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

今日教大家整
📌炸乳鴿
📌沙翁
📌韓式泡菜

✨✨✨✨✨✨✨✨✨✨✨✨
2020 10月25日Live 中英對照食譜
再一次謝謝義工團，好彩有你地，
完live 之後有義工的幫忙easycook 上下先可以咁快有食譜睇，辛苦大家😘😘😘😘😘

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📌燒乳鴿
材料: 鴿王，乳鴿，BB 鴿 共三隻
醃料: 五香粉，糖，鹽各一茶匙半，胡椒粉半茶匙
上色料: 老抽，生抽，酒各一湯匙
脆皮水: 麥芽，大紅淅醋各一茶匙 ，白醋一湯匙
做法:
1 鴿洗淨索乾水後用醃料內外塗勻
2 將上色料塗勻鴿身後連同剩餘汁液倒入保鮮袋或真空袋醃25分鐘
3 醃好後塗上脆皮水吊乾或鴿身噴油即可放氣炸鍋內鴿肚向下180度焗12分鐘轉鴿背向下再焗12分鐘
備註: 鴿王需時15分鐘轉身再焗15分鐘
鴿腳不要關節位剪(會縮)

English Version
Fried Pigeon
(YouTube video starts at 3:10. Skip 39:11 for air frying. Skip to 52:12 for turning sides. Skip to 59:25 for finished product.)
Ingredients:
Pigeons - 3 sizes (or use spring chicken)
(young pigeon, regular pigeon, and king pigeon. King pigeon is the best, about 1kg, which has more meat, more tender and sweet.)
(Clean pigeons, trim off feet but not too much to cause shrinkage of skin when cooked, and pat very dry or else the dry marinating ingredients will not stick to the meat and bones for more flavor.)

Marinate ingredients for 3 pigeons:
(divide the measurements according to the size of your pigeon)
Five-Spice powder - 1 ½ tbsp (about 1 tsp for marinating one pigeon 1kg)
White pepper - ½ tsp
Sugar - 1 ½ tbsp or more
Salt - 1 ½ tsp
Cooking wine - 1 tbsp
Dark soya sauce - 1 tbsp
Light soya sauce - 1 tbsp

Crispy skin mixture ingredients:
Maltose - 1 tsp (or honey but it will not be as crispy)
Chinese red vinegar - 1 tsp (or just use white vinegar)
White vinegar - 1 tbsp

Methods:
1. In a bowl, add in five-spice powder, white pepper, sugar, salt, and mix well.

2. In a large tray, dry rub the interior and exterior of the pigeons with the marinate mixture prepared in Step 1.

3. Add cooking wine, dark soya sauce, and light soya sauce to the pigeons. Rub well.

4. Transfer all marinated pigeons to a plastic bag, flatten and seal tight without air inside. Best to use vacuum sealer. Set aside for 25 minutes.

5. In a microwavable bowl, add in maltose, Chinese red vinegar, white vinegar, and microwave until melted and mix well. Set aside to add into the pigeons after about 25 minutes of marinating time.

6. After 25 minutes of marinating time, add the mixture in Step 5 into the plastic bag, reseal it, and rub well.

7. MUST spray the pigeons with a layer of cooking oil and put it into the basket of the air fryer with the breasts facing up first. Cook it at 180C (356F) for 12 – 15 minutes then turn the pigeons over with the back facing up and continue cooking for another 12 – 15 minutes and reduce heat to 160C (320F).

Adjust the time according to the size of your pigeons.

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📌韓國泡菜

大白菜 1棵
白蘿蔔 少許(切絲)
紅蘿蔔 少許(切條）
蔥 1 棵
中國韭菜 數條
鹽 1 茶匙 (調味用);
大量 (用來醃大白菜及蘿蔔條)
蘋果 1/4 個 (切大粒）
雪梨 1/4 個 (切大粒）
蒜頭 1個(去衣)
洋蔥 1/4 (橫切幾刀）
白醋 2-3湯匙
魚露 2湯匙
黃糖 2至4茶匙（隨個人口味加減）
生薑蓉 1湯匙
韓國辣椒醬 2湯匙
韓國辣椒粉 4湯匙
芝麻 (炒香）大約1/4s杯

