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Descubriendome En El Espejo (Descubriendo) Carolina Micha?Random House Mondadori Descubriendo Los Colores (Descubriendo) Carolina Micha?Random House Mondadori Pasenow O El Romanticismo Hermann Broch?Random House Mondadori Esch O La Anarquia Hermann Broch?Random House Mondadori Huguenau O El Realismo Hermann Broch?Random House Mondadori The Relic El Idolo Perdido Random House Mondadori Contratiempos (Joven) Aidan Chambers?Random House Mondadori Myron Random House Mondadori Mao Random House Mondadori Magallanes Random House Mondadori De Auschwitz a Berlin Ferran Gallego?Random House Mondadori Entre tus brazos/ Between your Arms Christina Dodd?Random House Mondadori Rescate En El Tiempo / Timeline Michael Crichton?Random House Mondadori Alto Voltaje Random House Mondadori El Escriba Sentado Random House Mondadori El Cuarenta Y Cinco (Historia) Felix Luna?Random House Mondadori La Mujer Rota (Narrativa) Simone de Beauvoir?Random House Mondadori Juana De Arco Mary Gordon?Random House Mondadori Polen Random House Mondadori El Callejon De Los Resucitados Random House Mondadori Hay Unos Tipos Abajo (Narrativa) Antonio Dal Masetto?Random House Mondadori Suenos De Robot Isaac Asimov?Random House Mondadori Palestina Toda Una Vida Raymonda Hawa-tawil?Random House Mondadori Cuarteto Random House Mondadori Duermete, Nino E. Estivill?S. De Bejar?Random House Mondadori El Texto Y Sus Voces (Ensayo) Enrique Pezzoni?Random House Mondadori Senales De La Memoria (Pensamiento) Juan Jose Sebreli?Random House Mondadori Viaje Alucinante Isaac Asimov?Random House Mondadori El Desvan Random House Mondadori Alvear (Historia) Felix Luna?Random House Mondadori Los Imposibles (Pan Flauta) Ema Wolf?Random House Mondadori Batalla Entre Elefantes (Pan Flauta) Ana Maria Schoua?Random House Mondadori Marisa Que Borra (Pan Flauta) Gigliola Zecchin?Random House Mondadori Cuentos De Vendavalia (Pan Flauta) Carlos Gardini?Random House Mondadori Historias Del Siglo XX (Humor- Grijalbo) Marcelo D. Rudaeff?Random House Mondadori Una Noche De Miedo (Bolsillo) Susana Itzcovich?Random House Mondadori Se Puede Regresar a Vidas Pasadas? (Circulo Esoterico) Eleonor Burton?Random House Mondadori La Atlantida, Mito O Realidad (Grandes Misterios De La Histor) David Gueller?Random House Mondadori Grandes Chistes Para Chicos 3 (Humor) Ricardo Parrota?Random House Mondadori Expedicion Al Amazonas (Pan Flauta) Ana Maria Schoua?Random House Mondadori Los Amantes Del Nilo Richard Hall?Random House Mondadori Pueblos E Imperios Random House Mondadori Prohibido El Elefante (Pan Flauta) Gustavo Roldan?Random House Mondadori La Rueda Del Tiempo (Obras Diversas) Carlos Castaneda?Random House Mondadori La Caricatura En Trazos (Obras Diversas) Elvira Garcia?Random House Mondadori Lontananza (Narrativa) David Toscana?Random House Mondadori Puente Del Cielo (Literatura Mondadori) Adriana Diaz Enciso?Random House Mondadori Mas Chiquito Que Una Arveja (Pan Flauta) Graciela Montes?Random House Mondadori Doce Pistas Falsas Jeffrey Archer?Random House Mondadori El Permanente Estado De Las Cosas (Literatura Mondadori) Antonio Tenorio?Random House Mondadori Viento Rojo (Narrativa) Varios?Random House Mondadori Ayudamos a Papa (Bolsillo) Susana Itzcovich?Random House Mondadori Glorias Del Tal Rius (Obras De Rius) Rius?Random House Mondadori Por Siempre Mia Mary Higgins Clark?Random House Mondadori Los Vitanutrientes (Bestseller) Robert C., M.D. Atkins?Random House Mondadori La El Yunque, La Ultraderecha En El Poder (Periodismo) Alvaro Delgado?Random House Mondadori Geisha (Bestseller) Liza Crihfield Dalby?Random House Mondadori Recuerdos De Locosmos (Especiales) Ricardo Marino?Random House Mondadori El Gigante De Los Pies De Barro (Actualidad) Marian De La Fuente?Random House Mondadori Breve Historia De La Cocina Mexicana (Ensayo) Jesus Flores Y E.?Random House Mondadori Vivir En El Maldito Tropico (Narrativa) David Unger?Random House Mondadori Amlo (Temas De Debate) Alejandro Trelles?Random House Mondadori Planeta Kurtz Random House Mondadori El Profesor Al Minuto (Autoayuda) Ken Blanchard?Random House Mondadori Guerras Del Siglo Xxi Random House Mondadori Gallina De Los Huevos Duros (Pan Flauta) Horacio Clemente?Random House Mondadori Una Taza De Consuelo Para Madres E Hijas (Autoayuda Y Superacion) Colleen Sell?Random House Mondadori El Camino Del Te (Debolsillo 21) Jose Diego?Random House Mondadori El Punto G (Bestseller) Alice Kahn?Random House Mondadori Cosquillas En El Ombligo (Pan Flauta) Graciela B. Cabal?Random House Mondadori Revolucione Su Calidad De Vida (Autoayuda Y Superacion) Augusto Cury?Random House Mondadori Nuevas Cronicas Palestinas Random House Mondadori Los Moneros De Mexico (Obras De Rius) Rius?Random House Mondadori Con Todo El Corazon (Biografías, Memorias Y Testimonios) Rosario Robles?Random House Mondadori Donde Deben Estar Las Catedrales (Debolsillo 21) Severino Salazar?Random House Mondadori Heidi (Biblioteca Escolar) Johanna Spyri?Random House Mondadori Los bandidos de Rio Frio/ The Cold River Bandits (Biblioteca Escolar / School Library) Manuel Payno?Random House Mondadori La Maquina Del Tiempo (Academica) H. G. Wells?Random House Mondadori Sherlock Holmes Y El Sabueso De Los Bask (Academica) Arthur Conan, Sir Doyle?Random House Mondadori Extrano Caso Del Dr Jekyll Y El Sr Hyde (Academica) Robert Louis Stevenson?Random House Mondadori Caracoles Blancos, Caracoles (Bolsillo) Federico Garcia Lorca?Random House Mondadori El Conde De Montecristo / The Count of Monte Cristo (Biblioteca Escolar) Alexandre Dumas?Random House Mondadori El Periquillo Sarniento (Biblioteca Escolar) Fernandez De Lizardi?Random House Mondadori Canek (Contemporánea) Ermilo Abreu Gomez?Random House Mondadori La Mas Faulera (Bestseller) Monica Lavin?Random House Mondadori El Oso Y El Puercoespin (Bestseller) Jeffrey Davidow?Random House Mondadori Amlo (Temas De Debate) Alejandro Trelles?Random House Mondadori No Honraras a Tu Padre (Narrativa) Gerardo Kleinburg?Random House Mondadori La Vieja Guardia (Periodismo) Jose Lu Martínez S.?Random House Mondadori A La Sombra De Un Caudillo (Biografías, Memorias Y Testimonios) Pedro Castro?Random House Mondadori El Hombrecito Del Azulejo (Pan Flauta) Manuel Mujica Lainez?Random House Mondadori El Mexicano Enano II (Bestseller) Oscar Monroy Rivera?Random House Mondadori Sentimiento De Culpa (Narrativa) Vicente Lenero?Random House Mondadori En Honor a La Verdad (Relaciones Humanas) Martha Alicia Chavez?Random House Mondadori El Sinuhe, El Egipcio Random House Mondadori El Triangulo Del Dolor (Relaciones Humanas) Ruiz H. Lammoglia?Random House Mondadori Una Taza De Consuelo Para El Valor (Autoayuda Y Superacion) Colleen Sell?Random House Mondadori Otros Mundos, Otra Vida Random House Mondadori Mas Herejes, Ateos Y Malpensados (Obras De Rius) Rius?Random House Mondadori Cinthia Scoch (Especiales) Ricardo Marino?Random House Mondadori Manual Para Un Nuevo Periodismo (Periodismo) R. Riva Palacio?Random House Mondadori En Estado De Alerta (Periodismo) Jesus Blancornelas?Random House Mondadori El Cuento De Las Mentiras (Pan Flauta) Juan Marcial Moreno?Random House Mondadori En La Orbita Del Dolar (Arena Abierta) Claud Luna Palencia?Random House Mondadori Marketing Para El Liderazgo Politico Y S (Autoayuda Y Superacion) Ricardo Homs?Random House Mondadori El Saqueo a Los Mexicanos (Actualidad) Francisco Moncada?Random House Mondadori Todo Rius (Obras De Rius) Rius?Random House Mondadori Todo Rius (Obras De Rius) Random House Mondadori La Leyenda Del Triunfador (Autoayuda Y Superacion) Mauricio Garcia?Random House Mondadori Conversaciones Con Dios/ Conversations With God (Best Seller) Neale Donald Walsch?Random House Mondadori La Aventuras De Tom Sawyer (Biblioteca Escolar) Mark Twain?Random House Mondadori La Cabana Del Tio Tom / Uncle Tom's Cabin (Biblioteca Escolar) Harriet Beecher Stowe?Random House Mondadori Hombre Que Debia Adivinarle (Pan Flauta) Javier Villafane?Random House Mondadori Jane Austen Random House Mondadori Equilibrar Vida Y Trabajo (Bibliotecas Esenciales) Robert Holden?Random House Mondadori Relaciones Publicas Exitosas (Bibliotecas Esenciales) Moi Ali?Random House Mondadori Tratar Con Gente Dificil (Bibliotecas Esenciales) Christina Osborne?Random House Mondadori Desempeno Optimo Mediante La Pnl / Peak Performance Through NLP (Bibliotecas Esenciales / Essential Libraries) John Seymour?Random House Mondadori Evaluacion Del Personal (Bibliotecas Esenciales) Ken Langdon?Random House Mondadori Palabras Para Jugar (Especiales) Silvia Schujer?Random House Mondadori Los Demonios Del Dolor (Relaciones Humanas) Kitzia Poniatowska?Random House Mondadori Diagnosticate Hombres (Biblioteca De La Salud) Keith Hopcroft?Random House Mondadori El Arte De Contar Cuentos (Academica) Eduardo Robles?Random House Mondadori Control Emocional Y Cerebral (Autoayuda Y Superacion) Alberto Amador?Random House Mondadori Dime Donde Te Duele (Biblioteca De La Salud) Jonathan A., M.D. Slater?Random House Mondadori Cuando El Monstruo Despierta (Relaciones Humanas) M. Antonieta Collins?Random House Mondadori Infancia Sin Amparo (Actualidad) Judith Calderon?Random House Mondadori Fray Servando Teresa De Mier (Biografías, Memorias Y Testimonios) Adolfo Arrioja?Random House Mondadori Grasas Magicas (Biblioteca De La Salud) Erwin Moller?Random House Mondadori Viaje De Un Cuis Muy Gris (Pan Flauta) Perla Suez?Random House Mondadori Los 7 Habitos De La Gente (CD) Stephen R. CoveyRandom House Mondadori Nivel 5 Random House Mondadori Zapata Sin Bigote (Biografías, Memorias Y Testimonios) Adriana Malvido?Random House Mondadori Los 7 Habitos De Las Personas (CD) Stephen R. CoveyRandom House Mondadori Una Novelita Lumpen Roberto Bolano?Random House Mondadori Vicios Y Prejuicios De La Astrologia (Temas De Debate) Luis Lesur?Random House Mondadori El Oso Y El Puercoespin (Actualidad) Jeffrey Davidow?Random House Mondadori Escrituras (Biografías, Memorias Y Testimonios) Raquel Tibol?Random House Mondadori Playa Del Karma (Narrativa) Alfredo Elias C.?Random House Mondadori Editar La Vida (Narrativa) Michael Korda?Random House Mondadori Los Dolientes / The Suffering (Narrativa) Jacobo Sefami?Random House Mondadori El Matasellos (Narrativa) Heriberto Yepez?Random House Mondadori Mariposas Nocturnas Del Imperio Ruso Random House Mondadori Herencia De Vida Para Tus Hijos (Relaciones Humanas) Eric De La Parra?Random House Mondadori Que Tal Ratones? (Bolsillo) Sergio Kern?Random House Mondadori Cocina Esencial De Mexico (Obras Diversas) Diana Kennedy?Random House Mondadori El Voto De Las Mujeres (Obras Diversas) Varios?Random House Mondadori Guia De Curiosos (Academica) Marcelo Duarte?Random House Mondadori Una Taza De Consuelo Para Las Mujeres (Autoayuda Y Superacion) Colleen Sell?Random House Mondadori La Cruel Caricia Del Amor (Relaciones Humanas) Adriana Oppenheimer?Random House Mondadori Guardias! -guardias! Random House Mondadori El Imperio De Las Flores (Narrativa) Severino Salazar?Random House Mondadori El Mi Padre, El General (Narrativa) Jorge Lopez Paez?Random House Mondadori Paseo De La Reforma (Contemporánea) Elena Poniatowska?Random House Mondadori A Veces Ni Yo Me Entiendo Lourdes Blanco Alcalde?Random House Mondadori El Arte Random House Mondadori Tus Semillas De Grandeza (Autoayuda) John de Abate?Random House Mondadori Contra Viento Y Marea (Temas De Debate) A. Garcia De Leon?Random House Mondadori La Huellas Del Che Guevara Nesto. (Bestseller) Mariano Rodriguez?Random House Mondadori El Triangulo Del Dolor (Autoayuda) Ernesto Lammoglia?Random House Mondadori Los Duenos Del Congreso (Actualidad) Esteban Rodriguez?Random House Mondadori Circulo Del Poder Y La Espiral Del Silen (Actualidad) Cesar O. Mascarenas?Random House Mondadori El Estrangulador (Literatura Mondadori) Random House Mondadori Manejar a Su Jefe (Biblioteca Esencial Del Ejecutivo) Robert Heller?Random House Mondadori Manejar Su Carrera (Biblioteca Esencial Del Ejecutivo) Rebecca Tee?Random House Mondadori Pensar Con Creatividad (Biblioteca Esencial Del Ejecutivo) George Boulden?Random House Mondadori Influir Sobre La Gente (Biblioteca Esencial Del Ejecutivo) Roy Johnson?Random House Mondadori Hágalo Ahora! (Biblioteca Esencial Del Ejecutivo) Andy Bruce?Random House Mondadori Los Agachados (Obras De Rius) Random House Mondadori Pegate Un Tiro Para Sobrevivir Chuck Klosterman?Random House Mondadori Juegas Conmigo? Random House Mondadori La Guadalupana (Temas De Debate) Jesus Flores Y E.?Random House Mondadori Un Escondite En La Granja Random House Mondadori Estar Sobrio En La Ciudad De Mexico (Temas De Debate) Stanley Brandes?Random House Mondadori La Prensa De Los Jardines (Periodismo) R. Riva Palacio?Random House Mondadori Lo Que VI (Ensayo) Jorge Ramos?Random House Mondadori En La Linea (Periodismo) Alex Pacheco?Random House Mondadori Un Escondite En La Selva Random House Mondadori La Sabiduria De La Comida Popular (Actualidad) Lomeli E. Arturo?Random House Mondadori Crecimiento a Partir De La Crisis (Autoayuda Y Superacion) Elvia Gonzalez V.?Random House Mondadori Esbozo De Historia Universal (Academica) Juan Brom?Random House Mondadori El Verdadero Exito De La Vida (Autoayuda Y Superacion) Alejandro Ariza Z.?Random House Mondadori El Poder De La Imagen Publica (Autoayuda Y Superacion) Victor Gordoa?Random House Mondadori Mujeres Apendice (Bestseller) Tere Marquez?Random House Mondadori La Pareja Perfecta (Relaciones Humanas) Nita Tucker?Random House Mondadori El Asedio a La Modernidad (Pensamiento) Juan Jose Sebreli?Random House Mondadori Mi Vida (Historias) Leon Trotsky?Random House Mondadori El Ultimo Lector (Literatura Mondadori) David Toscana?Random House Mondadori El Orgasmografo (Debolsillo 21) Enrique Serna?Random House Mondadori El Triunfo De La Conciencia (Autoayuda Y Superacion) Ignacio Ovalle F.?Random House Mondadori Todos Nacemos Lideres (Autoayuda Y Superacion) Roger Martinez P.?Random House Mondadori Detras De La Mascara (Ensayo) Jorge Ramos?Random House Mondadori Confluencias (Historia) Felix Luna?Random House Mondadori Escondite En El Cuarto De Los Juguetes Random House Mondadori Animales Salvajes Random House Mondadori El Pequeno Papa Noel Random House Mondadori Siete Reglas De Oro Para Vivir En Pareja John Gottmann?Nan Silver?Random House Mondadori En El Ultimo Planeta (Primera Sud) Ricardo Marino?Random House Mondadori Sito, Estas Malito? Random House Mondadori El Libro De La Selva Random House Mondadori Quien Pidio Un Vaso De Agua (Pan Flauta) Jorge Accame?Random House Mondadori Palabras Para Jugar Con Los Mas Chicos (Especiales) Silvia Schujer?Random House Mondadori Gelman (Poesia Argentina-Grijalbo) Juan Gelman?Random House Mondadori Canciones Sin Corbata (Bolsillo) Angel Califa?Random House Mondadori El Gran Libro De La Gramatica Random House Mondadori Secrets I Sorpreses Random House Mondadori El Meravellos Llibre De La Musica Random House Mondadori El Ultimo Espia (Especiales) Pablo De Santis?Random House Mondadori Guia Magica Del Amor-v.varita Random House Mondadori Famili (Especiales) Ema Wolf?Random House Mondadori
https://w.atwiki.jp/enjoycl/pages/17.html
Chi straightener is a perfect hair tool for human. It let all people have a chance to turn to be more beautiful than before. Beauty love has the right equality for men and women.Welcome to choose Chi straightener to be your beauty weapon. To a good hair straightener, Chi straightener will let you have a beautiful and stylish hair style which even can teach you how to get super star’s Dark, Sexy Hairstyle. Chi straightener is one of the most admired flat straighteners today. The Chi straightenerpioneered the use of ceramic plates in the history of hair straighteners. Hence Chi straightener is well known for their quality and long standing goodwill in the industry. It works for curly and frizzy hair too. Most people swear by the Chi straightener and admit that had they not been there, they hair would have been in knots. It comes in many varieties, the most popular being the Chi Flat Iron. The Chi straightener is comparatively cheaper than its competitors but has a better quality. The handle is ergonomically made which means that your hand won’t get cramped while you straighten your hair. The design is pretty neat and intelligent too. The Chi straightener has a long chord that is about 10 feet long and a swivel base, so there is no danger of you getting entangled in it. Moreover, you don’t need to stand near an electrical outlet, so you can sit at your dresser and straighten your hair. www.chistraightener.us
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【登録タグ D U.N.オーエンは彼女なのか？ ルシュカ 凋叶棕 曲 綴】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/natsutan/pages/61.html
概要 インタプリタのトレースが有効になったとき、この構造体がインタプリタに関連づけられた構造体のリストに追加される。 tcl/generic/tclInt.h メンバー int level; この値以下のネストレベルのみトレースを実行する？ Tcl_CmdObjTraceProc *proc; トレースコマンドを呼び出す手続き ClientData clientData;/* Arbitrary value to pass to proc. */ struct Trace *nextPtr; このインタープリタの次のトレースへのポインタ int flags; Tcl_CmdObjTraceDeleteProc *delProc; トレースが削除されるときに呼び出される手続き ソース /* * When an interpreter trace is active (i.e. its associated procedure is * executing), one of the following structures is linked into a list * associated with the interpreter. The information in the structure is needed * in order for Tcl to behave reasonably if traces are deleted while traces * are active. */ typedef struct Trace { int level;/* Only trace commands at nesting level less * than or equal to this. */ Tcl_CmdObjTraceProc *proc;/* Procedure to call to trace command. */ ClientData clientData;/* Arbitrary value to pass to proc. */ struct Trace *nextPtr;/* Next in list of traces for this interp. */ int flags;/* Flags governing the trace - see * Tcl_CreateObjTrace for details. */ Tcl_CmdObjTraceDeleteProc *delProc; /* Procedure to call when trace is deleted. */ } Trace;
https://w.atwiki.jp/touhoukashi/pages/3333.html
【登録タグ S エクステンドアッシュ ～ 蓬莱人 サディスティックブラウニー ランコ 曲 豚乙女】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/pathofexile12/pages/564.html
入手方法 詳説・特徴 関連リンク Iron Commander Death BowBowsQuality +20%Physicalダメージ (33.6-38.4)-(82.8-92.4)クリティカル確率 (6.50%-7.50%)攻撃速度 (1.37-1.44)DPS (79.6-94.2) pDPS (79.6-94.2) ステータス要求値：LEVEL32, 107 DEX (30-50)% increased Critical Strike Chanceこの武器のクリティカル確率を(30-50)%増加 Adds (8-12) to (16-24) Physical Damage(8-12)～(16-24)のPhysical追加ダメージ (14-20)% increased Attack Speed攻撃速度が(14-20)%増加 (14-20)% increased Totem LifeTotemのLifeが(14-20)%増加 (14-20)% increased Totem Placement speedTotemの設置速度が(14-20)%増加 Siege Ballista has +1 to maximum number of Summoned Totems per 200 DexteritySiege Ballistaで設置できるTotemsの最大数が200 Dexterityごとに+1 Adds 1 to 3 Physical Damage to Attacks per 25 Dexterity25 Dexterityごとにアタックに1～3の追加Physicalダメージ The Eternals commanded an army that need not eat, sleep, or breathewithout the usual depravities of necromancy. 入手方法 カード等のドロップ以外の入手方法 アイテム 必要数 備考 Hunter s Resolve 8 Atziri s Arsenal 4 Arrogance of the Vaal 8 Jack in the Box 4 詳説・特徴 関連リンク 英wiki https //pathofexile.gamepedia.com/Iron_Commander Unique Bows 一覧
