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ロム焼き最後でflash出来ない。 -- (ad) 2011-09-30 02 07 58 手順３番のように出力されません。’adb’ha -- (ゆう) 2012-05-31 08 07 01
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Cusumano_M_A Gawer_A platform strategy platform title How companies become platform leaders authers Gawer, A. and Cusumano, M.A. bibtex @article{GawerCusumano2008how, title={{How companies become platform leaders}}, author={Gawer, A. and Cusumano, M.A.}, journal={MIT Sloan management review}, volume={49}, number={2}, pages={28--35}, year={2008} } format for references 経営情報学会 Gawer, A. and Cusumano, M. A. “How companies become platform leaders”, MIT Sloan management review, Vol.49, No.2, 2008, pp. 28-35. CIRIEC Japan Gawer, A. and Cusumano, M. A. [2008] 「How companies become platform leaders」『MIT Sloan management review』49巻2号, pp. 28-35. LNBIP Gawer, A. and Cusumano, M. A. How companies become platform leaders”, MIT Sloan management review. vol.49, no.2, pp. 28--35. (2008) abstract memo These markets require distinctive com- petitive strategies because the products are parts of systems that combine core components made by one company with complements usually made by a variety of compa- nies. The busi- ness challenges include either making key complements or introducing incentives for third-party companies to create the complementary innovations necessary to build market momentum and defeat competing platforms. Our strategic recommendations consist of two basic approaches. One strategy, “coring,” addresses the challenges of creating a new platform where one has not existed before. “Coring” is the set of activities a company can use to identify or design an element (a technology, a product or a service) and make this element fundamental to a technological system as well as to a market. The platform leader must create economic incentives for ecosys- tem members to invest in creating complementary innovations and to keep doing so over time. In addition, platform-leader wannabes need to protect their ability to profit financially from their innovations, just as any innovator company should. The balancing act — protecting one’s sources of profit while enabling complementors to make an adequate profit and protect their own proprietary knowledge — is perhaps the greatest challenge to platform leadership. example1 Google s search technology make browser venders to implement their service to toolbar example2 Qualcomm s CDMA technology 3 EMC s WideSky Coring Strategic Option How to create a new platform where none existed before Technology Actions to Consider • Solve an essential “system” problem • Facilitate external companies’ provision of add-ons • Keep intellectual property closed on the innards of your technology • Maintain strong interdependencies between platform and complements Business Actions to Consider • Solve an essential business problem for many industry players • Create and preserve complementors’ incentives to contribute and innovate • Protect your main source of revenue and profit • Maintain high switching costs to competing platforms The second strategy, “tipping,” tackles the problem of how to win platform wars by building market momentum.1 For a dom- inant standard and a platform leader to emerge from such standards wars, the markets have to “tip” in favor of a particular technology standard or platform embodying that standard. “Tip- ping” is the set of activities or strategic moves that companies can use to shape market dynamics and win a platform war when at least two platform candidates compete. com- panies should try to gain control over an installed base, broadly license their intellectual property and facilitate partner invest- ments in complementary innovation. see this reference @book{ShapiroVarian1999information, title={{Information rules a strategic guide to the network economy}}, author={Shapiro, C. and Varian, H.R.}, year={1999}, publisher={Harvard Business School Press} } Platform-leader wannabes should also invest in building brand equity as well as manufac- turing, distribution or service capabilities to signal support of the platform. Pricing is another useful strategic weapon,,,, At the opposite extreme, trying to stimulate demand through low or zero pricing for all or part of a platform system can de-stroy the business model for complementors. But there is another powerful way to accomplish tipping “tip- ping across markets,” which others have called “platform envelopment.”10 Tipping across markets occurs when a company crosses over the boundary of its existing market to absorb techni- cal features from an adjacent market and bundle them to extend the company’s platform. see this reference @article{EisenmannEtAl2006strategies, title={{Strategies for two-sided markets}}, author={Eisenmann, T. and Parker, G. and Van Alstyne, M.W.}, journal={Harvard business review}, volume={84}, number={10}, pages={92}, year={2006} } cases Linux for servers, Internet Explorer Tipping Strategic Option How to win platform wars by building market momentum Technology Actions to Consider • Try to develop unique, compelling features that are hard to imitate and that attract users • Tip across markets absorb and bundle technical features from an adjacent market Business Actions to Consider • Provide more incentives for complemen- tors than your competitors do • Rally competitors to form a coalition • Consider pricing or subsidy mechanisms that attract users to the platform There is an important difference between a product and an industry platform. this paper is written about "industry platform" examples; microsoft vs Apple s machintosh, video game consoles because Apple did not open the Mac’s architecture and software to third-party complementors and licensees. We believe that coring is a possible option for any company because technology and architectural leadership do not directly depend on the size of the company. no for web application switching cost of web app is much less than OS or hardware, because it can be used only by accessing certain URI. cited as {Cusumano2010staying Annabelle Gawer and I considered this issue in a recent article and conclueded that, for a product or component technology to have platform potential it should satisfy two conditions. GawerCusumano2008companies First, the product or technology should perform at least one essential function as part of a "system", like the scanning mechanism and playback format in a home video recorder, or the operating software and microprocessor hardware in a personal computer. The function is esencial if it solves a critical system-related problem for the industry, such as how to encode video signals or control the operations of a personal computer or a smartphone. Second, the product or technology should be relatively easy for other companies to connect to with their own products, components, or services in order to improve or expand the functionality of the overall platform system, for both intended and unexpected uses.
