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Developments in British Politics H.M. Drucker?Andrew Gamble?Ian Holliday?Gillian Peel? Out of Reach Andrew Swarbrick? Choices in Childbirth Andrew Stanway?Penny Stanway?Anthony Kerins? World Power and World Money The Role of Hegemony and International Monetary Order Andrew Walter? Neurosis in Society Andrew Sims? The Causes of the Present Inflation Andrew Tylecote? The Free Economy and the Strong State Andrew Gamble? Ethnic Cleansing Andrew Bell? Introducing Psychological Research Philip Banyard?Andrew Grayson? Kaleidoscope Andrew Wright?David Betteridge?Nicolas Hawkes?Trevor Stubley?Chris Williamson?Elphin Lloyd-Jones? Property (Issues in Political Theory) Andrew Reeve? Property (Issues in Political Theory) Andrew Reeve? The Transition to Democracy in Paraguay (Latin American Studies) Peter Lambert?Andrew Nickson? The Missing Dimension Christopher M. Andrew?David Dilks? Developing Managerial Information Systems (PBK) Andrew M. McCosh? Kaleidoscope Andrew Wright?David Betteridge?Nicolas Hawkes? Kaleidoscope Andrew Wright?David Betteridge?Nicolas Hawkes? Kaleidoscope Andrew Wright?David Betteridge?Nicolas Hawkes? East-Central Europe After the Cold War Poland, the Czech Republic, Slovakia and Hungary in Search of Security Andrew Cottey? Youth, Culture and Photography (Youth Questions) Andrew Dewdney?Martin Lister? Rural Enterprises in China (Studies on the Chinese Economy) Christopher Findlay?Andrew Watson?Harry X. Wu? Kaleidoscope Andrew Wright?David Betteridge?Nicolas Hawkes? Kaleidoscope Andrew Wright?David Betteridge?Nicolas Hawkes? Kaleidoscope Andrew Wright?David Betteridge?Nicolas Hawkes? Parties and the Party System in France (Free Press Series on Communication, Technology and Society) Andrew Knapp? Free Market Economics a Critical Approach Andrew Schotter? Kaleidoscope Andrew Wright?David Betteridge?Nicolas Hawkes? Free Market Economics Andrew Schotter? Peter the Great and Marlborough Andrew Rothstein? Kaleidoscope Andrew Wright?David Betteridge?Nicolas Hawkes? Theories of International Relations Scott Burchill?Andrew Linklater?Richard Devetak?Matthew Paterson?Jacquie True? Understanding Management Software Andrew Leigh? Britain in Decline Andrew Gamble? The Less Deceived" and "the Whitsun Weddings" by Philip Larkin (Macmillan Master Guides) Andrew Swarbrick? Public Health in Practice Andrew Watterson? The Baby and Child Book Andrew Stanway?Penny Stanway? Introductory Sociology Tony Bilton?Kevin Bonnett?Philip Jones?David Skinner?Michelle Stanworth?Andrew Webster? United States Foreign Policy Towards Southern Africa Andrew Young and Beyond H. E. Newsum? Marcuse Robert B. Pippin?Andrew Feenberg?Charles Webel? The Victorian Historical Novel, 1840-1880 Andrew Sanders? The Literature of War Andrew Rutherford? The Truth of Imagination An Introduction to Visionary Poetry Andrew J. Welburn? Developments in British Politics H.M. Drucker?Andrew Gamble?Ian Holliday?Gillian Peele? Ongka A Self-Account by a New Guinea Big-Man Ongka?Andrew Strathern? Common Security and Strategic Reform A Critical Analysis Andrew Butfoy? Case of Robert Quarry Andrew Garve? Appeasement and Germany's Last Bid for Colonies (Studies in Military Strategic History) Andrew J. Crozier? Accounting Control and Financial Strategy Andrew M. McCosh?Michael J. Earl? Peter the Great and Marlborough Politics and Diplomacy in Converging Wars Andrew Rothstein? Flexible Employment Shirley Dex?Andrew McCulloch? The Powerless People (Warwick University Caribbean Studies) Andrew Sanders? Accounting Control and Financial Strategy Andrew M. McCosh?Michael J. Earl? Hedley Bull on International Society Hedley Bull?Andrew Hurrell?Kai Alderson? Kaleidoscope Andrew Wright?David Betteridge?Nicolas Hawkes? The Ideal of Equality Matthew Clayton?Andrew Williams? Kaleidoscope Andrew Wright?David Betteridge?Nicolas Hawkes? Kaleidoscope Andrew Wright?David Betteridge?Nicolas Hawkes? Trade Mission X12 Dumpbin Andrew Pyper? The Truth of Imagination Owen Barfield?Andrew J. Welburn? Kaleidoscope Stage 1 Units 1-6 Writing Book Andrew Wright?David Betteridge?Nicolas Hawkes? Kaleidoscope Andrew Wright?David Betteridge?Nicolas Hawkes? The Perverted Consciousness Andrew N. Leak? Culture in World Politics Dominique Jacquin-Berdal?Andrew Oros?Marco Verweij? Britain in Decline Andrew Gamble? Kaleidoscope Andrew Wright?David Betteridge?Nicolas Hawkes? Kaleidoscope Andrew Wright?David Betteridge?Nicolas Hawkes? Let's Visit Gabon (Let's Visit) Andrew Perriman? Kaleidoscope Andrew Wright?David Betteridge?Nicolas Hawkes? The International Politics of Nuclear Waste Andrew Blowers?David Lowry?Barry D. Solomon? Hero for Leanda Andrew Garve? Russian Theatre in the Age of Modernism Robert Russell?Andrew Barratt? Byron Augustan and Romantic Andrew Rutherford? Stories of the Seventies (Macmillan Short Stories) Janet Goodwyn?Andrew Goodwyn? Science, Technology and Society (Sociology for a Changing World) Andrew Webster? Russian Writers and Society in the Second Half of the Nineteenth Century Joe Andrew? A Minor Adjustment Merriman Andrew Andrew Merriman? European Imperialism 1860-1914 (Studies in European History) Andrew Porter? Politics (Palgrave Foundations) Andrew Heywood?
