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https://w.atwiki.jp/openmusic/pages/287.html
今回のチュートリアルでは、multi-seq, voice, polyについて触れる。 今までの出力結果は、クラスchord-seqを用いて解説して来た。 単純に和音の羅列としての表示結果であれば、これでも十分である。 これは時間経過の表記をms（mill seconds, ミリ秒）単位で行う。 これが適しているのは、例えば伝統的な連譜では書ききれない複雑なリズムを伴う場合などである。 例えば以下のパッチを見てみよう。 これはom-randomによって1から100までの数値がforloopによって順に与えられ、om*で10倍して10-1000までの範囲でランダムな数値を生み出す。 つまり確率としては、omloopが徐々に大きな数値を出すほど、ループの後の方では大きな数値が出る確率が上がる。 これをミリ秒単位のリズムとして読み込んで表示させると、画像のようになる。 次はmulti-seqを見てみよう。これは複数のchord-seqをlistでまとめてひとつのクラス内に表示するものである。 次のパッチを見てみよう。これらは3つのchord-seqに違うdurationを与え、それらをlistでまとめてmulti-seqに送っている。 listにまとめる際、chord-seqのoutput 0から出力していることに注意。 これがmulti-seqの基本であるが、先ほどのランダムなリズムを複数用意してmulti-seqでまとめて表示すると、こうなる。 ここではomloopを二重にしており、内側のomloopはワンスモードにして、dx- xとchord-seqによって2回evaluateされることで数値が異なるのを防いでいる。外側のomloopが次のループに入ると、ワンスモードの内部のomloopはまた新たにevaluateされることになる。 countはevaluateされるたびに1ずつ増えた数を出力する。listloopと組み合わせて順番に数値を送るのには有効な手段である。 ほかにも総カウント数を出力する、カウントをリセットするといった機能があるが、ひとつ気を付けなければいけないのは、先ほどの内部のomloopの例と同様、パッチ内で2度evaluateされることがあり、その場合は数値が替わってくるということに気をつけなければならない。 さもなければ、非公式チュートリアル07で触れた通り、length, forloop, nthを組み合わせるやり方を推奨する。こちらは確実にループの回数を参照できるからである。 なお、メインパッチに置いたctrlchgはMIDIのコントロールチェンジを送るものであり、ここでは5つのMIDIチャンネルのパンをそれぞれ左右に振り分けているが、これは必ずしも必要ではない。 ―― さて今度はvoiceについて解説する。 これはリズムとテンポを伝統的な記譜法で表記する。通常の楽譜の他、連譜を何重にも組み合わせたブライアン・ファーニホウのような複雑な楽譜まで対応可能である。 voiceのinput 1（右から2番目）は、rhythm treeと呼ばれる多重のリストを組み合わせた表記を用いる。input 2にはchord-seqのinput 1と同じくchordsを入力する。この際chord-seqのoutput 1からの出力を入力しても良い。 rhythm treeに関しては、公式マニュアルおよび公式チュートリアルに詳細な解説があるので、詳しくはそちらを見て頂きたい。ここでは最低限の解説にとどめる。 まず冒頭には?を置く。（?の代わりに具体的な数値や分数が来ても良い。） 次は二重括弧で、拍子およびその中のリズムを表す。例えば下記の例は4/4拍子で4分音符が4つ並ぶことを意味する。 (? (((4 4) (1 1 1 1)))) ある拍の次に括弧を指定すれば、さらに音符を細かく分割することも出来る。また連譜の指定も可能である。 例えば下記の例では、4/4拍子で4分音符が3つ並んだ後、8分音符3つが3連譜で並ぶ。 (? (((4 4) (1 1 1 (1(1 1 1)))))) 1以外の数を指定すれば、音価を変える事が出来る。 休符は負数で指定する。 タイはそのタイのかかる音符を小数点で指定する。 上の例を少し変えると、4/4拍子で2分音符、4分音符が並んだ後、8分音符3つが3連譜で並び、その最初にはタイがかかり、2つ目は休符になる。 (? (((4 4) (2 1 1(1.0 -1 1))))) では上の2分音符を、付点4分音符と8分音符に分割するにはどうするかというと、まず下記は間違いである。これはevaluateするとエラーが出る。 (? (((4 4) (1.5 0.5 1 1(1.0 -1 1))))) （←誤った例） 正確には、先ほどの2を括弧でくくり、3 1で分ける。つまり (2 (3 1)) が足されるわけである。 (? (((4 4) ((2 (3 1)) 1 1(1.0 -1 1))))) とばいえ、通常これらの表記で全てのリズムを記譜するのは大変難しい。 そこで通常は、rhythm-treeおよびmktreeのファンクションを使うことになる。 pulsemakerは、小節ごとの拍数（小節の分子と分母）および具体的なリズムを、3つのinputに分けて書き込む。 このpulsemakerは、実は公式チュートリアル25で作られるサブパッチRtm constrctと全く同じ構造である。 つまり、pulsemakerの内部構造を詳しく理解したい場合は、公式チュートリアル25を見れば良い。 逆に言えば、一度仕組みを分かってしまえば、複雑なサブパッチを作ったりコピーしなくても、ファンクションpulsemakerを使えば素早い処理速度で同じ結果が得られる。 mktreeは、各拍ごとのリズムを分数で指定し、拍数を2つの数値の組み合わせによるリストの集合で指定する。 tree2ratio および get-signatures と組み合わせて使うと、リズムを分数単位で拡大・縮小できる。 リズムに関する指定には、この他にもmaketreegroups, tie-tree, reduce-tree, remove-restsなど、様々なファンクションがある。 これらはOpenMusicに付属するサンプルパッチにて詳しく解説されているので、それを参照してほしい。 Treeに関するパッチは、以下のフォルダに収録されている。（Macの場合） Applications/OM 6.7/tutorials/Trees voiceと関連する補助クラスとして、groupとmeasureがある。これはそれぞれ、ある一かたまりのリズム、および特定の小節におけるリズムのデータだけを扱うクラスである。 またchord-seqに対してmulti-seqがあるように、複数のvoiceをまとめて表示するクラスがある。それがpolyである。 polyにおける各voiceは、それぞれ独立した小節線及びテンポを維持できる。 voiceを使った具体例は次回以降に見て行こう。 参照 非公式チュートリアル 前後 非公式Tutorial 07 武満徹分析 非公式Tutorial 09 ディアトニック即興 非公式Tutorial 概要
https://w.atwiki.jp/c0v0p/pages/517.html
Top 2007.03.08 追加 [ クエスト | 武器 | 防具 | アイテム | 合成 | だいじなもの ] 2007.03.08 バージョンアップ 合成 職人の庭より引用。 全部はまだ転記出来てないので、お急ぎの方は本家へどうぞ。 2007.03.08 バージョンアップ 合成 [#paab7596] 木工 [#w832d29f] 鍛冶 [#mebc1c66] 彫金 [#bef859ab] 裁縫 [#r98b4eb6] 革細工 [#wbbefa98] 骨細工 [#n288f012] 錬金術 [#m45a636c] 調理 [#lf07e40a] 木工 アイテム スキル クリスタル 合成素材 ^コンソール 木工(高弟)鍛治 土 アイアン板×2、ドッグウッド材×3 ^ワードローブ 木工(師範)彫金 土 ウォルナット材×4、ガラス板、アトルガンブラス、アトルガンブラス板×2 鍛冶 アイテム スキル クリスタル 合成素材 彫金 アイテム スキル クリスタル 合成素材 ^アトルガンブラス 彫金(素人) 炎 鍮石×4 ^アトルガンブラス板 彫金(素人) 炎 アトルガンブラス ^アトルガンブラス板×6 彫金(素人)シーティング 炎 工業用アンビル、アトルガンブラス×6 ^メッシュミスリル板 彫金浄化貴金属合成 炎 ミスリルインゴット、風のアニマ×2、光のアニマ ^エアロマフラ 彫金 土 メッシュミスリル板、マフラ ^アミールベッド 彫金 炎 ブラッドウッド材、金糸、ゴールドブロケード、カラクール織物、アトルガンブラス×4 ^ブラスジャダグナ 彫金(皆伝)革細工 炎 カラクールなめし革、アトルガンブラス、ジャダグナ ^ファイアランプ 彫金(師範) 炎 炎の鉱石、シンチレーター、アトルガンブラス ^アイスランプ 彫金(師範) 炎 氷の鉱石、シンチレーター、アトルガンブラス ^ウィンドランプ 彫金(師範) 炎 風の鉱石、シンチレーター、アトルガンブラス ^アースランプ 彫金(師範) 炎 土の鉱石、シンチレーター、アトルガンブラス ^サンダーランプ 彫金(師範) 炎 雷の鉱石、シンチレーター、アトルガンブラス ^ウォータランプ 彫金(師範) 炎 水の鉱石、シンチレーター、アトルガンブラス ^ライトランプ 彫金(師範) 炎 光の鉱石、シンチレーター、アトルガンブラス ^ダークランプ 彫金(師範) 炎 闇の鉱石、シンチレーター、アトルガンブラス 裁縫 アイテム スキル クリスタル 合成素材 革細工 アイテム スキル クリスタル 合成素材 ^凍寒ラプトル皮 革細工51-52妖化皮革 闇 ラプトルの皮、氷のアニマ×2、闇のアニマ ^アイストラウザ 革細工57-58 土 凍寒ラプトル皮、ラプトルトラウザ ^ブリザードグローブ 革細工60 土 凍寒ラプトル皮、ラプトルグロ−ブ ^タビンブーツ 革細工69-70 土 マーリドのなめし革、バトルブーツ ^タビンホーズ 革細工76-77 土 マーリドのなめし革、バトルホーズ 骨細工 アイテム スキル クリスタル 合成素材 ^紫電陸ガニ甲殻 骨細工41-42妖化骨材 風 陸ガニの甲殻、雷のアニマ×2、闇のアニマ ^サンダーミトン 骨細工47-48 土 紫電陸ガニ甲殻、カラパスミトン ^ショックサブリガ 骨細工51-52 土 紫電陸ガニ甲殻、カラパスサブリガ ^岩乗甲羅 骨細工52-53妖化骨材 風 海亀の甲羅、土のアニマ×2、闇のアニマ ^ストーンバングル 骨細工57-58 土 岩乗甲羅、タートルバングル ^ビークネックレス 骨細工60 土 上質な陸ガニの甲殻、オックスブラッド、コリブリの嘴×4、モブワ草糸、鎧竜の槌 ^スケープゴート 骨細工65-66 風 フェニックスの羽根、マーリドの牙 ^ウィヴルゴルジェ 骨細工86-87 風 カラクールのなめし革、鎧竜の角 ^大蛇の喉輪 骨細工98-99 土 ハイドラの鱗、ワモーラ糸 錬金術 アイテム スキル クリスタル 合成素材 ^フレイムホルダー 錬金術(印可)革細工イアトロケミストリ 炎 スライムオイル、木綿糸、蜜蝋、飛竜の皮、スーパーサーメット、クラスターのうで ^アイスメーカー 錬金術(印可)裁縫イアトロケミストリ 炎 ミスリル板、スーパーサーメット、フランの肉、スノールのうで、メガバッテリー、カラクール羊毛 調理 アイテム スキル クリスタル 合成素材 ^オレンジＡタンク 調理(目録)革細工 土 カラクールなめし革、ブラスタンク、オレンジ・オレ×4 ^アップルＡタンク 調理(印可)革細工 土 カラクールなめし革、ブラスタンク、アップル・オレ×4 ^ペアＡタンク 調理(高弟)革細工 土 カラクールなめし革、ブラスタンク、ペア・オレ×4 ^パママＡタンク 調理(皆伝)革細工 土 カラクールなめし革、ブラスタンク、パママ・オレ×4 ^ペルシコスＡタンク 調理(師範)革細工 土 カラクールなめし革、ブラスタンク、ペルシコス・オレ×4
https://w.atwiki.jp/c0v0p/pages/499.html
Top 合成 木工 [#i53609b7] 鍛冶 [#a2d2c666] 彫金 [#f5b194e5] 革細工 [#e96ce5db] 骨細工 [#d831bfa2] 錬金術 [#he2aca9d] 裁縫 [#r329f390] 木工 アイテム スキル クリスタル 合成素材 闘魚鉢 20錬金術??鍛冶?? 光 ブロンズインゴット, ラワン材, クロウラーの石, ジーグリンデパテ, ガラス板, 金魚水セット, ランプマリモ, ベタ アンゴン 69-70 風 アイアンインゴット x 2, ユー材 x 3, 毛糸 アクアリウム〔川〕 80 光 埋れ木, ホワイトオーク材, ジーグリンデパテ, ガラス板, 人工淡水セット, カヤバルウ x 3 アクアリウム〔湾〕 89 光 ホワイトオーク材, 珊瑚のかけら, ジーグリンデパテ, ガラス板, 人工海水セット, ビビキーチョコボ x 3 アクアリウム〔礁〕 89 光 ホワイトオーク材, 珊瑚のかけら, ジーグリンデパテ, ガラス板, 人工海水セット, コーラルバタフライ x 3 鍛冶 アイテム スキル クリスタル 合成素材 Ｔ．トマホーク 42 炎 スチールインゴット x 2, チェスナット材 x 2 ダークヘキサガン 67 炎 スチールインゴット, ダークインゴット, エボニー材 x 2, シルバーインゴット ダークキリジ 82 炎 ダークインゴット x 2, エボニー材, ルビー, ガーネット, マーリドのなめし革, プラチナインゴット x 2 彫金 アイテム スキル クリスタル 合成素材 ダークサインティ 86-87 炎 スチールインゴット, ダークインゴット, エボニー材, プラチナインゴット x 2, 水銀 ワラーラ香炉 93-94 炎 オリハルコン板, 神代木, ゴールドインゴット, ゴールド板 x 2 革細工 アイテム スキル クリスタル 合成素材 アルザビタピストリ 96 土 ゴールドインゴット, ターコイズ, 金糸 x 2, マーリドのたてがみ, ワモーラクロス, アトルガン絹布 x 2 骨細工 アイテム スキル クリスタル 合成素材 シードッグガン 68-69 炎 珊瑚のかけら x 2, スチールインゴット x 2 スネークアイ 87-88 風 ハイドラの牙 x 2, ワモーラ糸 x 1 ハイドラクウィス 96-97 土 虹糸, 甲冑魚の甲殻, ハイドラの鱗, レザートラウザ ^ハイドラフィンガー 97-98 土 虹糸, 甲冑魚の甲殻, ハイドラの鱗, レザーグローブ ハイドラグリーヴ 96-97 土 虹糸, 甲冑魚の甲殻, ハイドラの鱗, レザーハイブーツ ハイドラメイル 100+ 土 虹糸, 甲冑魚の甲殻 x 2, ハイドラの鱗 x 2, カラクールのなめし革, レザーベスト 錬金術 アイテム スキル クリスタル 合成素材 レインボーパウダー 72 光 グラスファイバー x 2, ワモーラの鱗粉 レインボーパウダー 72 光 （トリチャレーション）グラスファイバー x 4, ワモーラの鱗粉 x 2 チョコエリクサー 81-82 光 宿木, 反魂樹の根, 金の葉, ロイヤルゼリー, 蒸留水 裁縫 2006.08.02 VerUPで追加 アイテム スキル クリスタル 合成素材 アトルガン絹布 土 絹糸, 金糸, ワモーラ糸
https://w.atwiki.jp/c0v0p/pages/556.html