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レイヤーエフェクト カラーライズ Colorize / カラーライズの解説： レイヤーに存在するピクセルに対して一括で着色を施します。すでにある内容に色を被せるため、「カラーオーバーレイ」とも呼ばれます。 レイヤーエフェクトなのでレイヤー内にピクセルがペイントされていなければ何も起こらない 白黒写真をカラー化するといった意味合いではなく、単純な着色。 レイヤーエフェクトとアニメーションが同じレイヤーパネルで扱われる以上、このエフェクトをアニメーションとして活用するには（Pixelmashだけで作業を完結させようとするなら）無駄に遠回りをさせられることになる。不憫いや不便。 任意の単色カラーを指定し、Amountスライダーで着色具合を調整する。 ColoringStyle 「着色オプション」次の２つから選べる Solid：Amountスライダーで設定したカラーで着色する度合い（強弱）を調整する。着色透明度の調整とほぼ同義。乗算ペイントではないので100%（スライダー最大）にするとすべてがその色に置き換わる。 Hue：Amountスライダーが色相の変更として機能する。Amountスライダーを左から右へ動かすと、重ね塗りの内容が色相を変えながらオーバーレイカラーとして指定した色へ近づいていくという挙動になる。 ちょっと色合いの変化を試すぶんにはamountスライダーをいじるのはいいが、まわりくどくて管理しにくいので、最初から着色カラーを目的のものにして常にAmount 最大でその色にオーバーレイしたほうが何かと安全だと思われる（作例のようにレイヤーエフェクトごと内容をコピペして各レイヤーごとにレイヤー名を入力して色付けを管理するなら） ※ちなみにこの画像というかpmfファイルは、「公式がハウツービデオでエフェクトの紹介・説明用にいじって見せているくせにそのファイルをダウンロードできるよう用意してない」ため、管理人が動画を参考にドキュメント/レイヤー分け/エフェクトの構造を忠実に再現して「wiki独自チュートリアル」コーナーでみんながいじって試せるように置いているものを説明用に流用している（みんなも使おう）。 -ついでに公式は日和ったのかバ○ルボ○ルに中途半端に似せている宝石を並べてたので、失うものがなにもない管理人のオマージュ愛でより完パクなドット絵にしておきました。Nevercenterは他にも魔○村とかが好きなようです 青空と建物の風景に着色/色相変更して夕方にする、白黒にうっすら着色して好みのセピア色調にする、耐久力のある敵キャラに与ダメに応じて赤・赤黒を着色する…など、着色を活用するシーンは色々考えられるが、普通はスクリプトでリアルタイム制御することがほとんどだろう。 Pixelmashだけ所有していて、これでお絵描きを楽しむぶんには、あるとうれしい機能には違いない。それだけに、レイヤーパネル内での統合という呪縛がアニメーション制作時に影を落とす。このツールの開発者はFLASHとかAnimateCCとか触ったことないのだろうか
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Color of Life サークル：XL Project Number Track Name Arranger Lyrics Vocal Original Works Original Tune Length 1 Introduction estha - - Original - [01 03] 2 December Sky estha estha Nachi Sakaue 東方文花帖 風神少女 [08 35] 3 Newshound ziki_7 - - ダブルスポイラー ニュースハウンド [05 52] 4 Vanishing point ziki_7 - - 東方永夜抄 懐かしき東方の血 ～ Old World [06 25] 5 Sky Dream sonoa mintea mintea 東方星蓮船 空の帰り道 ～ Sky Dream [05 23] 6 Yearn ziki_7 - - 東方風神録 少女が見た日本の原風景 [06 13] 7 Infinite Sunshine estha mintea mintea ダブルスポイラー 無間の鐘 ～ Infinite Nightmare [07 17] 詳細 コミックマーケット78(2010/08/14)にて初頒布 イベント価格：1,000円 ショップ価格：1,260円(税込) レビュー 名前 コメント
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Aeanoid Antlephore Anyu Archan Bovyne Bumbus Cadogre Celinox Chai Charlie Chelon Clawsion Cybill Darkonite Demi Devonti Dillema Donadak Dragarth Endeavor Escalade Feli Fester Ghostly Harvester Hikei Hipottu Illumis Irion Jollin Kanis Keeto Kerubi Kora Kumos Lain Lasirus Legeica Magnus Mahar Mallarchy Malticorn Manchu Montre Mortking Ontra Paralix Pherret Popoko Priggle Rreign Ruffie Serpenth Sheeta Swampie Telenine Terracoon Tigrean Torrent Torrey Tutani Velosotor Warador Wyllop
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Aeanoid Antlephore Anyu Archan Bovyne Bumbus Cadogre Celinox Chai Charlie Chelon Clawsion Cybill Darkonite Demi Devonti Dillema Donadak Dragarth Endeavor Escalade Feli Fester Ghostly Harvester Hikei Hipottu Illumis Irion Jollin Kanis Keeto Kerubi Kora Kumos Lain Lasirus Legeica Magnus Mahar Mallarchy Malticorn Manchu Montre Mortking Ontra Paralix Pherret Popoko Priggle Rreign Ruffie Serpenth Sheeta Swampie Telenine Terracoon Tigrean Torrent Torrey Tutani Velosotor Warador Wyllop
https://w.atwiki.jp/subeta/pages/99.html
Aeanoid Antlephore Anyu Archan Bovyne Bumbus Cadogre Celinox Chai Charlie Chelon Clawsion Cybill Darkonite Demi Devonti Dillema Donadak Dragarth Endeavor Escalade Feli Fester Ghostly Harvester Hikei Hipottu Illumis Irion Jollin Kanis Keeto Kerubi Kora Kumos Lain Lasirus Legeica Magnus Mahar Mallarchy Malticorn Manchu Montre Mortking Ontra Paralix Pherret Popoko Priggle Rreign Ruffie Serpenth Sheeta Swampie Telenine Terracoon Tigrean Torrent Torrey Tutani Velosotor Warador Wyllop
https://w.atwiki.jp/subeta/pages/110.html
Aeanoid Antlephore Anyu Archan Bovyne Bumbus Cadogre Celinox Chai Charlie Chelon Clawsion Cybill Darkonite Demi Devonti Dillema Donadak Dragarth Endeavor Escalade Feli Fester Ghostly Harvester Hikei Hipottu Illumis Irion Jollin Kanis Keeto Kerubi Kora Kumos Lain Lasirus Legeica Magnus Mahar Mallarchy Malticorn Manchu Montre Mortking Ontra Paralix Pherret Popoko Priggle Rreign Ruffie Serpenth Sheeta Swampie Telenine Terracoon Tigrean Torrent Torrey Tutani Velosotor Warador Wyllop