https://w.atwiki.jp/mhedges/pages/34.html
【Michael Hedges本人による演奏】 【カバー演奏】
https://w.atwiki.jp/anison-rap/pages/282.html
http //www.nicovideo.jp/watch/sm1629059 【曲名】 ポケモン言えるかな Baby? 【アーティスト】 イマクニ? 【歌詞】 http //www.kasi-time.com/item-32635.html 【作詞】 戸田昭吾, レイモンド 【作曲】 たなかひろかず 【編曲】 たなかひろかず 【作品】 ポケモンカードGB 【メディア】 GB用ゲーム 【テーマ】 CMソング 【初出】 1998年 【備考】 「出てくるポケモンは「ポケモン言えるかな?」と同じ。アレンジ版といった感じ。
https://w.atwiki.jp/stones/pages/23.html
REDLANDS, WEST WITTERING, SUSSEX, 2.1968 1 Hold On ! I m Comin (unreleased) 2 Street Fighting Man (unreleased) R.G. JONES STUDIOS, MORDEN, SURREY, 2.21.1968 1 Rock Me Baby (rehearsal) 2 Stray Cat Blues (rehearsal) 3 Untitled (rehearsal) 4 Hold On, I m Comin (rehearsal) 5 Jumpin Jack Flash (rehearsal) 6 Untitled (rehearsal) 7 Some Satisfaction (rehearsal) 8 Rock Me Baby (rehearsal) 9 I ll Coming Home (rehearsal) 10 Untitled (rehearsal) ■Surrey Rehearsals 1968 (VGP-108) includes tracks 1-10 mono OLYMPIC SOUND STUDIOS, LONDON, 3.17 - 4.3.1968 1 Jig-Saw Puzzle (takes 1-14) 2 Child Of The Moon (backing track) 3 Child Of The Moon (7"single) 4 Parachute Woman (early mix) 5 Stray Cat Blues (outtake) 6 Did Everybody Pay This Dues ? (outtake) 7 Jumpin Jack Flash (unreleased) ■Satanic Sessions Volume Two (Midnight Beat MB CD 124/127) includes track 1 stereo ■Time Trip disc 4 (DAC-063) includes track 2 mono ■SINGLES COLLECTION / THE LONDON YEARS (abkco 92312) includes track 3 mono ■SINGLES COLLECTION / THE LONDON YEARS (abkco 1218-2) includes track 3 stereo ■R.S.V.P. (Cool Blokes Production) includes tracks 4, 5 stereo ■Necrophilia (VGP-317) includes track 6 stereo OLYMPIC SOUND STUDIOS, LONDON, 4.20.1968 1 Jumpin Jack Flash (backing track) 2 Jumpin Jack Flash (7"single) 3 Jumpin Jack Flash (promo edited version) ■Time Trip disc 4 (DAC-063) Track 1 mono ■SINGLES COLLECTION / THE LONDON YEARS (abkco 92312) includes track 2 mono ■THROUGH THE PAST, DARKLY (abkco 90032) includes track 2 stereo ■Beggars Banquet (bootleg) includes track 3 mono OLYMPIC SOUND STUDIOS, LONDON, 5.9 - 5.10.1968 1 Salt Of The Earth (unreleased) OLYMPIC SOUND STUDIOS, LONDON, 5.13 - 5.23.1968 1 Street Fighting Man (US 7"single-mono different vocals version) 2 No Expectations (outtake) 3 Dear Doctor (outtake) 4 Dear Doctor (early mix) 5 Dear Doctor (beggars banquet) 6 Prodigal Son (stereo version) 7 Stray Cat Blues (beggars banquet) 8 Factory Girl (outtake) 9 Factory Girl (beggars banquet) 10 Sister Morphine (outtake) 11 Hamburger To Go (Stuck Out Alone) (outtake) 12 Blood Red Wine (outtake) 13 Family (outtake-electric version) 14 Steel A Fool (outtake) 15 Salt Of The Earth (unreleased)16 Love In Vain (unreleased)17 Sister Morphine (unreleased)18 Downtown Suzie (unreleased)19 Lady (unreleased) ■SINGLES COLLECTION / THE LONDON YEARS (abkco 92312) includes track 1 mono ■Time Trip disc 4 (DAC-063) includes tracks 2-3,10 stereo ■R.S.V.P. (Cool Blokes Production) includes tracks 4, 6, 8 stereo ■BEGGARS BANQUET (abkco 95394) includes tracks 5, 7, 9 stereo ■Beggars Banquet (bootleg) includes tracks 5, 7, 9 mono ■The Trident Mixes (DAC-052) includes tracks 11-14 stereo OLYMPIC SOUND STUDIOS, LONDON, 6.4 - 6.10.1968 1 Sympathy For The Devil (early takes part 1-10 from one plus one ) 2 Sympathy For The Devil (edited 3rd strophe) 3 Sympathy For The Devil (beggars banquet) 4 Sympathy For The Devil (edited version) 5 No Expectations (beggars banquet) 6 Jam (London Jam) (part 1-2 from one plus one ) ■Political Cartoons (JJ Records) includes tracks 1, 6 mono ■R.S.V.P. (Cool Blokes Production) includes track 2 stereo ■BEGGARS BANQUET (abkco 95394) includes tracks 3, 5 stereo ■Beggars Banquet (bootleg) includes tracks 3, 5 mono, track 4 stereo ■SINGLES COLLECTION / THE LONDON YEARS (abkco 92312) includes track 5 mono OLYMPIC SOUND STUDIOS, LONDON, 6.24.1968 1 Prodigal Son (beggars banquet) ■BEGGARS BANQUET (abkco 95394) includes track 1 stereo ■Beggars Banquet (bootleg) includes track 1 mono OLYMPIC SOUND STUDIOS, LONDON, 6.28.1968 1 Family (outtake-acoustic version) 2 Family (outtake-with additional bass guitar percussions) 3 Power Cut (unreleased) 4 Thief For The Blues (unreleased) 5 Too Far To Walk (unreleased) ■The Trident Mixes (DAC-052) includes track 1 stereo ■METAMORPHOSIS (abkko 90062) includes track 2 stereo SUNSET SOUND STUDIOS, LOS ANGELES, CALIFORNIA, 7.7 - 7.25.1968 1 Parachute Woman (beggars banquet) 2 Jig-Saw Puzzle (beggars banquet) 3 Street Fighting Man (beggars banquet) 4 Salt Of The Earth (beggars banquet) ■BEGGARS BANQUET (abkco 95394) includes tracks 1-4 stereo ■Beggars Banquet (bootleg) includes tracks 1-4 mono MORGAN STUDIOS, LONDON, 11.16.1968 1 You Can t Always Get What You Want (unreleased) 2 Rolls Royce Acid (unreleased) BACK / NEXT
https://w.atwiki.jp/swgstring/pages/70.html
タグ 翻訳待ち 22 elder_jedi_1 The ability to become an Elder Jedi is insignificant next to the power of the Force, %TO, but I m impressed nonetheless. 84 elder_jedi_10 Aren t you a little of short for an...um...Elder Jedi, %TO. 58 elder_jedi_11 May the Force be with you, Elder Jedi %TO. 59 elder_jedi_12 May the Force be with you, Elder Jedi %TO. 60 elder_jedi_13 Aurilia welcomes you, Elder Jedi %TO. And may the Force be with you. 61 elder_jedi_14 Aurilia welcomes you, Elder Jedi %TO. And may the Force be with you. 62 elder_jedi_15 Aurilia welcomes you, Elder Jedi %TO. And may the Force be with you. 23 elder_jedi_2 May the Force be with you, Elder Jedi %TO. 24 elder_jedi_3 Compassion, which I would define as unconditional love, is essential to an Elder Jedi s life, isn t it %TO? 25 elder_jedi_4 The Force is what gives an Elder Jedi like %TO his power. It s an energy field created by all living things. It surrounds us and penetrates us. It binds the galaxy together. 26 elder_jedi_5 %TO is an Elder Jedi, so I m not surprised %TT came to Aurilia. 27 elder_jedi_6 %TO is not the Elder Jedi you are looking for. Move along. 