Top 2008.09.09 追加 [ クエスト | 武器 | 防具 | アイテム | 合成 | だいじなもの ] 2008.09.09 バージョンアップ 合成 2008.09.09 バージョンアップ 合成 [#r87b7125] 鍛冶 [#xa13a1a8] 彫金 [#e7491643] 裁縫 [#ga1c3a98] 木工 [#jba5ba30] 革細工 [#r452b2e1] 骨細工 [#jd241e43] 錬金術 [#j5fa0d3a] 調理 [#bc7e4cb2] 鍛冶 アイテム スキル クリスタル / 合成素材 彫金 アイテム スキル クリスタル / 合成素材 裁縫 アイテム スキル クリスタル / 合成素材 B3Dアルミラー 裁縫71、錬金術? 水 3Dアルミラー、金糸、テキスタイルダイＢ B6Dアルミラー 裁縫71、錬金術? 水 6Dアルミラー、金糸、テキスタイルダイＢ B9Dアルミラー 裁縫71、錬金術? 水 9Dアルミラー、金糸、テキスタイルダイＢ G3Dアルミラー 裁縫71、錬金術? 水 3Dアルミラー、金糸、テキスタイルダイＧ G6Dアルミラー 裁縫71、錬金術? 水 6Dアルミラー、金糸、テキスタイルダイＧ G9Dアルミラー 裁縫71、錬金術? 水 9Dアルミラー、金糸、テキスタイルダイＧ Y3Dアルミラー 裁縫71、錬金術? 水 3Dアルミラー、金糸、テキスタイルダイＹ Y6Dアルミラー 裁縫71、錬金術? 水 6Dアルミラー、金糸、テキスタイルダイＹ Y9Dアルミラー 裁縫71、錬金術? 水 9Dアルミラー、金糸、テキスタイルダイＹ W3Dアルミラー 裁縫71、錬金術? 水 3Dアルミラー、金糸、テキスタイルダイＷ W6Dアルミラー 裁縫71、錬金術? 水 6Dアルミラー、金糸、テキスタイルダイＷ W9Dアルミラー 裁縫71、錬金術? 水 9Dアルミラー、金糸、テキスタイルダイＷ オイルクロス 裁縫78-79、錬金術? 土 絹糸、金糸、亜麻仁油×3、ワモーラ糸 フーラード 裁縫?、錬金術? 土 アラクネ糸、絹糸×3、虹糸×2 木工 アイテム スキル クリスタル / 合成素材 革細工 アイテム スキル クリスタル / 合成素材 骨細工 アイテム スキル クリスタル / 合成素材 錬金術 アイテム スキル クリスタル / 合成素材 テキスタイルダイＢ【12】 29-30 水 ウォード テキスタイルダイＧ【12】 29-30 水 アトルガン茶葉 テキスタイルダイＹ【12】 29-30 水 ターメリック テキスタイルダイＷ【12】 29-30 水 重曹 テキスタイルダイＲ【12】 29-30 水 ノパル 調理 アイテム スキル クリスタル / 合成素材 野兎の塩焼き 3-4 炎 野兎の肉、岩塩 ^スィートリザード 3-4 炎 蜂蜜、トカゲの尻尾 ハニーエッグ 3-4 水 蜂蜜、鳥の卵 生蕎麦 44-45（麺合成） 水 蕎麦粉 ババロア 44-45（パティシエ） 氷 メープルシュガー、アップルミント、バニラ、ゼラチン、鳥の卵、ウルガランミルク 笊蕎麦 56-57（麺合成） 炎 パムタム海苔、煮出し汁、生蕎麦、蒸留水、ねりわさび、シバル、プークの卵 ラタトゥイユ 65-66 炎 マウラのにんにく、ローレル、オリーブオイル、ワイルドオニオン、たまごナス、ミスラントマト、ズッキーニ、パプリカ
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Subjects-Science-General Subjects-Science-Technology-General&Reference Intelligent Computational Paradigms in Earthquake Engineering (Computational Intelligence and Its Applications) Idea Group Pub? Nikos D. Lagaros? Yiannis Tsompanakis? IdeaGroupPub? NikosD.Lagaros? YiannisTsompanakis? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Engineering Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-NeuralNetworks? Subjects-Engineering-Civil-SeismicDesign? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-Civil-SeismicDesign? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-ProfessionalScience-EarthSciences-Seismology? Subjects-Science-EarthSciences-Earthquakes&Volcanoes? Subjects-Science-EarthSciences-Geology-Volcanology? Subjects-Science-EarthSciences-Seismology? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-General 洋書
https://w.atwiki.jp/touhoukashi/pages/4103.html
【登録タグ 709sec. Mind Reverser REVIVAL BEST IV S SOUND HOLIC 曲 輝く針の小人族 ～ Little Princess】 【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/touhoukashi/pages/2741.html
【登録タグ CALEN F SOUND HOLIC フォールオブフォール ～ 秋めく滝 曲 風神 -FUUJIN-】 【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/matchmove/pages/43.html
Opening the Shot ショットを開く ショットのトラッキングを始めるには、起動後File/New（ファイル/新規）やFile/Import/Shot（ファイル/入力/ショット）を選択します。 AVI、QTムービー、MPEGファイル、連番ファイルの最初のフレームのJPEG、TIFF、BMP、SGI、Cineon、SMPTE DPX、Targaファイルなどを選択する必要があります。 Macでは、正しく書き出されていれば、ファイルの種類は拡張子が無くとも自動的に決められます（OSXで定められている拡張子に限ります）。 PCかMacで、もしイメージファイルに拡張子がなかったりファイルの種類が判らないときには、Open File（ファイルを開く）ダイアログボックスで、Just Open It（それを開く）を選択して、それで表示されたファイルを選択すると、SynthEyesが自動的に種類を判定します。 注意 SynthEyesは、セキュリティの確立された環境で、既知のイメージ上での使用を前提としています。インターネットまたは他の未知の要因から得られたイメージによってもたらされるウィルスに対抗するようにアップデートされることはありません。そのようなイメージは、SynthEyesまたはコンピュータを破壊する原因になったり、あるいは、危険なソフトウェアによって不正にのっとられる原因になるかもしれません。 SynthEyesは、通常ファイル・シーケンスごとに1つのIFL(画像ファイルリスト)ファイルを作成し、イメージと同じフォルダに、それを書き出します。 IFLは全体のシーケンスのための信頼できるプレースホルダとして機能し、SynthEyesが全てのシーケンスを再チェックする必要がないので、特にネットワークを介してのシーケンスの開き直す時間を節約します。IFLファイルがあなたの画像管理システムと相性が悪い、もしくはあなたが異なったマシンから同じ画像シーケンスを頻繁に開くなら、各コンピュータから異なったファイル名の、同じ画像シーケンスを作り出して、あなたはWriteをオフにすることができます。 preferenceの Match image-sequence frame # s は,シーケンスの初めに余分なフレームを生成するよう、設定されます。そのため、SynthEyesフレーム番号はファイルのフレーム番号に合います。（全体のショットが既にありましたらこの必要は全くありません。）。この設定はいつもこのマッチング(シーケンスの番号を合わせる事)を必要とするある他のプログラムとの相互作用を簡素化できます。そして、ショットの‘in ポイントの周りで編集が変化した時の変更をより簡単にすることができます。 （下記のPrepend Additional Frames setting（前もって付加フレームを設定する）を参照。） このpreferenceが、全く他のアプリケーションまたはそれらのエクスポーターと必ずしも互換性を持つというわけではありません。 それを使用する前に、このpreferenceをテストして、影響を必ず熟知しておいてください。 Basic Open-Shot Settings 次の設定があなたのショットと一致するように調整してください。 あなたはこれらの設定をShot/Edit Shotの後に変えることができます。 もしあなたが始めるときに全ての設定を理解していなくても、うろたえないでください；多くは高度な状況の時だけに提供します。 Image Aspect は正しい結果を得る上で最も重要になる設定です。 Maya ユーザーが Maya プリセットに対応しているプリセットを使うことを望むかもしれません。 Image Preprocessingボタンが、もう１つのパネルを起動することに注意してください；私たちは、基本的なオープンショット・ダイアログの後にそれらを設定します。 Start Frame, End Frame フレームの範囲を調整します。このパネル、またはタイムバーの枠の端の「+-」をshift+ドラッグすることで調整できます。 Frame rate 通常1秒当たりのフレーム数は、24、24.98、または29.97です。NTSCは米国と日本、PALはヨーロッパで使用されます。 一般に、フィルムは24fpsです。 高(低)フレームレートショットやマルチメディアプロジェクトの為に、他のレートを設定することもできます。ソフトウェアによっては25か30fpsに、(小数点を)丸めるかもしれません。 SynthEyesは、あなたが正確であるか大体の値を使用するかどうか気にかけません。 Interlacing フィルムかプログレッシブ・スキャンDVの時はNone。25/30fpsはYesを(常に他のフィールドをスキップします)。 急速なぶれをトラッキングする能力をいくらか損失しますが、必要なトラッキングの量を最小にします。 同じものにYesとButを使用してください。Butは、他のフィールドを保つときに使用してください。インターレースビデオの最初のフィールドによって、Starting OddかStarting Evenを使用してください。推測でなら、いったんショットを開いた後、いくつかのフレームをコマ送りしてください。2ステップで次のコマに行くなら、一旦戻ってShot/Edit Shotメニューの項目を選択し、設定を修正してください。JPEGシーケンスなどのnon-field-savvyコーデックで圧縮されたソースビデオにはYesかNoneを使用してください。 Apply Preset 異なったフィルム形式のリストをドロップダウンからクリックしてください。それらの1つを選択すると、 Image Aspect ・ Back Plate ・ Anamorphic Squeeze や、大部分のパラメーターがプリセットによって設定されるでしょう。あなたは、自分のプリセットを、作成・変更・消去できます。プリセットリストの一番下の、 Save As や Delete を使用して、登録します。 Image aspect ratio(縦横比) 画像の幅を高さで割った値。1.333はビデオ,1.777はHDTV, 2.35や他の値はフィルムです。注意 通常、これはimage preprocessorへの縦横比入力です。 右下に示された“Final aspect”は、 image preprocessor から出て来る縦横比です。 ひずみを適用し、 image preprocessor がモードを適用するように設定されるなら、このスピナーの値は出力された縦横比です。(その比は、オリジナルのショットの縦横比です)。 右下で“Final aspect”を見る代わりに、“source aspect.”とラベルされて、入力されたイメージの縦横比は出てくるでしょう。 Pixel aspect ratio それぞれの画素の縦横比。 (画素の縦横比は最終的なイメージのためのもので、アナモルフィック・ネガの画素の、細い幅ではない。) Back Plate Width バーチャルカメラの焦点距離の解析を決定し、“film”の幅を設定します。 特定のカメラにおいて、焦点距離とバックプレート幅の実際の値が、“book values” といつもわずかに異なっていることに注意してください。注意 Mayaはこの値に関して、非常に気難しいです。 Back Plate Height 幅、イメージ比率および縮尺から計算された、フィルムの高さ。 Back Plate Units. in が表示されている時はインチ、 mm の時はミリメートルです。 クリックして、希望する方に変更してください。 Anamorphic Squeeze アナモルフィック・レンズがフィルム・カメラで使用されているとき、ワイドスクリーンイメージをより細長いネガまで絞ります。 圧縮要素は多くの絞りがどうかかわるかを反映します。2の値は、最終的なイメージがマイナス2倍広いことを意味します。 圧縮を便利に提供します。それは全体的なSynthEyesシーンで必要ではありません。 Negative s Aspect アナモルフィックな圧縮が存在していない場合、最終的なイメージと同じ値の、マイナス縦横比。 イメージの比率と圧縮要素から計算されています。 Prepend Extra Frames shot/Change Shot Imageryメニューアイテムの間だけ、選択可能です。 このスピナーは、追加フレームがショットの始めに加えられるのを示し、それは全てのトラッカー、 オブジェクトのパス、スプラインなどは後でショットにかほど移行するべきです。 Exposure Adjustment 読まれた、多くの絞り値による、ショットの露出の増減の調節。 値を変えると、メインウィンドウが更新されます。 これは、CineonやDPXなどの特定の画像形式だけに反応します。浮動小数点形式のOpenEXRは特に重要です。 HiRez 手動トラッキングのための、画素間の再サンプリングと補間法の量のプリセット。 いくらかトラッキングが遅くなりますが、より大きい値とより高度なタイプはより鮮明なイメージを与え、 より良いトラッキングデータになるかもしれない。 デフォルトのLinear x 4で、大概十分でしょう。 より高度なタイプは、高品質の圧縮されていないソース場面のために検討することができます。 Queue Length RAMに格納する(全てのフレームが望ましい)、フレームの数。 関連しているディスプレイには、どのくらいのメモリがコンピュータに残っているかを示しています。 Photoshopや3Dアプリケーションの様なRAMが必要な他のアプリケーションは蓄えたメモリー容量を減少させるかもしれません。 とにかく、SynthEyesを稼働している間、それらの他のアプリケーションを一時的に遅くなるのを気にしないならば、マシンの多くの物理メモリ(RAM)を必要とする、キューの長さを要求できます。 比較的わずかなメモリー容量だけが、1,000個以上のフレーム、または大きい・動作中・フィルムスキャンのショットを除いた、自動トラッキングのために必要です。 16 Bit/Channel 入力ファイルが1チャンネルあたり16bitなら、16bitで処理されるか8bitに減らすかを、このチェックボックスで制御します。 8bitのイメージは多少正確ではありませんが、軽く、16bitと比べると速いです。 逆に、16bitのイメージは正確ですが、重く、8bitに比べると遅いです。 あなたは、16bitで自動トラッキングをし、そして、ショットを素早くスクラブするために、8bitに落とすことができます。 