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

[News] เปิดตัว Super Mario 3D All-Stars แพ็คเกจรวม Mario 64, Sunshine, และ Galaxy กำหนดวางจำหน่ายบน Nintendo Switch วันที่ 18 ก.ย. นี้
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Nintendo ได้ประกาศเปิดตัว Super Mario 3D All-Stars อย่างเป็นทางการ ในช่วง Direct ครบรอบ 35 ปี ซีรีส์ Mario
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https://www.youtube.com/watch?v=CPJcaGWoO2c?ref=pcgg
Super Mario 3D All-Stars - Announcement Trailer - Nintendo Switch
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Super Mario 3D All-Stars คือแพ็คเกจรวม Mario 3 ภาคในตลับเดียว อันประกอบไปด้วย Super Mario 64, Super Mario Sunshine, และ Super Mario Galaxy พร้อมยกระดับกราฟิกความละเอียดแบบ HD โดยตัวเกมมีกำหนดวางจำหน่ายในวันที่ 18 ก.ย. นี้ บน Nintendo Switch
.
โดยตอนนี้ตัวเกมเปิดให้สั่งจองบน Nintendo eShop แล้ว ในราคา $59.99 และจะมีแบบตลับออกมาขายด้วย แต่จะมีจำนวนจำกัดและวางขายถึงแค่วันที่ 31 มี.ค. ปีหน้าเท่านั้น
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Call of Duty: Modern Warfare ลด 35% เหลือ $38.99 ประมาณ 1240 บาท (BattleNet) ดูที่นี่ - https://bit.ly/3aihnnK
[News News Launching Super Mario 3 D All-Stars. Packages include Mario 64, Sunshine, and Galaxy. Available on Nintendo Switch on 18 July. Yo. This is it
.
Nintendo has officially announced the launch of Super Mario 3 D All-Stars during the 35th Direct Anniversary Mario Series.
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https://www.youtube.com/watch?v=CPJcaGWoO2c?ref=pcgg
Super Mario 3D All-Stars - Announcement Trailer - Nintendo Switch
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The Super Mario 3 D All-Stars is a package of Mario 3 episodes in one case. Contains Super Mario 64, Super Mario Sunshine, and Super Mario Galaxy with HD graphics by gameplay. Available on 18 k. Yo. This on Nintendo Switch
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The game is now available for booking on Nintendo eShop for $ 59.99 and the cartridge will be available for sale but limited stocks will be available until 31 K. K. Next year only
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Call of Duty: Modern Warfare 35 % off to $ 38.99 around 1240 Baht (BattleNet). See here-https://bit.ly/3aihnnKTranslated

【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

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We would like to let you know that from 2 October 2016, we will stop flying between Fukuoka and Bangkok.

We are sorry that this change will impact your upcoming trip with Jetstar. Please choose one of the following options to help with your travel plans:

- Claim a full refund of all portions of your unused ticket fare. Click on ‘View and accept’ below to request your refund.
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- Change your flights to any available Jetstar Asia flight from Japan to Thailand via Singapore provided the travel dates are the same day/ day before/ day after the current booking at no charge.
- Re-route to any other Jetstar Asia flight via Singapore without change fees but subject to fare and relevant airport taxes difference.

For options 2, 3 or 4, if you are in Singapore, you can contact us at +65 6499 9702. If you are outside Singapore, kindly use an international contact number.

Since your journey has changed, we’ll send everyone on your booking a Jetstar Voucher worth SGD50. Use the voucher to pre-purchase baggage, inflight meals and other Jetstar products before you fly or use it for your next booking. It’ll arrive by email in 3 business days. Whichever of the above options you choose, you’ll still be receiving a voucher.

When you choose to change your booking, the new booking will be subject to the Jetstar fare rules. That means you may need to pay if you want to make a change to those flights in future.

Again, we apologise for any inconvenience caused by this change to your flights and we hope that one of the options above will suit you.

