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https://w.atwiki.jp/splintercell/pages/133.html
April 19th, 2006, 9 32 PM Vertigo Plaza, Boston, Massachusetts, USA Vertigo Plaza is a high-tech complex of 4 buildings linked together by 4 bridges far above the ground. 高層ビル群 初回はジップラインで対角線上の目標へ移動するのが一番早い。各ビルを繋ぐ通路はまっすぐ移動することはできず、途中のパイプや柵を上って途中で回転する事で移動できる。 スクリーンショット 名前 コメント
https://w.atwiki.jp/vocaloidenglishlyric/pages/494.html
【Tags H Rin mayuko tV】 Original Music title ハカマイリ English music title VISITING A GRAVE Romaji music title HAKAMAIRI Music Lyrics written, Voice edition by mayuko Music arranged by mayuko Singer(s) 鏡音リン (Kagamine Rin) The song is coupled with Len's リイマカハ(EVARG A GNITISIV) and mixed together by the author as 送墓唄(Song of Sending to A Grave). Click here for the original Japanese Lyrics English Lyrics (translated by blacksaingrain)： Shall we go around to lit the light of ghostfire to ears of silver grasses that took their last breathes? Dead bodies, dead bodies got dewy at night Here and there There are even no figures that bury them Let us go, taking uproar and tumult Though the mortuary at midwinter cannot even prevent the rain If you're on the way to go, I will take you there The hand is beckoning and the arms are folded Shall we hold it and and tie them by the bones of the neck of five inches? Stupid dulls who don't know what they need in return With thou, with you and with you bastard "I'LL VISIT A GRAVE" There are sotoba blown by a gusty wind at tumulus They got broken and what they pierce are eyes of the dead bodies The eyes have been fallen and the hollows are left on the dead bodies, the dead bodies Where is it? Here is it Figures that seek and wander are here and there Let us go, taking uproar and tumultu) Though there is even no monk at the mortuary at midwinter If you're on your way back, please go alone by yourself By the time the sun is about to set at the time for disasters Beckoning and beckoning “Come over here” With thou, with you and with you bastard who went missing without destination (atedo mo yukue mo shirezu no anata to omae to kisama to) "I'LL VISIT A GRAVE" My dear, your family's graveyard is Near a swampy place where frogs often croak Frogs croak with cracked sounds [Crying with a cracked voice,“want to go back, want to go back”] Down the lane, down the lane, down the lane, down the lane[Croak, croak, croak, croak] Shall we go back? A candy drop, an orb of a heart and this begging orb Shall I put them in a row and eat them up from the edge? Though they look different, far and wide, one and all Come here, come here, come this way The hand is beckoning and the arms are folded Shall we hold it and and tie them by the bones of the neck of five inches? I'll go with a stake in one hand I'll make thou, you and you bastard "VISIT A GRAVE" "GO TO THE OTHER WORLD" "VISIT A GRAVE" "JOINING US" "VISIT A GRAVE" What pulls at the sleeve by the time frogs are none is... [What pulls at the sleeve by the time without going back is...] Now, let us go to the spine-chilling door of the wailing and grieving of restless ghosts Romaji lyrics (transliterated by blacksaingrain)： iki no todaeta kareobana ni tomoshite megurou ka yuureibi yotsuyu ni nureta mukuro, mukuro achira kochira uzumu tame no kage wa mie mo senu gouzensouzen hikitsure mairou mafuyu no tamaya wa ame mo shinogenu ga yuki no michi nara otsureshiyou temaneki komanuku otete wo nigiri keikotsugosun de tsunagou ka? mikaeri mo shiranu guzudomo anata to omae to kisama to "HAKAMAIRI" kaze fukisabu tsuka ni sotoba heshi ore sasaru wa kabane no manako ochite kubonda mukuro mukuro dochira kochira sagashi samayou kage wa sokokashikoni gouzensouzen hikitsure mairou mafuyu no tamaya nya bouzu mo oranu ga kaeru michi nara ohitori de irihi no koroai oumagatoki ni temaneki temaneki "oide ya" atedo mo yukue mo shirezu no anata to omae to kisama to "HAKAMAIRI" omae-sama no gokakei no hakaba wa kaeru no yoku naku numachi ni chikaku kaeru kaeru naku shagareta koe de gero gero gero gero modorou ka? amedama kodama ni tougai kotsudama narabete hashi kara kuratte miseyou ka sugata wa tagaedo amaneku amanaku oide ya oide ya kochira e temaneki komanuku otete wo nigiri keikotsugosun de tsunagou ka? kuize wo katate ni mairou anata to omae to kisama wo "HAKAMAIRI" "ANOYOYUKI" "HAKAMAIRI" "NAKAMAIRI" "HAKAMAIRI" kaeru no naku koro sode wo hiku no wa saa kikokushuushuu no tobira e mairou
https://w.atwiki.jp/mrfrtech/pages/135.html