https://w.atwiki.jp/matchmove/pages/94.html
Motion Capture and Face Tracking SynthEyes offers the exciting capability to do full body and facial motion capture using conventional video or film cameras. STOP! Unless you know how to do supervised tracking and understand moving-object tracking, you will not be able to do motion tracking. The material here builds upon that earlier material; it is not repeated here because it would be exactly that, a repetition. First, why and when is motion capture necessary? The moving-object tracking discussed previously is very effective for tracking a head, when the face is not doing all that much, or when trackable points have been added in places that don’t move with respect to one another (forehead, jaws, nose). The moving-object mode is good for making animals talk, for example. By contrast, motion capture is used when the motion of the moving features is to be determined, and will then be applied to an animated character. For example, use motion capture of an actor reading a script to apply the same expressions to an animated character. Moving-object tracking requires only one camera, while motion capture requires several calibrated cameras. Second, we need to establish a few very important points this is not the kind of capability that you can learn on the fly as you do that important shoot, with the client breathing down your neck. This is not the kind of thing for which you can expect to glance at this manual for a few minutes, and be a pro. Your head will explode. This is not the sort of thing you can expect to apply to some musty old archival footage, or using that old VHS camera at night in front of a flickering fireplace. This is not something where you can set up a shoot for a couple of days, leave it around with small children or animals climbing on it, and get anything usable whatsoever. This is not the sort of thing where you can take a SynthEyes export into your animation software, and expect all your work to be done, with just a quick render to come. And this is not the sort of thing that is going to produce the results of a $250,000 custom full body motion capture studio with 25 cameras. With all those dire warnings out of the way, what is the good news? If you do your homework, do your experimentation ahead of time, set up technically solid cameras and lighting, read the SynthEyes manual so you have a fair understanding what the SynthEyes software is doing, and understand your 3-D package well enough to set up your character or face rigging, you should be able to get excellent results. In this manual, we’ll work through a sample facial capture session. The techniques and issues are the same for full body capture, though of course the tracking marks and overall camera setup for body capture must be larger and more complex. Introduction To perform motion capture of faces or bodies, you will need at least two cameras trained on the performer from different angles. Since the performer s head or limbs are rotating, the tracking features may rotate out of view of the first two cameras, so you may need additional cameras to shoot more views from behind the actor. The fields of view of the cameras must be large enough to encompass the entire motion that the actor will perform, without the cameras tracking the performer (OK, experts can use SynthEyes for motion capture even when the cameras move, but only with care). You will need to perform a calibration process ahead of time, to determine the exact position and orientation of the cameras with respect to one another (assuming they are not moving). We’ll show you one way to achieve this, using some specialized but inexpensive gear. Very Important You’ll have to ensure that nobody knocks the cameras out of calibration while you shoot calibration or live action footage, or between takes. You’ll need to be able to resynchronize the footage of all the cameras in post. We’ll tell you one way to do that. Generally the performer will have tracker markers attached, to ensure the best possible and most reliable data capture. The exception to this would be if one of the camera views must also be used as part of the final shot, for example, a talking head that will have an extreme helmet added. In this case, markers can be used where they will be hidden by the added effect, and in locations not permitting trackers, either natural facial features can be used (HD or film source!), or markers can be used and removed as an additional effect. After you solve the calibration and tracking in SynthEyes, you will wind up with a collection of trajectories showing the path through space of each individual feature. When you do moving-object tracking, the trackers are all rigidly connected to one another, but in motion capture, each tracker follows its own individual path. You will bring all these individual paths into your animation package, and will need to set up a rigging system that makes your character move in response to the tracker paths. That rigging might consist of expressions, Look At controllers, etc; it s up to you and your animation package. Camera Types Since eachcamera s fields of view must encompass the entire performance (unless there are many overlapping cameras), at any time the actor is usually a small portion of the frame. This makes progressive DV, HD, or film source material strongly suggested. Progressive-scan cameras are strongly recommended, to avoid the factor of two loss of vertical resolution due to interlacing. This is especially important since the tracking markers are typically small and can slip between scan lines. While it may make operations simpler, the cameras do not have to be the same kind, have the same aspect ratio, or have the same frame rate. Resist the urge to use that old consumer-grade analog videotape camera as one of the cameras—the recording process will not be stable enough for good results. Lens