關於 building design front ，我們在網路上蒐集到這些相關的討論、資訊與評價

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Top 8 Tips For Natural Body-building ⁣
8個自然健美提示⁣
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1️⃣ Set a Goal & Follow the program 定下目標，根據訓練計劃去訓練⁣
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First of all, you must set a date and an achieved goal, then your coach will design a game plan for you. Without a goal is like you drive to somewhere without a destination. ⁣
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Without a GOAL, you will get lost when you are training. ⁣
You will lose motivation and feel depressed. ⁣
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2️⃣ Focus on form, techniques & tempo 集中姿態、技術和節奏訓練⁣
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If you are not the Pro-bodybuilders, don’t copy their Youtube videos to train. ⁣
You should learn how to train properly with good form, perfect techniques.⁣
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What I learned from Strength Sensei (Charles Poliquin) is TEMPO training. ⁣
Especially body-building (hypertrophy type) training, you must learn how to lower down the weight slowly (eccentric phase). Loading the muscle with maximum tension is vital of the body-building. ⁣
⁣
3️⃣ Focus on compound exercises⁣
集中複雜性動作訓練⁣
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As Charles said you should focus on the bang-for-buck exercises like back squat, front squat, deadlift, chin-ups, overhead press...⁣
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Of course, you should prioritise your weaklinks. If your posterior chain is your weaklink, you should focus on RDL, rack pull, low bar back squat, back extension...⁣
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4️⃣ Lift heavy 重量訓練⁣
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Folks, please focus on the Progressive Overloading once you managed the form, techniques and tempo. Lifting the same weight or reps every month doesn’t build your muscles. ⁣
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You should focus on high-intensity training like 5-8 rep range. ⁣
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Only focus on 5lb lateral raises doesn’t build your delts.⁣
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5️⃣ Train harder than you expected 努力訓練，超出自己所想像的⁣
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There is no easy way out! Period. ⁣
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6️⃣ Posing practice ⁣
健美Posing 練習⁣
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You may not go to compete the bodybuilding competition, but you should learn bodybuilding posing techniques. ⁣
⁣
• Better connection between the mind and the muscle⁣
• Increase muscle hardness.⁣
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7️⃣ Nutrition 卡路里及macros控制⁣
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If you are preparing for the photoshoot, please focus on the calorie deficit. ⁣
You can apply Reverse Dieting after the photoshoot in order to reboot the metabolism and increase muscle mass.⁣
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8️⃣ Sleep 睡眠質素⁣
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Sleep is the secret weapon! No need to explain. ⁣
⁣
#AskKenneth #TeamKenneth

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share

ชอบไหม? เปิดตัวแล้ว The new 2021 Nissan Navara / Frontier (นิสสัน นาวาร่า / ฟรอนเทียรฺ) รุ่นปรับโฉมใหม่ พร้อมรุ่นพิเศษ Pro4X เริ่มจำหน่ายในไทย ธันวาคม 2020 นี้

YOKOHAMA, Japan – Nissan today unveiled the new Nissan Navara pickup*, that delivers an enhanced level of safety, comfort and driving pleasure, while continuing to bring durability, reliability and versatility.

The pickup, known as the Nissan Frontier in Mexico and South America, marks another milestone in the company’s Nissan NEXT transformation plan.

Over the many decades since the first Nissan pickup hit the road, the Nissan Navara has continued to accompany and empower customers in many facets of their lives.

Building on more than 80 years of Nissan pickup heritage, it stays true to the company’s belief in bringing advanced technologies to as many customers as possible.

A reliable partner for work or travel, the new Nissan Navara comes with many best-in-class technologies, including an array of Nissan Intelligent Mobility features and safety systems, making it the most advanced Navara yet.

“We packaged the new model with a full set of advanced technologies to ensure enhanced dynamic performance on- and off-road, as well as safety and comfort ushering in a new age of toughness, tech, and peace of mind,” said Ashwani Gupta, Nissan’s chief operating officer. “For our customers it means confidence, driving pleasure, practicality and pride of ownership.”

Among the Nissan Intelligent Mobility features that will be available across the global Navara and Frontier lineup is Intelligent Forward Collision Warning, which monitors the second vehicle ahead as well as the vehicle directly in front to reduce the risk of multi-car accidents. Intelligent Emergency Braking activates the brakes to avoid collisions, reducing the stress of driving in traffic or on busy streets.

Intelligent Around View Monitor uses four cameras to help drivers notice people and cars surrounding and approaching the vehicle, making it easier to parallel park or to position the vehicle when hitching to a trailer. New to the system is an off-road monitor, which checks surrounding obstacles at low speeds when in four-wheel drive mode.

The new model features* a strengthened rear axle, increased payload capacity, additional truck bed volume and a new integrated step in the rear bumper for easier access to the truck bed. A new steering rack has been adopted to enhance maneuverability at low speeds and steering response across the speed range.

It offers a quiet and comfortable ride thanks to significant decrease of vibration and improved noise isolation.