Keep Alpha チェックすると、ファイルを開くときに、SynthEyesはアルファチャンネル付きで処理します(ロトスコープするために、アルファチャンネルの使用が無いように見えても)。 レンズディストーションやスタビライズのために image preprocessor を使い、アルファチャンネルも一緒に書き出したいとき、チェックしてください。 Image Preprocessing 様々なイメージレベル調整で、トラッキングをよりやり易くする、画像前処理(準備)ダイアログがあります (マシンよりも、人間の為のもの)。 色やガンマなどの調節ができ、シングルチャンネルや表示領域を制限するなど、メモリの使用を抑えるオプションもあります。 また、このダイアログは、スタビライズ機能も提供します。 Memory Status 画像の解像度・画像のRAMに取り込まれるサイズ(MB表記)・ショットのスレーム数・ マシンが使える残りのRAMの量と、シーケンスを取り込むのに必要なメモリー容量の見積もりが表示されます。 最後の必要メモリー容量が、目安に過ぎないことに注意してください。この後の(トラッキング等の)処理によって、 変わってきます。1フレーム目のサイズで必要なメモリー量を計算しているので、 Image Preprocessing システムで表示領域を変更した場合、 非常に不正確になります。 また、 Image Preprocessing 処理後から出てくる、最終的な縦横比もここに示されています。 それは Image Preprocessing によって実行された、再サンプリング、パディング(空白部分の埋め合わせ)、 およびクロッピング(必要な領域を指定し、画像を切り取ること)を反映します。 ロードした後に ショットをロードするためにOKを押すと、素早くアクセス出来るように、RAMにシーケンスを読み込み始めます。 ショットを通して、再生やスクラブをするのに、プレイバーとタイムバーを使用できます。注意! この処理は、RAIDディスクなどの高速処理量装置を利用して出来るだけ速くすべてをロードしようとし、プロセッサに負荷を掛けます。 しかしながら、フッテージが低帯域幅のリモートドライブの状態だと、OSがデータを得ようとして、マシンは一時的に鈍くなるかもしれません。 これを避けたいなら、 Shot メニューで Enable Prefetch をオフにするか、または preference の Prefetch enable をオフに変更してください。 下記のような、RAMにイメージを読み込むのに役立つ、 Image Preprocessing を使用できます。 ショットがRAMをうまく読み込まなくても、timebarの小さい緑色の、赤い再生マーカーを使用することでショットの一部のRAM再生を得ることができます。 あなたはループにしたい部分をドラッグすることができます。 時々、全体のショットを開きたくなるかもしれませんが、読み込んでいる部分だけをトラッキング・解析してください。 タイムバーのショットの両端をshift+ドラッグして、再生範囲を変更できます。 ここで、座標系タイプ(MAX, Maya, Lightwaveなどに適したもの)を選んでください。 必要なら、 scene setting や preference の調整をしてください。 Changing the Imagery You may need to replace the imagery of a shot, for example, with lower- or higher-resolution versions. Use theShot/Change Shot Imagesmenu item to do this. The shot settings dialog will re-appear, so you can adjust or correct settings such as the aspect ratio. When activated as part of Change Shot Images, the shot settings dialog also features aPrepend Extra Framessetting. If you have tracked a shot, but suddenly the director wants to extend a shot with additional frames at the beginning, use the Change Shot Images selection, re-select the shot with the additional images, and set the Prepend Extra Frames setting to the number of additional frames. This will shift all the trackers, splines, object paths, etc later in the shot by that amount. You can extend the trackers or add additional ones, and re-solve the shot. Note that if frames from the beginning of the shot are no longer needed, you should leave them in place, but change the shot start value by shift-dragging it in the time bar. あなたは例えば、ショットの画質を低い、あるいはより高い解像度のバージョンで置き換える必要があるかもしれません。 これを行うために、Shot/Change Shot Imagesmenu項目を使用してください。 shot settings dialog が再び表示されるでしょう、それであなたはアスペクト比のような設定を調整したり修正することができます。 Change Shot Imagesの一部として作動するるとき、shot settings dialogは同じくPrepend Extra Framessetting として起用します。 もしあなたがショットを追跡した、しかし突然ディレクタが始めに追加のフレームでショットを拡張することを望むなら、Change Shot Images セレクションを使って、ショットの追加のイメージを再び選択して、Prepend Extra Framesで追加のフレームをセットしてください。 これはその量によってショットすべてのトラッカー、スプライン、オブジェクトパスなどを変えるでしょう。 あなたはトラッカーを延長するか、あるいは追加を加えて、ショットを解決することができます。 もしショットの最初からのフレームがもう必要とされないなら、実施されているままにしておくべきであることに注意してください、しかし、タイムバーにそれをシフト - ドラッグで、ショットのスタート値を変えてください。 Image Preprocessing Basics The image preparation dialog provides a range of capabilities aimed at the following primary issues · Stabilizing the images, reducing wobbles and jiggles in the source imagery, · Making features more visible, especially to you for supervised tracking, · Reducing the amount of memory required to store the shot in RAM, to facilitate real-time playback, · Correcting image geometry distortion or the optic axis position. You can activate the image preprocessing panel either from the Open-Shot dialog, or from the Shot menu directly. The individual controls of the image preprocessor are spread among several tabbed subpanels, much like the main SynthEyes window. These include Rez, Levels, Cropping, Stabilize, Lens, Adjust, Output, and ROI. As you modify the image preprocessing controls, you can use the frame spinner and assorted buttons to move through the shot to verify that the settings are appropriate throughout it. Fetching and preprocessing the images can take a while, especially with film-resolution images. You can control whether or not the image updates as you change the frame# spinner, using the control button on the right hand side of the image preprocessor. The image preprocessing engine affects the shots as they are read from disk, before they are stored in RAM for tracking and playback. The preprocessing engine can change the image resolution, aspect ratio, and overall geometry. Accordingly, youmust take care if you change the image format---if you change the image geometry, you may need to use theApply to Trackersbutton, or you will have to delete the trackers and do them over, since their positions will no longer match the image currently being supplied by the preprocessing engine. (The apply/remove lens distortion script can also help recover.) The image preprocessor allows you to create presets within a scene, so that you can use one preset for the entire scene, and a separate preset for a small region around a moving object, for example. Image Adjustments As mentioned, the image adjustments allow you to fix up the image a bit to make it easier for you and SynthEyes to see the features to be tracked. The preprocessor s image adjustments encompass the basic saturation and hue, level adjustments, and channel selection. The level adjustments map the specified Low level to blackest black out (luma=0), and specified High level to whitest white (luma=1), so that you can select a portion of the dynamic range to examine. The Mid level is mapped to 50% gray (luma=0.5) by performing a gamma-type adjustment; the gamma value is displayed and can be modified. You should be a bit careful that in the interests of making the image look good on your monitor, you don’t compress the dynamic range into the upper end of brightness, which reduces that actual contrast available for tracking. The level adjustments can be animated to adjust over the course of the shot, see the section on animated shot setup below. It may be worthwhile to use only one of the R, G, or B channels for tracking, or perhaps the basic luminance, as obtained using the Channel setting. (The Alpha channel can also be selected, mainly for a quick check of the alpha channel.) If you think selecting a single channel might be a good idea, be sure to check them all. If you are tracking small colored trackers, especially on video, you will find they often aren’t very colorful. Rather than trying to increase the saturation, use a different channel. For example, with small green markers for face tracking, the red channel is probably the best choice. The blue channel is usually substantially noisier than red or green. The hue adjustment can be used to tweak the color before the channel selection; by making yellows red, you can have a virtual yellow channel, for example. Note that you can change the image adjustments in this section without having to re-track, since the overall image geometry does not change. Minimizing Grain The