做法：
1) 大白菜切塊用鹽醃至至2至3個小時至軟身，菜梗可對摺並不拆斷便可。然後過清水3次去除鹽份，跟著去除水份(可用手楂出水份或用蔬菜除水篩).放入大盤內備用.
2) 紅蘿蔔切條、白蘿蔔切絲，用鹽醃兩小時至軟身，過清水,揸乾水，加入大白菜內.
3)蔥和韭菜切段，加入已放大白菜及蘿蔔的盤內.
4) 蘋果、雪梨、蒜頭、洋蔥、白醋(2湯匙)、魚露放入攪拌機內磨成汁後，加入韓國辣椒粉、韓國辣椒醬、鹽、糖(先放一茶匙)和姜蓉, 拌勻先試味。此時可依個人口味酌量加入1下匙糖和(或)1湯匙醋再調味。把混好汁料倒入蔬菜內，用手拌均.再試味。此時可再加入餘下的2茶匙糖。最後加入已炒香的芝麻再拌勻，.
5）將拌好的蔬菜放入玻璃盛器內，蓋好後放雪櫃儲存數天後食用更入味

Kimchi
(YouTube video starts at 20:40)
Ingredients:
Napa cabbage - 1 head
White radish - cut into strips
Carrot - cut into strips
Green onion - cut into chunks
Chives - cut into chunks (do not add too many chives)
Salt - enough to marinate

Marinate ingredients:
Apple - ¼
Pear - ¼ (best to use Asian pear)
White onion - ¼
Garlic - 1 bulb (remove skin)
White vinegar - 2 tbsp or more (adjust to your taste)
Fish sauce - 2 tbsp
Korean red hot pepper powder - 4 tbsp or more (adjust to your taste)
Korean red hot pepper paste - 2 tbsp
Sugar - 2 ½ tsp or more (adjust to your taste)
Salt - 1 tsp (adjust to your taste)
Grated ginger - 1 tbsp
White sesame seeds - pan fry with no oil until fragrant

Methods
1. Marinate the white radish and carrot strips with salt for about 30 minutes. Set aside.

2. Cut napa cabbage into chunks. Marinate with salt for 2 hours or until the stem is bendable without breaking into pieces. Optional to put weights on top of cabbage chunks to speed up the process of extracting the liquid.

3. Rinse the napa cabbage chunks 2 to 3 times with clear water and spin dry with a salad spinner. Set aside.

4. Rinse the white radish and carrot strips with clear water after marinating for 30 minutes, and squeeze dry. Set aside.

5. In a blender, add in apple, pear, white onion, garlic, white vinegar, fish sauce, and puree well. Set aside.

6. In a big mixing tub, add in green onion, chive, napa cabbage, white radish, and carrot pieces. Add in the mixture from Step 5. Add in Korean chili powder and chili paste. Add in grated ginger. Mix well with hands, taste test, and add more seasoning as needed.

7. Transfer to a storage container. Mix in the white sesame seeds and is ready to eat as is or the longer you store it the tastier it will become.

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甜品_沙翁
📌高筋麵粉 50克
📌低筋麵粉 50克
📌糯米粉 20克
📌牛奶150克
📌水 50克
📌菜油 4湯匙
📌蛋4 隻
📌糖 1 茶匙
📌肉桂粉 *如不喜歡可以不用*
📌鹽 半茶匙

做法：
1. 鍋內注入水，奶和菜油, 開火(不要太大火）煮至滾
2.將3隻粉(高筋麵粉、低筋麵粉和糯米粉)撈在一起拌勻，加入糖和鹽
3.將#2的麵粉用篩慢慢加入煮滾了的#1鍋內，一直攪拌直到煮熟會變成透明. 注意⚠️煮時要不停攪拌
4.再將鍋內全部粉糰倒入廚師機/麵包機, 攪拌到成一個糰狀(如果沒有機可用4隻筷子自己手動攪)
5.將雞蛋族隻加入#4 並一直不停攪伴直至見到很好洞(空氣). 注意⚠️要將麵糊打得夠鬆否則炸出來會不夠鬆
6.加油入鑊中開火煮熱，同時準備一張吸油紙及一隻大🥣加入砂糖和肉桂粉拌勻
7.將兩隻不銹鋼匙(或用雪糕勺 ice cream scoop會更圓更靚)在油中浸一下再用它們舀起一匙#5 的麵糊放入熱油中炸, 然後拿起放在吸油紙
8.再將#7剛炸完的麵球放回鑊中炸至爆開
9.炸完再洒上砂糖和肉桂粉-沙翁完成!