Cloud Microservices Industry, Segments Of The Tech World Opportunity, Industry Growth, Key Vendors Opportunity and Forecast 2027, Market Research Future Market Analysis The data analysts at Market Research Future Reports (MRFR) have conducted a thorough analysis of the global Cloud Microservices Industry is estimated to value USD 2,146.7 million, thriving at a CAGR of 25% during the assessment period. The growing number of microservices architecture is anticipated to affect the global Cloud Microservices Industry 2020. Besides, the increasing demand for secured IT operations and cheap cost methods have further led to market expansion. Furthermore, the inclination of enterprises towards the private cloud for data security is projected to play an important part in market expansion. Also, the growing need to minimize the on-premise IT deployment cost is another pivotal factor leading to the growth of the market. However, insufficient technical expertise and the expenses related in the initial stage are anticipated to refrain the market from expanding. However, the outbreak of COVID-19 has resulted in a pause in the daily operational activities of the global Cloud Microservices Industry. The offices have been temporarily shut to contain the spread of coronavirus. Thorough research is being carried out on the impact of coronavirus on the worldwide market. We will provide an impact analysis report on COVID-19. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/7199 Market Segmentation The worldwide cloud microservices market can be distinguished on the basis of organization size, component, deployment, verticals, and geography. On the basis of organization size, the worldwide cloud microservices market can be distinguished into large enterprise and small and medium-sized enterprises. On the basis of component, the global cloud microservices market can be distinguished into platform and services. On the basis of deployment, the worldwide cloud microservices market can be distinguished into the public cloud, private cloud, and hybrid cloud. On the basis of verticals, the worldwide cloud microservices market can be distinguished into healthcare, retail and e-commerce, media entertainment, IT telecommunication, BFSI, government, transportation and logistics, and manufacturing. On the basis of geography, the worldwide cloud microservices market can be distinguished into North America, Europe, Asia-Pacific, and Rest of the World (RoW). Regional Analysis The global market is estimated to expand significantly during the assessment period. Thorough research of North America, Europe, Asia-Pacific, and Rest of the World (RoW) has been performed. As per the study, North America is estimated to dominate the global market. It is one of the most lucrative markets, and besides, it is also one of the early adopters of microservices architecture. Several sectors are relying on technology and are actively adopting cloud microservices. Europe attains the second position. Europe is a potential market and generates a significant amount of revenue during the assessment period. The most significant factor resulting in the market expansion is the presence and participation of the developed economies such as the UK, and Germany. On the other side, the APAC region is anticipated to be the fastest-growing region. The most pivotal factor leading to market expansion is the deployment of several organization in the APAC region due to the cheap cost in providing services to customers. However, the market dynamics are estimated to be affected significantly due to the outbreak of COVID-19. Several regions have been affected due to the observation of lockdown. Key Players The established players of the global cloud microservices market are Software AG (Germany), CA Technologies, Amazon Web Services (US), IBM Corporation (US), Salesforce.com Inc (US), Microsoft Corporation (US), Infosys Limited (India), Syntel (US), Oracle Corporation (US), SmartBear Software (US). The other players contribute 30-35% in the cloud microservices market. Some of them are CoScale (Belgium), Contino (UK), Idexcel (US), Macaw (US), Kontena (Finland), Marlabs (US). Browse Complete Report @ https //www.marketresearchfuture.com/reports/cloud-microservices-market-7199 Table of Contents 1 Executive Summary 2 Scope of The Report 2.1 Market Definition 2.2 Scope of The Study 2.2.1 Research Objectives 2.2.2 Assumptions Limitations 2.3 Market Structure 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. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com
https://w.atwiki.jp/mrfrtech/pages/60.html
Market Analysis The data analysts at Market Research Future Reports (MRFR) have conducted a thorough analysis of the global Cloud Microservices Industry is estimated to value USD 2,146.7 million, thriving at a CAGR of 25% during the assessment period. The growing number of microservices architecture is anticipated to affect the global Cloud Microservices Industry 2020. Besides, the increasing demand for secured IT operations and cheap cost methods have further led to market expansion. Furthermore, the inclination of enterprises towards the private cloud for data security is projected to play an important part in market expansion. Also, the growing need to minimize the on-premise IT deployment cost is another pivotal factor leading to the growth of the market. However, insufficient technical expertise and the expenses related in the initial stage are anticipated to refrain the market from expanding. However, the outbreak of COVID-19 has resulted in a pause in the daily operational activities of the global Cloud Microservices Industry. The offices have been temporarily shut to contain the spread of coronavirus. Thorough research is being carried out on the impact of coronavirus on the worldwide market. We will provide an impact analysis report on COVID-19. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/7199 Market Segmentation The worldwide cloud microservices market can be distinguished on the basis of organization size, component, deployment, verticals, and geography. On the basis of organization size, the worldwide cloud microservices market can be distinguished into large enterprise and small and medium-sized enterprises. On the basis of component, the global cloud microservices market can be distinguished into platform and services. On the basis of deployment, the worldwide cloud microservices market can be distinguished into the public cloud, private cloud, and hybrid cloud. On the basis of verticals, the worldwide cloud microservices market can be distinguished into healthcare, retail and e-commerce, media entertainment, IT telecommunication, BFSI, government, transportation and logistics, and manufacturing. On the basis of geography, the worldwide cloud microservices market can be distinguished into North America, Europe, Asia-Pacific, and Rest of the World (RoW). Regional Analysis The global market is estimated to expand significantly during the assessment period. Thorough research of North America, Europe, Asia-Pacific, and Rest of the World (RoW) has been performed. As per the study, North America is estimated to dominate the global market. It is one of the most lucrative markets, and besides, it is also one of the early adopters of microservices architecture. Several sectors are relying on technology and are actively adopting cloud microservices. Europe attains the second position. Europe is a potential market and generates a significant amount of revenue during the assessment period. The most significant factor resulting in the market expansion is the presence and participation of the developed economies such as the UK, and Germany. On the other side, the APAC region is anticipated to be the fastest-growing region. The most pivotal factor leading to market expansion is the deployment of several organization in the APAC region due to the cheap cost in providing services to customers. However, the market dynamics are estimated to be affected significantly due to the outbreak of COVID-19. Several regions have been affected due to the observation of lockdown. Key Players The established players of the global cloud microservices market are Software AG (Germany), CA Technologies, Amazon Web Services (US), IBM Corporation (US), Salesforce.com Inc (US), Microsoft Corporation (US), Infosys Limited (India), Syntel (US), Oracle Corporation (US), SmartBear Software (US). The other players contribute 30-35% in the cloud microservices market. Some of them are CoScale (Belgium), Contino (UK), Idexcel (US), Macaw (US), Kontena (Finland), Marlabs (US). Browse Complete Report @ https //www.marketresearchfuture.com/reports/cloud-microservices-market-7199 Table of Contents 1 Executive Summary 2 Scope of The Report 2.1 Market Definition 2.2 Scope of The Study 2.2.1 Research Objectives 2.2.2 Assumptions Limitations 2.3 Market Structure 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. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com
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【登録タグ A-One Odyssey TOHO EUROBEAT VOL.11 Z リジッドパラダイス 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 ); 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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 ; 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https://w.atwiki.jp/ishikr8/pages/34.html
カービューのメリットはどんなこと！？ カービューのメリットは、簡単に買取りの見積もりを依頼できるところにあります。 ホームページも極めてシンプル！！ 車両の種類と郵便番号を記載して、次のページへ…、その後に、愛車についての情報と連絡先を記載するだけで、買取相場を知ることができるようになっています。 （３分もあれば完了！！） カービュー http //www.acesaga.com/carview/
https://w.atwiki.jp/matchmove/pages/65.html
Supervised Tracking 手動トラッキング カメラの３Ｄの位置とシーンの要素のために解析するためには、ショットの一部もしくは全部を通してトラッキングされるトラッカーの集まりが必要になります。 ショット内に、7または8個のトラッカーがあれば十分です（少なくとも6）、しかし、複雑なショットは、ブロックされていたり、フレームでおかしな移動しているトラッカーで、もっと多く必要になることがあります。 自動トラッキングが満足なトラッカーをもたらすことができないならば、直接トラッカーを加える必要があります。 または、自動的に生成されたトラッカーを改善するために、このテクニックを使うことができます。 特定の手動トラッカーは、特にオブジェクトを挿入するための、または、要望通り座標系を一列に並べるためのリファレンスとして役に立ちます。 WARNING 手動トラッキングは体がつかれるので休憩をとりながら実施して下さい。Click-on/Click-offモードを参照してください. To begin supervised tracking, select theTracker control panel. Turn on the Create button. Tip You can create a tracker at any time by holding down the ‘C’ key and left-clicking in the camera view. Or, right-click in the camera view and select the Create Trackers item. In either case you will be switched to the Tracker control panel. Rewind to the beginning of the shot. Locate a feature to track a corner or small spot in the image that you could reach in and put your finger on.Do not select a reflective highlight that moves depending on camera location. Left-click on the center of your feature, and while the button is down, position the tracker accurately using the view window on the command panel. The gain and brightness spinners located next to the mini-tracker-view can make shadowed or blown-out features more visible. Adjust the tracker size and aspect ratio to enclose the feature, and a little of the region around it, using either the spinner or inner handle. Adjust the Search size spinner