28 elder_jedi_7 I sense something. A presence I ve not felt since the last time Elder Jedi %TO was in Aurilia. 29 elder_jedi_8 I have a secret just for an Elder Jedi like you, %TO. But you probably already know what I m going to say, don t you? Get out of my head!! 30 elder_jedi_9 It s an Elder Jedi! %TO!! Everyone gather around and...what s that? Move along? Okay. 31 heroic_axkva_1 Ding-dong, Axkva Min is dead! Hooray to %TO! 85 heroic_axkva_10 Ding-dong, Axkva Min is dead! Hooray to %TO! 64 heroic_axkva_11 Ding-dong, Axkva Min is dead! Hooray to %TO! 65 heroic_axkva_12 Brilliantly done defeating Axkva Min, %TO! 66 heroic_axkva_13 Brilliantly done defeating Axkva Min, %TO! 67 heroic_axkva_14 Wow, %TO defeated Axkva Min and her minions! That s amazing!! 68 heroic_axkva_15 No Nightsister would dare attack Aurilia while %TO is here. Not after %TT defeated Axkva Min! 32 heroic_axkva_2 I guess Axkva Min will make sure %TO isn t around the next time she tries to escape her banishment. 33 heroic_axkva_3 Axkva Min should have just stayed in her crystal, right %TO? 34 heroic_axkva_4 Axkva Min the Devourer? Lelli Hi the Conniver? Suin Chalo the Ravager? I think I m beginning to understand why they hate everyone. 35 heroic_axkva_5 If you ask me, Axkva Min should escape while %TO is busy fighting Gorvo the rancor. She s doomed otherwise. 36 heroic_axkva_6 Wow, %TO defeated Axkva Min and her minions! That s amazing!! 37 heroic_axkva_7 No Nightsister would dare attack Aurilia while %TO is here. Not after %TT defeated Axkva Min! 38 heroic_axkva_8 Brilliantly done defeating Axkva Min, %TO! 39 heroic_axkva_9 %TO defeated Axkva Min, and now %TT graces the streets of Aurilia! Hooray!! 49 heroic_ig88_1 I thought IG-88 was just a rusty bucket of bolts, but apparently %TO had to go shut him down. 86 heroic_ig88_10 If any renegade droids like IG-88 attack Aurilia, I feel safer with %TO around. 69 heroic_ig88_11 %TO defeated IG-88! Well done! 70 heroic_ig88_12 %TO defeated IG-88! Well done! 71 heroic_ig88_13 Beating an assassin droid like IG-88 is impressive, %TO! 72 heroic_ig88_14 Beating an assassin droid like IG-88 is impressive, %TO! 73 heroic_ig88_15 %TO defeated IG-88! Well done! 50 heroic_ig88_2 %TO defeated IG-88! Well done! 51 heroic_ig88_3 You defeated IG-88, %TO, but he claims to has loaded himself into the factory computers. Does that mean you ll have to defeat him again? 52 heroic_ig88_4 I heard you defeated IG-88, %TO! But was it IG-88H? Or maybe IG-88F? Or was it IG-88Q? 53 heroic_ig88_5 That factory you liberated from IG-88, %TO, actually belongs to Nym? 54 heroic_ig88_6 IG-88 was reduced to scrap metal after you were through with him, %TO! 55 heroic_ig88_7 If any renegade droids like IG-88 attack Aurilia, I feel safer with %TO around. 56 heroic_ig88_8 Beating an assassin droid like IG-88 is impressive, %TO! 57 heroic_ig88_9 Bring on IG-88 s droid army! We have %TO on our side to save the day!! 40 heroic_tusken_1 Wow, I heard that %TO fought off an invasion of Tusken Raiders in Mos Espa on Tatooine. 87 heroic_tusken_10 Did you really save Mos Espa from an army of Sand People, %TO? If so, I fell safer now that you re in Aurilia. 74 heroic_tusken_11 %TO saved Mos Espa! Hooray for %TO!! 75 heroic_tusken_12 %TO saved Mos Espa! Hooray for %TO!! 76 heroic_tusken_13 %TO saved Mos Espa! Hooray for %TO!! 77 heroic_tusken_14 %TO defeated the Tusken Raider army invading Mos Espa! 78 heroic_tusken_15 %TO defeated the Tusken Raider army invading Mos Espa! 41 heroic_tusken_2 Did you really save Mos Espa from an army of Sand People, %TO? If so, I fell safer now that you re in Aurilia. 42 heroic_tusken_3 I heard that the attack on Mos Espa was actually caused by someone taking some sacred relics from the Tusken Raiders. You wouldn t know anything about that, would you %TO? 43 heroic_tusken_4 %TO defeated the Tusken Raider army invading Mos Espa! 44 heroic_tusken_5 %TO saved Mos Espa! Hooray for %TO!! 45 heroic_tusken_6 Next time you fight Tusken Raiders in Mos Espa %TO, you should invite me along. I ll loot all those Tusken Raider corpses you leave in your wake. 46 heroic_tusken_7 The Tusken King is dead. Three cheers for %TO! Hooray! Hooray! Hooray! 47 heroic_tusken_8 You don t think any Tusken Raiders followed you from Mos Espa to here, do you %TO? 48 heroic_tusken_9 %TO succeeded where the entire Imperial army failed and freed Mos Espa from a Tusken Raider invasion! 13 normal_1 Welcome to Aurilia, %TO. 88 normal_10 If you need to travel somewhere, %TO, speak with Maximillian. He can provide transportation to many locations. 79 normal_11 Don t worry, %TO, the fog never actually lifts. 80 normal_12 Paemos is the mayor of Aurilia, but I don t remember voting for him and haven t been able to find a voting terminal anywhere in town. 81 normal_13 I think that Dageerin acquired a supply of interesting trinkets during his years exploring the galaxy before settling in Aurilia. 82 normal_14 Greetings %TO! Welcome to Aurilia. 83 normal_15 Greetings %TO! Welcome to Aurilia. 14 normal_2 Hey %TO, did you know that Mellichae is a prisoner here in Aurilia? Captain Sarguillo defeated him. 15 normal_3 Shaneeka, Aurilia s chief engineer, has managed to hold the job longer than any previous chief engineer. Good for her. 16 normal_4 Sivarra has had less work as a medic lately, so started selling useful trinkets to adventurers. Kind of odd, isn t that? 17 normal_5 Rumor has it that Quharek has a large stash of various types of ore and energy. I wonder where he got it all? 18 normal_6 I haven t ventured beyond the fog for so long that I ve forgotten what lies beyond it. 19 normal_7 Rohak is our town elder, %TO. He is the wisest person I ve ever known. 20 normal_8 Greetings %TO! Welcome to Aurilia. 21 normal_9 Hello whoever you are. What? How would I know your name?