distortion will substantially complicate calibration and processing. To minimize distortion, use high-quality lenses, and do not operate them near their maximum field of view, where distortion is largest. Do not try to squeeze into the a small studio space. Camera Placement The camera placements must address two opposing factors one, that the cameras should be far apart, to produce a large parallax disparity with good depth perception, and that the cameras should be close together, so that they can simultaneously observe as many trackers as possible. You’ll probably need to experiment with placement to gain experience, keeping in mind the performance to be delivered. Cameras do not have to be placed in any discernable pattern. If the performance warrants it, you might want coverage from up above, or down below. If any cameras will move during the performance, they will need a visible set of stationary tracking markers, to recover their trajectory in the usual fashion. This will reduce accuracy compared to a carefully calibrated stationary camera. Lighting Lighting should be sufficient to keep the markers well illuminated, avoiding shadowing. The lighting should be enough to be able to keep the shutter time of the cameras as low as possible, consistent with good image quality. Calibration Requirements and Fixturing In order for motion tracking footage to be solved, the camera positions, orientations, and fields of view must be determined, independent of the “live” footage, as accurately as possible. To do this, we will use a process based on moving-object tracking. A calibration object is moved in the field of view of all the cameras, and tracked simultaneously. To get the most data fastest and easiest, we constructed a prop we call a “porcupine” out of a 4” Styrofoam ball, 20-gauge plant stem wires, and small 7 mm colored pom-pom balls, all obtained from a local craft shop for under $5. Lengths of wire were cut to varying lengths, stuck into the ball, and a pom-pom glued to the end using a hot glue gun. Retrospectively, it would have been cleverer to space two balls along the support wire as well, to help set up a coordinate system. The porcupine is hung by a support wire in the location of the performer s head, then rotated as it is recorded simultaneously from each camera. The porcupine s colored pom-poms can be viewed virtually all the time, even as they spin around to the back, except for the occasional occlusion. Similar fixtures can be built for larger motion capture scenarios, perhaps using dolly track to carry a wire frame. It is important that the individual trackable features on the fixture not move with respect to one another their rigidity is required for the standard object tracking. The path of the calibration fixture does not particularly matter. Camera Synchronization The timing relationship between the different cameras must be established. Ideally, all the cameras would all be gen-locked together, snapping each image at exactly the same time. Instead, there are a variety of possibilities which can be arranged and communicated to SynthEyes during the setup process. Motion capture has a special solver mode on the Solver Panel individual mocap. In this mode, the second dropdown list changes from a directional hint to control camera synchronization. If the cameras are all video cameras, they can be gen-locked together to all take pictures identically. This situation is called “Sync Locked.” If you have a collection of video cameras, they will all take pictures at exactly the same (crystal-controlled) rate. However, one camera may always be taking pictures a bit before the other, and a third camera may always be taking pictures at yet a different time than the other two. The option is “Crystal Sync.” If you have a film camera, it might run a little more or a little less that 24 fps, not particularly synchronized to anything. This will be referred to as “Loose Sync.” In a capture setup with multiple cameras, one can always be considered to be Sync Locked, and serve as a reference. If it is a video camera, other video cameras are in Crystal Sync, and any film camera would be Loose Sync. If you have a film camera that will be used in the final shot, it should be considered to be the sync reference, with Sync Locked, and any other cameras are in Loose Sync. The beginning and end of each camera s view of the calibration sequence and the performance sequence must be identified to the nearest frame. This can be achieved with a clapper board or electronic slate. The low-budget approach is to use a flashlight or laser pointer flash to mark the beginning and end of the shot. Camera Calibration Process We’re ready to start the camera calibration process, using the two shot sequences LeftCalibSeq and RightCalibSeq. You can start SynthEyes and do a File/New for the left shot, and then Add Shot to bring in the second. Open both with Interlace=Yes, as unfortunately both shots are interlaced. Even though these are moving-object shots, for calibration they will be solved as moving-camera shots. You can see from these shots how the timing calibration was carried out. The shots were cropped right before the beginning of the starting flash, and right after the ending flash, to make it obvious what had been done. Normally, you should crop after the starting flash, and before the ending flash. On your own shots, you can use the Image Preprocessing panel s Region-of-interest capability to reduce memory consumption to help handle long shots from multiple cameras. You should supervise-track a substantial fraction of the pom-poms in each camera view; you can then solve each camera to obtain a path of the camera appearing to orbit the stationary pom-pom. Next, we will need to set up a set of links between corresponding trackers in the two shots. The links must always be on the Camera02 trackers, to a Camera01 tracker. This can be achieved at least three different ways. Matching Plan A Temporary Alignment This is probably easiest, and we may offer a script to do the grunt work in the future. Begin by assigning a temporary coordinate system for each camera, using the same pom-poms and ordering for each camera. It is most useful to keep the porcupine axis upright (which is where