or outer handle based on how uncertainly the tracker moves each frame. This is a matter of experience. A smooth shot permits a small search size even if the tracker accelerates to a higher rate. Create any number of trackers before tracking them through the shot. It is easier to do either one or 3-6 at a time. To track them through the shot, hit the Play or frame forward button or use the mouse scroll wheel inside the mini-tracker-view (scrubbing the time bar does not cause tracking). Watch the trackers as you move through the shot. If any get off track, back up a frame or two, and drag them in the image back to the right location. The Play button will stop automatically if a tracker misbehaves, already selected for easy correction. Prediction Modes and Hand-Held Shots SynthEyes predicts where the feature will appear in each new frame. It has different ways to do this, depending on your shot. By default, in theSteady cameramode, it assumes that the shot is smooth, from a steadi-cam, dolly, or crane, and uses the previous history over a number of frames to predict its next position. If you have a hand-held shot, selectHand-Held Use otherson the Track menu. In this mode, SynthEyes uses other, already-tracked, trackers to predict the location of new ones. Start by tracking a few easy-to-track features that are distributed around the image. You will usually need a large search area, and to re-key fairly frequently if the shot is very choppy. But as you add trackers, you can greatly reduce the search size and will need to set new keys only occasionally as the pattern changes. Using the predict mode, you’ll sometimes find that a tracker is suddenly way out of position, that it isn’t looking in the right place. If you check your other trackers, you’ll find that one of your previously-tracked trackers is off course on either this or the previous frame. You should unlock that tracker, repair it, relock it, and you’ll see that the tracker you were originally working on is now in the correct place (you may need to back up a frame and then track onto this frame again). If your shot and the individual trackers are very rough, especially as you are tracking the first few trackers, you may find that the trackers aren’t too predictable, and you can set the mode toHand-Held Sticky, in which case SynthEyes simply looks for the feature at its previous location (requiring a comparatively large search region). For some special situations, theRe-track at existingmode uses the previously-tracked location, and looks again nearby (perhaps after a change in some tracker settings). The search size can be kept small, and the tracker will not make any large jumps to an incorrect location, if the track is basically correct to begin with. SynthEyes uses this mode during fine-tuning. Note on any frames that were not previously tracked, Hand-Held Sticky mode will be used. Adjusting While Tracking If a tracker goes off course, you can fix it several ways by dragging it in the camera view, by holding down the Z key and clicking and dragging in the camera view, by dragging in the small tracker interior view, or by using the arrow keys on the number pad. (Memo to lefties use the apostrophe/double-quote key ‘/” instead of Z.) You can keep an eye on a tracker or a few trackers by turning on thePan to Followitem on the Track menu (keyboard 5 key), and zooming in a bit on the tracker, so you can see the surrounding context. When Pan To Follow is turned on, dragging the tracker drags the image instead, so that the tracker remains centered. Or, the number-pad-5 key centers the selected tracker whenever you click it. Staying on Track and Smooth Keying Help keep the trackers on course with theKey Everyspinner, which places a tracker key each time the specified number of frames elapses, adapting to changes in the pattern being tracked. If the feature is changing significantly, you may want to tweak the key location each time the key is added automatically. Turn on theStop on auto-keyitem on the Track menu to make this easier. When you reposition a tracker, you create a slight “glitch” in its path that can wind up causing a corresponding glitch in the camera path. To smooth the glitches away, set theKey Smoothspinner to 3, say, to smooth it over the preceding 3 frames. When you set a key, the preceding (3 etc) frames need to be re-tracked. If you turn onPre-Roll by Key Smoothon the Track menu, SynthEyes will automatically back up and retrack the appropriate frames when you resume tracking (hit Play) after setting a key. The combination ofStop on auto-keyandPre-roll by Key Smoothmakes for an efficient workflow. You can leave the mouse camped in the tracker view window for rapid position tweaks, and use the space bar to restart tracking to the next automatic key frame. See the web-site for a Flash movie example. Warning if SynthEyes is adding a key every 12 frames, and you want to delete one of those keys because it is bad, it may appear very difficult. Each time you delete it (by right-clicking in the tracker view, Now button, or position spinners), a new key will immediately be created. You could just fix it. Or, you should back up a few