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Acrophilia(ゝω・)vキャピAcrophilia SNSコミュティ Contact Admin:Taruzatou. IRC:Friend系列 # Mail adress acrophilia.sting@gmail.com 前ClanHP AllforYou
https://w.atwiki.jp/matchmove/pages/78.html
Stabilization In this section, we’ll go into SynthEyes’ stabilization system in depth, and describe some of the nifty things that can be done with it. If we wanted, we could have a single button “Stabilize this!” that would quickly and reliably do a bad job almost all the time. If that s what you’re looking for, there are some other software packages that will be happy to oblige. In SynthEyes, we have provided a rich toolset to get outstanding results in a wide variety of situations. You might wonder why we’ve buried such a wonderful and significant capability quite so far into the manual. The answer is simple in the hopes that you’ve actually read some of the manual, because effectively using the stabilizer will require that you know a number of SynthEyes concepts, and how to use the SynthEyes tracking capabilities. If this is the first section of the manual that you’re reading, great, thanks for reading this, but you’ll probably need to check out some of the other sections too. At the least, you have to read the Stabilization quick-start. Also, be sure to check the web site for the latest tutorials on stabilization. We apologize in advance for some of the rant content of the following sections, but it s really in your best interest! Why SynthEyes Has a Stabilizer The simple and ordinary need for stabilization arises when you are presented with a shot that is bouncing all over the place, and you need to clean it up into a solid professional-looking shot. That may be all that is needed, or you might need to track it and add 3-D effects also. Moving-camera shots can be challenging to shoot, so having software stabilization can make life easier. Or, you may have some film scans which are to be converted to HD or SD TV resolution, and effects added. People of all skill levels have been using a variety of ad-hoc approaches to address these tasks, sometimes using software designed for this, and sometimes using or abusing compositing software. Sometimes, presumably, this all goes well. But many times it does not a variety of problem shots have been sent to SynthEyes tech support which are just plain bad. You can look at them and see they have been stabilized, and not in a good way. We have developed the SynthEyes stabilizer not only to stabilize shots, but to try to ensure that it is done the right way. How NOT to Stabilize Though it is relatively easy to rig up a node-based compositor to shift footage back and forth to cancel out a tracked motion, this creates a fundamental problem Most imaging software, including you, expects the optic center of an image to fall at the center of that image. Otherwise, it looks weird—the fundamental camera geometry is broken. The optic center might also be called the vanishing point, center of perspective, back focal point, center of lens distortion. For example, think of shooting some footage out of the front of your car as you drive down a highway. Now cut off the right quarter of all the images and look at the sequence. It will be 4 3 footage, but it s going to look strange—the optic center is going to be off to the side. If you combine off-center footage with additional rendered elements, they will have the optic axis at their center, and combined with the different center of the original footage, they will look even worse. So when you stabilize by translating an image in 2-D (and usually zooming a little), you’ve now got an optic center moving all over the place. Right at the point you’ve stabilized, the image looks fine, but the corners will be flying all over the place. It s a very strange effect, it looks funny, and you can’t track it right. If you don’t know what it is, you’ll look at it, and think it looks funny but not know what has hit you. Recommendation if you are going to be adding effects to a shot, you should ask to be the one to stabilize or pan/scan it also. We’ve given you the tool to do it well, and avoid mishap. That s always better than having someone else mangle it, and having to explain later why the shot has problems, or why you really need the original un-stabilized source by yesterday. In-Camera Stabilization Many cameras now feature built-in stabilization, using a variety of operating principles. These stabilizers, while fine for shooting baby s first steps, may not be fine at all for visual effects work. Electronic stabilization uses additional rows and columns of pixels, then shifts the image in 2-D, just like the simple but flawed 2-D compositing approach. These are clearly problematic. One type of optical stabilizer apparently works by putting the camera imaging CCD chip on a little platform with motors, zipping the camera chip around rapidly so it catches the right photons. As amazing as this is, it is clearly just the 2-D compositing approach. Another optical stabilizer type adds a small moving lens in the middle of the collection of simple lens comprising the overall zoom lens. Most likely, the result is equivalent to a 2-D shift in the image plane. A third type uses prismatic elements at the front of the lens. This is more likely to be equivalent to re-aiming the camera, and thus less hazardous to the image geometry. Doubtless additional types are in use and will appear, and it is difficult to know their exact properties. Some stabilizers seem to have a tendency to intermittently jump when confronted with smooth motions. One mitigating factor for in-camera stabilizers, especially electronic, is that the total amount of offset they can accommodate is small—the less they can correct, the less they can mess up. Recommendation It is probably safest to keep camera stabilization off when possible, and keep the shutter time (angle) short to avoid blur, except when the amount of light is limited. Electronic stabilizers have trouble with limited light so that type might have to be off anyway. 3-D Stabilization To stabilize correctly, you need 3-D stabilization that performs “keystone correction” (like a projector does), re-imaging the source at an angle. In effect, your source image is projected onto a screen, then re-shot by a new camera looking in a somewhat different direction with a smaller field of view. Using a new camera keeps the optic center at the center of the image. In order to do this correctly, you always have to know the field of view of the original camera. Fortunately, SynthEyes can tell us that. Stabilization Concepts Point of Interest (POI). The point of interest is the fixed point that is being stabilized. If you are pegging a shot, the point of interest is the one point on the image that never moves. POI Deltas (Adjust tab). These values allow you to intentionally move the POI around, either to help reduce the amount of zoom required, or to achieve a particular framing effect. If you create a rotation, the image rotates around the POI. Stabilization Track. This is roughly the path the POI took—it is a direction in 3-D space, described by pan/tilt/roll angles—basically where the camera (POI) was looking (except that the POI isn’t necessarily at the center of the image). Reference Track. This is the path in 3-D we want the POI to take. If the shot is pegged, then this track is just a single set of values, repeated for the duration of the shot. Separate Field of View Track. The image preparation system has its own field of view track. The image prep s FOV will be larger than main FOV, because the image prep system sees the entire input image, while the main tracking and solving works only on the smaller stabilized sub-window output by image prep. Note that an image prep FOV is needed only for stabilization, not for pixel-level adjustments, downsampling, etc. The Get Solver FOV button transfers the main FOV track to the stabilizer. Separate Distortion Track. Similarly there is a separate lens distortion track. The image prep s distortion can be animated, while the main distortion can not. The image prep distortion or the main distortion should always be zero, they should never both be nonzero simultaneously. The Get Solver Distort button transfers the main distortion value (from solving or the Lens-panel alignment lines) to the stabilizer, and begs you to let it clear the main distortion value afterwards. Stabilization Zoom. The output window can only be a portion of the size of the input image. The more jiggle, the smaller the output portion must be, to be sure that it does not run off the edge of the input (see the Padded mode of the image prep window to see this in action). The zoom factor reflects the ratio of the input and output sizes, and also what is happening to the size of a pixel. At a zoom ratio of 1, the input and output windows and pixels are the same size. At a zoom ratio of 2, the output is half the size of the input, and each incoming pixel has to be stretched to become two pixels in the output, which will look fairly blurry. Accordingly, you want to keep the zoom value down in the 1.1-1.3 region. After an Auto-scale, you can see the required zoom on the Adjust panel. Re-sampling. There s nothing that says we have to produce the same size image going out as coming in. The Output tab lets you create a different output format, though you will have to consider what effect it has on image quality. Re-sampling 3K down to HD sounds good; but re-sampling DV up to HD will come out blurry because the original picture detail is not there. Interpolation Filter. SynthEyes has to create new pixels “in-between” the existing ones. It can do so with different kinds of filtering to prevent aliasing, ranging from the default Bi-Linear to the most complex 3-Lanczos. The bi-linear filter is fastest but produces the softest image. The Lanczos filters take longer, but are sharper—although this can be drawback if the image is noisy. Tracker Paths. One or more trackers are combined to form the stabilization track. The tracker s 2-D paths follow the original footage. After stabilization, they will not match the new stabilized footage. There is a button, Apply to Trkers, that adjusts the tracker paths to match the new footage, but again, they then match that particular footage and they must be restored to match the original footage (with Remove f/Trkers) before making any later changes to the stabilization. If you mess up, you either have to return to an earlier saved file, or re-track. Overall Process We’re ready to walk through the stabilization process. You may want to refer to the Image Preprocessor