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よく直結(笑)に間違えられますが るる○んではありません！ ワタシはるるちゃんです！ ということで自己紹介＾－＾ #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (lulu25.PNG) Character Name lulu☆ Job ArchBishop Status INT=DEX AGI=VIT 転生前 INT VIT DEX 転生後 DEX VIT INT R化後 INT=DEX AGI=VIT ソロで頑張って転生させた思い出のある1stキャラ。 旦那のElendilさんはいつまでたっても行方不明・・・。 はやく帰ってきて！ダーリン！ #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (rrchan.PNG) Character Name るるちゃん Job Warlock Status Int Dex 転生前 INT=DEX 転生後 INT=DEX R化後 INT DEX ＼(^o^)／ Character Name +Seris+ Job Sniper Status Dex Agi Int 亀地上に1日10時間こもってたあの頃が懐かしい。 学生ってすごいよね・・・ Character Name るるたま Job Creator Status Str Int R化直前にクリエになりました。 R化後にADS弱体化でｵﾜｧｧ Character Name *Sepia* Job Professor Status DEX=INT VIT R化後にｿｳﾙﾁｪﾝｼﾞ５０％ どういうことなの！誰か説明しろよ！ #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (choco.PNG) Character Name チョコレ Job Knight Status AGI STR VIT 名前かわいくね？ うわっなんかくさいんだけど
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◆ 和訳 1ページ目 [部分編集] Research Laboratory WELL, I VE GOT TO HAND IT TO WESKER... Chris Redfield. Jill Valentine. Members of BSAA (Bio-terrorism Security Assessment Alliance). JILL：ZOMBIES,LICKERS,CEREBUS DOGS... HE S CERTAINLY OUTDONE HIMSELF THIS TIME. BOOM CHRIS：YEAH, FOR ALL THE GOOD IT LL DO HIM WHEN I FINALLY GET MY HANDS ON HIM. I-- CHRIS：WHAO! GREAT. LOOKS LIKE THINGS HAVE SUDDENLY GONE FROM BAD... 2ページ目 [部分編集] CHRIS：...TO A HELL OF A LOT WORSE. EXECUTIONER MAJINI. B.O.W.(bio-organic weapon) created by Wesker. JILL：WE DON T HAVE ENOUGH BULLETS FOR THIS...NOT LIKE I M TELLING YOU ANYTHING YOU DON T ALREADY KNOW. CHRIS：YEAH,YEAH. JILL：ANY IDEAS. CHRIS：I DON T KNOW... BUNK CHRIS：...PRAY FOR A MIRACLE? 3ページ目 [部分編集] MAJINI：RARRRR！ WHAM WHAM 4ページ目 [部分編集] FATE OF TWO WORLDS FRANK TIERI Writter KEVEN SHARPE Penciler ROB STULL lnker IAN HANNIN Colorist SIMON BOWLAND Letterer IRENE Y.LEE Production A.J. FIERRO RAPHAEL RODRIGUEZ Project Managers JOHN DENNING Assistant Editor BILL ROSEMANN Editor JOE QUESADA Editor ln Chief DAN BUCKLEY Publisher CHRIS：YOU WERE SAYING? ???：HULK SMASH MONSTER EXECUTIONER! THE INCREDIBLE HULK. Gamma- irradiated monster. JILL：UM...SO HE S ON OUR SIDE RIGHT? CHRIS：MAN, I SURE HOPE SO. CHRIS：THOUGH A BETTER QUESTION MIGHT BE... 5ページ目 [部分編集] “...WHO IS HE? AND WHERE DID HE COME FROM?” ??? SO, HOW SHALL I PUT THIS... DOOMSTADT, DAYS EARLIER... WESKER：...HERE I AM, INVITING YOU TO JOIN ME, HAND IN HAND, AS WE EMBARK UPON THE OPPORTUNITY OF A LIFETIME. ALBERT WESKER. Former Umbrella Corporation mad scientist. WESKER：WHERE WE MEN OF A SHARED VISION WILL JOIN OUR TWO WORLDS TOGETHER AS CONQUERORS. WESKER：SIMPLY PUT, I HAVE OFFERED YOU GENTLEMEN THE KEYS TO THE KINGDOM... WESKER：...AND YOU PEOPLE CAN T GET INTO THE DAMNED FRONT DOOR?! WESKER：I MUST ADMIT, CONSIDERING YOUR RESPECTIVE REPUTATIONS, I AM VASTLY UNIMPRESSED. ???