frames, create a key where the tracker went off-course, then go forward to delete or fix the bad key. Suspending or Finishing a Track If an actor or other object permanently obscures a tracker, turn off its enable button, disabling it for the rest of the shot, or until you re-enable it. Trackers will turn off automatically at the edge of the image; turn them back on if the image feature re-appears. (If the shot has a non-image border, use the region-of-interest on the Image Preprocessing panel so that trackers will turn off at the right location.) You can also track backwards go to the end of the shot, reverse the playback direction, and play or single-step backwards. You can change the tracking direction of a tracker at any time. For example, you might create a tracker at frame 40 and track it to 100. Later, you determine that you need additional frames before 40. Change the direction arrow on the tracker panel (not the main playback direction, which will change to match). Note that you introduce some stored inconsistency when you do this. After you have switched the example tracker to backwards, the stored track from frames 40-100 uses lower-numbered reference frames, but backwards trackers use higher-numbered reference frames. If you retrack the entire tracker, the tracking data in frames 40-100 will change, and the tracker could even become lost in spots. If you retrack in the new direction, you should continue to monitor the track as it is updated. If you have regularly-spaced keyframes, little trouble should be encountered. When you are finished with one or more trackers, select them, then click theLockbutton. This locks them in place so that they won’t be re-tracked while you track additional trackers. Combining Trackers You might discover that you have two or more trackers tracking the same feature in different parts of the shot, or that are extremely close together, that you would like to consolidate into a single tracker. Select both trackers, using a lasso-select or by shift-selecting them in the camera view or graph editor. Then select theTrack/Combine trackersmenu item, or the Shift-7 (ampersand ). All selected trackers will be combined, preserving associated constraint information. If several of the trackers being combined are valid on the same frame, their 2-D positions are averaged. Any data flagged as suspect is ignored, unless it is the only data available. Similarly, the solved 3-D positions are averaged. There is a small amount of intelligence to maintain the name and configuration of the most-developed tracker. Note the camera view s lasso-select will select only trackers enabled on the current frame, not the 3-D point of a tracker that is disabled on the present frame. This is by design for the usual case when editing trackers. Control-lasso to lasso both the 2-D trackers and the 3-D points, or shift-click to select 3-D points. Filtering and Filling Gaps in a Track To produce even smoother final tracks, instead of Locking the trackers, click theFinalizebutton. This brings up theFinalizedialog, which filters the tracker path, fills small missing gaps, and Locks the tracker(s). Though filtering can create smoother tracks, it is best used when the camera path is smooth, for example, from a dolly or crane. If the camera was hand-held, smoothing the tracker pathscausessliding, because the trackers will be smoother than the camera! If you have already begun solving and have a solved 3-D position for a tracker, you can also fill small gaps or correct obvious tracking glitches by using the Exact button on the tracker panel, which sets a key at the location of the tracker s 3-D position (keyboard X key,notshifted). You should do this with some caution, since, if the tracking was bad, then the 3-D tracker position and camera position are also somewhat wrong. Pan To Follow While tracking, it can be convenient to engage the automatic Pan To Follow mode on the Track menu, which centers the selected tracker(s) in the camera view, so you can zoom in to see some local context, without having to constantly adjust the viewport positioning. When pan to follow is turned on, when you start to drag a tracker, the image will be moved instead, so that the tracker can remain centered. This may be surprising to begin with. Once you complete a tracker, you can scrub through the shot and see the tracker crisply centered as the surroundings move around a bit. This is the best way to review the stability of a track. Skip-Frame Track If a few frames are untrackable due to a rapid camera motion, explosion, strobe, or actor blocking the camera, you can engage the Skip Frame checkbox on the feature panel to cause the frame to be skipped. You should only skip a few frames in a row, and not that many over all. The Skip Frames track will not affect supervised tracking, but it affects solving, causing all trackers to be ignored. After solving, the camera will have a spline-interpolated motion on the resulting unsolved frames. If you have a mixture of supervised and automatic tracking, see the section on theSkip-Frame track in Automated Trackingas changing the track after automated tracking can have adverse effects.
