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

єиʝσу ℓιттℓє тнιиgѕ.
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𝚂𝚘 𝚆𝚑𝚒𝚝𝚎 𝙱𝚊𝚌𝚔𝚙𝚊𝚌𝚔🤩
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最近雖然無旅行，但偶爾也約朋友出外非手機影相。夏天淺色衣裙，一個淺色又顏值高，容量又大的背包是需要的。女生總想找個實用又靚的背包吧！？
🇸🇪這個來自Stockholm, Sweden的品牌 - Gaston Luga。北歐簡約風設計很難不動心吧！
現在需要背手提電腦💻上班、在旅行/外出影相時要帶不同的相機配件、又或者兩日一夜Staycation，這個背包都非常合用。
因為它有四段可調節式的鉤釦，隨著裝滿量度扣不同段數；另外背包帶也可以調節，高矮肥瘦也可自行調節適合自己的長度。另外背包內層附有襯墊的筆電隔層，又有不同間隔，放東西可以很輕鬆整齊。
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Although I can’t travel recently but I occasionally ask friends to go out for photo shooting. Summer dresses im light-colored, therefore, if light-colored, high-value, large-capacity backpack is needed. Girls always want to find a practical and beautiful backpack! ? This brand from Stockholm, Sweden named Gaston Luga. Modern and simple outlook design is hard not to be tempted. Now if you have to carry your 💻 to work, bring many camera accessories when you go out shooting, or staycation for 2days? This backpack maybe suitable for you because it is very useful and good looking. There are four adjustable hooks and buckles, the number of buckles varies with the full amount; in addition, the backpack straps can also be adjusted, and the length can be adjusted by yourself. There is a padded laptop compartment inside the backpack, and there are different intervals, so you can put things neatly and easily.

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[出走地平線：綠色掣]
Flattening The Curve : The green button

知道哪個是「開機」掣便好了，其他技術問題我處理不來。

我的助手會做妥所有技術工夫，他們知道我偏好哪類型攝影機和哪種鏡頭。我甚至連那些器材怎麼叫都不知道，只假裝自己清楚它們有甚麼功用。

佈置場景時，我告訴燈光師：「我們需要一道強光從那邊射進來，我想看得到隔壁房間的動靜，感受到房後面暗藏危險。」然後他（有時候是她）會處理實際工作：將一盞六千瓦的燈裝在燈架上、放到房間一角，再用3313號紫紅色濾色片給屋裏的柔和光線添上顏色。

我常說，當一切就緒，可以開拍，我只需向助手說：「好，現在告訴我哪裹是（攝影機的）綠色（「按下」）掣，然後把菲林捲進底片罐。」

最近有位朋友指正我。首先，現在所有攝影機都是數碼機，再沒有菲林可以捲入罐了。再者她說我不但技術盲，還是色盲：「老杜，仔細看看，你攝影機上的關機掣是紅色，不是綠色的﹗」

Just show me the ‘on’ button. I can’t deal with the technical stuff.

My assistants do all the technical work. They know the camera types and the lenses I prefer. I have no idea what they are called, though I pretend to know what they can do.

When we are setting up a scene I tell my gaffer, “We need a strong light to come from over there and I want to be able to see into the next room, to feel there’s something dangerous back there.” Then he (sometimes she) gets down to the practical job of putting a 6 kilowatt lamp on a stand in a corner and colouring the soft light in the back room with a number 3313 magenta gel.

I often claim that once everything is set up and we’re ready to shoot, all I then say to my camera assistant is, “Now show me where (the camera’s) green (REC) button is, and then we can put some film in the can.”

Recently a friend pointed out that first of all, our cameras are all digital now so there is no film to put in the can. And that I am not just not technical, I am blind. “Take a closer look,” she said. “The on button — the button on your camera that makes it work — is red, not green !