https://w.atwiki.jp/techsure/pages/37.html
このページはhttp //www.vgleaks.com/durango-sound-of-tomorrow/からの引用です Xbox One (Durango) Sound of Tomorrow One of the few components that remain unveiled inXbox One(Durango)is thesound block. This article is intended to describe this important part inside the system. Xbox One (Durango) audio architecture seeks a balance between the successes and tradeoffs of previous generation platforms while anticipating the increasing technical needs of next-generation implementations. It provides hardware-accelerated pathways for the most common aspects of audio rendering—compression, mixing, filtering, and so on—on a large number of concurrent voices. The architecture also provides a shared resource model for software processing consumption, allowing each individual title to select what and how much custom signal manipulation to apply in CPU utilization. Audio Architectural Overview In addition to general CPU power (which can be used for decoding, synthesis, rendering, and so on), Durango provides several hardware components dedicated to audio processing. The audio hardware components can address the entire unified memory space. Here you can see the hardware-accelerated audio components The SHAPE (Scalable Hardware Audio Processing Engine) block comprises the majority of audio functionality, although the other processors also contribute significant features. SHAPE (Scalable Hardware Audio Processing Engine) The core hardware dedicated to audio processing is SHAPE. It is designed to perform many of the basic operations commonly required on a per-voice basis. This hardware allows a developer to reduce CPU impact—even for high polyphony and complex-signal routings—and still provide the flexibility of SHAPE/CPU data interchange if a title chooses to perform custom digital signal processing, analysis, or software synthesis. SHAPE operates on blocks of 128 samples, where each sample supports 24-bit integer resolution (or 32-bit float when used by the CPU). At 48 kHz, this represents a 2.67 ms audio frame, providing increased timing resolution and decreased latency compared with theXbox 360256 sample block size. SHAPE offers six fixed function blocks focused on common audio tasks 1. XMA Decoder Concurrent decodes of 512 XMA format voices. XMA is a perceptual codec developed for Xbox 360 offering user-tunable quality and typically providing between 6 1 and 14 1 compression. 2. SRC A high-quality dedicated polyphase sample rate conversion block allowing for high performance and high-quality frequency resampling of 512 mono channels of audio data (whether for format conversion, Doppler effect, or pitch variation). 3. Mix Buffers Dedicated accumulators for 128 in-place mix channels without needing to access memory, and with additional channels available virtually. These mix buffers also provide coarse metering and clipping detection for debugging and monitoring. 4. FLT/VOL A module providing both volume scaling and a state variable filter implementation for more than 2,500 voices/mixes, analogous to the software-exposed XAudio2 per-voice filter available on Windows and Xbox 360. The filter can provide low pass, high pass, band pass, or notch filtering, and exposes Q and cutoff/center frequency parameters. It is used most commonly for distance and occlusion modeling. 5. EQ/CMP A module providing up to 512 channels of 3-band equalization and dynamic range compression. The EQ is comprised of three serially cascaded biquad filters. The compressor has a hard-knee response, and supports both side chain and expander functionality. 