grain in film images can perturb tracking somewhat. Use the Blur setting on the image preparation panel to slightly filter the image, minimizing the grain. This tactic can be effective for compression artifacts as well. SynthEyes can stabilize the images, re-size them, or correct for lens distortion. As it does that, it interpolates between the existing pixels. There are severalinterpolation modesavailable. You can produce a sharper image when you are re-sampling using the more advanced modes, but you increase the grain as you do so. Handling Strobes and Explosion Shots Quickly varying lighting can cause problems for tracking, especially supervised tracking. You can reduce the lighting variations by hi-pass filtering the image with the Hi-Pass setting. The image will turn into a fairly monotonous gray version (consider using only the Luma channel to save memory). The Hi-Pass setting is also a Gaussian filter size, but it is generally much larger than a 2-pixel blur to compensate for grain, say around 10 pixels. The larger the value, the more the original image will “show through,” which is not necessarily the objective, and the longer it will take to process. You can increase the hi-pass image contrast using the Levels settings, for example low=0.25, high=0.75. You can use a small blur for grain/compression in conjunction with the high-pass filtering. It will also reduce any slight banding if you have used the Levels to expand the range. Memory Reduction It is much faster to track, and check tracking, when the shot is entirely in the PC s RAM memory, as fetching each image from disk, and possibly decompressing it, takes an appreciable amount of time. This is especially true for film-resolution images, which take up more of the RAM, and take longer to load from disk. SynthEyes offers several ways to control RAM consumption, ranging from blunt to scalpel-sharp. Starting from the basic Open-Shot dialog, if your source images have 16 bit data, you can elect to reduce them to 8 bit for storage, by unchecking the 16-bit checkbox and reducing memory by a factor of two. Of course, this doesn’t help if the image is already 8 bit. If you have a 2K or 4K resolution film image, you might be able to track at a lower resolution. The DeRez control allows you to select ½ or ¼ image resolution selections. If you reduce resolution by ½, the storage required drops to ¼ the previous level, and a reduction by ¼ reduces the storage to 1/16ththe prior amount, since the resolution reduction affects both horizontal and vertical directions. Note that by reducing the incoming image resolution, your tracks will have a higher noise level which may be unacceptable; this is your decision. If you can track using only a single channel, such as R, G, or luma, you obtain an easy factor of 3 reduction in storage required. The most precise storage reduction tool is theRegion Of Interest (ROI), which preserves only a moving portion of the image that you specify, and makes the rest black. The black portion does not require any RAM storage, so if the ROI is only 1/8ththe width and height of the image, a reduction by 1/64thof storage is obtained. The region of interest is very useful with object-type shots, such as tracking a face or head, a chestplate, a car driving by, etc, where the interesting part is comparatively small. The ROI is also very useful in supervised tracking, where the ROI can be set up for a region of trackers; once that region is tracked, a different ROI can be configured for the next group. A time savings can be achieved even though the next group will require an image sequence reload. (See the section on presets, below, to be able to save such configurations.) The ROI is controlled by dragging it with the left mouse button in the Image Preprocessing dialog s viewport. Dragging the size-control box at its lower right of the ROI will change the ROI size. The next section describes animating the preprocessing level and ROI. It can also be helpful to adjust the ROI controls when doing supervised tracking of shots that contain a non-image border as an artifact of tracking. This extra border can defeat the mechanism that turns off supervised trackers when they reach the edge of the frame, because they run out of image to track before reaching the actual edge. Once the ROI has been decreased to exclude the image border, the trackers will shut off when they go outside the usable image. As with the image adjustments, changing the memory controls does not require any re-tracking, since the image geometry does not change. Animated Shot Setup The Level, Saturation/Hue, lens Field of View, Distortion/Scale, stabilizer adjustment, and Region of Interest controls may be animated, changing values over the course of the shot. Normally, when you alter the Level or ROI controls, a key at the first frame of the shot is changed, setting a fixed value over the entire shot. To animate the controls, turn on the Make Keys checkbox () at lower right of the image prep dialog. Changes to the animated controls will now create keys at the current frame, causing the spinners to light up with a red outline on keyframes. You can delete a keyframe by right-clicking a spinner. If you turn off Make Keys after creating multiple keys, subsequent changes will affect only the keyframe at the start of the shot (frame zero), and not subsequent keys, which will rarely be useful. You can navigate within the shot using the next frame and previous frame buttons, the next/previous key buttons, or the rewind and to-end buttons. Temporarily Disabling Preprocessing Especially when animating a ROI, it can be convenient to temporarily turn off most of the image preprocessor, to help you find what you are looking for. The enable button (a stoplight) at the lower right will do this. The color modifications, level adjustment, blur, down-sampling, channel selection, and ROI are all disabled by the enable button. The padding and lens distortion are not affected, since they change the image geometry—you do not want that to change or you can not then place the ROI in the correct location. Disabling Prefetch SynthEyes reads your images into RAM using a sophisticated multithreaded prefetch engine, which runs autonomously much of the time when nothing else is going on. If you have a smaller machine or are maybe trying to run some renders in the background, you can turn off theShot/Enable prefetchsetting on the main menu. Get Going!You don’t have to wait for prefetch to finish after you open a shot. It doesn’t need courtesy. You can plough ahead with what you want to do; the prefetcher is designed to work quietly in the background. Correcting Lens Distortion Most animation software assumes that the camera is perfect, with no lens distortion, and the camera s optic axis falls exactly in the center of the image. Of course, the real world is not always so accommodating. SynthEyes offers two methods to determine the lens distortion, either via a manual process that examines