攝於拍攝電影《藍色骨頭》（2013）
Photo was taken in shooting “Blue Sky Bones”(2013)

#攝影 #菲林攝影 #數碼攝影
#cinematography #filmcamera #digitalcamera

【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

Something a little different this time! Got my hands on a preproduction unit of the brand new EOS R5 for a day and decided to take it to the zoo to test out the 8K and IBIS. Shot 8K in IBP. Took some photos as well. This is not a technical test by any means but I did want to try and see how practical it would be in a real day shoot. Unfortunately made a mistake of shooting 4k 60p for two shots of the monkeys at the end and had to scale it up :( I have noticed some blotching in some clips, mainly in the shadows and I'm not sure why). Files were difficult to handle without transcoding. However, they were extremely sharp and detailed. No colour grading/correction done, just used a C-Log to Rec 709 lut provided by Canon. Also, I know its only 1080 but YouTube won't allow me to upload in 8k :(.

I was shooting under blazing hot sun and unfortunately, I did get the camera to overheat for a few periods. Once the camera overheats, you'll have to wait awhile and it will allow you to shoot 3/5 min depending on how long it's been cooling. You won't be able to record 8K and 4K once it overheats but taking photos and HD will work fine.

Tested the IBIS with an EF 100-400mm, mostly shooting at 400mm. NO post stabilisation applied to make sure it was fair. Once again, this is a preproduction unit so things might change in the full version.

Would I shoot 8k? No. It took way too long to edit and export. However, the 8k timelapse is a feature I would definitely use. I see this camera very useful for stock footage shooters who might need to shoot long form content but rather short bursts of 8k clips. I'll share a video with my thoughts on the R5 and R6 soon! (PS: for photography, this thing is well worth it!)

DISCLAIMER: I am a Canon Malaysia EOS Youth Ambassador so I am rather biased. I think Canon makes THE Best cameras in the market but that doesn't mean I won't state issues that I find with the cameras.

Music I use:
https://artlist.io/Samuel-241034

My 2020 filmmaking/photography kit:
(these are Amazon Affiliate Links and I get a small commission every-time you purchase from these links. These really help the channel out a lot!)

Gear used in this video:
Canon EOS R5: https://amzn.to/3lN4cCb
Canon EF 100-400mm f/4.5-5.6L IS II USM: https://amzn.to/2Z1McdK

Main photo/video camera: https://amzn.to/2QQ9ChI
Back up body: https://amzn.to/2QRB1zG
Favourite lens: https://amzn.to/2DsOVFy
Second favourite lens: https://amzn.to/2Z2HLPR
Best on-camera shotgun mic: https://amzn.to/3jzhPmO
Cheaper version of ^: https://amzn.to/32WlSD7
Alternative on-board shotgun mic: https://amzn.to/3lKBFx8
Best wireless mic: https://amzn.to/3jHd1Mi
Favourite Backpack: https://amzn.to/3lHETSa
Affordable external SSD I use: https://amzn.to/32NG4a2
Favourite gimbal: https://amzn.to/2Z3k7CJ
Affordable drone: https://amzn.to/2YZEmkK
Favourite action camera: https://amzn.to/2ETfBzV
----

Let's do something together! Ask me anything you'd like!
[email protected]

Follow me on social media:

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เปิดตัว All-New 2020 Toyota Corolla Altis Sedan (โตโยต้า โคโรลล่า อัลติส ซีดาน) เวอร์ชั่นอเมริกา เฉพาะชาวอเมริกัน

CARMEL-BY-THE-SEA, Calif. (Nov. 15, 2018) -- With more than 46 million Toyota Corollas sold globally since its introduction in 1966, it would be difficult to find a driver who did not recognize the name. Everyone, it seems, has a Corolla story. Many, though are going to be doing double takes when they see the re-imagined and reconfigured 2020 Toyota Corolla sedan. And that’s exactly the point.

The 12th-generation Toyota Corolla made its arrival in two chapters: the all-new Corolla hatchback arrived earlier this year, and now comes the current best-selling Corolla body style, the sedan. Both are based on the Toyota New Global Architecture (TNGA), which is far more than a new body structure, bringing together new approaches to engineering, design, assembly, and materials.

TNGA transforms both Corolla styles into drivers’ delights while also bolstering the model’s renowned value and reliability. Both draw from the same DNA and share powertrains. It’s no surprise, then, that the 2020 Corolla sedan dramatically elevates this model’s focus on comfort and refinement while also infusing it with the Corolla hatchback’s feisty personality.