：I LL PARDON YOU THIS ONE TIME, AS WE DO NOT KNOW EACH OTHER VERY WELL, MR. WESKER. ???：BECAUSE IF YOU DID, YOU WORLD KNOW... 6ページ目 [部分編集] M.O.D.O.K(Mental Organism Designed Only for Killing) Leader of A.I.M.(Advanced Idea Mechanics). SUPER-SKRULL. Allen warrior with the combined powers of the Fantastic Four. TASKMASTER. Mercenary with photographic reflexes. MAGNETO. The Master of Magnetism and mutant leader of the Brotherhood. DR.VICTOR VON DOOM Armored monarch of Latveria. DR.DOOM：...FEW ARE THOSE WHO SPEAK WITH SUCH DISDAIN TO DOOM AND LIVE TO TELL ABOUT IT. WESKER：I LL COUNT MYSELF FORTUNATE THEN... MAGNETO：STILL, THE MAN US NOT WITHOUT A POINT, VON DOOM. MAGNETO：SPEAKING FOR MY BROTHERHOOD, I CAN TELL YOU THEY GROW IMPATIENT WITH THESE CONSTANT DELAYS TO OUR OPERATION. 7ページ目 [部分編集] TASKMASTER：SO ARE MY MERCENARIES. TASKMASTER：IF WE RE GONNA INVADE WESKER S WORLD THEN LET S DO IT ALREADY BEFORE THE CAPED BOY SCOUTS CATCH WIND AND SCREW UP EVERYTHING. TASKMASTER：I MEAN, WHAT S THE FRIGGIN HOLD-UP? M.O.D.O.K：IT S THE BLASTED PORTALS. THUS FAR MY A.I.M. SCIENTISTS HAVE BEEN UNABLE TO FIND A SUFFICIENT ENOUGH POWER SOURCE TO ADEQUATELY MAINTAIN THEM. WITHOUT THE PORTALS, WE WILL BE UNABLE TO TRAVEL BETWEEN-- TASKMASTER：THEN YA AIN T HOLDING UP YOUR END OF THIS OPERATION. TASKMASTER：YOU RE USELESS TO US. M.O.D.O.K：CAREFUL, TASKMASTER. M.O.D.O.K：I M CERTAIN YOU LL FIND COPYING MOVES QUITE DIFFICULT ONCE I FRY YOUR BRAIN LIKE AN EGG... TASKMASTER：TAKE IT EASY YOURSELF THERE HUMPTY. TASKMASTER：‘CAUSE ALL THE KING S HORSES AND ALL THE KING S MEN WON T BE ABLE TO PUT YA BACK TOGETHER AGAIN AFTER I M THROUGH WITH YA... DR.DOOM：GENTLEMEN...ENOUGH. BLAM 8ページ目 [部分編集] SUPER-SKRULL：I HAVE A SOLUTION. SUPER-SKRULL：I SUGGEST WE TAKE FROM THE GREATEST POWER SOURCE EITHER UNIVERSE. SUPER-SKRULL：THE DEVOURER... THE ONE THAT DESTROYED MY HOMEWORLD... SUPER-SKRULL：GALACTUS. M.O.D.O.K：YES, YES...GALACTUS. AND HIS WORLDSHIP...IF WE COULD SIPHON ENERGY FROM HIS STAR CRUISER... YES, IT LL BE TRICKY TO DO IT WITHOUT ALERTING HIM BUT...YES. WESKER：GALACTUS... NOW THERE S A NAME THAT EXUDES POWER. THIS SOUNDS MORE LIKE IT. WESKER：BUT WILL IT WORK? DR.DOOM：THERE IS NOTHING THAT DOOM CANNOT ACCOMPLISH. 