is 29.00 fps, and trouble ensues. One way to get the frame rate conversion without actually mucking up any of the frames is to store the shot out as a frame sequence, then read it back in to your favorite tool as a 30 fps sequence. Then you can save the 640x480 or other square-pixel size. Note that you can start with a nice 720x480 29.97 DV shot, track it in SynthEyes, convert it as above for Poser, do your poser animation, render a sequence out of Poser, then composite it back into the original 720x480. One other thing you need to establish at this time---exactly how many frames there are in your shot. If the shot ranges are 0 to 100, there are 101; from 10 to 223, there are 214. 1. After completing tracking in SynthEyes, export using the Poser Python exporter. 2. Start Poser. 3. Set the number of frames of animation, at bottom center of the Poser interface, to the correct number of frames. It is essential that you do this now, before reading the python script 4. File/Run Python Script on the python script output from SynthEyes. 5. The Poser Dolly camera will be selected and have the SynthEyes camera animation on it. There are little objects for each tracker, and also SynthEyes boxes, cones, etc are brought over into Poser. Open Question How to render out of Poser with the animated movie background. The best approach appears to be to render against black with an alpha channel, then composite over the original shot externally. Shake SynthEyes offers three specific exporters for Shake, plus one generic one 1. MatchMove Node. 2. Tracker Node 3. Tracking File format 4. 3-D Export via the “AfterFX via .ma” or Maya ASCII exports. The first two formats (Sizzle export scripts) produce shake scripts (.shk files); the third format is a text file. The fourth option produces Maya scene files that Shake reads and builds into a scene using its 3-D camera. We’ll start with the simplest, the tracking file format. Select one tracker and export with the Shake Tracking File Format, and you will have a track that can be loaded into a Shake tracker using the load option. You can use this to bring a track from SynthEyes into existing Shake tracking setups. Building on this basis, #2, Tracker Node, exports one or more selected trackers from SynthEyes to create a single Tracker Node within Shake. There are some fine points to this. First, you will be asked whether you want to export the solved 3-D positions, or the tracked 2-D positions. These values are similar, but not the same. If you have a 3-D solution in SynthEyes, you can select the solved 3-D positions, and the export will be the “ideal” tracked (predicted) coordinates, with less jitter than the plain 2-D coordinates. Also, since you might be exporting from a PC to a Mac or Linux machine, the image source file(s) may be named differently perhaps X \shots1\shot1_#.tga on the PC, and //macmachine/Users/tom/shots/shot1_#.tga on the PC. The Shake export script s dialog box has two fields, PC Drive and Mac Drive, that you can set to automatically translate the PC file name into the Mac file name, so that the Shake script will work immediately. In this example, you would set PC Drive to “X \\” and Mac Drive to “//macmachine/Users/tom/”. Finally, the MatchMove node exporter looks not for trackers to export, but for SynthEyes planes! Each plane (created from the 3-D panel) is exported to Shake by creating four artificial trackers (in Shake) at the corners of the plane. The matchmove export lets you insert a layer at any arbitrary position within the 3-D environment calculated by SynthEyes. For example, you can insert a matte painting into a scene at a location where there is nothing to track. You can use a collection of planes, positioned in SynthEyes, to obtain much of the effect of a 3-D camera. The matchmove node export also provides PC to Mac/Linux file name translation. trueSpace Directions Warning trueSpace has sometimes had problems executing the exported script correctly. Hopefully Caligari will fix this soon. 1. In SynthEyes, export to trueSpace Python. 2. Open trueSpace. 3. Right-click the Play button in the trueSpace animation controls. 4. Set the correct BaseRate/PlayRate in the animation parameters to match your source shot. 5. Open the Script Editor. 6. From inside the Script Editor, Open/Assign the python script you created within SynthEyes. 7. Click Play (Time On) in the Script Manager. 8. When the Play button turns off, close the ScriptManager. 9. Open the Object Info panel. 10.Verify that the SynthEyes camera is selected (usually Camera01). 11.Change the Perspective view to be View from Object. 12.Select the Camera01Screen. 13.Open the Material Editor (paint pallete). 14.Right click on Color shaders button. 15.Click on (Caligari) texture map, sending it to the Material Editor color shader. 