關於 scaled up ，我們在網路上蒐集到這些相關的討論、資訊與評價

《Monster Hunter Stories 2: 破滅之翼》隨行獸介紹
-電龍
體內藏有發電器官，能夠操縱強大的電擊。透過激烈擺動身體來帶電，再以帶電部位攻擊。性格兇悍暴戾，對入侵地盤者趕盡殺絕。
-冰牙龍
君臨永久凍土的「冰牙龍」。特徵是巨牙和尖刺。會巧妙地運用翅膀和尾部尖刺於冰上自在地馳騁。
-雌火龍
別稱「陸之女王」。擁有足以馳騁大地的優秀腳力，其含毒的尾巴可以收拾獵物。

=================

Monsties from Monster Hunter Stories 2: Wings of Ruin
- Astalos
Astalos can generate high-voltage electricity within their bodies. They shudder violently to charge up whatever body part they plan to attack with. A naturally aggressive species, they fiercely defend their territories.
- Barioth
Flying Wyverns that rule the frozen wastes, armed with characteristic giant tusks and sharp spikes. Their spikily scaled wings and tails allow them to run effortlessly across the ice.
- Rathian
Female Flying Wyverns, dubbed Queens of the Land. They possess powerful legs and deadly, poisonous tails.

=================

몬스터헌터 스토리즈 2 파멸의 날개: 동료몬 소개
-전룡 라이젝스
체내에 발전기관을 가지고 있어, 방대한 전격을 조종하는 "전룡". 몸을 격렬하게 떨며 전기를 모으고, 전기를 띤 부위로 공격한다. 거칠고 매우 흉포한 성격으로, 영역권에 들어온 자를 온 힘을 다해 공격한다.
-빙아룡 벨리오로스
항상 얼어있는 빙하 영토의 세계에 군림하는 "빙아룡". 거대한 송곳니와 날카로운 가시가 특징이다. 날개와 꼬리에 난 스파이크 모양의 비늘을 사용해, 빙판을 자유자재로 누빈다.
-자화룡 리오레이아
육지의 여왕이라 불리는 "자화룡". 대지를 내달리는 뛰어난 각력과 사냥감을 쏘는 독의 꼬리를 가지고 있다.

See you tomorrow 5.30pm at “The Farm to Table Experience” Online Masterclass with the team from Scaled by Ah Hua Kelong! You will learn how to fillet the fish as well as cook up one of the signatures from Scaled by Ah Hua Kelong - Nori Seabass Pasta!

For more information - https://www.singaporefoodfestival.sg/session/18

VisitSingapore #singaporefoodfestival2020 #singaporefoodfestival

【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

⬇️⬇️English recipe follows⬇️⬇️
當三文魚魚扒遇上巴之閉芡汁
（蔥花芡汁煎三文魚）

材料：
急凍三文魚魚扒1件
蔥1條
薑1小舊

處理：
1. 三文魚，買回家後，放室溫15分鐘。
2. 用小刀刮淨魚鱗。
3. 魚，繼續用清水解凍10分鐘。
4. 魚，清水沖洗乾淨，廚紙索乾。
5. 預備芡汁：
a. 蔥，洗淨，切粒，放碗中。
b.薑，去皮，切碎，放碗中。
加入調味料：
a. 生粉1茶匙
b. 糖1茶匙
c. 生抽2茶匙
d. 清水300毫升
攪勻。

烹調：
1. 大火在鑊中燒熱油2湯匙。
2. 放魚落鑊，轉中慢火，繼續煎。
3. 魚，一面已煎至金黃色，反轉繼續煎。
4. 魚的兩面已煎至金黃色，轉大火，每面各煎半分鐘，逼出油分。
5. 放魚上碟。
6. 大火在鑊中煮滾芡汁，淋在魚扒上。
7. 完成，可享用。

Salmon steak in yummy sauce

Ingredients:
Frozen salmon steak 1 pc
Green onion 1 No.
Ginger (small) 1 No.

Preparation:
1. Salmon, put in room temperature for 15 minutes after purchase.
2. The fish, get it scaled with a small knife.
3. Continue to defrost the fish in tap water for 10 minutes.
4. The fish, rinse thoroughly and dry with kitchen towels.
5. Prepare sauce:
a. Green onion, get it rinsed and diced. Put in a bowl.
b. Ginger, get it peeled and chopped. Put in the bowl.
Add seasoning:
a. Tapioca starch 1 tsp
b. Sugar 1 tsp
c. Light soya sauce 2 tsp
d. Water 300ml
Mix well.

Steps:
1. Heat up oil 2 tbsp at high flame in wok.
2. Put fish in wok. Turn to medium~low flame, continue frying.
3. The fish, one side has been fried into golden yellow, flip over and continue frying.
4. Both sides of fish have been fried into golden yellow, turn to high flame, fry each side of fish for 0.5 minute more, to release excess oil in fish.
5. Put fish on plate.
6. Heat up the sauce at high flame in wok. Pour on top of fish.
7. Complete. Serve.

?魚 (系列播放清單)
https://www.youtube.com/playlist?list=PLkU_SdeTtB_SjU6dX5TB_4F3WPiQjOQeA
?這系列全部影片都有中英文翻譯

?排骨(系列)播放清單?
https://www.youtube.com/playlist?list=PLkU_SdeTtB_T160uDWybJ68m1KWJSUNNw
?這系列全部影片都有中英文翻譯

???我有1000多條片?大家入呢個網址 ?全部可以睇曬?
https://goo.gl/cuyAZa hip???