9ページ目 [部分編集] MORRIGAN AENSLAND. Darkstalker and fun-loving succubus. IRONMAN. billionaire and armored Avenger. DANTE. Wise-cracking demon exterminator. DEADPOOL. Quick healing, quick witted Merc with a Mouth. RYU. Wandering warrior. In search of the perfect fighting style. WORVERINE. X-Man with a mutant healing factor and Adamantium claws. The best there is at what he does. NEW YORK CITY. NOW. 10ページ目 [部分編集] CHRIS：DID YOU THINK WE D LET YOU JUST INVADE OUR WORLD? HULK：WHAT INVADE? HULK NOT INVADE... HULK：HULK SMASH! IRONMAN：YOU PEOPLE HAVE A LOT OF NERVE. YOU RE THE ONES INVADING US. MORRIGAN：YOU KNOW... I BET YOU RE REALLY CUTE UNDER THAT ARMOR. MORRIGAN：YOU WORK OUT? DEADPOOL：WHERE YOU FROM PRETTY BOY? DEADPOOL：THE PLANET OF THE FABIOS? DANTE：JEALOUSY WILL GET YOU NOWHERE. RYU：PERHAPS WE ARE GOING ABOUT THIS ALL WRONG. RYU：IF WE RE NOT THE GUILTY PARTIES AND YOU CLAIM YOU RE NOT, THEN PERHAPS SOMEONE ELSE IS RESPONSIBLE? WORVERINE：TELL YA WHAT, KARATE KID... 11ページ目 [部分編集] WOLVERINE：...HOW ABOUT WE ASK HIM? ???：WHO? 12ページ目 [部分編集] GALACTUS：WHO DARES? DANTE：UM...SO WHO S THE GIANT DUDE WITH THE BIG PURRLE HAT? DANTE：ALL HE NEEDS IS A CAPE AND A CANE AND HE S THE BIGGEST PIMP I VE EVER SEEN... IRONMAN：THAT S GALACTUS. IRONMAN：AND WE RE ALL OFFICIALLY SCREWED... TO BE CONTINUED!
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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.
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白の幻影 (White Illusion) Lost←クリックで前画面に戻る 最初の記憶… Go ahead in snowstorm. Sight is dim with pure white. Go ahead in snowstorm. Merely wonders about. Go ahead in snowstorm. Solitary in a snowy field. Go ahead in snowstorm. Don t look back upon the past. Sweethearts wating for you. Whisper of a wind. They are in an icy castle. Go to save early. Go ahead in snowstorm. Sight is dim with pure white. Go ahead in snowstorm. Merely wonders about. Go ahead in snowstorm. It s a very sleep, long distance. Go ahead in snowstorm. Its life may be lost. Icy Queen s castle. From there no way to out. hoopless melody is sound. Cold night advances. They are looking at the white illusion. Their darling person never returns. Their trip isn t finished forever. Illusion merely escapes. 忘レモノハ在リマセンカ…？ Icy Queen s castle is mere illusion. Tenacity purpose of those who died in a snowy field. What s their thing left behind? And tale is in the White illusion Icy Queen s castle. From there no way to out. hoopless melody is sound. Cold night advances. They are looking at the white illusion. Their darling person never returns. Their trip isn t finished forever. Illusion merely escapes.