6. DMA SHAPE has dedicated DMA hardware for transferring audio data to and from the unified memory space. This enables scenarios that include transfer without a sample-rate converter, transferring final mix channels, and CPU-based processing in the middle of a SHAPE-based audio graph. Playback of a typical audio graph is expected to use each of these processors extensively. ACP (Audio Control Processor) The ACP provides state management and scheduling of all other audio hardware components on the North Bridge. CPU involvement in intra-frame processing and the synchronization/latency it might introduce is unnecessary. ASP (AudioScalarProcessor) The ASP supports scalar float and vector integer operations. Voice chat codecs—both those that manage wireless communication between a voice chat headset and the console, and those that are used to compress/decompress voice data for networked voice communication—are provided in hardware. Additionally, this processor supports xWMA format decompression in hardware; on Xbox 360, xWMA was solely a CPU-side decode option AVP (Audio Vector Processor) The AVP supports vector float operations, and is designed primarily for MEC (multichannel echo cancellation) and other noise reduction for the next-generation Kinect audio input. It supports both speech recognition and chat/arbitrary audio input use. MEC and other noise reduction processing allow for a more intelligible stream of the player’s spoken audio data even from a far talk microphone that is typically positioned closer to the output speakers than to the player. Audio and Durango Hardware Durango’s audio output pipeline eliminates the DAC (digital-to-analog converter) found in previous generation consoles. All audio is output strictly in the digital realm either through HDMI 1.4a or as S/PDIF optical output. HDMI 1.4a allows for high-fidelity linear 7.1-channel PCM to be transmitted from the console; titles default to an output sampling rate of 48 kHz and a bit depth of 24 bits. Durango is also designed to support up to four simultaneous stereo headset outputs, each of which can represent unique multichannel mixes that are downmixed as required by the output format (for instance, a headset or the S/PDIF output). Durango accepts audio input from a variety of sources the next-generation Kinect microphone array, voice chat headsets, other audio input peripherals, and storage media (whether HDD, flash or from cloud storage). Audio also can be algorithmically generated through CPU-based computation and manipulated in real time on a CPU, through the aforementioned SHAPE hardware components, or both. Compression Formats Durango offers hardware decompression support for both XMA2 and xWMA, both of which provide significant storage, bandwidth, and memory reductions over uncompressed PCM. XAudio2 also offers software support for ADPCM (Adaptive Differential Pulse Code Modulation). Although the computation for the ADPCM format is low overhead, as a non-perceptual codec ADPCM can express noticeable artifacts at lower sampling rates. Format Compression (approximate) Durango Xbox 360 Loop capability PCM None Yes Yes Arbitrary ADPCM 3.5-4 1 (Software) Block aligned XMA2 6-14 1 Yes (512 Hardware) Yes (320 Hardware) 128 sample-aligned xWMA 20-40 1 Yes (Hardware + Software support) Yes (Software only) End to end only, may gap Additional audio formats—for instance, MP3 or OGG—for game assets can be provided through title or middleware software codecs running on a CPU. Audio and the Durango App Model While in the foreground, an application has full access to the SHAPE hardware. When that application is pushed to the background—pinned, picture-in-picture, or other scenarios—it relinquishes hardware control. By default, its hardware state is suspended, and resumes when the title returns to the foreground. This also is true for Exclusive Resource Applications [ERAs] where the software graph is suspended. A title may optionally choose to tear down its audio graph and reconstruct it upon resume. Some titles, particularly Shared Resource Applications [SRAs] that play background music such as streaming