These new features make the vehicle the ultimate travel and worksite partner, prepared to take on new challenges while still offering optimal room, comfort, safety and ease of work.

The new model features an “unbreakable” design language. It introduces a new ruggedly bold, stylish exterior made for extreme elements.

“The new Navara has a very recognizable look, but it’s now more imposing thanks to its high command structure, new interlocking frame grille and new high-tech, squared C-shaped headlamps,” said Ken Lee, Nissan’s senior design director for pickups and frame SUVs.

or the first time for the Navara and Frontier, Nissan will offer the PRO-4X grade, a style package aimed at adventure lovers and travelers craving an escape from their daily routine. The PRO-4X grade comes with its own athletic look, with a black emblem, orange-accented front bumper, black grille, door handles, roof racks and running boards accented by 17-inch black wheels and all-terrain tires.

The new pickup goes on sale in December in Thailand, with other markets to follow later.

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Big Brand Tires Simi Valley
@bigbrandsimi

I love the new look of my Ferrari 458. The wrap is awesome but I knew from the early planning days of this project that the wheels would have to change too in order to match the new look. I had a crazy idea.. different colors for both the front and rear on a classic styled JDM inspired wheel. The perfect wheel for that is made by the wheel company I have loved and respected for a very long time now- HRE Wheels!! My Vintage 501M wheels are ready for pickup and I head down to HRE headquarters for a peek at the factory and a talk with President Alan about the future of HRE. From there I got a long ride home before getting to my favorite guys at Big Brand Tire in Simi Valley for the mounting, balancing and reveal of my Kaido Racer Bosozoku Ferrari new look! By the way check out the video I made at HRE a few years ago.. It's a true "How It's Made" video showing the wheel building process in depth! 2 part series: HRE How Wheels are Made Factory Tour Part 1 : https://youtu.be/IVuR7RkdVtY Part 2 : https://youtu.be/GumyrxWub2E

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Top 5 Recent Videos:

Omotenashi from Japan to USA via Ebay??
https://youtu.be/U8GiJoETCF0

Which is Japan's Best Beef Bowl? Crowning Japan's Gyudon Champion! Yoshinoya Sukiya Matsuya
https://youtu.be/diYAHk1TZNo

Japanese Barbers - a MUST Try !
https://youtu.be/Zg38xlDnM5U

Getting My Kid's Subaru STI Ready for it's Trip to Georgia!
https://youtu.be/6Kt3cFeSUUc

Finally! My Datsun 240Z Done After 5 Years!
https://youtu.be/ug-6P35VNIs

All videos presented in both Japan and English.

New Releases 3-4 Times Weekly

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スティーブ的視点

#StevesPOV #JDMFerrari #KaidoRacerFerrari

GoPro HERO ９→https://amzn.to/2PD1q7k
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西武鉄道 1985-2020 (イカロス・ムック)https://amzn.to/3wNqyZS
2019年5月23日撮影
航空公園駅（こうくうこうえんえき）
西武新宿線
1987年（昭和62年）5月28日開業
1998年（平成10年）関東の駅百選に選ばれる
2017年度の1日平均乗降人員は27,956人で、西武鉄道全92駅中37位
駅舎は、所沢が日本における航空発祥の地であることから、航空機アンリ・ファルマン号をイメージした特徴的なデザイン
東口駅前にはかつてエアーニッポンで運行されていたYS-11（機体記号 JA8732）が静態保されている
Kōkū-kōen Station
Seibu Shinjuku Line
Opened on May 28, 1987
Selected as one of the top 100 stations in Kanto in 1998
The average daily number of passengers in fiscal 2017 was 27,956, 37th out of 92 stations on the Seibu Railway Line.
The station building has a characteristic design based on the image of the aircraft Henri Falmann since Tokorozawa is the birthplace of aviation in Japan
YS-11, formerly operated by Air Nippon, is stored in front of the East Exit Station
航空公園站
西武新宿線
1987年5月28日開業
1998年入選關東百站之一
2017財年的平均每日乘客人數為27,956人，其中西武鐵路的92個站中有37位。
由於所澤是日本航空的發源地，站大樓具有基於飛機Henri Falmann形象的特色設計
YS-11以前由Air Nippon運營，存放在東出口站前
航空公园站
西武新宿线
1987年5月28日开业
1998年入选关东百站之一
2017财年的平均每日乘客人数为27,956人，其中西武铁路的92个站中有37位。
由于所泽是日本航空的发源地，站大楼具有基于飞机Henri Falmann形象的特色设计
YS-11以前由Air Nippon运营，存放在东出口站前
Kōkū-kōen 역
세이부 신주쿠 선
1987 년 5 월 28 일 개업
1998 년 관동의 역 백선에 선정 된
2017 년도 1 일 평균 승강 인원은 27,956 명으로 세이부 총 92 역 중 37 위
역사는 도코 로자와 일본의 항공 발상지이기 때문에 항공기 앙리 파 르망 호를 표현한 독특한 디자인으로되어있다
동쪽의 역전에는 에어 닛폰으로 운행되고 있던 YS-11가 저장되어있는