Chinese Sugar Egg Puffs
(YouTube video starts at 43:15.)
Ingredients:
Water - 50ml
Milk - 150ml
Vegetable cooking oil - 4 tbsp
Sugar - 1 tsp
Salt - ½ tsp

Eggs - 4 whole eggs (add in one at a time)

Bread flour - 50g
Cake flour - 50g (also known as low gluten flour)
Glutinous rice flour - 20g

Toppings:
Icing sugar - a bowl
Cinnamon powder, optional - a small dish

Methods:
1. In a cooking pot, add in water, milk, vegetable cooking oil, and turn on LOW heat. Add in sugar and salt. Keep stirring to mix well and cook until it boils.

2. In a mixing bowl, add bread flour, cake flour, and glutinous rice flour. Mix well. Slowly sift flour mixture into the cooking pot and keep stirring and cook until it is transparent on LOW heat.

3. Transfer the dough to an electric stand mixer or handheld mixer and mix until it becomes a smooth dough and cool to the touch. This will avoid cooking the eggs when added later.

Optional to mix manually by hand with four chopsticks or a whisk.

4. Add one egg to the stand mixer and mix until well incorporated. Continue with the remaining three eggs. Adding in ONE at a time and mix until smooth, fluffy, and has lots of air bubbles.

5. Prepare a plate covered with a paper towel for soaking up excess oil. Set aside.

6. In a large bowl, add in icing sugar, cinnamon powder, and mix well. This is to sprinkle on the puffs when fried. Set aside.

7. Heat up a wok, add enough oil for deep frying on LOW heat. Scoop a spoonful of batter, smooth batter with another spoon, and drop it in the hot oil. Optional to use oiled ice cream scoop to create a ball shape.

8. Fry until the puffs turn golden brown on both sides and float to the top. Transfer puffs to paper towel to soak up excess oil. Return the fried puffs back to the wok and fry again the SECOND time until they split open with honeycomb texture inside.

9. Transfer to paper towel to soak up excess oil. Sprinkle icing sugar/cinnamon powder mixture on top. Serve.

【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
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隨機的力量...
void setup(){size(720,720);clear();noStroke();for(int i=0;i<8;i++)f(360,360,i*PI/4,9);}
void f(float x,float y,float r,float z){
if(z>1){fill(z*40);circle(x+=cos(r)*6,y+=sin(r)*6,z);if(random(1)<.1)f(x,y,r+random(PI)-PI/2,z*.7);f(x,y,r+random(1)-.5,z-=.1);}}

Starbucks Japan Seasonal Collection Summer. The price is 4400 yen(40 USD). It contains iced drip bag coffee, color changing reusable cold cup, pineapple shaped float cup holder and clear tote bag. I like pineapple float cup holder. I love pineapple float cup holder. I used only 70ml hot water for making iced drip bag coffee. According to package, hot water plus melted ice water become about 140ml iced coffee. But I felt a little anyway. I should have added more ice and hot water.
#japanesestuffchannel, #starbucks, #reusablecup

#'90年にZAPが開発、ナムコが発売した、PCE用横スクロールシューティング作であり、ナムコ初のPCEオリジナル横シューティング作品。
ゲームデザインは梶井健氏、宮串英明氏が担当。

反重力全方向戦闘機「バルンバ」を操作し、世界征服を企むドッペル博士が作り上げたロボットを破壊する。

BGMは暗黒神話 ヤマトタケル伝説(FC/'90年)や、バーニングエンジェル(PCE/'90年)等の伊藤さんと、熱血高校ドッジボール部 pc番外編(PCE/'90年)や、アクロバットミッション(AC/'91年)等の西川氏が作曲。