pom-poms along the support wire would come in useful, if available); in this shot three at the very bottom of the porcupine were suitable. With matching constraints for each camera, when you re-solve, you will obtain matching pairs of tracker points, one from each camera, located very close to one another. Now, with the Coordinate System panel open, Camera02 active, and the Top view selected, you can click on each of Camera02 s tracker points, and then alt-click (or command-click) on the corresponding Camera01 point, setting up all the links. As you complete the linking, you should remove the initial temporary constraints from Camera02. Matching Plan B Side by Side In this plan, you can the Camera Perspective viewport configuration. Make Camera01 active, and in the perspective window, right-click and Lock to current camera with Camera01 s imagery, then make Camera02 active for the camera view. Now camera and perspective views show the two shots simultaneously (Experts you can open multiple perspective windows and configure each for a different shot.). You can now click the trackers in the camera(02) view, and alt-click the matching (01) tracker in the perspective window, establishing the links. Reminder The coordinate system control panel must be open for linking. This will take a little mental rotation to establish the right correspondences; the colors of the various pom-poms will help. Matching Plan C Cross Link by Name This plan is probably more trouble than it worth for calibration, but can be an excellent choice for the actual shots. You assign names to each of the pom-poms, so that the names differ only by the first character, then use the Track/Cross-Link by Name menu item to establish links. It is a bit of pain to come up with different names for the pom-poms, and do it identically for the two views, but this might be more reasonable for other calibration scenarios where it is more obvious which point is which. Completing the Calibration We’re now ready to complete the calibration process. Change Camera02 to Indirectly solving mode on the Solver panel . Note the initial position of Camera01 is going to stay fixed, controlling the overall positions of all the cameras. If you want it in some particular location, you can remove the constraints from it, reset its path from the 3-D panel, then move it around to a desired location Solve the shot, and you have two orbiting cameras remaining at a fixed relative orientation as they orbit. Run the Motion Capture Camera Calibration script from the Script menu, and the orbits will be squished down to single locations. Camera01 will be stationary at its initial location, and Camera02 will be jittering around another location, showing the stability of the offset between the two. The first frame of Camera02 s position is actually an average relative position over the entire shot; it is this location we will later use. You should save this calibration scene file (porcupine.sni); it will be the starting point for tracking the real footage. The calibration script also produces a script_output.txt file in a user-specific folder that lists the calibration data. Body and Facial Tracking Marks Markers will make tracking faster, easier, and more accurate. On the face, markers might be little Avery dots from an office supply store, “magic marker” spots, pom-poms with rubber cement(?), mascara, or grease paint. Note that small colored dots tend to lose their coloration in video images, especially with motion blur. Make sure there is a luminance difference. Single-pixel-sized spots are less accurate than those that are several pixels across. Markers should be placed on the face in locations that reflect the underlying musculature and the facial rigging they must drive. Be sure to include markers on comparatively stationary parts of the head. For body tracking, a typical approach is to put the performer in a black outfit (such as UnderArmour), and attach table-tennis balls as tracking features onto the joints. To achieve enough visibility, placing balls on both the top and bottom of the elbow may be necessary. Because the markers must be placed on the outside of the body, away from the true joint locations, character rigging will have to take this into account. Preparation for Two-Dimensional Tracking We’re ready to begin tracking the actual performance footage. Open the final calibration scene file. Open the 3-D panel . For each camera, select the camera in the select-by-name dropdown list. Then hit Blast and answer yes to store the field of view data as well. Then, hit Reset twice, answering yes to remove keys from the field of view track also. The result of this little dance is to take the solved camera paths (as modified by the script), and make them the initial position and orientation for each camera, with no animation (since they aren’t actually moving). Next, replace the shot for each camera with LeftFaceSeq and RightFaceSeq. Again, these shots have been cropped based on the light flashes, which would normally be removed completely. Set the End Frame for each shot to its maximum possible. If necessary, use an animated ROI on the Imaging Preprocessing panel so that you can keep both shots in RAM simultaneously. Hit Control-A and delete to delete all the old trackers. Set each Lens to Known to lock the field of view, and set the solving mode of each camera to Disabled, since the cameras are fixed at their calibrated locations. We need a placeholder object to hold all the individual trackers. Create a moving object, Object01, for Camera01, then a moving object, Object02, for Camera02. On the Solving Panel, set Object01 and Object02 to the Individual mocap solving mode, and set the synchronization mode right below that. Two-Dimensional Tracking You can now track both shots, creating the trackers into Object01 and Object02 for the respective shots. If you don’t track all the markers, at least be sure to track a given marker either in both shots, or none, as a half-tracked marker will not help. The Hand-Held Use Others mode may be helpful here for the rapid facial motions. Frequent keying will be necessary when the motion causes motion blur to appear and disappear (a lot of uniform light and short shutter time will minimize