Reference. · Track the features required for stabilization either a full auto-track, supervised tracking of particular features to be stabilized, or a combination. · If possible, solve the shot either for full 3-D or as a tripod shot, even if it is not truly nodal. The resulting 3-D point locations will make the stabilization more accurate, and it is the best way to get an accurate field of view. · If you have not solved the shot, manually set the Lens FOV on the Image Preprocessor s Lens tab (not the main Lens panel) to the best available value. If you do set up the main lens FOV, you can import it to the Lens tab. · On the Stabilization tab, select a stabilization mode for translation and/or rotation. This will build the stabilization track automatically if there isn’t one already (as if the Get Tracks button was hit), and import the lens FOV if the shot is solved. · Adjust the frequency spinner as desired. · Hit the Auto-Scale button to find the required stabilization zoom · Check the zoom on the Adjust tab; using the Padded view, make any additional adjustment to the stabilization activity to minimize the required zoom, or achieve desired shot framing. · Output the shot. If only stabilized footage is required, you are done. · Update the scene to use the new imagery, and either re-track or update the trackers to account for the stabilization · Get a final 3-D or tripod solve and export to your animation or compositing package for further effects work. There are two main kinds of shots and stabilization for them shots focusing on a subject, which is to remain in the frame, and traveling shots, where the content of the image changes as new features are revealed. Stabilizing on a Subject Often a shot focuses on a single subject, which we want to stabilize in the frame, despite the shaky motion of the camera. Example shots of this type include · The camera person walking towards a mark on the ground, to be turned into a cliff edge for a reveal. · A job site to receive a new building, shot from a helicopter orbiting overhead · A camera car driving by a house, focusing on the house. To stabilize these shots, you will identify or create several trackers in the vicinity of the subject, and with them selected, select the Peg mode on the Translation list on the Stabilize tab. This will cause the point of interest to remain stationary in the image for the duration of the shot. You may also stabilize and peg the image rotation. Almost always, you will want to stabilize rotation. It may or may not be pegged. You may find it helpful to animate the stabilized position of the point of interest, in order to minimize the zoom required, see below, and also to enliven a shot somewhat. Some car commercials are shot from a rig that shows both the car and the surrounding countryside as the car drives they look a bit surreal because the car is completely stationary—having been pegged exactly in place. No real camera rig is that perfect! Stabilizing a Traveling Shot Other shots do not have a single subject, but continue to show new imagery. For example, · A camera car, with the camera facing straight ahead · A forward-facing camera in a helicopter flying over terrain · A camera moving around the corner of a house to reveal the backyard behind it In such shots, there is no single feature to stabilize. Select the Filter mode for the stabilization of translation and maybe rotation. The result is similar to the stabilization done in-camera, though in SynthEyes you can control it and have keystone correction. When the stabilizer is filtering, the Cut Frequency spinner is active. Any vibratory motion below that frequency (in cycles per second) is preserved, and vibratory motion above that frequency is greatly reduced or eliminated. You should adjust the spinner based on the type of motion present, and the degree of stabilization required. A camera mounted on a car with a rigid mount, such as a StickyPod, will have only higher-frequency residual vibration, and a larger value can be used. A hand-held shot will often need a frequency around 0.5 Hz to be smooth. Note When using filter-mode stabilization, the length of the shot matters. If the shot is too short, it is not possible to accurately control the frequency and distinguish between vibration and the desired motion, especially at the beginning and end of the shot. Using a longer version of the take will allow more control, even if much of the stabilized shot is cut after stabilization. Minimizing Zoom The more zoom required to stabilize a shot, the less image quality will result, which is clearly bad. Can we minimize the zoom, and maximize image quality? Of course, and SynthEyes provides the controllability to do so. Stabilizing a shot has considerable flexibility the shot can be stable in lots of different ways, with different amounts of zoom required. We want a shot that everyone agrees is stable, but minimizes the effect on quality. Fortunately, we have the benefit of foresight, so we can correct a problem in the middle of a shot, anticipating it long before it occurs, and provide an apparently stable result. Animating POI The basic technique is to animate the position of the point-of-interest within the frame. If the shot bumps left suddenly, there are fewer pixels available on the left side of the point of interest to be able to maintain its relative position in the output image, and a higher zoom will be required. If we have already moved the point of interest to the left, fewer pixels are required, and less zoom is required. Earlier, in the Stabilization Quick Start, we remarked that the 28% zoom factor obtained by animating the rotation could be reduced further. We’ll continue that example here to show how. Re-do the quick start to completion, go to frame 178, with the Adjust tab open, in Padded display mode, with the make key button turned on. From the display, you can see that the red output-area rectangle is almost near the edge of the image. Grab the purple point-of-interest crosshair, and drag the red rectangle up into the middle of the image. Now everything is a lot safer. If you switch to the stabilize tab and hit Autoscale, the red rectangle enlarges—there is less zoom, as the Adjust tab shows. Only 15% zoom is now required. By dragging the POI/red rectangle, we reduced zoom. You can see that what we did amounted to moving the POI. Hit Undo twice, and switch to the Final view. Drag the POI down to the left, until the Delta U/V values are approximately 0.045 and -0.035. Switch back to the Padded view, and you’ll see you’ve done the same thing as before. The advantage of the padded view is that you can more easily see what you are doing, though you can get a similar effect in the Final view by increasing the margin to about 0.25, where you can see the dashed outline of the source image. If you close the Image Prep dialog and play the shot, you will see the effect of moving the POI a very stable shot, though the apparent subject changes over time. It can make for a more interesting shot and more creative decisions. Too Much of a Good Thing? To be most useful, you can scrub through your shot and look for the worst frame, where the output rectangle has the most missing, and adjust the POI position on that frame. After you do that, there will be some other frame which is now the worst frame. You can go and adjust that too, if you want. As you do this, the zoom required will get less and less. There is a downside as you do this, you are creating more of the shakiness you are trying to get rid of. If you keep going, you could get back to no zoom required, but all the original shakiness, which is of course senseless. Usually, you will only want to create two or three keys at most, unless the shot is very long. But exactly where you stop is a creative decision based on the allowable shakiness and quality impact. Auto-Scale Capabilities The auto-scale button can automate the adjustment process for you, as controlled by the Animate listbox and Maximum auto-zoom settings. With Animate set to Neither, Auto-scale will pick the smallest zoom required to avoid missing pieces on the output image sequence, up to the specified maximum value. If that maximum is reached, there will be missing sections. If you change the Animate setting to Translate, though, Auto-scale will automatically add delta U/V keys, animating the POI position, any time the zoom would have to exceed the maximum. Rewind to the beginning of the shot, and control-right-click the Delta-U spinner, clearing all the position keys. Change the Animate setting to Translate, reduce the Maximum auto-zoom to 1.1, then click Auto-Scale. SynthEyes adds several keys to achieve the maximum 10% zoom. If you play back the sequence, you will see the shot shifting around a bit—10% is probably too low given the amount of jitter in the shot to begin with. The auto-scale button can also animate the zoom track, if enabled with the Animate setting. The result is equivalent to a zooming camera lens, and you must be sure to note that in the main lens panel setting if you will 3-D solve the shot later. This is probably only useful when there is a lot of resolution available to begin with, and the point of interest approaches the boundary of the image at the end of the shot. Keep in mind that the Auto-scale functionality is relatively simple. By considering the purpose of the shot as well as the nature of any problems in it, you should often be able to do better. Tweaking the Point of Interest This is different than moving it! When the selected trackers are combined to form the single overall stabilization track, SynthEyes examines the weight of each tracker, as controlled from the main Tracker panel. This allows you to shift the position of the point-of-interest (POI) within a group of trackers, which can be handy. Suppose you want to stabilize at the location of a single tracker, but you want to stabilize the rotation as well. With a single tracker, rotation can not be stabilized. If you select two trackers, you can stabilize the rotation, but without further action, the point of interest will be sitting between the two trackers, not at the location of the one you care about. To fix this, select the desired POI tracker in the main viewport, and increase its weight value to the maximum (currently 10). Then, select the other tracker(s), and reduce the weight to the minimum (0.050). This will put the POI very close to your main tracker. If you play with the weights a bit, you can make the POI go anywhere within a polygon formed by the trackers. But do not be surprised if the resulting POI seems to be sliding on the image the POI is really a 