radio, may choose to have some aspects of audio continue to play even while paused. For these scenarios, titles should closely evaluate whether to attempt a seamless transition from hardware to software rendering, or to always play audio intended for background playback via a software-only pipeline. This has implications for compression formats and CPU costs. XMA-compressed assets, for example, require the use of SHAPE hardware, and thus will not be decodable for a background application. The XAudio2 audio engine does provide software pathways for many functions if a title chooses to allocate CPU resources. Where practical, these functions mimic hardware capabilities, but some compute intensive processing is either unavailable or is differently implemented in software. Titles transitioning from hardware processing to software processing based on an app’s state may want to consider these differences when planning their audio pipelines. Feature Durango Hardware Capability Durango Software Capability Equivalent? Sample Rate Conversion (SRC) polyphase XAudio2 linear interpolation No Parametric EQ (EQ/CMP) 3-band EQ 3-band EQ, simple one-band, or custom DSP Yes Compressor/Limiter (EQ/CMP) Hard-knee, side chain, and expander capabilities Hard-knee, side chain, and expander capabilities Yes Filtering (FLT/VOL) State variable filter XAudio2 state variable filter, single-pole LPF, or custom DSP Yes Mixing (Mix Buffers) Includes clip detection, metering Software mixing; custom DSP for clip detection or metering Yes (for mixing) Durango Audio Libraries Durango supports two audio rendering APIs for typical game use along with a variant of the Windows 8 Media Foundation API for playback of user music 1. XAudio2, a game-focused audio library already available on Xbox 360 and Windows operating systems (Windows XP to Windows 8), is generally recommended for most title development. 2. WASAPI (Windows Audio Session API) can be used for any custom, exclusively software-implemented pipeline. WASAPI provides audio endpoint functionality only. Decompression, sample-rate conversion, mixing, and digital-signal processing, as well as interactions with Durango’s audio hardware components, must be implemented by the client. WASAPI is most typically used by audio middleware solutions. The Microsoft Cross-Platform Audio Creation Tool (XACT) and DirectSound are not supported in the Durango environment. Titles that previously used these technologies should consider the solutions identified above, or use approved Durango audio middleware options.
https://w.atwiki.jp/sugawara/pages/93.html
Qt Tips class MyWidget public QWidget { Q_OBJECT public MyWidget( QWidget* parent = 0, const char* name = 0 ); ~MyWidget(); protected virtual voidpaintEvent( QPaintEvent* event ); }; .cppファイルをつくる #include QPainter.h #include "MyWidget.h" MyWidget MyWidget( QWidget* parent, const char* name ) QWidget( parent, name ) { } MyWidget ~MyWidget() { } void MyWidget setProperty( const QString key, int value ) { if ( key == "mRow" ) { mRow = value; } else if ( key == "mColumn" ) { mColumn = value; } } void MyWidget paintEvent( QPaintEvent* event ) { QPainter p( this ); p.drawLine( 0, 0, 100, 100 ); ... } designerで Tools - Custom - Edit Custom Widgets... New Widget、Class, Headerfile、Signals, Slots, Propertiesなどを設定する PropertiesにmRow, mColumnをIntで追加する Property Tools - Custom - Edit Custom Widgets... Propertesに追加 ???.cppのコンストラクタでsetProperty( "...", xxx );が呼ばれる Widget側でpublic void setProperty( const QString key, int value );などを実装する キーイベント protected virtual void keyPressEvent( QKeyEvent* event );をオーバーライド 矢印キーはevent- key()の値がQt Key_Right, Qt Key_Left, Qt Key_Up, Qt Key_Down マウスイベント protected virtual void mousePressEvent( QMouseEvent* event ); 以後マウスを追跡するにはここでgrabMouse(); virtual void mouseReleaseEvent( QMouseEvent* event ); grabMouse()している場合はreleaseMouse()する virtual void mouseMoveEvent( QMouseEvent* event ); ボタンを押している間しか発生しない マウスのローカル座標はevent- pos()