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Format Title Artist Label Model Number Release Press 12 WHAT S UP!(dubplate) V.A. - - 2004/--/-- - Side Track Title Artist Produce A 1 WHAT S UP!(香 Ver.) オトノ葉Entertainment - 2 WHAT S UP!(SIMOON Ver.) オトノ葉Entertainment - 3 WHAT S UP!(Inst) オトノ葉Entertainment - 4 声ネタ MACHEE DEF - B 5 WHAT S UP!(香 Ver.)(Acap) オトノ葉Entertainment - 6 WHAT S UP!(SIMOON Ver.)(Acap) オトノ葉Entertainment - 7 「WHAT S UP!」(オーディエンス) オトノ葉Entertainment - 8 声ネタ MACHEE DEF - PERTAIN CD AMAZON 大きなオトノ木の下で HMV オトノ葉Entertainment/Funka Drops
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【登録タグ の まり恋SECOND アールグレイ 星の器 ～ Casket of Star 霧雨魔理沙（EG）】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); 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https://w.atwiki.jp/solyrics/pages/43.html
Paraluxx Party people like this... Yo-Yo Yo Masqueradin 好都合なinvitation 忍び寄るcrazy world with imagination Is that religion? またはsome delusion 興味本位で詮索しないのホントamazin 着せ替えてimitationのdance 先にcount to ten その気になっちゃうとdown でもお前有頂天 今夜satellite wish make it enoughなんてfix everything Tha neon lights like Diamonds sparklin between a silence Circusによぎるviolence Smilin , Cryin , Schemers lyin 何のマネかただ露出狂達がdyin Hey, Bunny! Where s Chummy Dummy? 2階に甘いcigar 変なcostumeとmuch money ハマるfreaky party 最初はお遊び 振り回されそうなgame must be won Honey Glitter Glitter Glitter You re just drivin me MAD Get up Get up Get up C mon I m gonna grant your wishes AH YEAH Glitter Glitter Glitter You know you re sure lookin pretty WHO S GONNA BE THA NEXT (WHO S GONNA BE THA NEXT) TO SCREAM ON THIS? (TO SCREAM ON THIS?) Yo Child is sleepin そう清らかにdreamin そのスキにacross tha street これもirony お前にお似合い Gossipy baby Yo Trick or treat... 淫靡に飛びキマルpeacock演じ乱れて glossy 自称おカタいって何? 超sleeky 仮想storyが手の内 浮かれnudy 金メッキluxury そうやって毎晩ヤミツキ 常習犯 それがaccessory ギリギリ嘘で固まってりゃいいんだろ? Yeah Green light 何時から見ぬフリ? You could be... 単に妄想の世界 Too late! You gotta say "See me" or "Give me" but I can t feel you 芝居じみたblue moon Your heartbeat is wavin It s smooth and scatter... Glitter Glitter Glitter You re just drivin me MAD Get up Get up Get up C mon I m gonna grant your wishes AH YEAH Glitter Glitter Glitter You know you re sure lookin pretty WHO S GONNA BE THA NEXT (WHO S GONNA BE THA NEXT) TO SCREAM ON THIS? (TO SCREAM ON THIS?) Glitter Glitter Glitter You re just drivin me MAD Get up Get up Get up C mon I m gonna grant your wishes AH YEAH Glitter Glitter Glitter You know you re sure lookin pretty WHO S GONNA BE THA NEXT (WHO S GONNA BE THA NEXT) TO SCREAM ON THIS? (TO SCREAM ON THIS?) Ah Yeah... Crazy Ah Yeah... Crazy... ア アラララァ ア アァ Alright Blacking out tha door You re just goin in and out So which is a beautiful world? Pinking out some more I know a thing or two about So what?! Tha real world You re just goin in and out... Glitter Glitter Glitter You re just drivin me MAD Get up Get up Get up C mon I m gonna grant your wishes AH YEAH Glitter Glitter Glitter You know you re sure lookin pretty WHO S GONNA BE THA NEXT (WHO S GONNA BE THA NEXT) TO SCREAM ON THIS? (TO SCREAM ON THIS?) Glitter Glitter Glitter You re just drivin me MAD Get up Get up Get up C mon I m gonna grant your wishes AH YEAH Glitter Glitter Glitter You know you re sure lookin pretty WHO S GONNA BE THA NEXT (WHO S GONNA BE THA NEXT) TO SCREAM ON THIS? (TO SCREAM ON THIS?) Do you love cigarette?...