3-D location, and usually the combination of the trackers will not be on the surface (unless they are all in the same plane). If this is a problem for what you want to do, you should create a supervised tracker at the desired POI location and use that instead. If you have adjusted the weights, and later want to re-solve the scene, you should set the weights back to 1.0 before solving. (Select them all then set the weight to 1). Resampling and Film to HDTV Pan/Scan Workflow If you are working with filmed footage, often you will need to pull the actual usable area from the footage the scan is probably roughly 4 3, but the desired final output is 16 9 or 1.85 or even 2.35, so only part of the filmed image will be used. A director may select the desired portion to achieve a desired framing for the shot. Part of the image may be vignetted and unusable. The image must be cropped to pull out the usable portion of the image with the correct aspect ratio. This cropping operation can be performed as the film is scanned, so that only the desired framing is scanned; clearly this minimizes the scan time and disk storage. But, there is an important reason to scan the entire frame instead. The optic center must remain at the center of the image. If the scanning is done without paying attention, it may be off center, and almost certainly will be if the framing is driven by directorial considerations. If the entire frame is scanned, or at least most of it, then you can use SynthEyes s stabilization software to perform keystone correction, and produce properly centered footage. As a secondary benefit, you can do pan and scan operations to stabilize the shots, or achieve moving framing that would be difficult to do during scanning. With the more complete scan, the final decision can be deferred or changed later in production. The Output tab on the Image Preparation controls resampling, allowing you to output a different image format then that coming in. The incoming resolution should be at least as large as the output resolution, for example, a 3K 4 3 film scan for a 16 9 HDTV image at 1920x1080p. This will allow enough latitude to pull out smaller subimages. If you are resampling from a larger resolution to a smaller one, you should use the Blur setting to minimize aliasing effects (Moire bands). You should consider the effect of how much of the source image you are using before blurring. If you have a zoom factor of 2 into a 3K shot, the effective pixel count being used is only 1.5K, so you probably would not blur if you are producing 1920x1080p HD. Due to the nature of SynthEyes’ integrated image preparation system, the re-sampling, keystone correction, and lens un-distortion all occur simultaneously in the same pass. This presents a vastly improved situation compared to a typical node-based compositor, where the image will be resampled and degraded at each stage. Changing Shots, and Creating Motion in Stills You can use the stabilization system to adjust framing of shots in post-production, or to create motion from still images (the Ken Burns effect). To use the stabilizing engine you have to be stabilizing, so simply animating the Delta controls will not let you pan and scan without the following trick. Delete any the trackers, click the Get Tracks button, and then turn on the Translation channel of the stabilizer. This turns on the stabilizer, making the Delta channels work, without doing any actual stabilization. You must enter a reasonable estimate of the lens field of view. If it is a moving-camera or tripod-mode shot, you can track it first to determine the field of view. Remember to delete the trackers before beginning the mock stabilization. If you are working from a still, you can use the single-frame alignment tool to determine the field of view. You will need to use a text editor to create an IFL file that contains the desired number of copies of your original file name. Stabilization and Interlacing Interlaced footage presents special problems for stabilization, because jitter in the positioning between the two fields is equivalent to jitter in camera position, which we’re trying to remove. Because the two different fields are taken at different points in time (1/30th or 1/25th of a second apart, regardless of shutter time), it is impossible for man or machine to determine what exactly happened, in general. Stabilizing interlaced footage will sacrifice a factor of two in vertical resolution. Best Approach if at all possible, shoot progressive instead of interlace footage. This is a good rule whenever you expect to add effects to a shot. Fallback Approach stabilize slow-moving interlaced shots as if they were progressive. Stabilize rapidly-moving interlaced shots as interlaced. To stabilize interlaced shots, SynthEyes stabilizes each sequence of fields independently. Note that within the image preparation subsystem, some animated tracks are animated by the field, and some are animated by the frame. Frame levels, color/hue, distortion/scale, ROI Field FOV, cut frequency, Delta U/V, Delta Rot, Delta Zoom When you are animating a frame-animated item on an interlaced shot, if you set a key on one field (say 10), you will see the same key on the other field (say 11). This simplifies the situation, at least on these items, if you change a shot from interlaced to progressive or “yes” mode or back. Avoid Slowdowns Due to Missing Keyframes While you are working on stabilizing a shot, you will be re-fetching frames from the source imagery fairly often, especially when you scrub through a shot to check the stabilization. If the source imagery is a QuickTime or AVI that does not have many (or any!) keyframes, random access into the shot will be slow, since the codec will have to decompress all the frames from the last keyframe to get to the one that is needed. This can require repeatedly decompressing the entire shot. It is not a SynthEyes problem, or even specific to stabilizing, but is a problem with the choice of codec settings. If this happens (and it is not uncommon), you should save the movie as an image sequence (with no stabilization), and Shot/Change Shot Images to that version instead. Alternatively, you may be able to assess the situation using the Padded display, turning the update mode to Neither, then scrubbing through the shot. After Stabilizing Once you’ve finished stabilizing the shot, you should write it back out to disk using the Save Sequence button on the Output tab. It is also possible to save the sequence through the Perspective window s Preview Movie capability. Each method has its advantages, but using the Save Sequence button will be generally better for this purpose it is faster; does less to the images; allows you to write the 16 bit version; and allows you to write the alpha channel. However, it does not overlay inserted test objects like the Preview Movie does. You can use the stabilized footage you write for downstream applications such as 3dsmax and Maya. But before you export the camera path and trackers from SynthEyes, you have a little more work to do. The tracker and camera paths in SynthEyes correspond to the original footage, not the stabilized footage, and they are substantially different. Once you close the Image Preparation dialog, you’ll see that the trackers are doing one thing, and the now-stable image doing something else. You should always save the stabilizing SynthEyes scene file at this point for future use in the event of changes. You can then do a File/New, open the stabilized footage, track it, then export the 3-D scene matching the stabilized footage. But… if you have already done a full 3-D track on the original footage, you can save time. Click the Apply to Trkers button on the Output tab. This will apply the stabilization data to the existing trackers. When you close the Image Prep, the 2-D tracker locations will line up correctly, though the 3-D X s will not yet. Go to the solver panel, and re-solve the shot (Go!), and the 3-D positions and camera path will line up correctly again. (If you really wanted to, you could probably use Seed Points mode to speed up this re-solve.) Important if you later decide you want to change the stabilization parameters without re-tracking, you must not have cleared the stabilizer. Hit the Remove f/Trkers button BEFORE making any changes, to get back to the original tracking data. Otherwise, if you Apply twice, or Remove after changes, you will just create a mess. Also, the Blip data is not changed by the Apply or Remove buttons, and it is not possible to Peel any blip trails, which correspond to the original image coordinates, after completing stabilization and hitting Apply. So you must either do all peeling first; remove, peel, and reapply the stabilization; or retrack later if necessary. Flexible Workflows Suppose you have written out a stabilized shot, and adjusted the tracker positions to match the new shot. You can solve the shot, export it, and play around with it in general. If you need to, you can pop the stabilization back off the trackers, adjust the stabilization, fix the trackers back up, and re-solve, all without going back to earlier scene files and thus losing later work. That s the kind of flexibility we like. There s only one slight drawback each time you save and close the file, then reopen it, you’re going to have to wait while the image prep system recomputes the stabilized image. That might be only a few seconds, or it might be quite a while for a long film shot. It s pretty stupid, when you consider that you’ve already written the complete stabilized shot to disk! Approach 1 do a Shot/Change Shot Images to the saved stabilized shot, and reset the image prep system from the Preset Manager. This will let you work quickly from the saved version, but you must be sure to save this scene file separately, in case you need to change the stabilization later for some reason. And of course, going back to that saved file would mean losing later work. Approach 2 Create an image prep preset (“stab”) for the full stabilizer settings. Create another image prep preset (“quick”), and reset it. Do the Shot/Change Shot Images. Now you’ve got it both ways fast loading, and if you need to go back and change the stabilization, switch back to the first (“stab”) preset, remove the stabilization from the trackers, change the shot imagery back to the original footage, then make your stabilization changes. You’ll then need to re-write the new stabilized footage, re-apply it to the trackers, etc. Approach 1 is clearly simpler and should suffice for most simple situations. But if you need the flexibility, Approach 2 will give it to you.