The Corolla sedan’s bold new look is a perfect reflection of the bumper-to-bumper, wheels-to-roof transformation that has taken place. The TNGA platform means an available engine that produces more power than its predecessor yet delivers better fuel efficiency. TNGA imbues the Corolla sedan with greater agility, yet also with its smoothest, quietest ride. TNGA also means an elevated feeling of quality in every surface, switch and control the driver sees and touches. And, critically, TNGA delivers on Toyota’s commitment to driver and passenger safety with the Toyota Safety Sense 2.0 suite of active safety systems – standard on every Corolla sedan model.

Design Transformation
Toyota shook up the midsize sedan ranks with the new-generation Camry, and now the compact sedan segment is in for a jolt with the 2020 Corolla sedan. From every angle, the new Corolla sedan looks lower and leaner, tauter and tighter. Powerful fender flares and generously curved fender top surfaces accent its sculpted, athletic core.

The design team called its working concept “shooting robust,” because they were shooting for a robust, confidence-inspiring stance. Yet, they had to maintain ample space for practical, real-world use. That’s why people buy sedans, after all.

The 2020 Corolla sedan rides on a 106.3-inch wheelbase, like its predecessor, yet any commonality ends there. Corolla sedan’s dynamic performance and stance benefit greatly from wider front (+0.47 in.) and rear (+0.87 in.) track dimensions. The front overhang was shortened by 1.3 in., and the rear overhang extended by more than half an inch. Height was reduced 0.8 in., and the hood lowered 1.4 in. for better forward visibility, made possible by mounting the engine lower. Those changes, plus many others, reduce the center of gravity by 0.39 in. That’s just one part of the transformation that has turned the Corolla sedan into a highly nimble, engaging machine to drive.

The bold front fascia details vary by model grade, with the SE and XSE putting on the sportiest face, including a body-color chin spoiler and aero stabilizing fins to emphasize the wide stance. The slim, J-shaped Bi-Beam LED headlamps wrap deeply into the front fenders and give the Corolla sedan a steely stare and a distinct nighttime signature. The sporty SE and XSE grades use triple J-shaped clearance lamps with LED light guides along with LED turn signals, creating a unique design signature.

The available Adaptive Front-lighting System (AFS) provides a wider field of light and steers the low beam in the direction of the turn, based on steering angle and vehicle speed.

The rear leaves a distinct lighting impression as well, with narrow combination lamps that wrap deeply into the fenders. All 2020 Corolla sedan models use LEDs, the type and style varying by model grade. The sporty grades feature smoked outer light lenses.

What better way to showcase the Corolla sedan’s dramatic new sheet metal than with a dramatic new color? The new hue is a highly iridescent Celestite Grey Metallic. The rest of the palette includes Blizzard Pearl, Super White, Classic Silver Metallic, Black Sand Pearl, Barcelona Red, Blue Crush Metallic and Blueprint.

ビアンキカップスタイルのエアガン競技会 JANPS 2017 @ 静岡県掛川市で2017/11/11と12に開催されました。競技の様子をマック堺がレポートします。

JAPAN Action Pistol Shooting Championship (JANPS) とは、米国 NRA Action Pistol Shooting Championship
（いわゆるビアンキカップ） をエアソフトガン用にアレンジした、スピードと精度の両立による高度なピストル射撃技術
を競うシューティングマッチです。ビアンキカップに特有の難易度と面白さを、エアソフトガンマッチでもできる限り再
現するために、コース/ターゲットレイアウトに加えて、ガンのハンドリングやコントロール要素等も、ビアンキカップで
求められているものに極力近づけることを目指しています。

４競技の合計点で得点を競います。
各48発合計192発撃ち最高得点は1920点です。
Match I Practical event
Match II Barricade event
Match III Moving Target event
Match IV Falling Plate event



1日目の様子
JANPS 2017 エアガン競技会 1日目 2017/11/11 静岡県掛川市 マック堺 https://youtu.be/s2zBi3_FVuY

2017 世界拳銃早撃大会 WSSC https://www.youtube.com/playlist?list=PL8X8gt9uzuKnNKn_US39JBN2rdTdutFl7

Janpsエアガン競技会会場から https://youtu.be/4x0N3wmdmy4

JANPS 2016 エアガン競技#1 ハイキャパスライド割れる マック堺の動画 https://youtu.be/6kiVKXTl70Q


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