the image curvature of lines that are straight in the real world, or as a result of the solving process, if enough reliable trackers are available. SynthEyes accommodates the distortion, but your animation package probably will not. As a consequence, a particular workflow is required that we will introduce shortly and in the section on Lens Distortion. The image preprocessing system lets distortion be removed, though after doing so, any tracking must be repeated or corrected, making the manual distortion determination more useful for this purpose. The image preprocessing dialog offers a spinner to set the distortion to match that determined. A Scale spinner allows the image to be scaled up or down a bit as needed to compensate for the effect of the distortion removal. You can animate the distortion and scale to correct for varying distortion during zoom sequences. Image Centering The camera s optic axis is the point about which the image expands or contracts as objects move closer or further away. Lens distortion is also centered about this point. By convention of SynthEyes and most animation and compositing software, this point must fall at the exact center of the image. Usually, the exact optic center location in the image does not greatly affect the 3-D solving results, and for this reason, the optic center location is notoriously difficult to determine from tracking data without a laboratory-grade camera and lens calibration. Assuming that the optic axis falls in the center is good enough. There are two primary exceptions when an image has been cropped off-center, or when the shot contains a lot of camera roll. If the camera rolls a lot, it would be wise to make sure the optic axis is centered. Images can be cropped off-center during the first stages of the editorial process (when a 4 3 image is cropped to a usable 16 9 window), or if a film camera is used that places the optic axis allowing for a sound channel, and there is none, or vice versa (none is allowed for, but there is one). Image stabilization or pan/scan-type operations can also destroy image centering, which is why SynthEyes provides the tools to perform them itself, so they can be done correctly. Of course, shots will arrive that have been seriously cropped already. For this reason, the image preprocessing stage allows images to be padded up to their original size, putting the optic axis back at the correct location. Note that padding up is necessary, not even further cropping! It will be important to identify the degree of earlier cropping, to enable it to be corrected. The Fix Cropping (Pad) controls have two sets of three spinners, three each for horizontal and for vertical. Both directions operate the same way. Suppose you have a film scan such that the original image, with the optic axis centered, was 33 mm wide, but the left 3 mm were a sound track that has been cropped. You would enter 3 mm into the Left Crop spinner, 30 mm into the Width Used spinner, and 0 mm into the Right Crop spinner. The image will be padded back up to compensate for the imagery lost during cropping. The Width Used spinner is actually only a calculation convenience; if you later reentered the image preprocessing dialog you would see that the Left Crop was 0.1 and the Width Used 1.0, ie that 10% of the final width was cropped from the left. The Fix Cropping (Pad) controls change the image aspect ratio and image resolution values on the Open Shot dialog, since the image now includes the padded regions. The padding region will not use extra RAM, however. Image Preparation Preset Manager It can be helpful to have several different sets of image preprocessor settings, tailored to different regions of the image, or to different moving objects, or different sections of the overall shot. A preset manager permits this; it appears as a drop-down list at the center-bottom of the image preparation dialog. You can create a preset by selecting the New Preset item from the list; you will be prompted for the name (which you can later change via Rename). The new preset is created with the current settings, your new preset name appears and is selected in the preset manager listbox, and any changes you make to the panel continue to update your new preset. (This means that when you are creating several presets in a row, create each preset before modifying the controls for that preset.) Once you have created several presets, you can switch among them using the preset manager list. All changes in the image preprocessor controls update the preset active at that time. If you want to play for a bit without affecting any of your existing presets, switch to thePreset Mgr.setting, which acts as a catchall (it disconnects you from all presets). If you then decide you want to keep the settings, create a new preset. To reset the image preprocessor controls (and any active preset) back to the initial default conditions, which do nothing to the incoming image, select the Reset item from the preset manager. When you are creating several presets, this can be handy, allowing you to start a new preset from scratch if that is quicker. Finally, you can delete the current preset by selecting the Delete item. Rendering Sequences for Later Compositing The tracking results provided by SynthEyes will not produce a match within your animation or compositing package unless that package also uses the same padded, stabilized, resampled, and undistorted footage that SynthEyes tracked. This is also true of SynthEyes s perspective window. Use the Save Sequence button on the Image Preparation dialog s Output tab to save the processed sequence. If the source material is 16 bit, you can save the results as 16 bit or 8 bit. You can also elect whether or not to save an alpha channel, if present. If the source has an alpha channel, but you are not given the option to save it, open the Edit Shot dialog and turn on the Keep Alpha checkbox. Output file formats include Quicktime, BMP, Cineon, DPX, JPEG, OpenEXR, PNG, SGI, Targa, TIFF(Mac only). Details of supported number of bits per channel and alpha availability vary with format and platform. If you have stabilized the footage, you will want to use this stabilized footage subsequently. However, if you have only removed distortion, you have an additional option that maximized image quality and minimizes the amount of changes made to the original footage you can take your rendered effects and run them back through the image preprocessor (or maybe your compositing package) to re-introduce the distortion and cropping specified in the image preprocessing panel, using the Apply It checkbox. This redistorted footage can then be composited with theoriginalfootage, preserving the match. The complexity of this workflow is an excellent argument for using high-quality lenses and avoiding excessively wide fields of view (short focal lengths). You can also use theSave Sequence dialogto render an alpha mask version of theroto-spline informationand/orgreen-screenkeys.