We hope to see you soon,
The team at Jetstar

This document is automatically generated. Please do not respond to this email. Jetstar Asia Airways Pte Ltd (BRN: 200403570D)

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前回はビックスクーターで、登場、
今回からXXで、
タイヤ交換のためにタイヤ積んでます、
CBR1100XX SuperBlackbird (Shebearl Dableccssuparbraccbard) is a motorcycle of four strokes and displacements 1,137cc that Honda Motor Co., Ltd. was manufacturing. Both domestic sales and export have ended now though it was treated as a flagship in the CBR series. Outline

Honda Motor Co., Ltd. appears in restyling from CBR1000F in 1996. In that case, a pet name "Super-blackbird" was given in the meaning said that was connected to "Blackbird" that was the pet name of surveillance plane "SR-71" of an American air force that was the aircraft at the velocity of the world, and it exceeded. Therefore, the cooperation of the U.S. Air Force is received in the pop promo of this car, and CBR1100XX and SR-71 accomplish competing in the air base.

As a concept

1. Comfortable livability in super-high-speed region
2. Overwhelming absolute performance
3. The middle class level is handled though it is a large displacement car.

It was a car of mass-producing on the market of the world best performance
where was had both.

Four 1137cc water-cooled series cylinder engine of the new design that adopts two axis balancer achieves the highest 164ps in the world at that time. Maximum speed is one that doesn't come up slightly by actual measurement at 300 km/h though excelled from ZZR1100 of Kawasaki who was the rival at the development this time to a high-speed performance.

It comes to transfer the seat at the velocity of the world from Kawasaki by the appearance of ninja ZX-12R the GSX1300R falcon's appearing from the sea bass in 1999, and continuously while leaving the name of the car of mass-producing on the market at the velocity of the world wanted in 2000 at the sale this time. The self-imposed restraint of which 300 km/h is a maximum speed upper bound of the motorcycle in 2001 has started, a big restyling is not done to the production stoppage in 2007, and the character as Haispedotsarar has become strong. Moreover, it is used as a development vehicle of VCM (Variable Cylinder Management: cylinder stop system) that is next generation's fuel fuel cost improvement technology, and 2 in the magazine medium from which impression is open to the public.

It is a motorcycle that Isao Yamanaka who had invented a lot of great cars as an engineer of HONDA developed at the end, and 3 said, "It is a compilation to invest everything current, and the happiest motorcycle".
The headlight of the top and bottom two step is adopted for the full caul body that thoroughly pursued aerodynamic. The synchronization brake is equipped normally before and after being called D-CBS. For the tone of red to lighten in 1998, and to prevent over cool in the cold district, the by-pass of Rageetar was added. Even the model is a carburetor specification in 1998, and it is a model to whom the chalk is only attached in CBR1100XX. The accelerating force and the response are sharper than the injection model since the second generation though a maximum speed region doesn't change. In the founder blackbird, as a motorcycle of the carburetor specification, on the market, acceleration and maximum speed are the fastest models. Low-speed..gear..Red Zone..blow..at the same time as..accelerating force..further..increase..power..band..use regularly..user..partially..core..acceleration..mania..rocket engine..missile..acceleration..criticize.Not a rapid response like the carburetor specification but the getting on taste has smoothed very much though this characteristic has been succeeded since the second generation made FI.

The direct air intake (ram air) has not taken side with the founder. The inspiratory port where the wire net under the headlight attached sends oil cooler the running style though it often makes a mistake. Because the cold wind doesn't hit oil cooler as it is because oil cooler has adhered behind the radiator, the inflow road of air is installed in this manner. (From the motorcycle technical journal 'Young machine' at the sale this time. )

前回はビックスクーターで、登場、
今回からXXで、
タイヤ交換のためにタイヤ積んでます、
CBR1100XX SuperBlackbird (Shebearl Dableccssuparbraccbard) is a motorcycle of four strokes and displacements 1,137cc that Honda Motor Co., Ltd. was manufacturing. Both domestic sales and export have ended now though it was treated as a flagship in the CBR series. Outline

Honda Motor Co., Ltd. appears in restyling from CBR1000F in 1996. In that case, a pet name "Super-blackbird" was given in the meaning said that was connected to "Blackbird" that was the pet name of surveillance plane "SR-71" of an American air force that was the aircraft at the velocity of the world, and it exceeded. Therefore, the cooperation of the U.S. Air Force is received in the pop promo of this car, and CBR1100XX and SR-71 accomplish competing in the air base.

As a concept

1. Comfortable livability in super-high-speed region
2. Overwhelming absolute performance
3. The middle class level is handled though it is a large displacement car.

It was a car of mass-producing on the market of the world best performance
where was had both.