https://w.atwiki.jp/guulutiivi/pages/18.html
*印がついている部分は試験的なgismuから抽出したものである。 gismuguulutiivi bacrucubar badnadaban badridibar bajrajabar bakfukubaf baknikiban bakrikibar baktukubat baljilibaj balniliban balrelebar balvilibav bancunubac bandunubad banfinibaf bangunubag banlinibal banronobar banxanabax banzunubaz baplipibal bardarabad bargurubag barjarabaj barnaraban barturubat basnasaban bastisibat batcitibac batketebak bavmivibam baxsoxobas bebnababen bemromober bendenebed bengonobeg benjinibej bersarabes bertiribet besnasaben betfutubef betritiber bevriviber bidjudubij bifcefebic biklakabil bilgalabig bilmalabim bilnilibin bindonobid binranabir binxonobix birjerebij birkarabik birtiribit bislisibil bitmutubim blabibaibl blacicaibl blanunaubl blikukiubl blotitoibl bolciliboc bongunubog botpitibop boxfoxobof boxnaxabon bradidaibr bratutaubr brazozaobr bredideibr brididiibr brifefiebr brijujiubr britotiobr brodadoabr brodedoebr brodidoibr brododoobr brodudoubr brunanuabr budjodobuj bukpukubup bumrumubur bundanabud bunrenebur 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ckikukiuck ckiluliuck ckininiick ckirerieck ckulelueck ckununuuck cladudaucl claninaicl claxuxaucl clikakiacl clirariacl clitetiecl clivaviacl clupapuacl cmacicaicm cmalulaucm cmananaacm cmavovaocm cmeneneecm cmilaliacm cmimamiacm cmoninoicm cnanonaocn cnebobeocn cnemumeucn cniciciicn cninoniocn cnisasiacn cnitatiacn cokcukucoc condinicod corturucot cpacucaucp cpananaacp cpareraecp cpedudeucp cpinaniacp cradidaicr cranenaecr crekakeacr crepupeucr cribebiecr cridadiacr crinoniocr cripupiucr crisasiacr critutiucr ctarurauct ctebibeict ctekikeict ctileliect ctinonioct ctucacuact cuklakacul cuktakacut culnolocun cumkimicuk cumlamacul cunminicum cunsonocus cuntunucut cuprapacur curmiricum curnurucun curverecuv cuskusucuk cutciticuc cutnetecun cuxnaxacun dacrucudar dacticidat dadjododaj dakfukudaf daklikidal dambamadab damrimidar dandunudad danfunudaf danlunudal danmonodam danrenedar dansunudas dantinidat daplupudal dapmapadam dargurudag darlurudal darnorodan darsiridas darxiridax daskisidak dasnisidan dasposodap dasrisidar datkatadak datnitidan decticidet degjigidej dejnijiden dekpukudep dektokodet delnoloden dembimideb dencinidec denminidem denpanadep derturudet derxiridex deskusudek detritider dicracadir didni*didni* dikcakadic diklokodil diknikidin dilculudic dilnuludin dimnamadin dinjunudij dinkonodik dirbaradib dirceredic ditcu*ditcu* dirgorodig dizlozodil djacucaudj djedideidj djicaciadj djineniedj djunonuodj donrinidor dotcotodoc dracicaidr draninaidr dratataadr drudiduidr dugrigidur duksekedus duktikidut dundanadud dunjanaduj dunkunuduk dunlinidul dunranadur dzenaneadz dzipopiodz fackicifak fadnidifan fagrigifar falnulufan famtimifat fancunufac fangenefag fanmonofam fanrinifar fantanafat fanvanafav fanzanafaz fapropofar farlurufal farnarafan farvirifav fasnusufan fatcitifac fatnetefan fatritifar febvibifev femtimifet fendinifed fengunufeg fenkinifek fenranafer fensonofes fepnipifen fepripifer fertirifet festisifet fetsitifes figregefir filsolofis finpenefip fintinifit firca*firca* flalulaufl flaninaifl flecuceufl flibabiafl flirariafl foldilifod fonmonofom fonxanafox forcarafoc frasosaofr fratitaifr fraxuxaufr fricaciafr frikokiofr frililiifr