https://w.atwiki.jp/towerunitejp/pages/92.html
概要 2人からプレイ可能な対戦型シューティングゲーム。12人まで参加可能。 LaserTagの建物に入り、LaserTagLobbyという場所でキューに入ると参加可能。 日本人の我々からすると馴染みが薄いが、アメリカ等ではそこそこ有名(らしい) ルール 光線銃で撃ちあい、敵チームを全員排除(Eliminated)した側が勝利となる。3ラウンド制。 各プレイヤーは銃で撃たれてヘルスが0になるたび、3回まで復活出来る。 復活回数の残っているプレイヤーはTagged、もう復活出来ないプレイヤーはEliminatedと表示される。 Tips プレイエリアは一階と二階に分かれており、上下の移動は飛び降りるかエリアの四隅にあるジャンプパッドで二階に飛び乗る。 注意点として、Taggedされたプレイヤーは自動で復活するわけではない。 中央のパーセンテージ表示が0になる前にリチャージを行わなければ、ライフが残っていてもEliminatedになってしまう。 リチャージを行う機械。一階の壁沿いに幾つか配置されている。 リチャージする機械は一階にしかないが、設置個所は多く復活待機中は移動も速いので理解していれば十分間に合う。 Plazaゲームである以上、日本からは比較的pingが高い。チーム分けもランダムなのでギスギスせずおおらかにプレイしよう。 報酬 Thank you for playing ラウンドを最後までプレイする 200U Winning Team ラウンドに勝利 500U Didn't get Eliminated ラウンド中にEliminatedされない 800U Gained XXX Points ラウンド中にスコアを獲得する 獲得したポイントの2倍Units
https://w.atwiki.jp/artist-biography/
Ryota Matsumoto - Artist, Architect, Author Ryota Matsumoto (松本良多) is the Japanese philosopher and visual artist known for the postdigital theory and hybrid art. He is a principal and founder of an award-winning interdisciplinary design office, Ryota Matsumoto Studio based in New York and Tokyo. Education Born in Tokyo, he was raised in Hong Kong and Japan. He received a Master of Architecture degree from University of Pennsylvania in 2007 after his studies at Architectural Association in London, Mackintosh School of Architecture, Glasgow School of Art and University of Miami in early 90’s. Matsumoto has previously collaborated with a cofounder of the Metabolist Movement, Kisho Kurokawa, and with Arata Isozaki, Peter Christopherson, Cesar Pelli and MIT Media Lab before establishing his office. Biography As a designer and consultant of Nihon Seikei Inc. and Japanese railway, he has worked on high-profile projects including Kyushu University Ito Campus masterplan(2003-2005), Shinjuku redevelopment project in Tokyo(2009-2012), Bach Mai hospital in Hanoi(2000) and Qingdao mixed-use development in China(2011). He has presented his work on posthumanism, digital design and bio art at the 5th symposium of the Imaginaries of the Future at Cornell University, the Espaciocenter workshop at TEA Tenerife Espacio de las Artes, Oslo National Academy of the Arts, UCI Claire Trevor School of the Arts and NTT InterCommunication Center as a visual artist. As a video producer, he has worked with Peter Christopherson of Coil and Hipgnosis for Japanese Nike commercial and contributed to the promotional projects for his first solo album as Threshold Houseboys Choir. His academic career started as a teaching assistant for architectural historian, Vincent Joseph Scully Jr. and his seminar, the Natural and Manmade in 1993. During his visiting fellowship at the Glasgow school of Art, he has been engaged in research on the process of integrated urban regeneration under the guidance of Giancarlo De Carlo and Isi Metzstein. He continued his pursuit in urban studies and participated in seminal research projects with MIT Media Lab and KieranTimberlake exploring high-rise modular housing, sustainability and design interventions for Dhaka, Bangladesh in 2005. He has served as an MFA advisor of Transart institute, University of Plymouth and teaches at Asagaya Institute of Art and Design as a professor of practice. He is a research associate at the New Centre of Research Practice found by Mohammad Salemy, Jason Adams and Reza Negarestani. Awards Matsumoto is the recipient of Visual Art Open First Prize, FILE (Electronic Language International Festival) Prix Lux Prize, Florence Biennale Mixed Media 2nd Place Award, Premio Ora Prize Italy 5th Edition, Premio Ora Prize Spain 1st Edition, Donkey Art Prize III Edition Finalist, Best of Show IGOA Toronto, Art Kudos Best of Show Award, Lynx International Prize Be Art Builder Award, Lumen Prize Finalist and Western Bureau Art Prize Honorable Mention. He was awarded the Gold Artist Prize from ArtAscent Journal, the 1st Place Prize from Exhibeo Art Magazine and the Award of Excellence from the Creative Quarterly Journal of Art and Design in 2015 and 2016. His work is part of the permanent collection of University of Texas at Tyler. Writings His work, writings, and interviews were published in Kalubrt Magazine, University of North Carolina Wilmington Journal Palaver, Furtherfield.org, The Journal of Wild Culture, Studio Visit Magazine, Fresh Paint Magazine, H+ Magazine, International Artist Magazine, Made In Mind Magazine, Arizona State University Journal Superstition Review, Creative Review, Next Nature Network, Rhizome.org, Carbon Culture Review, KooZA/rch, Supersonic