this). Linking the Shots After completing the tracking, you must set up links. The easiest approach will probably be to set up side-by-side camera and perspective views. Again, you should link the Object02 trackers to the Object01 trackers, not the other way around. Doing the linking by name can also be helpful, since the trackers should have fairly obvious names such as Nose or Left Inner Eyebrow, etc. Solving You’re ready to solve, and the Solve step should be very routine, producing paths for each of the linked trackers. The final file is facetrk.sni. Afterwards, you can start checking on the trackers. You can scrub through the shot in the perspective window, orbiting around the face. You can check the error curves and XYZ paths in the graph editor . By switching to Sort by Error mode , you can sequence through the trackers starting from those with the highest error. Exports Rigging When you export a scene with individual trackers, each of them will have a key frame on each frame of the shot, animating the tracker path. It is up to you to determine a method of rigging your character to take advantage of the animated tracker paths. The method chosen will depend on your character and animation software package. It is likely you will need some expressions (formulas) and some Look-At controls. For full-body motion capture, you will need to take into account the offsets from the tracking markers (ie balls) to the actual joint locations. Modeling You can use the calculated point locations to build models. However, the animation of the vertices will not be carried forward into the meshes you build. Instead, when you do a Convert to Mesh operation in the perspective window, the current tracker locations are frozen on that frame. If desired, you can repeat the object-building process on different frames to build up a collection of morph-target meshes.
https://w.atwiki.jp/cod4mod/pages/40.html
These are the default hot key commands for Call of Duty 4 Radiant level editing. これらは Call of Duty ４ Radiant レベル編集のためのデフォルトホットキーコマンドです。 ToggleOutlineDraw J ToggleTintDraw Shift + J CSGMerge Control + U AutoCaulk Alt + C ViewFilters F HideSelected H HideUnSelected Alt + H ShowHidden Shift + H ShowLastHidden Shift + Control + H FitBrush Shift + B AdvancedCurveEdit Y SelectionKeyValue Shift + Control + F ToggleLockPatchVertices Control + Period ToggleUnlockPatchVertices Shift + Control + Period ToggleTurnTerrainEdges Control + ¿ ShowTexturesInUse U ViewTextures T ThickenPatch Shift + Control + T AddTerrainRow Shift + Control + A ExtrudeTerrainRow Alt + O RemoveTerrainRow Shift + Control + Q SplitPatch Shift + Control + X SurfaceInspector S PatchInspector Shift + S ApplyPatchCap Shift + Control + P TolerantWeld Shift + Control + J RedisperseVertices Shift + F RedisperseRows Shift + E RedisperseCols Shift + Control + E InvertCurveTextureX Shift + Control + I InvertCurveTextureY Shift + I InvertCurve Control + I IncPatchColumn Shift + Control + Plus IncPatchRow Control + Plus DecPatchColumn Shift + Control + Subtract DecPatchRow Control + Subtract Patch TAB Tab Patch TAB Shift + Tab TogglePatchWireframes Shift + W SelectNudgeDown Alt + Down EntityColor K CameraForward Up CameraBack Down CameraLeft Left CameraRight Right Vertex Select Up Control + Up Vertex Select Down Control + Down CameraUp D CameraDown C CameraAngleUp A CameraAngleDown Z CameraStrafeRight Period CameraStrafeLeft Comma ToggleGrid 0 SetGridPointFive ~ SetGrid1 1 SetGrid2 2 SetGrid4 3 SetGrid8 4 SetGrid16 5 SetGrid32 6 SetGrid64 7 SetGrid256 8 SetGrid512 9 DragEdges E DragVertices V ViewEntityInfo N ViewConsole O CloneSelection Space DeleteSelection Backspace UnSelectSelection Escape InvertSelection I CenterView End ZoomOut Insert ZoomIn Delete SelectPrev Shift + Comma SelectNext Shift + Period UpFloor PageUp DownFloor PageDown LinkSelectionToggle Shift + O ToggleClipper X ToggleCrosshairs Shift + X ToggleTexMoveLock Shift + T ToggleTexRotateLock Shift + R ToggleLightmapLock RemoveColorNode Control + R ToggleLayers L Preferences P ToggleCamera Shift + Control + C ToggleView Shift + Control + V DropVertices Shift + Alt + Control + D RotateZ Shift + D ToggleZ Shift + Control + Z SameTargetname B SameTarget Control + B ConnectSelection W SetViewToEntity F6 SplaySelection Alt + W SelectConnectedEntities Alt + Control + E SelectTargettedEntities Control + E PatchMatrixTranspose Shift + Control + M MakeDetail Shift + Control + D MakeWeaponClip Shift + Control + W MakeNonColliding Shift + Control + Minus MakeSplitCoplanarGeo MakeDontSplitCoplanarGeo MapInfo M NextLeakSpot Shift + Control + K PrevLeakSpot Shift + Control + L FileOpen Control + O FileSave Control + S Quit NextView Control + Tab ClipSelected Return SplitSelected Shift + Return FlipClip Control + Return MouseRotate R Copy Control + C Paste Control + V Undo Control + Z Redo Control + Y ZZoomOut Control + Insert ZZoomIn Control + Delete TexDecrement Shift + Subtract TexIncrement Shift + Plus TextureFit Control + F TextureFitAll Alt + Control + F TexRotateClock Control + Left TexRotateCounter Control + Right TexShiftLeft Shift + Left TexShiftRight Shift + Right TexShiftUp Shift + Up TexShiftDown Shift + Down TexLayerCycle Shift + L TexLayerMaterial TexLayerLightmap GridDown [ GridUp ] TexScaleLeft Control + Left TexScaleRight Control + Right LightShiftUp Alt + ] LightShiftDown Alt + [ CyclinderHeightUp Alt + Period CyclinderHeightDown Alt + Comma AssociateEntities Shift + G VehicleGroup Shift + V DynEntities Shift + Y DisassociateEntities Shift + Control + G SelectedAssociated Control + X OverBrightShiftUp Shift + ] OverBrightShiftDown Shift + [ CubicClipZoomOut Control + ] CubicClipZoomIn Control + [ ToggleCubicClip Control + \ MoveSelectionDOWN Subtract MoveSelectionUP Plus LinkSelected Alt + Q SelectNudgeLeft Alt + Left GetDistance Alt + F1 AutoEdgeTurn Alt + F2 SelectNudgeRight Alt + Right SelectNudgeUp Alt + Up CycleCapTexturePatch Shift + Control + N NaturalizePatch Control + N ToggleSnapToGrid Alt + Control + G SelectSnapPointsToGrid Control + G ShowAllTextures Control + A SelectAllOfType Shift + A SelectAllOfTypeRecurse Alt + A CapCurrentCurve Shift + C MakeStructural Shift + Control + S Center2DOnCamera Alt + X EnterPrefab Alt + PageDown LeavePrefab Alt + PageUp LightPreviewToggle F8 LightPreviewStart Shift + F8 LightPreviewStop Shift + Alt + F8 LightPreviewClear Alt + F8 LightPreviewSun Control + F8 LightPreviewRegions Shift + Control + F8 MaxLightIntensity Alt + Control + F8 VertEdit G RefreshTextures F5 TogglePreviewModels HideByClassname Shift + Alt + Control + H ToggleLayeredMaterialWnd F4 SaveLayeredMaterials (Original "http //www.infinityward.com/wiki/index.php?title=Radiant_Command_List") 名前 すべて読む