frinuniufr frititiifr frumumuufr fukpikifup fultalafut funcanafuc fusrasafur fuzmezefum gacricigar gadridigar galfiligaf galtulugat galxelegax ganlonogal ganranagar gansenegas gantinigat ganxonogax ganzunugaz gapcipigac gaprupugar garnaragan gasnusugan gastasagat genjanagej gentonoget genxunugex gerkurugek gernaragen gidvadagiv gigdogogid ginkanagik girzurugiz gismusugim glareraegl glekikeigl gletuteugl glicociogl glutatuagl gocticigot gotrotogor gradudaugr grakekaegr grananaagr grasusaugr grekukeugr grusisuigr grutetuegr gubnibigun gugdegegud gumri*gumri* gundinigud gunkanaguk gunmanagum gunronogur gunsenegus guntanagut gurnirigun guskasaguk gusnisigun gustasagut gutcitiguc gutratagur guzmezegum jabrebejar jadnidijan jaknekejan jalgelejag jalnalajan jalralajar jamfumujaf jamnamajan janbenejab janconojac janlinijal jansunujas jantanajat jarburujab jarcorojac jarkirijak jaspusujap jatnatajan javnivijan jbamamaajb jbariraijb jbenaneajb jberareajb jbininiijb jdariraijd jdiceciejd jdikakiajd jdimamiajd jdininiijd jduliluijd jectacajet jeftufujet jegvogojev jelcalajec jemnamajen jencanajec jendunujed jenminijem jernarajen jersirijes jerxorojex jesnisijen jetcetejec jetnutujen jgalulaujg jganunaujg jgariraijg jgenaneajg jginaniajg jgirariajg jgitatiajg jibnibijin jibribijir jiclacajil jicmucujim jijnujujin jikcakajic jikrukujir jilkalajik jilralajir jimcamajic jimpemejip jimtemejit jincinijic jinganajig jinkunujik jinmenejim jinrunujir jinsanajis jintonojit jinvinijiv jinzinijiz jipcipijic jipnopojin jirnarajin jisrasajir jitfatajif jitrotojir jivbuvujib jivnavajin jmajijaijm jmifafiajm jminaniajm jmiveviejm jordorojod jornerejon jubmebejum judridijur jufrafajur juknikijun jukpakajup julnelejun jundinijud jungonojug junlanajul junrinijur juntanajut jurmerejum jursarajus jutsitijus juxrexejur jvinuniujv kabribikar kacmacakam kadnodokan kafkefekak kagnigikan kajdejekad kajnajakan kaknekekan kakpakakap kalcilikac kalrilikar kalsalakas kaltelekat kamjumukaj kamnimikan kampumukap kanbanakab kancunukac kandinikad kanjinikaj kanlanakal kanpe*kanpe* kanronokar kansanakas kantunukat kanxenekax karbirikab karcerekac kardarakad kargurukag karlirikal karnirikan katnatakan kavbuvukab kecticiket kelcilikec kelvolokev kenranaker kensanakes kerfarakef kerlorokel ketcotokec kevnavaken kicnecekin kijnojokin kiltolokit kinlinikil kistosokit klajijaikl klakukaukl klamamaakl klaninaikl klesiseikl klinaniakl kliruriukl klititiikl klupepuekl kluzazuakl koblibikol kojnajakon kolmelekom komcumukoc konjunukoj korbirikob korcurukoc korkarakok kostasakot kramumaukr krasisaikr kratitaikr krefufeukr kriciciikr krililiikr krinuniukr krixaxiakr krucacuakr krujijuikr kruvivuikr kublibikul kuclicikul kufrafakur kuktekekut kulnulukun kumfamakuf kumtemekut kunranakur kuntinikut kurfarakuf kurjirikuj kurkirikuk kuspesekup kusrusukur labnobolan lacpuculap lacricilar ladrudular laftifilat laknekelan laksekelas laldo*laldo* lalxululax lamjimilaj lanbinilab lancinilac lankanalak lanlinilal lanmenelam lantenelat lanxenelax lanzunulaz larcurulac lasnasalan lastusulat latmotolam latnatalan laznizilan lebnabalen lenjonolej lenkunulek lercirilec lerfurulef libjobolij lidnedelin lifrifilir lijdajalid limnamalin lindinilid linjinilij linsinilis lintonolit lisrisilir listeselit