16.Open the subchannels of the Material Editor (Color, Bump, Reflectance). 17.On the Color channel of the Material Editor, right click on the Get Texture Map button and select your source shot. 18.Check the Anim box. 19.Click the Paint Object button on the Material Editor. 20.Click on File/Display Options and change the texture resolution to 512x512. 21.You may want to set up a render background to overlay animated objects on the background, or you can use an external compositing program. Make the Camera01Screen object invisible before rendering. 22.In trueSpace, you need to pay special attention to get the video playback synchronized with rest of the animation, and to get the render aspect ratio to match the original. For example, you must add the texture map while you are at frame zero, and you should set the pixel aspect ratio to match the original (SynthEyes s shot panel will tell you what it is). Vue 5 Infinite The export to Vue Infinite requires a fair number of manual steps pending further Vue enhancements. But with a little practice, they should only take a minute or two. 1. Export from SynthEyes using the Vue 5 Infinite setting. The options can be left at their default settings unless desired. You can save the python script produced into any convenient location. 2. Start Vue Infinite or do a File/New in it. 3. Select the Main Camera 4. On its properties, turn OFF Always keep level 5. Go to the animation menu, turn ON the auto-keyframe option. 6. Select the Python/Run python script menu item, select the script exported from SynthEyes, and run it. 7. In the main camera view, select the Camera01 Screen object (or the equivalent if the SynthEyes camera was renamed) 8. In the material preview, right-click, select Edit Material. 9. The material editor appears, select Advanced Material Editor if not already. 10.Change the material name to flyover or whatever the image shot name is. 11.Select the Colors tab. 12.Select Mapped picture 13.Click the left-arrow Load icon under the black bitmap preview area 14.In the Please select a picture to load dialog, click the Browse File icon at the bottom --- a left arrow superimposed on a folder 15.Select your image file in the Open Files dialog. If it is an image sequence, select the first image, then shift-select the last. 16.On the material editor, under the bitmap preview area, click the clap-board animation icon to bring up the Animated Texture Options dialog 17.Set the frame rate to the correct value. 18.Turn on Mirror Y 19.Hit OK on the Animated Texture dialog 20.On the drop-down at top right of the Advanced Material Editor, select a Mapping of Object- Parametric 21.Turn off Cast shadows and Receive shadows 22.Back down below, click the Highlights tab 23.Turn Highlight global intensity down to zero. 24.Click on the Effects tab 25.Turn Diffuse down to zero 26.Click the Ambient data-entry field and enter 400 27.Hit OK to close the Advanced Material Editor 28.Select the Animation/Display Timeline menu item (or hit F11) 29.If this is the first time you have imported from SynthEyes to Vue Infinite, you must perform the following steps a. Select File/Options menu item. b. Click the Display Options tab c. Turn off Clip objects under first horizontal plane in main view only , otherwise you will not be able to see the background image. d. Turn off Clip objects under first horizontal plane (ground / water) e. Turn off Stop camera going below clipping plane (ground / water) if needed by your camera motion. f. Hit OK 30.Delete the Ground object 31.If you are importing lights from SynthEyes, you can delete the Sun Light as well, otherwise, spin the Sun Light around to point at the camera screen, so that the image can be seen in the preview window. 32.You may have to move the time bar before the image appears. Vue Infinite only shows the first image of the sequence, so you can verify alignment at frame zero. 33.You will later want to disable the rendering of the trackers, or delete them outright. 34.Depending on what you are doing, you may ultimately wish to delete or disable the camera screen as well, for example, if you will composite an actor in front of your Vue Infinite landscape. 35.The import is complete; you can start working in Vue Infinite. You should make probably save a copy of the main camera settings so that you can have a scratch camera available as you prepare the scene in Vue Infinite. Vue 6 Infinite Export from SynthEyes using the Vue 6 Infinite option, producing a maxscript file. Import the maxscript file in Vue 6 Infinite Adjust the aspect ratio of the backdrop to the correct overall aspect ratio for your shot. This is important since Vue assumes square pixels, and if they aren’t (for all DV, say), the camera match will be off badly