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Joseph Chilton Pearce? Crediting Numeracy Liz Chilton?Christine Cox?Jo Yeandle?Adult Literacy and Basic Skills Unit? Language of Flowers Vernon Coleman? Chilton's Wiring Diagram Manual Domestic Cars 1990 The Hundredth Meridian Seasons and Travels in the New Old West Chilton, Jr. Williamson? Hardware Age Buyers Guide Issue, 1992 Motor Labor Guide Manual 1982 to 2002 (Motor/Chilton Twenty Year Labor Guide) John R. Lypen? Walks in the Aghios Georgious Area L. Chilton? God in Strength Chilton Walks in the Akamas Area and Walkers' Map Lance Chilton? "Walks in Lindos Pefkos" "The Lindos Pefkos Walkers' Map" Lance Chilton?L. Chilton? Chilton's Jessop International Blue Book Douglas St. Denny? Plant List for La Gomera Lance Chilton? Aghios Georgious Walkers' Map L. Chilton? Walks in the Aghios Georgious Area Lance Chilton? Food Engineering Master, 1987 Engineering Compendium on Radiation Shielding I. Shielding Fundamentals and Methods R. G. Jaeger?E. P. Blizard?A. B. Chilton? Engineering Compendium on Radiation Shielding II. Shielding Materials R. G. Jaeger?E. P. Blizard?A. B. Chilton? The Beholden Hills William Paulk?Jane Chilton Adams? AQA 'A' 'AS' Teaching Resource Pack Colin CleggT.J. ChiltonSam Denley AQA 'B' 'AS' Teaching Resource Pack Colin CleggT.J. ChiltonSam Denley 'AS' Teaching Resource Pack Colin CleggT.J. ChiltonSam Denley Die heilende Kraft. Oestliche Meditation in westlicher Deutung. Joseph Chilton Pearce? Chilton's Repair and Tune-Up Guide to Ford Pick-Ups (Spanish ed) Chilton Walks in the Akamas Area Lance Chilton? Groundwater in Rural Development Facing the Challenges of Supply and Resource Sustainability (World Bank Technical Paper) Stephen Foster?John Chilton?Marcus Moench?Franklin Cardy?Manuel Schiffler? Eight Walks in the Lindos and Pefkos Area Lance Chilton? OCR 'AS' Teaching Resource Pack Colin CleggT.J. ChiltonSam Denley Chilton's 1982 Automotive Service Manual (Professional) Chilton Book Company Chilton's Automatic Transmission Manual Chilton's Electronic Engine Controls Manual 1990-1992 Ford/Chrysler/Jeep-Eagle Cars and Light Trucks Motor/Age Professional Mechanics Edition Chilton s Automotive Editorial Dept.? Chilton's Electronic Engine Controls Manual/1992/Electronic Engine Controls Code, Asian A-M/Professional Technician's Edition (Chilton's Electronic Engine Controls Manual Japanese and Asian Cars and Light Trucks) Dean F. Morgantini Chilton's Electronic Engine Controls Manual/1992/Nissan-Subaru-Suzuki-Toyota/Asian N-Z Dean F. MorgantiniRichard J. Rivel?Nick D AndreaRon Webb Chilton's Electronic Engine Controls Manual, 1992 Alfa Romeo, Audi, Bmw, Jaguar, Mercedes-Benz, Merkur, Peugeot, Porsche, Saab, Sterling, Volkswagen (Chilton's Electronic Engine Controls Manual European Cars and Light Trucks) Chilton's Chevrolet 1968-1988 Spanish Rtug. Chilton Book Company Chilton's 1991 Maintenance Lamp Reset Procedures Motor Age Professional Technician's Edition Covers All Cars and Trucks Chilton Book Company Chilton's Ford-Lincoln-Mercury Full-Size 1968-1988 Spanish Rtug Chilton Book Company Chilton's Truck and Van Service Manual/Up to and Including 1 Ton Vehicles, 1988-92 Truck and Van Service Dean F. Morgantini Chilton's Gm Chevrolet S10 Gmc S15 Pickup 1982-89 Chilton's Import Wiring Diagrams Manual 1992 Passenger Cars/Motor Age Professional Technician's Edition (Chilton's Import Wiring Diagrams Manual) Chilton's Wiring Diagrams Manual 1992 Domestic Cars/Motor Age Professional Technician's Edition Chilton's Truck and Van Service Manual Domestic and Import Light Duty Trucks 1991-95/Motorage Professional Technician's Edition Chilton's 1994 Import Labor Guide and Parts Manual/1990-94 (Chilton's Import Labor Guide and Parts Manual) Kerry A. 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Chilton's Easy Car Care (Chilton's Easy Car Care) Isuzu-Trooper/Pick-Ups/Rodeo/Amigo, 1992-99 Chilton Book Company Journey into Space (BBC Radio Collection) Charles Chilton? Chilton's Repair and Tune-Up Guide, Honda 350/360 Twins Chilton Book Company Chilton's Repair and Tune-Up Guide International Scout. Chilton Book Company Chilton's 1984 Diesel Engine Service Manual Chilton Book Company Chilton's Import Automotive Service Manual 1982-89 Motor/Age Professional Mechanics Edition Chilton Book Company Chilton's 1989 Import Labor Guide and Parts Manual 1982-89 Motor/Age Professional Mechanics Edition (Chilton's Import Labor Guide and Parts Manual) Kerry A. 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Wailing Caverns #ref error :ご指定のページがありません。ページ名を確認して再度指定してください。 位置 The Barrens位置Map 適正LV 15-21 最大収容人数 10Player 略称 WC Wailing Caverns [#i0b1ae2d] Quest [#af0c6050] Alliance / Horde共通 [#z7a42a34] Alliance [#k5d2e52c] Horde [#ydbf322f] Quest Alliance / Horde共通 [18] Raptor Horns (Ratchet Mebok Mizzyrix) 強めのRaptor系からRaptor Hornsを5個集める [18] Smart Drinks (Dungeon) (Ratchet Mebok Mizzyrix) スライム系からWailing Essenceを6個集める(Instance内外) [17] Deviate Hides (Dungeon) (The Barrens WC入り口上の洞窟にいるNalpak) 爬虫類系を倒しDeviate Hideを20枚集める(Instance内外) Nalpakは、まずWCの入り口の白い岩の頂上へ登り、尖がった出っ張りに乗れる様に慎重に落下して下さい、向かって左側の割れ目の奥にいます [18] Trouble at the Docks (Dungeon) (Ratchet Crane Operator Bigglefuzz ) Mad Magglish(Stelth Goblin)を倒し99-Year-Old Portのボトルを持ってくる(Instance外) [21] Deviate Eradication (Dungeon) (The Barrens WC入り口の上の洞窟にいるEbru) Deviate Ravager7匹 Deviate Viper7匹 Deviate Shambler7匹 Deviate Dreadfang7匹を倒す Ebruは、まずWCの入り口の白い岩の頂上へ登り、尖がった出っ張りに乗れる様に慎重に落下して下さい、向かって左側の割れ目の奥にいます Alliance *Disciple of Naralexエスコート (Wailing Caverns Disciple of Naralex) DruidのLeader4人を倒した後に入り口のTaurenに話しかけるとエスコートがスタート、Mutanus the devourerを倒すとGlowing ShardをDrop [25] The Glowing Shard (Item Glowing Shard) RatchetのSputtervalveと話した後にWCの山頂にいるFalla Sagewindと話す [25] In Nightmares (The Barrens Falla Sagewind) Nightmare ShardをDarnassusのMathrengyl Bearwalkerへ持って行く Horde [18] Serpentbloom (Dungeon) (Thunder Bluff Apothecary Zamah) Serpentbloom(Harb Obj)を10個集める(Instance内外) [10] The Barrens Oases (Thunder Bluff Hamuul Runetotem) CrossroadsのTonga Runetotemと話す(一応Chainですが、いきなり下のQuestから受けれるようです) [13] The Forgotten Pools (The Barrens Tonga Runetotem) Crossroads北西のForgotten Poolsを調査する(底まで潜る) [16] The Stagnant Oasis (The Barrens Tonga Runetotem) Stagnant Oasisの裂け目で種を撒いてみる [16] Altered Beings (The Barrens Tonga Runetotem) 亀の甲羅(Altered Snapjaw Shell)を8つ集める [16] Hamuul Runetotem (Dungeon) (The Barrens Tonga Runetotem) Thunder BluffのElder RiseにいるHamuul Runetotemと話す [16] Nara Wildmane (Dungeon) (Thunder Bluff Hamuul Runetotem) Thunder BluffのElder RiseにいるNara Wildmaneと話す [22] Leaders of the Fang (Dungeon) (Thunder Bluff Elder RiseのNara Wildmane) DruidのLeader4人を倒しGemを4つ集める *Disciple of Naralexエスコート (Wailing Caverns Disciple of Naralex) DruidのLeader4人を倒した後に入り口のTaurenに話しかけるとエスコートがスタート、Mutanus the devourerを倒すとGlowing ShardをDrop [25] The Glowing Shard (Item Glowing Shard) RatchetのSputtervalveと話した後にWCの山頂にいるFalla Sagewindと話す [25] In Nightmares (The Barrens Falla Sagewind) Nightmare ShardをThunder BluffのElder RiseにいるHamuul Runetotemへ持って行く