作曲：伊藤真樹子さん、西川浩史氏

Manufacturer: 1990.04.27 namco / zap
Hardware: pc-engine / TurboGrafx-16
System: HuC6280
Composer: Makiko Ito, Hiroshi Nishikawa
------------------------------------------------------------------------
00:00 01.Area Map (エリアマップ)
00:45 02.Float Island Area (フロートアイランドエリア)
02:18 03.Lake Area (レイクエリア)
03:52 04.Mountain Area (マウンテンエリア)
05:33 05.Forest Area (フォレストエリア)
07:13 06.Fortress Area (フォートレスエリア)
09:06 07.Boss (ボス)
10:29 08.Last Boss (ラストボス)
12:28 09.Stage Clear (ステージクリア)
12:40 10.Last Boss Clear (ラストボスクリア)
13:03 11.Game Over (ゲームオーバー)
13:14 12.Ending (エンディング)
14:27 13.bgm 01
------------------------------------------------------------------------------

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萬聖節也想耍美的 可以看茉莉公主仿妝：
https://www.youtube.com/watch?v=bXVL0VQkjnk&t=5s
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最近看了很多萬聖節妝容
覺得小丑是今年很好發揮的一個點子
除了小丑女, IT, Joker 三個塑造超成功的角色加持
造型也都非常有特色
我選IT主要是它最恐怖 很符合主題
但又擁有小丑的瘋癲 哈哈

妝容方面其實不難
沒有強大的化妝技術也可以達到的效果喔！
希望大家都能度過一個很狂 很瘋 很開心的萬聖節～
XOXO

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使用到的產品 PRODUCTS USED:

粉底調色
THE BODY SHOP
https://rstyle.me/+i6B9y14_1iVsCXeGKRUa1Q

粉底
ESTEE LAUDER
粉持久 *1c0
https://rstyle.me/+pCzcjlGadYqPy1rH9BcCfA

遮瑕液
JOUER
Essential High Coverage Liquid Concealer *Custard
https://rstyle.me/+wTM8fTeLqczgi6nokpdbFA

透明蜜粉
LAURA MERCIER
Translucent Loose Setting Powder
https://rstyle.me/+jnfikbzGZxccLspRZG_R3A

修容/鼻影
SEPHORA COLLECTION
Colorful Face Powders *Tranquil

眉膠
ANASTASIA BEVERLY HILLS
Dipbrow® Pomade *Dark Brown
https://rstyle.me/+Txgd_4gzhEdDhKDQSc-whw

豐眉膏
Glossier
grooming pomade *Clear
https://rstyle.me/+vIA4nE6iQm6MlXmSXD7lPw

睫毛膏
Glossier
Mascara *Black
https://rstyle.me/+EoyGOU-O4hbSY3RFVxdhag

腮紅
CLINIQUE
Cheek Pop *Pansy Pop
https://rstyle.me/+jHSq5UTxqRS5nsjry_SBYA

眼影
SHU UEMURA
絲絨紅斗篷眼影盤
https://www.shuuemura.com.tw/products/chromatics

眼線液
KATE
進化版持久液體眼線 *Black

下睫毛
月兒公主 *A01

深紅唇露
YSL
Tatouage Couture Matte Stain liquid lipstick *08
https://rstyle.me/+iLQrBkg8cUM8Hxy5TOlLqw

黑色染唇露
SHU UEMURA
狠持久持色染唇露 *BK01

紅色唇膏
BOBBI BROWN
Luxe Matte Lip Colour *Red Carpet
https://rstyle.me/+nWp5WzQPLy8iHzC_bG1pfw

打亮
JOUER
Powder Highlighter *Citrine
https://rstyle.me/+_IHMKqpYU_2IevDa6wwCTQ

定妝噴霧
URBAN DECAY
All Nighter setting spray
https://rstyle.me/+Ow6lcizkIQoIKGCVwa3uzg

___

#IT
#HalloweenMakeup
#小丑妝
___

FTC: This video is not sponsored.
___

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