https://w.atwiki.jp/matchmove/pages/78.html
Stabilization In this section, we’ll go into SynthEyes’ stabilization system in depth, and describe some of the nifty things that can be done with it. If we wanted, we could have a single button “Stabilize this!” that would quickly and reliably do a bad job almost all the time. If that s what you’re looking for, there are some other software packages that will be happy to oblige. In SynthEyes, we have provided a rich toolset to get outstanding results in a wide variety of situations. You might wonder why we’ve buried such a wonderful and significant capability quite so far into the manual. The answer is simple in the hopes that you’ve actually read some of the manual, because effectively using the stabilizer will require that you know a number of SynthEyes concepts, and how to use the SynthEyes tracking capabilities. If this is the first section of the manual that you’re reading, great, thanks for reading this, but you’ll probably need to check out some of the other sections too. At the least, you have to read the Stabilization quick-start. Also, be sure to check the web site for the latest tutorials on stabilization. We apologize in advance for some of the rant content of the following sections, but it s really in your best interest! Why SynthEyes Has a Stabilizer The simple and ordinary need for stabilization arises when you are presented with a shot that is bouncing all over the place, and you need to clean it up into a solid professional-looking shot. That may be all that is needed, or you might need to track it and add 3-D effects also. Moving-camera shots can be challenging to shoot, so having software stabilization can make life easier. Or, you may have some film scans which are to be converted to HD or SD TV resolution, and effects added. People of all skill levels have been using a variety of ad-hoc approaches to address these tasks, sometimes using software designed for this, and sometimes using or abusing compositing software. Sometimes, presumably, this all goes well. But many times it does not a variety of problem shots have been sent to SynthEyes tech support which are just plain bad. You can look at them and see they have been stabilized, and not in a good way. We have developed the SynthEyes stabilizer not only to stabilize shots, but to try to ensure that it is done the right way. How NOT to Stabilize Though it is relatively easy to rig up a node-based compositor to shift footage back and forth to cancel out a tracked motion, this creates a fundamental problem Most imaging software, including you, expects the optic center of an image to fall at the center of that image. Otherwise, it looks weird—the fundamental camera geometry is broken. The optic center might also be called the vanishing point, center of perspective, back focal point, center of lens distortion. For example, think of shooting some footage out of the front of your car as you drive down a highway. Now cut off the right quarter of all the images and look at the sequence. It will be 4 3 footage, but it s going to look strange—the optic center is going to be off to the side. If you combine off-center footage with additional rendered elements, they will have the optic axis at their center, and combined with the different center of the original footage, they will look even worse. So when you stabilize by translating an image in 2-D (and usually zooming a little), you’ve now got an optic center moving all over the place. Right at the point you’ve stabilized, the image looks fine, but the corners will be flying all over the place. It s a very strange effect, it looks funny, and you can’t track it right. If you don’t know what it is, you’ll look at it, and think it looks funny but not know what has hit you. Recommendation if you are going to be adding effects to a shot, you should ask to be the one to stabilize or pan/scan it also. We’ve given you the tool to do it well, and avoid mishap. That s always better than having someone else mangle it, and having to explain later why the shot has problems, or why you really need the original un-stabilized source by yesterday. In-Camera Stabilization Many cameras now feature built-in stabilization, using a variety of operating principles. These stabilizers, while fine for shooting baby s first steps, may not be fine at all for visual effects work. Electronic stabilization uses additional rows and columns of pixels, then shifts the image in 2-D, just like the simple but flawed 2-D compositing approach. These are clearly problematic. One type of optical stabilizer apparently works by putting the camera imaging CCD chip on a little platform with motors, zipping the camera chip around rapidly so it catches the right photons. As amazing as this is, it is clearly just the 2-D compositing approach. Another optical stabilizer type adds a small moving lens in the middle of the collection of simple lens comprising the overall zoom lens. Most likely, the result is equivalent to a 2-D shift in the image plane. A third type uses prismatic elements at the front of the lens. This is more likely to be equivalent to re-aiming the camera, and thus less hazardous to the image geometry. Doubtless additional types are in use and will appear, and it is difficult to know their exact properties. Some stabilizers seem to have a tendency to intermittently jump when confronted with smooth motions. One mitigating factor for in-camera stabilizers, especially electronic, is that the total amount of offset they can accommodate is small—the less they can correct, the less they can mess up. Recommendation It is probably safest to keep camera stabilization off when possible, and keep the shutter time (angle) short to avoid blur, except when the amount of light is limited. Electronic stabilizers have trouble with limited light so that type might have to be off anyway. 3-D Stabilization To stabilize correctly, you need 3-D stabilization that performs “keystone correction” (like a projector does), re-imaging the source at an angle. In effect, your source image is projected onto a screen, then re-shot by a new camera looking in a somewhat different direction with a smaller field of view. Using a new camera keeps the optic center at the center of the image. In order to do this correctly, you always have to know the field of view of the original camera. Fortunately, SynthEyes can tell us that. Stabilization Concepts Point of Interest (POI). The point of interest is the fixed point that is being stabilized. If you are pegging a shot, the point of interest is the one point on the image that never moves. POI Deltas (Adjust tab). These values allow you to intentionally move the POI around, either to help reduce the amount of zoom required, or to achieve a particular framing effect. If you create a rotation, the image rotates around the POI. Stabilization Track. This is roughly the path the POI took—it is a direction in 3-D space, described by pan/tilt/roll angles—basically where the camera (POI) was looking (except that the POI isn’t necessarily at the center of the image). Reference Track. This is the path in 3-D we want the POI to take. If the shot is pegged, then this track is just a single set of values, repeated for the duration of the shot. Separate Field of View Track. The image preparation system has its own field of view track. The image prep s FOV will be larger than main FOV, because the image prep system sees the entire input image, while the main tracking and solving works only on the smaller stabilized sub-window output by image prep. Note that an image prep FOV is needed only for stabilization, not for pixel-level adjustments, downsampling, etc. The Get Solver FOV button transfers the main FOV track to the stabilizer. Separate Distortion Track. Similarly there is a separate lens distortion track. The image prep s distortion can be animated, while the main distortion can not. The image prep distortion or the main distortion should always be zero, they should never both be nonzero simultaneously. The Get Solver Distort button transfers the main distortion value (from solving or the Lens-panel alignment lines) to the stabilizer, and begs you to let it clear the main distortion value afterwards. Stabilization Zoom. The output window can only be a portion of the size of the input image. The more jiggle, the smaller the output portion must be, to be sure that it does not run off the edge of the input (see the Padded mode of the image prep window to see this in action). The zoom factor reflects the ratio of the input and output sizes, and also what is happening to the size of a pixel. At a zoom ratio of 1, the input and output windows and pixels are the same size. At a zoom ratio of 2, the output is half the size of the input, and each incoming pixel has to be stretched to become two pixels in the output, which will look fairly blurry. Accordingly, you want to keep the zoom value down in the 1.1-1.3 region. After an Auto-scale, you can see the required zoom on the Adjust panel. Re-sampling. There s nothing that says we have to produce the same size image going out as coming in. The Output tab lets you create a different output format, though you will have to consider what effect it has on image quality. Re-sampling 3K down to HD sounds good; but re-sampling DV up to HD will come out blurry because the original picture detail is not there. Interpolation Filter. SynthEyes has to create new pixels “in-between” the existing ones. It can do so with different kinds of filtering to prevent aliasing, ranging from the default Bi-Linear to the most complex 3-Lanczos. The bi-linear filter is fastest but produces the softest image. The Lanczos filters take longer, but are sharper—although this can be drawback if the image is noisy. Tracker Paths. One or more trackers are combined to form the stabilization track. The tracker s 2-D paths follow the original footage. After stabilization, they will not match the new stabilized footage. There is a button, Apply to Trkers, that adjusts the tracker paths to match the new footage, but again, they then match that particular footage and they must be restored to match the original footage (with Remove f/Trkers) before making any later changes to the stabilization. If you mess up, you either have to return to an earlier saved file, or re-track. Overall Process We’re ready to walk through the stabilization process. You may want to refer to the Image Preprocessor Reference. · Track the features required for stabilization either a full auto-track, supervised tracking of particular features