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Overview Skill Use Phases Phases in Detail See Also Overview In Ragnarok, there are generally 3 types of skills Passive, Active, Offensive. Passive skills are always "activated" although they may require the user be attacked or otherwise influenced by other environmental effects in order to go off. Active skills must be manually activated by the player- some have a set time period in which they stop by themselves, others can be manually deactivated, and some are one-time-use skills that require manual activation each time the player desires to use them. Active skills -do not inflict actual damage, differentiating them from Offensive skills. All Offensive skills are also Active skills, but not vise-versa. Finally, Offensive skills are simply Active skills that also do damage to other players and/or monsters×. Skills can be further broken down into other sub-categories such as Melee, Ranged, Magic, Supportive, etc. Skills in these categories also fall under one of the three "main" categories listed in the previous paragraph. Some skills fall under multiple sub-categories as well. Ranged skills do not require the player to be standing adjacent to the target, whereas Melee skills generally do. Magic skills almost always involve a Cast Time× and are usually Ranged. Supportive skills are termed due to their helpful effects they give to a single player or group of players, enhancing their attack and defensive capabilities. Skill Use Phases Skill use is a five-step process, three points seperated by two phases. Skill usedSkill name appears above character s head. Cast timeCast bar is visible above character s head. Skill activationSkill name appears above character s head again. Cast delayNo visible indication. When the delay ends you will be able to use another skill. Skill use completeNo visible indication. CooldownThe specific skill can not be reused for a fixed time. (not all skills have cooldowns) Phases in Detail Skill Used This is when the character uses the skill. SP cost and other casting costs are checked, but do not take effect. If the character cannot pay any of the costs, the skill will not activate. Cast Time During the cast time, the character cannot move, cannot attack and cannot use other skills. If the character takes damage during cast time, the skill is canceled (exceptions wearing a Phen Card or Bloody Butterfly Card , being Sacrifice×d by a Crusader/Paladin, or while casting certain skills). If a skill has no base cast time or modifiers reduce the effective cast time to 0 or less, no cast bar appears and the cast time phase is skipped entirely. Cast time is indicated by a "progress bar" above the character s head, sometimes called cast bar. The bar starts out black and is filled with green as cast time proceeds. When the cast bar is completely green, cast time ends. Some skills do not have a cast bar, even though they have a casting time, such as Bowling Bash× and Brandish Spear×. Cast time is composed of "Variable Cast Time" and "Fixed Cast Time". As the names imply, Variable Cast Time depends on the stats and gear of the caster, while Fixed Cast Time is constant for a given skill. A small number of effects can reduce Fixed Casting Time. For most skills, Fixed Cast Time is 20% of the total cast time, with the remainder being variable. Variable cast time is reduced by DEX, and also INT at half the amount. Cast Time Calculation Cast time is only calculated once. It ignores changes to the modifiers during cast. This means it is possible to start casting and equip a phen clip afterwards to get the phen effect for most of the cast time without the cast time increase. Notes Free Cast× skill allows movement and attacking while casting. Phen Card and Bloody Butterfly Card both allow taking damage without being interrupted (but not during War of Emperium×) The Crusader skill Sacrifice allows the caster to take damage without being interrupted (works in War of Emperium) Certain skills cannot be interrupted (generally ones intended to be used by classes on the front lines) Modifiers Bloody Butterfly Card +30% variable cast time Magic Strings× see skill description Phen Card +25% variable cast time Suffragium× -15% variable cast time * Skill Lv. Tower Keeper Card -5% variable cast time Kathryne Keyron Card -1% variable cast time per upgrade of the headgear Orlean s Gown [1] +15% variable cast time Foresight× -50% variable cast time Bear in mind that although Bloody Butterfly Card adds 30%, the full set gives a bonus of -15% meaning that it would only be an end result of +15% (vs. the Phen s 25%). Magic Strings and Foresight are treated as separate factors in the calculation; they are not added to the other modifiers. Skill Activation SP cost and other casting costs are checked again. If the character can pay the costs, they are paid and the skill takes effect. If not, nothing happens. If the character is inside a chat room, no skill effect happens, but the costs are paid as usual. Cast Delay During cast delay, the character can move and attack freely, but cannot use skills. There is no visible indication of cast delay. Cast delay is often called skill delay for non-magic skills. Cast Delay Calculation The base delay depends on the skill and skill level. Cast delay = base delay * (1 - x * 0.01)x is sum of modifiers In English Start with base delay. Reduce by x%. (Rounding and other details unknown) Modifiers Magic Strings see skill description Kiel D-01 Card Expert Ring Cooldown For a fixed time after the player has used the skill, the player will be unable to use that same skill again. They may however use any other skills they wish. There is no way to reduce a Skill Cooldown. They are usually set on a per-skill basis and occasionally vary by skill level used. Note Almost all 1st and 2nd class skills have no cooldown. See Also Guild Skills× Monster Exclusive Skills× Categories Skills | Mechanics