Art, Component Design (Winka Dubbeldam ed.), Post Digital Aethetics (Berry and Dieter ed.), Drawing Discourse (University of North Carolina Asheville), Highlike(SEPI-SP editors) and Drawing Futures (The Bartlett UCL) among others. Exhibitions Matsumoto s multidisciplinary projects have been exhibited recently at Meadows Gallery University of Texas at Tyler, S. Tucker Cooke Gallery University of North Carolina Asheville, Sebastopol Center for the Arts, National Museum of Korea, Van Der Plas Gallery, ArtHelix Gallery, Caelum Gallery, Limner Gallery, the Cello Factory, University of the District of Columbia, Lux Art Gallery, Studio Montclair, Manifest Gallery, Tenerife Espacio de las Artes, Art Basel Miami, ISEA International, FILE Sao Paulo, Nook Gllery and Arts and Heritage Centre Altrincham. He also had solo exhibitions at Transylvania University (2015), Los Angeles Center of Digital Art (2016) and Alviani ArtSpace, Pescara (2017). Links The Official Website https //www.ryotamatsumoto.com The Centre of Research Practice https //thenewcentre.org/people/ryota-matsumoto World Biographical Encyclopedia https //prabook.com/web/ryota.matsumoto/619708 Facebook https //www.facebook.com/ryota.matsumoto.718 Instagram https //www.instagram.com/ryt.matsumoto LinkedIn https //www.linkedin.com/in/ryota-matsumoto-68746080 Discogs https //www.discogs.com/ja/artist/5796857-Ryota-Matsumoto Muck Rack Journalist Profile https //muckrack.com/ryota-matsumoto References Ryota Matsumoto and Hybrid Architecture, Athanor Journal https //www.athanor.world/5/matsumoto_hybrid-architecture.html Interview with Ryota Matsumoto, Roadrunner Review, La Sierra University Press https //roadrunner.lasierra.edu/interview-with-ryota-matsumoto-artist The Alchemy of Oblique Strategy, Ryota Matsumoto, Interalia Magazine https //www.interaliamag.org/audiovisual/ryota-matsumoto
https://w.atwiki.jp/mrfrtech/pages/38.html
Market Analysis Biometrics, or just biometrics, alludes to utilizing natural attributes like an individual's face, fingerprints, or iris to perceive people in a robotized way. A framework to advance creative biometric acknowledgment in the cloud. With BaaS, one could start utilizing unique mark filtering and face acknowledgment to coordinate workers and clients, forestalling extortion and improving client support without the requirement for expensive, tedious, and asset concentrated programming buy and reconciliation processes. With BaaS, one could initiate utilizing unique finger impression filtering and face acknowledgment to incorporate workers and clients, forestalling misrepresentation, and improving client support without the requirement for exorbitant, tedious, and asset escalated programming buy and coordination processes. Biometrics-as-a-Service Market empowers an organization to distinguish people in view of natural and social qualities utilizing cloud-based recognizable proof and verification. The innovation enjoys a few benefits, remembering the simplicity of reception at any endpoint for the organization, availability from anyplace on the planet, and lower membership costs. Opportunities Rising Adoption of Cloud-based Services to offer Robust Opportunities The rising adoption of cloud-based services by enterprises will offer robust opportunities for the market in the forecast period. Enterprises are adopting cloud-based services increasingly for their business functions owing to their different benefits like agility, disaster recovery, flexibility, and lower costs. Besides the cloud offers the perks of hybrid cloud deployment that offers the perks of both the public and private clouds. Due to cloud deployment, enterprises can avail the biometric security capabilities without the need for any complex infrastructure. Restraints and Challenges Security Issues and Privacy Concerns to act as Market Restraint The security issues and privacy concerns of biometric data stored on the cloud may act as a market restraint over the forecast period. Besides, the integration of biometric as a service into the existing systems may also impede market growth. COVID-19 Analysis The BaaS market has been substantially impacted owing to the increasing pandemic situation across the globe. The COVID-19 outbreak has led to reduced business activities as governments had enforced lockdowns. Owing to this, the dependency on online businesses has significantly grown to offer necessary services to consumers. Thus the increased need for biometric as a service as this offers robustness and security to the data. BaaS simplifies business processes and also affording transparency and immutability as well as increase focus on operational efficiency. Also, BaaS devices are also used in retail malls and buildings to screen people during the crisis before they enter. They can detect this using AI technology if anyone is not wearing a mask or has high temperature. Further, touchless technologies are also flooding the market now. Airports, hospitals, offices, and secure locations are making the most of non-contact biometric attendance. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/10598 Market Segmentation The worldwide biometric-as-a-administration market has been divided in view of offering, arrangement type, arrangement characteristic, methodology, association size, vertical, and area. By offering, the biometric-as-a-administration market has been sectioned into arrangement and administration. By arrangement type, the biometric-as-a-administration market has been additionally divided into finger impression acknowledgment, face acknowledgment, iris acknowledgment, voice acknowledgment, palm and vein acknowledgment, and others. The other section is partitioned into DNA, mark, and keystroke. By arrangement attribute, the biometric-as-a-administration market has been additionally divided into physiological and social. By methodology, the biometric-as-a-administration market has been additionally divided into unimodal and multimodal. The biometric-as-a-administration market has also been sectioned into SMEs and enormous endeavors by association size. By vertical, the biometric-as-a-administration market is portioned into government (policy management), medical care, BFSI, IT and ITES, assembling, instruction, and others. Moreover, the other portion is isolated into a diversion, transportation, energy and utilities, retail, telecom, and other expert administrations. The locales remembered for the review are North America, Europe, Asia-Pacific, the Middle East and Africa, and South America. Regional Analysis The worldwide biometric-as-a-administration market has been ordered as North America, Europe, the Asia-Pacific, the Middle East and Africa, and South America. North America is probably going to be the prevailing local market because of the quicker reception of imaginative advancements in created nations in the district the US, Canada, and Mexico. This is principally because the district is perhaps the most mechanically progressed area with the presence of countless market players like Google, Microsoft, IBM, and Amazon. Asia-Pacific is relied upon to progress at the most elevated CAGR during the figure time frame because of the developing usage of advances. Key Players Prominent players profiled in the global biometric as a service market report include Idemia (France), NEC (Japan), Thales (France), M2SYS (US), Fujitsu (Japan), Aware (US), Leidos (US), Nuance (US), Certisign (Brazil), HYPR (US), BioID (Germany), Ayonix (Japan), Phonexia (US), Lexis Nexis (US), Cognitec Systems (Germany), Iritech (US), Affectiva (US), Nviso (Switzerland), Fingerprints (Sweden), Bayometric (US), Google (US), Microsoft (US), IBM (US), Amazon (US), and Accenture (Ireland). Industry News In April 2020, Fujitsu Frontech North America Inc. procured Fulcrum Biometrics, LLC, a piece of Texas-based biometric equipment, programming, and arrangements supplier. This understanding shows the organization's obligation to develop its biometrics business in North America and the worldwide character of the executives market, including multifaceted confirmation, commands forced by new state and government regulations administering monetary establishments and medical services suppliers' capacity to share patient data. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/biometric-as-a-service-market-10598 Table of Contents 1 Executive Summary 2 Scope of The Report 2.1 Market Definition 2.2 Scope of The Study 2.2.1 Research Objectives 2.2.2 Assumptions Limitations 2.3 Market Structure Continued… Similar Report** Open Source Intelligence (OSINT) Market Mobile Banking Market Voice Assistant Market** https //mrfrinformation.tistory.com/615 Network-Attached Storage Market** https //telescope.ac/information-technology-Lc1XMRDqL/5WlKY9Kx4 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. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com #market #research #industry #data #report #share #digital #gnews Plugin Error キーワードを入力してください。 #trend #future #analyis #industryreport #industrygrowth #demographic #strategy #manegment