litcetelic litkitilik litrutulir livgavalig livlavalil logjigiloj lojbojolob loldililod lorxurulox lubnobolun lujvojoluv lumcimiluc lunbenelub lunranalur lunsanalus mablabamal mabrubumar macnucuman makcukumac makfakamaf maksikimas malsilimas mamtamamat mancinimac manfonomaf mankunumak manrinimar mansanamas mantinimat mapkupumak mapnipiman maptipimat marbirimab marceremac marderemad margurumag marjirimaj marnaraman marxaramax masnosoman mastisimat matcitimac matlitimal matneteman matratamar mavjivimaj maxriximar mebribimer megdogomed meksokomes melbilimeb meljolomej menlinimel mensinimes mentunumet merkoromek merlirimel mexnoxomen midjudumij mifrafamir mikcekemic mikrikimir miltilimit milxelemix mindenemid minjinimij minlinimil minranamir mintunumit mipripimir mirlirimil misnosomin misrosomir mitretemir mixrexemir mlananaaml mlatutauml mlecaceaml mledideiml mluninuiml mokcakamoc moklukumol molkilimok molrolomor morjirimoj morkoromok mornaramon morsirimos mosrasamor mrajijaimr mriluliumr mruliluimr mucticimut mudridimur muktikimut mulnolomun munjenemuj muplipimul murseremus murtaramut muslosomul mutcetemuc muvduvumud muzgazamug nabmibinam naknikinan nalcilinac namcumunac nanbananab nancananac nandununad nanlananal nanmununam nanvininav nargerenag narjurunaj natfetenaf natmitinam navnivinan naxlexenal nazbizinab nejnijinen nelcilinec nenrininer niblibinil nictecenit niklekenil nilcelenic nimremenir ninmununim nirnaranin nitcutunic nivjivinij nixlixinil noblibinol notcitinoc nuknikinun nuprepenur nurmaranum nusna*nusna* nutlitinul nuzbazanub pacnacapan pagbugupab pagregepar pajnijipan palcilipac palkulupak palnelepan paltalapat pambemepab pancinipac pandinipad panjenepaj pankanapak panlonopal panpinipap panranapar pantenepat panzinipaz papripipar parbiripab parji*parji* pastusupat patfutupaf patlutupal patxutupax peljilipej pelxulupex pemcimipec penbinipeb pencunupec pendonoped penminipem pensinipes perliripel pesxusupex petsotopes pezlizipel picticipit pijnejepin pikcikipic piktakapit pilda*pilda* piljilipij pilkalapik pilnolopin pimlumupil pincanapic pindinipid pinfunupif pinjinipij pinkanapik pinsinipis pintanapit pinxenepix pipnopopin pixraxapir plananaapl platutaupl plejijeipl plibubiupl plininiipl plipepiepl plisesiepl plitatiapl plixaxiapl plujajuapl plukakuapl plutatuapl poljelepoj polnolopon ponjonopoj ponsenepos porpiripop porsiripos portoropot pralilaipr pramimaipr pranenaepr prejajeapr prenuneupr pretiteipr prijejiepr prinaniapr pritutiupr prosasoapr prucecuepr pruninuipr pruxixuipr pulcelepuc puljilipuj pulnilipun punjinipuj punlinipul purciripuc purdiripud purmoropum racliciral ractucurat radnodoran rafsifiras ragvegerav raksokoras raktukurat ralcilirac raljuluraj raltelerat randanarad rangonorag ranjiniraj ranminiram ransunuras rantinirat ranxinirax raplipiral rarnararan ratcuturac ratnitiran reblabarel rectucuret remnamaren renronorer renvinirev respasarep ricfucurif rignigirin rijnojorin riltilirit rimnimirin rinciniric rinjunurij rinkanarik rinsanaris rirciriric rirniririn rirxererix rismisirim risnasarin ritlitiril rivbivirib rokcikiroc romgemerog ropnoporon rorciriroc rotsuturos rozguzurog rubleberul rufsufurus runmenerum runtanarut rupnupurun ruskosoruk rutnitirun sabjibisaj sabnubusan sackicisak