https://w.atwiki.jp/sendai_mtg/pages/64.html
5月23日に開催されたGrand Coliseum 30thは、参加者24名、スイスドロー5回戦＋シングルエリミネーション3回戦で行われました。日本選手権予選の前週ということもあって、みなさんいつもより気合いが入っている様子でした。そんな中、優勝したのは佐藤正隆さん。デッキは友人からシェアもらったデッキらしく、来週も使うそうなので残念ながら今回は非公開です。 準々決勝 山田裕樹 2-0 相澤貴浩 豊田晋平 0-2 津場勇匡 柿沼翔太 1-2 森翔太 鈴木史人 1-2 佐藤正隆 準決勝 山田裕樹 2-1 津場勇匡 森翔太 0-2 佐藤正隆 決勝 山田裕樹 0-2 佐藤正隆 優勝 佐藤正隆 「りんりん」 （非公開） 準優勝 山田裕樹 クルーエルコントロール 2《島/Island》 4《鮮烈な小川/Vivid Creek》 4《鮮烈な草地/Vivid Meadow》 3《鮮烈な湿地/Vivid Marsh》 1《鮮烈な岩山/Vivid Crag》 4《反射池/Reflecting Pool》 3《秘教の門/Mystic Gate》 2《沈んだ廃墟/Sunken Ruins》 2《滝の断崖/Cascade Bluffs》 1《風変わりな果樹園/Exotic Orchard》 4《熟考漂い/Mulldrifter》 2《若き群れのドラゴン/Broodmate Dragon》 1《妖精の女王、ウーナ/Oona, Queen of the Fae》 3《砕けた野望/Broken Ambitions》 3《流刑への道/Path to Exile》 1《ルーンの光輪/Runed Halo》 3《エスパーの魔除け/Esper Charm》 2《大渦の脈動/Maelstrom Pulse》 2《火山の流弾/Volcanic Fallout》 4《神の怒り/Wrath of God》 1《復讐のアジャニ/Ajani Vengeant》 2《リリアナ・ヴェス/Liliana Vess》 2《残酷な根本原理/Cruel Ultimatum》 サイドボード 2《エレンドラ谷の大魔導師/Glen Elendra Archmage》 2《糾弾/Condemn》 2《火山の流弾/Volcanic Fallout》 1《否認/Negate》 1《ジェイス・ベレレン/Jace Beleren》 1《ルーンの光輪/Runed Halo》 1《物語の円/Story Circle》 1《蔓延/Infest》 1《センの三つ子/Sen Triplets》 1《自我の危機/Identity Crisis》 1《軍部政変/Martial Coup》 1《真髄の針/Pithing Needle》 3位 津場勇匡 白単キスキン「TSPK」 4《風立ての高地/Windbrisk Heights》 4《ひなびた小村/Rustic Clachan》 2《変わり谷/Mutavault》 15《平地/Plains》 4《運命の大立者/Figure of Destiny》 4《ゴールドメドウの重鎮/Goldmeadow Stalwart》 4《メドウグレインの騎士/Knight of Meadowgrain》 4《皺だらけの主/Wizened Cenn》 4《雲山羊のレインジャー/Cloudgoat Ranger》 4《流刑への道/Path to Exile》 3《幽体の行列/Spectral Procession》 3《栄光の頌歌/Glorious Anthem》 2《黄金のたてがみのアジャニ/Ajani Goldmane》 2《遍歴の騎士、エルズペス/Elspeth, Knight-Errant》 サイドボード 3《ブレンタンの炉の世話人/Burrenton Forge-Tender》 3《静月の騎兵/Stillmoon Cavalier》 2《イーオスのレインジャー/Ranger of Eos》 2《目覚ましヒバリ/Reveillark》 3《神の怒り/Wrath of God》 1《黄金のたてがみのアジャニ/Ajani Goldmane》 1《遍歴の騎士、エルズペス/Elspeth, Knight-Errant》 4位 森翔太 クルーエルコントロール 4《鮮烈な小川/Vivid Creek》 3《鮮烈な岩山/Vivid Crag》 2《鮮烈な草地/Vivid Meadow》 1《鮮烈な湿地/Vivid Marsh》 4《反射池/Reflecting Pool》 3《滝の断崖/Cascade Bluffs》 2《秘教の門/Mystic Gate》 3《島/Island》 4《羽毛覆い/Plumeveil》 4《熟考漂い/Mulldrifter》 3《若き群れのドラゴン/Broodmate Dragon》 4《砕けた野望/Broken Ambitions》 3《エスパーの魔除け/Esper Charm》 3《火山の流弾/Volcanic Fallout》 2《大渦の脈動/Maelstrom Pulse》 2《その場しのぎの人形/Makeshift Mannequin》 3《神の怒り/Wrath of God》 4《謎めいた命令/Cryptic Command》 1《アラーラのオベリスク/Obelisk of Alara》 2《残酷な根本原理/Cruel Ultimatum》 サイドボード 3《糾弾/Condemn》 3《呪詛術士/Anathemancer》 2《噛み付く突風、ウィドウェン/Wydwen, the Biting Gale》 2《否認/Negate》 2《リリアナ・ヴェス/Liliana Vess》 2《質素な命令/Austere Command》 1《神の怒り/Wrath of God》 5位 柿沼翔太 緑黒エルフ「Blaze of Rebellion」 3《森/Forest》 2《沼/Swamp》 2《黄昏のぬかるみ/Twilight Mire》 4《ラノワールの荒原/Llanowar Wastes》 4《樹上の村/Treetop Village》 4《光り葉の宮殿/Gilt-Leaf Palace》 4《変わり谷/Mutavault》 4《ラノワールのエルフ/Llanowar Elves》 4《朽ちゆくヒル/Putrid Leech》 4《レンの地の克服者/Wren s Run Vanquisher》 4《護民官の道探し/Civic Wayfinder》 4《傲慢な完全者/Imperious Perfect》 3《カメレオンの巨像/Chameleon Colossus》 4《思考囲い/Thoughtseize》 3《大渦の脈動/Maelstrom Pulse》 3《野生語りのガラク/Garruk Wildspeaker》 4《不敬の命令/Profane Command》 サイドボード 2《ロクソドンの戦槌/Loxodon Warhammer》 3《蔓延/Infest》 2《叫び大口/Shriekmaw》 3《雲打ち/Cloudthresher》 3《耳障りな反応/Guttural Response》 2《くぐつ師の徒党/Puppeteer Clique》 6位 豊田晋平 赤黒ビートダウン「Black Red」 9《山/Mountain》 4《偶像の石塚/Graven Cairns》 4《硫黄泉/Sulfurous Springs》 3《ギトゥの宿営地/Ghitu Encampment》 4《婆のあばら家/Auntie s Hovel》 4《運命の大立者/Figure of Destiny》 4《モグの狂信者/Mogg Fanatic》 4《ゴブリンの異国者/Goblin Outlander》 4《呪詛術士/Anathemancer》 4《ボガートの突撃隊/Boggart Ram-Gang》 4《復讐の亜神/Demigod of Revenge》 4《マグマのしぶき/Magma Spray》 3《終止/Terminate》 4《炎の投げ槍/Flame Javelin》 1《苦悩火/Banefire》 サイドボード 4《荒廃稲妻/Blightning》 2《混沌とした反発/Chaotic Backlash》 4《死の印/Deathmark》 3《恐怖/Terror》 2《瀝青破/Bituminous Blast》 7位 鈴木史人 赤黒ビートダウン「山田バーン」 8《山/Mountain》 4《ギトゥの宿営地/Ghitu Encampment》 4《婆のあばら家/Auntie s Hovel》 4《硫黄泉/Sulfurous Springs》 4《偶像の石塚/Graven Cairns》 4《運命の大立者/Figure of Destiny》 4《地獄火花の精霊/Hellspark Elemental》 4《ボガートの突撃隊/Boggart Ram-Gang》 4《呪詛術士/Anathemancer》 4《復讐の亜神/Demigod of Revenge》 2《叫び大口/Shriekmaw》 4《つっかかり/Lash Out》 3《火葬/Incinerate》 3《火山の流弾/Volcanic Fallout》 4《炎の投げ槍/Flame Javelin》 サイドボード 3《悪意に満ちた幻視/Spiteful Visions》 2《恨み唸り/Spitebellows》 2《叫び大口/Shriekmaw》 2《混沌とした反発/Chaotic Backlash》 2《真髄の針/Pithing Needle》 4《蔓延/Infest》 8位 相澤貴浩 ジャンドビッグマナ「紙束」 2《反射池/Reflecting Pool》 3《野蛮な地/Savage Lands》 3《火の灯る茂み/Fire-Lit Thicket》 4《黄昏のぬかるみ/Twilight Mire》 2《ラノワールの荒原/Llanowar Wastes》 3《樹上の村/Treetop Village》 1《カープルーザンの森/Karplusan Forest》 2《沼/Swamp》 1《山/Mountain》 3《森/Forest》 4《カメレオンの巨像/Chameleon Colossus》 2《神話の超者/Overbeing of Myth》 2《叫び大口/Shriekmaw》 1《剃刀毛のマスティコア/Razormane Masticore》 3《若き群れのドラゴン/Broodmate Dragon》 1《死を運ぶソクター/Deathbringer Thoctar》 2《雲打ち/Cloudthresher》 3《肥沃な大地/Fertile Ground》 4《不屈の自然/Rampant Growth》 4《大渦の脈動/Maelstrom Pulse》 4《原初の命令/Primal Command》 2《不敬の命令/Profane Command》 4《溶岩崩れ/Lavalanche》 サイドボード 1《神話の超者/Overbeing of Myth》 1《カルデラの乱暴者/Caldera Hellion》 1《リリアナ・ヴェス/Liliana Vess》 1《不敬の命令/Profane Command》 3《終止/Terminate》 4《呪詛術士/Anathemancer》 4《炎渦竜巻/Firespout》 Swiss Standings Rank Name Points OMW% 1 Yamada, Hiroki 15 52.0000 2 Satou, Masataka 12 60.0000 3 Kakinuma, Shouta 11 56.0000 4 Tsuba, Yuuki 10 70.6667 5 Toyota, Shinpei 10 53.3333 6 Mori, Shouta 10 50.6667 7 Suzuki, Fumito 10 49.3333 8 Aizawa, Takahiro 9 62.6667 9 Simokobe, Yukihiro 9 53.3333 10 Kanome, Shun 9 53.3333 11 Takahashi, Kenta 9 46.6667 12 Takano, Riku 6 56.0000 13 Murakami (Miyagi), Yuuki 6 55.5556 14 Kikuchi, Naoki 6 53.3333 15 Hayashi, Yuuto 6 52.0000 16 Ikeda, Kaoru 6 52.0000 17 Okino, Ryuu 6 48.0000 18 Mastui, Jun 6 45.3333 19 Ooshima, Takeyuki 3 62.5000 20 Fujiwara, Yuusuke 3 53.3333 21 Abe, Yuuki 3 50.6667 22 Osanai, Takashi 3 49.3333 23 Kitazawa, Makoto 3 40.0000 24 Ozawa, Takeshi 0 75.0000 （おまけ）今回の収支 参加費：500×13（学生）+800×11（一般）=15300円 会場費：9 00～18 00まで600円/h=5400円 賞品費：上位から8-6-4-4-2-2-2-2で計30パック 320×30=9600円 利益：15300-(5400+9600)=300円
https://w.atwiki.jp/touhoukashi/pages/4977.html
【登録タグ Angel Gate CHICACO ESQUARIA T 曲 東方緋想天】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*