to be stabilized, or a combination. · If possible, solve the shot either for full 3-D or as a tripod shot, even if it is not truly nodal. The resulting 3-D point locations will make the stabilization more accurate, and it is the best way to get an accurate field of view. · If you have not solved the shot, manually set the Lens FOV on the Image Preprocessor s Lens tab (not the main Lens panel) to the best available value. If you do set up the main lens FOV, you can import it to the Lens tab. · On the Stabilization tab, select a stabilization mode for translation and/or rotation. This will build the stabilization track automatically if there isn’t one already (as if the Get Tracks button was hit), and import the lens FOV if the shot is solved. · Adjust the frequency spinner as desired. · Hit the Auto-Scale button to find the required stabilization zoom · Check the zoom on the Adjust tab; using the Padded view, make any additional adjustment to the stabilization activity to minimize the required zoom, or achieve desired shot framing. · Output the shot. If only stabilized footage is required, you are done. · Update the scene to use the new imagery, and either re-track or update the trackers to account for the stabilization · Get a final 3-D or tripod solve and export to your animation or compositing package for further effects work. There are two main kinds of shots and stabilization for them shots focusing on a subject, which is to remain in the frame, and traveling shots, where the content of the image changes as new features are revealed. Stabilizing on a Subject Often a shot focuses on a single subject, which we want to stabilize in the frame, despite the shaky motion of the camera. Example shots of this type include · The camera person walking towards a mark on the ground, to be turned into a cliff edge for a reveal. · A job site to receive a new building, shot from a helicopter orbiting overhead · A camera car driving by a house, focusing on the house. To stabilize these shots, you will identify or create several trackers in the vicinity of the subject, and with them selected, select the Peg mode on the Translation list on the Stabilize tab. This will cause the point of interest to remain stationary in the image for the duration of the shot. You may also stabilize and peg the image rotation. Almost always, you will want to stabilize rotation. It may or may not be pegged. You may find it helpful to animate the stabilized position of the point of interest, in order to minimize the zoom required, see below, and also to enliven a shot somewhat. Some car commercials are shot from a rig that shows both the car and the surrounding countryside as the car drives they look a bit surreal because the car is completely stationary—having been pegged exactly in place. No real camera rig is that perfect! Stabilizing a Traveling Shot Other shots do not have a single subject, but continue to show new imagery. For example, · A camera car, with the camera facing straight ahead · A forward-facing camera in a helicopter flying over terrain · A camera moving around the corner of a house to reveal the backyard behind it In such shots, there is no single feature to stabilize. Select the Filter mode for the stabilization of translation and maybe rotation. The result is similar to the stabilization done in-camera, though in SynthEyes you can control it and have keystone correction. When the stabilizer is filtering, the Cut Frequency spinner is active. Any vibratory motion below that frequency (in cycles per second) is preserved, and vibratory motion above that frequency is greatly reduced or eliminated. You should adjust the spinner based on the type of motion present, and the degree of stabilization required. A camera mounted on a car with a rigid mount, such as a StickyPod, will have only higher-frequency residual vibration, and a larger value can be used. A hand-held shot will often need a frequency around 0.5 Hz to be smooth. Note When using filter-mode stabilization, the length of the shot matters. If the shot is too short, it is not possible to accurately control the frequency and distinguish between vibration and the desired motion, especially at the beginning and end of the shot. Using a longer version of the take will allow more control, even if much of the stabilized shot is cut after stabilization. Minimizing Zoom The more zoom required to stabilize a shot, the less image quality will result, which is clearly bad. Can we minimize the zoom, and maximize image quality? Of course, and SynthEyes provides the controllability to do so. Stabilizing a shot has considerable flexibility the shot can be stable in lots of different ways, with different amounts of zoom required. We want a shot that everyone agrees is stable, but minimizes the effect on quality. Fortunately, we have the benefit of foresight, so we can correct a problem in the middle of a shot, anticipating it long before it occurs, and provide an apparently stable result. Animating POI The basic technique is to animate the position of the point-of-interest within the frame. If the shot bumps left suddenly, there are fewer pixels available on the left side of the point of interest to be able to maintain its relative position in the output image, and a higher zoom will be required. If we have already moved the point of interest to the left, fewer pixels are required, and less zoom is required. Earlier, in the Stabilization Quick Start, we remarked that the 28% zoom factor obtained by animating the rotation could be reduced further. We’ll continue that example here to show how. Re-do the quick start to completion, go to frame 178, with the Adjust tab open, in Padded display mode, with the make key button turned on. From the display, you can see that the red output-area rectangle is almost near the edge of the image. Grab the purple point-of-interest crosshair, and drag the red rectangle up into the middle of the image. Now everything is a lot safer. If you switch to the stabilize tab and hit Autoscale, the red rectangle enlarges—there is less zoom, as the Adjust tab shows. Only 15% zoom is now required. By dragging the POI/red rectangle, we reduced zoom. You can see that what we did amounted to moving the POI. Hit Undo twice, and switch to the Final view. Drag the POI down to the left, until the Delta U/V values are approximately 0.045 and -0.035. Switch back to the Padded view, and you’ll see you’ve done the same thing as before. The advantage of the padded view is that you can more easily see what you are doing, though you can get a similar effect in the Final view by increasing the margin to about 0.25, where you can see the dashed outline of the source image. If you close the Image Prep dialog and play the shot, you will see the effect of moving the POI a very stable shot, though the apparent subject changes over time. It can make for a more interesting shot and more creative decisions. Too Much of a Good Thing? To be most useful, you can scrub through your shot and look for the worst frame, where the output rectangle has the most missing, and adjust the POI position on that frame. After you do that, there will be some other frame which is now the worst frame. You can go and adjust that too, if you want. As you do this, the zoom required will get less and less. There is a downside as you do this, you are creating more of the shakiness you are trying to get rid of. If you keep going, you could get back to no zoom required, but all the original shakiness, which is of course senseless. Usually, you will only want to create two or three keys at most, unless the shot is very long. But exactly where you stop is a creative decision based on the allowable shakiness and quality impact. Auto-Scale Capabilities The auto-scale button can automate the adjustment process for you, as controlled by the Animate listbox and Maximum auto-zoom settings. With Animate set to Neither, Auto-scale will pick the smallest zoom required to avoid missing pieces on the output image sequence, up to the specified maximum value. If that maximum is reached, there will be missing sections. If you change the Animate setting to Translate, though, Auto-scale will automatically add delta U/V keys, animating the POI position, any time the zoom would have to exceed the maximum. Rewind to the beginning of the shot, and control-right-click the Delta-U spinner, clearing all the position keys. Change the Animate setting to Translate, reduce the Maximum auto-zoom to 1.1, then click Auto-Scale. SynthEyes adds several keys to achieve the maximum 10% zoom. If you play back the sequence, you will see the shot shifting around a bit—10% is probably too low given the amount of jitter in the shot to begin with. The auto-scale button can also animate the zoom track, if enabled with the Animate setting. The result is equivalent to a zooming camera lens, and you must be sure to note that in the main lens panel setting if you will 3-D solve the shot later. This is probably only useful when there is a lot of resolution available to begin with, and the point of interest approaches the boundary of the image at the end of the shot. Keep in mind that the Auto-scale functionality is relatively simple. By considering the purpose of the shot as well as the nature of any problems in it, you should often be able to do better. Tweaking the Point of Interest This is different than moving it! When the selected trackers are combined to form the single overall stabilization track, SynthEyes examines the weight of each tracker, as controlled from the main Tracker panel. This allows you to shift the position of the point-of-interest (POI) within a group of trackers, which can be handy. Suppose you want to stabilize at the location of a single tracker, but you want to stabilize the rotation as well. With a single tracker, rotation can not be stabilized. If you select two trackers, you can stabilize the rotation, but without further action, the point of interest will be sitting between the two trackers, not at the location of the one you care about. To fix this, select the desired POI tracker in the main viewport, and increase its weight value to the maximum (currently 10). Then, select the other tracker(s), and reduce the weight to the minimum (0.050). This will put the POI very close to your main tracker. If you play with the weights a bit, you can make the POI go anywhere within a polygon formed by the trackers. But do not be surprised if the resulting POI seems to be sliding on the image the POI is really a 3-D location, and usually the combination of the trackers will