第二集:代謝適應 (Metabolic Adaptation/ MA)
大家都知啦cutting的常規方法係透過限制每日既能量攝入,當熱量赤字長期低於維持體重的水平,自自然然就會逐步減少體重和體內脂肪。
但係如果我地既身體一直長期處於能量供應不足既情況,
人體係生物進化既過程,學識左自動保護機制,我地既身體唔知出面發生左咩事,佢只係知道依條友體重下降,食野小左,會唔會係糧食不足,長此下去有機會餓死,所以,為左應付能量供應不足,身體會自動產生一系列限制能量輸出和增加食慾既反應,依一種身體本能既現象係為左縮小能源攝入同支出之間的差距 (Energy Gap),去防止體重進一步的減輕以提高生存機會,被稱之為代謝適應(Metabolic Adaptation / MA),包括:改變代謝,行為和內分泌反應。
講到代謝問題,我地要Recap番上一集既TDEE,MA會影響代謝率,包括;
resting metabolic rate - 靜止代謝率 = BMR
non resting metabolic rate - 非靜止代謝率 = TEF + EAT(EPOC)+ NEAT
當我地體重下降,我地既TDEE會一齊下降,(唔知咩係TDEE睇番上一篇文)
1: 基礎代謝率BMR
減肥最理所當然地我地既體型會細左(亦都係最終目標),
但係!體型(Body Size)同BMR係有正相關(Positive Correlation),啫係體型越大BMR越高,體型越細BMR越低。又有研究指,減重期間所失去既重量有接近 25% 其實係瘦體重 (lean body mass,主要為肌肉)。上次講左肌肉是活躍的組織,若在短時間大量流失,BMR會受到重創,使體重未必再有顯著既下降。
而隨着體型細左,同時,我地既BMR會減少,另外,係能量不足(Deficit)下MA都會出現,使我地BMR再打折扣,由於BMR係人體消耗能量佔主要比重,所以BMR下降會令我地減肥效果變慢。
2: 進食消化生熱反應TEF
不言而喻,減肥期間要Calories Deficit,食小左食物,自然TEF會下降。
3: 運動性生熱反應和非運動性生熱反應 EAT and NEAT
MA會透過內分泌反應去壓制代謝速率(Metabolic Rate),例如:減少肌肉蛋白質合成,或增加肌肉蛋白質分解去獲取能量,令維持肌肉量變得非常具挑戰性亦有好大機會造成肌肉流失。再加上,MA會削弱肌肉效率,導致我地做運動時,EAT和NEAT不再消耗同樣的能量。
由此觀之,當減肥令身體出現MA,會導致我地的TDEE下降,也是令我地減肥遇上樽頸既原因之一。
睇到依到重點泥啦!以下會講下避免MA既方法,
方向可分為
1: 針對MA出現既原因
2: 針對MA出現後既影響
對於MA出現既原因,就係熱量赤字(Deficit)。這取決於你deficit既程度,deficit既時間,如果Deficit越大、時間越長,MA可能會越嚴重。
第一,可以採用緩慢的速度去減肥(Smaller Acute Deficit),讓身體不會出現強烈的MA抵抗,平緩荷爾蒙的下降。
其二,可以使用Refeed同Deficit Break。加插Refeed同Deficit Break,容許身體維持在Maintaince既熱量並從中得以喘息和恢復,日後會繼續出文章講解下Refeed and Deficit Break。
對於MA出現後既影響,以下會針對分析如何避免肌肉流失同運動效率下降,
同理,採用緩慢的速度去減肥,對有做開重訓既人,可以最大程度地保留肌肉量和運動表現。但係在此之上,需要有良好的飲食(Marco)作為配合,日後都會繼續出文章講解下依個部份。
第二,訓練上安排方面,由於身體的恢復能力受損而下降,如果照用減肥前的訓練量,或為了加快減肥效果而瘋狂運動,無疑會加劇MA,最後得不償失。
正確的方法應該係保持訓練強度(Intensity),減小訓練量(Volume)。
可能你聽過有人持相反的論點,提議用多下數輕重量去練,有助燃燒更多的卡路里,輕重量亦可避免受傷,我認為並無不當,
只是!只是!只是!
Deficit之下會令肌肉入面的糖原減小,未必能供應高下數的訓練,另外,輕重量未能為肌肉帶來有效拉伸刺激(Tensile Stimulus)。在運動界,好多精英運動員也常使用保持訓練強度(Intensity),減小訓練量(Volume)既方法。
根據我曾參加健美比賽既減脂落磅經驗,身體要對訓練強度和訓練量重新適應,有時做12RM(Repetition Maximum),可能做到第7、8下已經乏力,感覺不對勁,另外,如果做多下數所出現的燃燒感會更明顯,肌肉未能回復便有機會出現酸中毒(Acidosis),令肌肉不適。
所以,尤其是新手更需注意,我傾向建議使用保持訓練強度(Intensity),減小訓練量(Volume)既方法。
本文參考了@ epfitness_hk Eric Poon (運動科學博士生、ACSM運動生理學家)
【減肥關鍵】如何打破「代謝適應」(Metabolic Adaptation)?
https://hk.running.biji.co/index.php?q=news&act=info&id=3089#:~:text=%E7%B0%A1%E5%96%AE%E4%BE%86%E8%AA%AA%EF%BC%8C%E3%80%8C%E4%BB%A3%E8%AC%9D%E9%81%A9%E6%87%89,%E9%98%B2%E6%AD%A2%E8%BA%AB%E9%AB%94%E6%8C%81%E7%BA%8C%E5%87%BA%E7%8F%BE%E5%B7%A8%E8%AE%8A%E3%80%82&text=%2D%20%E8%BA%AB%E9%AB%94%E7%9A%84%E5%9F%BA%E7%A4%8E%E4%BB%A3%E8%AC%9D%E7%8E%87,%E5%BE%80%E5%BE%80%E6%9C%83%E4%BC%B4%E9%9A%A8%E9%AB%94%E9%87%8D%E9%99%8D%E4%BD%8E%E3%80%82
其中也更深入介紹了MA,不約而同地提到一些相同的避免MA既方法,比如
1. 增加蛋白質攝取 (High Protein Intake)
2. 進行阻力訓練/高強度間歇訓練 (Resistance Training/HIIT)
3. 避免過度急速減磅 (Stepwise Approach)
4. 「重新餵食法」(Re-Feeding)
對想有更多了解,超強烈建議去睇呀!!!
另外也參考了
Why We Get Slow Metabolisms & Should You Reverse Diet? Science Discussion ft. Dr. Eric Trexler
https://www.youtube.com/watch?v=xiYJW9pViaM&ab_channel=JeffNippard
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The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris
Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.
According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.
According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.
When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.
Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.
Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.
‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.
This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article
Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.
During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”
Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.
In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.
In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.
"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."
The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.
At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.
The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.
Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.
The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened
From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.
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