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

What is Coach?什麼是Coach？

Coach 這一個詞，如果稍微接觸過運動、訓練、健身甚至體育課的人，應該都理所當然知道是教練的意思。如果沒有這些類似經驗，但稍微知道包包、精品品牌的人，應該對Coach的第一印象會是美國代購常常會出現的品牌-Coach，如果你剛好手邊有一個Coach的包包，可以看一下上面的標籤或是Logo，除了寫著Coach之外還有什麼東西？應該會是一輛馬車吧？

Coach這個詞，其實最早源於15世紀末～16世紀初，當時位在小匈牙利平原上的一個小村莊－Koc,有了一項革命性的發明，那就是既舒服、空間又大的馬車—Kocsi szekér，這個詞後來到了德國變成Kutsche，再到法國變成Coache，最後翻譯成英語就變成今天大家學到的Coach，而不管是哪一種語言，當時這個詞指的是更快、更便利、更舒服的把人運送到目的地的馬車、交通工具。

直到18世紀英格蘭將Coach一詞暗指家庭教師、導師把知識濃縮傳遞給學生、幫助學生應對考試的動作，因為他們用更快、更舒服的方式幫學生通過考試，就像國內很多補教名師會用輕鬆有趣的教學方式、配合大補帖之類的資訊讓學生輕鬆考高分，這就像是馬車的發明把人們更舒服、更快的送到目的地一樣，而Coach代表運動方面的訓練者、指導者的用法，其實是到1880左右才開始衍伸出的，現今也有許多Mental Coach、Life Coach…等，其他領域的專家會用這個詞，但不管是哪一個領域，Coach的初衷應該都是透過不同的理論、信仰、信念、知識…等去幫助人們提升並且達到目的。

之前某次比賽熱身看到一個教練非常兇的在叫罵選手時，有個教練經過就說：He is not coaching! He should go look up dictionary then come back man！當下我摸摸鼻子，心想，我好像也不知道這個詞到底代表什麼意思，於是回家查了查之後，才明白為何那位路人教練會那樣說，或許是因為那種叫罵並不是在給予既舒服又快速的幫助。

O.S.要當一位好的Coach真的太困難了！因為太多訓練對象真的太令人無語了…哈，辛苦所有從事Coach職業的人。

如果你對田徑訓練、運動訓練、專項肌力與體能、或是健身有興趣的話，希望Max在這裡的分享對你有點幫助，一起進化成更好的人/更強的人！
喜歡/有幫助，就按個Like/轉發！

#訓練名言 #訓練知識 #美國大學運動 #ㄧ級訓練 #進化成更好的人 #進化成更強的人 #coachmax #運動表現 #肌力與體能訓練 #美國田徑 #教練 #健身 #速度訓練

Join the crew https://www.facebook.com/groups/2366734596727746/?ref=share

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.

【其實，他們吃的東西，沒有你想像得那麼健康：Lionel Sanders】

Lionel Sanders這支影片很有趣，單看標體Food in a day，還有封面是營造出很健康的感覺，以為這又是一個標榜吃得多麼得少，或是吃得多健康。

畢竟許多訊息都會告訴你，好像一個運動員就只能吃燕麥啦、義大利麵啦、堅果啦、全麥麵包啦、雞胸肉啦、水果、生菜還不能加沙拉醬，飲料只有巧克力牛奶、黑咖啡和運動飲料的選擇，這樣才叫健康。

不過其實細看他這一天下來所吃的東西就會發現，他吃了一堆所謂的垃圾食物啊，太誠實了～ 這就是我很喜歡他的原因，很不做作的把他的一切攤在陽光下，尤其練一練去翻零食吃或期待吃PIZZA的感覺，這才像個人嘛（雖然常常瘋瘋的）！

總結下來，Lionel 一天吃了6281Kcal熱量，當然這可能會有些誤差，有些只是目測，不可能這麼精準，但6000kcal可能真的跑不掉。

這其實比較合邏輯，人體吸收的熱量與消耗的熱量，基本上應該保持是平衡狀態，少吃一點就瘦一點，多吃一點就多一點重量出來。

但如果消耗過多熱量或肝醣耗盡卻沒有回補，絕對影響恢復與下一組訓練，如果記憶猶新，或看過我去年分享他的狀況，就有提到他去年有陣子在節食，結果嚴重影響運動表現的狀況

只是他沒提到他這天練了多少？或預計隔天要練什麼？不過就以最基本平均每小時消耗700大卡就好，再考慮基礎代謝率，他這天應該練了有5-6小時，這也蠻符合職業選手的訓練量。

個人過去也不斷跟人講，如果你吃了某些東西能讓你快樂，讓你更想練下去，那怕都是垃圾食物，JUST EAT IT.

還有也千萬不要在訓練時都不吃東西，等到了比賽時再來吃一堆補給結果腸胃平時也沒訓練過，比賽強度高與緊繃壓力，反而讓你反胃。

先前在GTN頻道也有個影片訪問職業選手，有什麼是賽前他們必吃的？Andy Potts的答案讓我印象深刻，他說他賽前早餐都要吃2-3個瑪芬，這明明也是很油很不健康的精緻澱粉，也不太適合賽前吃，但這就能帶給他滿滿正能量！

有句英文名言在講鐵人三項：90% is mental and 10% is physical.（90%心理素質與10%的身理狀態），雖然這句話放在這裡用怪怪的，不過吃得開心，心強大了，自信就來了！

所以，如果你來問我這個能不能吃？那個能不能吃？
而我回答是：『你開心就好～』。
請不要說我在敷衍你......我是認真的！

再說一次！ 你開心就好！開心是很重要的！

最後～我也終於懂了原來Freshii是一家餐廳啊，過去看過Lionel的三鐵衣胸前有這贊助LOGO，一直不知道是什麼，今天懂了 ，不只在加拿大，美、澳、英等國都有分店，一個餐飲品牌願意贊助三鐵選手，這倒蠻少見的！

希望目前在日本紅到翻天的台灣珍珠奶茶品牌也能來斗內一下XD

https://youtu.be/I5YUtrUeUrs