??I have more than 1000 movies?Everyone enters this URL ?All can be viewed ?
https://goo.gl/cuyAZa hip??

Pan-Fried Salmon Steak with Ginger & Scallion Sauce?Moist, Juicy, Tasty?
乾煎三文魚扒配薑葱汁
肉滑汁正超好味

Pan-Fried Salmon Steak
(乾煎三文魚扒)

⬇️⬇️English recipe follows⬇️⬇️
瓜衫南瓜湯

材料：
瓜衫魚1斤
南瓜1斤
薑1舊

處理：
1. 瓜衫，打鱗，清除內臟，清水洗乾淨，擎乾水。
2. 薑，去皮，拍鬆。

烹調：
1. 大火在鑊中燒熱油1湯匙。
2. 另一邊，大火煲滾水1升半。
3. 放魚及薑落鑊，一面煎至金黃色，反轉魚繼續煎。
4. 魚，兩面已煎至金黃色，水亦已煲滾，灒滾水在魚內，大火滾起，滾15分鐘。
5. 南瓜，刮去囊，打直切開幾舊，刨去皮，切細舊，放入煲。
6. 魚湯已滾了15分鐘，用隔篩過濾魚湯在南瓜內。
7. 魚湯，大火煲10～15分鐘。
8. 南瓜已煲腍。
9. 完成，倒入大碗內，可享用。

Japanese threadfin bream pumpkin soup

Ingredients:
Japanese threadfin bream 1 catty
Pumpkin 1 catty
Ginger 1 No.

Preparation:
1. Japanese threadfin bream, get it scaled. Remove its intestines. Rinse thoroughly. Hang dry.
2. Ginger, get it peeled. Beat well.

Steps:
1. Heat up oil 1 tbsp at high flame in wok.
2. Heat up water 1.5L on the other side.
3. Put fish and ginger in wok. One side has been fried into golden yellow, flip it over and continue frying.
4. The fish, both sides have been fried into golden yellow, water boils up. The wok, turns to high flame, pour boiled~up water in it. Heat up at high flame. Cook for 15 minutes.
5. Pumpkin, remove the seeds. Cut vertically into several pieces. Get it peeled. Cut into small pieces. Put into pot.
6. Fish soup has been cooked for 15 minutes, filter it into the pumpkin.
7. Fish soup, boil it at high flame for 10~15 minutes.
8. Pumpkin, has been softly boiled.
9. Complete. Pour into a big bowl. Serve.

??魚湯(系列)播放清單
https://www.youtube.com/playlist?list=PLkU_SdeTtB_TD4I1fvOtlwZG1GLpRdzH-
?這系列全部影片都有中英文翻譯

旅行.酒店.行街.去玩(系列)播放清單
https://www.youtube.com/playlist?list=PLkU_SdeTtB_S7NRTYaeYtzehOoboYigzJ
?這系列全部影片都已有中英文翻譯

Japanese Threadfin Bream Soup with Pumpkin?Incredibly Aromatic, Smooth & Nourishing?

瓜衫魚南瓜湯
無比香濃及富營養
Fish Soup with Pumpkin¹¹

⬇️⬇️English recipe follows⬇️⬇️
清蒸紅瓜子斑

材料：
紅瓜子斑1條
薑1舊
蔥1條

處理：
1. 紅瓜子斑，打鱗，清除內臟，清水洗乾淨，擎乾水。
2. 薑，去皮，切絲。
3. 放魚在碟上，薑絲鋪上面。

烹調：
1. 大火在鑊中煲滾1鑊水。
2. 大火蒸魚12分鐘。
3. 另一邊鑊，大火燒熱油1湯匙。
4. 魚已蒸好，倒去碟上的魚汁。
5. 切好蔥絲放魚上，灒滾油。
6. 在魚兩邊加入少量生抽。
7. 完成，可享用。

Steam red flag grouper

Ingredients:
Red flag grouper 1 No.
Ginger 1 No.
Green onion 1 No.

Preparation:
1. The fish, get it scaled. Remove its intestines. Rinse thoroughly. Hang dry.
2. Ginger, get it peeled and shredded.
3. Put fish on plate. Shredded ginger is to be put on top.

Steps:
1. Heat up a wok of water at high flame.
2. Steam the fish at high flame for 12 minutes.
3. Heat up oil 1 tbsp at high flame on the other side.
4. Fish has been steamed well. Pour away water on plate.
5. Put shredded green onion on fish. Pour hot oil on it.
6. Pour little light soya sauce on both sides of fish.
7. Complete. Serve.

?魚 (系列播放清單)
https://www.youtube.com/playlist?list=PLkU_SdeTtB_SjU6dX5TB_4F3WPiQjOQeA
這系列全部影片都已有中英文翻譯

有好嘢介紹(系列)
?購物?淘寶
https://www.youtube.com/playlist?list=PLkU_SdeTtB_Rc0-Un6xo46g2YT-1L1OXW

Steamed Red Flag Grouper? Meaty & Sweet?A Gourmet's Favorite?

蒸紅瓜子班
肉厚味鮮甜
食家至愛

Red Flag Grouper
(红瓜子班)