saclucusal sadjodosaj sakcikisac saklikisal saktakasat salcilisac salpolosap saltalasat samcumusac sampumusap sancenesac sanganasag sanjinisaj sanlinisal sanminisam sansonosas santanasat sarcurusac sarjirisaj sarlurusal sarxeresax saskesesak satcitisac satretesar savruvusar sazrizisar seftafaset selcilisec selfulusef semtomoset sencinisec senpinisep sentanaset senvanasev seplipisel sertiriset setcatasec sevzivisez sfaninaisf sfasasaasf sfofafoasf sfububuusf siclucusil sicnicisin sicpi*sicpi* sidbodosib sidjudusij sigjagasij silkalasik silnalasin simlumusil simsamasis simxumusix sincenesic sinmanasim sinsonosis sinxanasix sipnapasin sirjirisij sirxorosix siskususik sistisisit sitnatasin sivnivisin skacicaisk skamimaisk skapipaisk skariraisk skicuciusk skijijiisk skinaniask skoriroisk skototoosk skuroruosk slabubausl slakakaasl slamimaisl slanunausl slariraisl slasisaisl sligugiusl sliluliusl sliririisl slovovoosl slujijuisl sluninuisl smacucausm smadidaism smajijaism smaninaism smokakoasm smucicuism smuninuism snadadaasn snanunausn snidudiusn snimemiesn snipapiasn snujijuisn snuraruasn snutituisn sobdebesod sodnadason sodvadasov softofosot soljilisoj solrilisor sombomosob soncinisoc sorcurusoc sorgurusog sovdavasod spajijaisp spalilaisp spanonaosp spatitaisp spenineisp spisasiasp spitatiasp spofufousp spojajoasp spudaduasp spututuusp srajijaisr srakukausr sralolaosr srananaasr srasusausr srerareasr sritotiosr srumamuasr sruriruisr stacecaest stagigaist stakukaust stalilaist staninaist stapapaast stasusaust statitaist stebabeast steciceist stedudeust stelaleast steroreost sticiciist stididiist stikakiast stizuziust stodidoist stunanuast sturaruast stuzizuist suctacasut sudgadasug suftifisut suksakasus sumjimisuj sumnemesun sumtimisut sunganasug sunlanasul surlarasul sutratasur tabnobotan tabrabatar tadjiditaj tadniditan tagjigitaj talsalatas tamcamatac tamjimitaj tamnemetan tanbonotab tancenetac tanjonotaj tankonotak tanrunutar tansinitas tanxenetax taplapatal tarbiritab tarciritac tarlaratal tarmiritam tartiritat taskesetak tatpititap tatrututar tavlavatal taxfuxutaf tcacicaitc tcadudautc tcananaatc tcatitaitc tcenaneatc tcicaciatc tcidudiutc tcikakiatc tcilaliatc tcimamiatc tcininiitc tcitatiatc temcimitec tenfanatef tengunuteg terdirited terparatep tertorotet tignigitin tikpakatip tiljulutij tinbenetib tincinitic tinsanatis tirnaratin tirseretis tirxurutix tisnasatin titlatatil tivnivitin tixnuxutin toknukuton toldilitod tonganatog tordurutod torniriton trajijaitr tranonaotr tratitaitr treneneetr tricuciutr trinaniatr trixexietr trocicoitr tsalilaits tsaninaits tsapipaits tsijujiuts tsinaniats tubnubutun tugnigitun tujlijitul tumlamatul tunbanatub tunkanatuk tunlonotul tuntanatut tuplepetul turniritun tutcitituc tutratatur vacricivar vajnijivan valsilivas vamjimivaj vamtumuvat vanbinivab vancinivac vanjunuvaj vasrusuvar vasxusuvax vecnucuven venfunuvef vensanaves verbaraveb vibnabavin vidnidivin vidruduvir vifnefevin vikmikivim viknukuvin vimcumuvic vindunuvid vinjinivij vipsipivis virnuruvin viskasavik vitcitivic vitketevik vitnotovin vlagigaivl vlilelievl vlinaniavl vlipapiavl voflifivol voksakavos vormerevom vragagaavr vrejijeivr vretateavr vriciciivr vrudeduevr 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