not be on the surface (unless they are all in the same plane). If this is a problem for what you want to do, you should create a supervised tracker at the desired POI location and use that instead. If you have adjusted the weights, and later want to re-solve the scene, you should set the weights back to 1.0 before solving. (Select them all then set the weight to 1). Resampling and Film to HDTV Pan/Scan Workflow If you are working with filmed footage, often you will need to pull the actual usable area from the footage the scan is probably roughly 4 3, but the desired final output is 16 9 or 1.85 or even 2.35, so only part of the filmed image will be used. A director may select the desired portion to achieve a desired framing for the shot. Part of the image may be vignetted and unusable. The image must be cropped to pull out the usable portion of the image with the correct aspect ratio. This cropping operation can be performed as the film is scanned, so that only the desired framing is scanned; clearly this minimizes the scan time and disk storage. But, there is an important reason to scan the entire frame instead. The optic center must remain at the center of the image. If the scanning is done without paying attention, it may be off center, and almost certainly will be if the framing is driven by directorial considerations. If the entire frame is scanned, or at least most of it, then you can use SynthEyes s stabilization software to perform keystone correction, and produce properly centered footage. As a secondary benefit, you can do pan and scan operations to stabilize the shots, or achieve moving framing that would be difficult to do during scanning. With the more complete scan, the final decision can be deferred or changed later in production. The Output tab on the Image Preparation controls resampling, allowing you to output a different image format then that coming in. The incoming resolution should be at least as large as the output resolution, for example, a 3K 4 3 film scan for a 16 9 HDTV image at 1920x1080p. This will allow enough latitude to pull out smaller subimages. If you are resampling from a larger resolution to a smaller one, you should use the Blur setting to minimize aliasing effects (Moire bands). You should consider the effect of how much of the source image you are using before blurring. If you have a zoom factor of 2 into a 3K shot, the effective pixel count being used is only 1.5K, so you probably would not blur if you are producing 1920x1080p HD. Due to the nature of SynthEyes’ integrated image preparation system, the re-sampling, keystone correction, and lens un-distortion all occur simultaneously in the same pass. This presents a vastly improved situation compared to a typical node-based compositor, where the image will be resampled and degraded at each stage. Changing Shots, and Creating Motion in Stills You can use the stabilization system to adjust framing of shots in post-production, or to create motion from still images (the Ken Burns effect). To use the stabilizing engine you have to be stabilizing, so simply animating the Delta controls will not let you pan and scan without the following trick. Delete any the trackers, click the Get Tracks button, and then turn on the Translation channel of the stabilizer. This turns on the stabilizer, making the Delta channels work, without doing any actual stabilization. You must enter a reasonable estimate of the lens field of view. If it is a moving-camera or tripod-mode shot, you can track it first to determine the field of view. Remember to delete the trackers before beginning the mock stabilization. If you are working from a still, you can use the single-frame alignment tool to determine the field of view. You will need to use a text editor to create an IFL file that contains the desired number of copies of your original file name. Stabilization and Interlacing Interlaced footage presents special problems for stabilization, because jitter in the positioning between the two fields is equivalent to jitter in camera position, which we’re trying to remove. Because the two different fields are taken at different points in time (1/30th or 1/25th of a second apart, regardless of shutter time), it is impossible for man or machine to determine what exactly happened, in general. Stabilizing interlaced footage will sacrifice a factor of two in vertical resolution. Best Approach if at all possible, shoot progressive instead of interlace footage. This is a good rule whenever you expect to add effects to a shot. Fallback Approach stabilize slow-moving interlaced shots as if they were progressive. Stabilize rapidly-moving interlaced shots as interlaced. To stabilize interlaced shots, SynthEyes stabilizes each sequence of fields independently. Note that within the image preparation subsystem, some animated tracks are animated by the field, and some are animated by the frame. Frame levels, color/hue, distortion/scale, ROI Field FOV, cut frequency, Delta U/V, Delta Rot, Delta Zoom When you are animating a frame-animated item on an interlaced shot, if you set a key on one field (say 10), you will see the same key on the other field (say 11). This simplifies the situation, at least on these items, if you change a shot from interlaced to progressive or “yes” mode or back. Avoid Slowdowns Due to Missing Keyframes While you are working on stabilizing a shot, you will be re-fetching frames from the source imagery fairly often, especially when you scrub through a shot to check the stabilization. If the source imagery is a QuickTime or AVI that does not have many (or any!) keyframes, random access into the shot will be slow, since the codec will have to decompress all the frames from the last keyframe to get to the one that is needed. This can require repeatedly decompressing the entire shot. It is not a SynthEyes problem, or even specific to stabilizing, but is a problem with the choice of codec settings. If this happens (and it is not uncommon), you should save the movie as an image sequence (with no stabilization), and Shot/Change Shot Images to that version instead. Alternatively, you may be able to assess the situation using the Padded display, turning the update mode to Neither, then scrubbing through the shot. After Stabilizing Once you’ve finished stabilizing the shot, you should write it back out to disk using the Save Sequence button on the Output tab. It is also possible to save the sequence through the Perspective window s Preview Movie capability. Each method has its advantages, but using the Save Sequence button will be generally better for this purpose it is faster; does less to the images; allows you to write the 16 bit version; and allows you to write the alpha channel. However, it does not overlay inserted test objects like the Preview Movie does. You can use the stabilized footage you write for downstream applications such as 3dsmax and Maya. But before you export the camera path and trackers from SynthEyes, you have a little more work to do. The tracker and camera paths in SynthEyes correspond to the original footage, not the stabilized footage, and they are substantially different. Once you close the Image Preparation dialog, you’ll see that the trackers are doing one thing, and the now-stable image doing something else. You should always save the stabilizing SynthEyes scene file at this point for future use in the event of changes. You can then do a File/New, open the stabilized footage, track it, then export the 3-D scene matching the stabilized footage. But… if you have already done a full 3-D track on the original footage, you can save time. Click the Apply to Trkers button on the Output tab. This will apply the stabilization data to the existing trackers. When you close the Image Prep, the 2-D tracker locations will line up correctly, though the 3-D X s will not yet. Go to the solver panel, and re-solve the shot (Go!), and the 3-D positions and camera path will line up correctly again. (If you really wanted to, you could probably use Seed Points mode to speed up this re-solve.) Important if you later decide you want to change the stabilization parameters without re-tracking, you must not have cleared the stabilizer. Hit the Remove f/Trkers button BEFORE making any changes, to get back to the original tracking data. Otherwise, if you Apply twice, or Remove after changes, you will just create a mess. Also, the Blip data is not changed by the Apply or Remove buttons, and it is not possible to Peel any blip trails, which correspond to the original image coordinates, after completing stabilization and hitting Apply. So you must either do all peeling first; remove, peel, and reapply the stabilization; or retrack later if necessary. Flexible Workflows Suppose you have written out a stabilized shot, and adjusted the tracker positions to match the new shot. You can solve the shot, export it, and play around with it in general. If you need to, you can pop the stabilization back off the trackers, adjust the stabilization, fix the trackers back up, and re-solve, all without going back to earlier scene files and thus losing later work. That s the kind of flexibility we like. There s only one slight drawback each time you save and close the file, then reopen it, you’re going to have to wait while the image prep system recomputes the stabilized image. That might be only a few seconds, or it might be quite a while for a long film shot. It s pretty stupid, when you consider that you’ve already written the complete stabilized shot to disk! Approach 1 do a Shot/Change Shot Images to the saved stabilized shot, and reset the image prep system from the Preset Manager. This will let you work quickly from the saved version, but you must be sure to save this scene file separately, in case you need to change the stabilization later for some reason. And of course, going back to that saved file would mean losing later work. Approach 2 Create an image prep preset (“stab”) for the full stabilizer settings. Create another image prep preset (“quick”), and reset it. Do the Shot/Change Shot Images. Now you’ve got it both ways fast loading, and if you need to go back and change the stabilization, switch back to the first (“stab”) preset, remove the stabilization from the trackers, change the shot imagery back to the original footage, then make your stabilization changes. You’ll then need to re-write the new stabilized footage, re-apply it to the trackers, etc. Approach 1 is clearly simpler and should suffice for most simple situations. But if you need the flexibility, Approach 2 will give it to you.