Four 1137cc water-cooled series cylinder engine of the new design that adopts two axis balancer achieves the highest 164ps in the world at that time. Maximum speed is one that doesn't come up slightly by actual measurement at 300 km/h though excelled from ZZR1100 of Kawasaki who was the rival at the development this time to a high-speed performance.

It comes to transfer the seat at the velocity of the world from Kawasaki by the appearance of ninja ZX-12R the GSX1300R falcon's appearing from the sea bass in 1999, and continuously while leaving the name of the car of mass-producing on the market at the velocity of the world wanted in 2000 at the sale this time. The self-imposed restraint of which 300 km/h is a maximum speed upper bound of the motorcycle in 2001 has started, a big restyling is not done to the production stoppage in 2007, and the character as Haispedotsarar has become strong. Moreover, it is used as a development vehicle of VCM (Variable Cylinder Management: cylinder stop system) that is next generation's fuel fuel cost improvement technology, and 2 in the magazine medium from which impression is open to the public.

It is a motorcycle that Isao Yamanaka who had invented a lot of great cars as an engineer of HONDA developed at the end, and 3 said, "It is a compilation to invest everything current, and the happiest motorcycle".
The headlight of the top and bottom two step is adopted for the full caul body that thoroughly pursued aerodynamic. The synchronization brake is equipped normally before and after being called D-CBS. For the tone of red to lighten in 1998, and to prevent over cool in the cold district, the by-pass of Rageetar was added. Even the model is a carburetor specification in 1998, and it is a model to whom the chalk is only attached in CBR1100XX. The accelerating force and the response are sharper than the injection model since the second generation though a maximum speed region doesn't change. In the founder blackbird, as a motorcycle of the carburetor specification, on the market, acceleration and maximum speed are the fastest models. Low-speed..gear..Red Zone..blow..at the same time as..accelerating force..further..increase..power..band..use regularly..user..partially..core..acceleration..mania..rocket engine..missile..acceleration..criticize.Not a rapid response like the carburetor specification but the getting on taste has smoothed very much though this characteristic has been succeeded since the second generation made FI.

The direct air intake (ram air) has not taken side with the founder. The inspiratory port where the wire net under the headlight attached sends oil cooler the running style though it often makes a mistake. Because the cold wind doesn't hit oil cooler as it is because oil cooler has adhered behind the radiator, the inflow road of air is installed in this manner. (From the motorcycle technical journal 'Young machine' at the sale this time. )

DUBAI — The King is returning, stronger than ever.

Chevrolet today introduced the 2019 Corvette ZR1, a supercar that pushes Corvette’s performance legacy with the highest power, greatest track performance and most advanced technology in its production history.

“I’ve never driven a Corvette like this before, and nobody else has either, because there’s never been one like this before,” said Mark Reuss, executive vice president, Global Product Development, Purchasing and Supply Chain. “Its unprecedented performance puts all other global supercars on notice that the ZR1 is back.”

The Corvette ZR1’s exclusive LT5 supercharged engine, which is rated at an SAE-certified 755 horsepower (563 kW) and 715 lb-ft of torque (969 Nm), is establishing a new benchmark in performance. Further, the ZR1 elevates Corvette’s track capability with two wind tunnel-honed aerodynamics packages, including an available High Wing that provides an estimated 950 pounds of downforce.

Most powerful ever

The ZR1’s LT5 6.2L V-8 engine advances Corvette’s supercharging legacy, which began with the 2009 sixth-generation ZR1 and continued with the 2015 seventh-generation Z06. The LT5 delivers the highest output ever for a Chevrolet production vehicle, thanks in part to a new, more-efficient intercooled supercharger system that offers 52 percent more displacement than the Z06’s LT4 supercharger. GM’s first dual-fuel-injection system, which employs primary direct injection and supplemental port injection, helps the LT5 achieve its record output.

Seven-speed manual and eight-speed paddle-shift automatic transmissions are available with the LT5. It’s the first time an automatic transmission has been offered in a ZR1.

Fastest ever

The 2019 Corvette ZR1’s aggressive appearance is driven by function, contributing to its distinction as the fastest production Corvette to date.

An all-new front fascia is designed to channel air for propulsion-system and drivetrain cooling, with four new radiators bringing the heat-exchanger total to 13. A special carbon-fiber “halo” hood is open in the middle to clear the LT5 engine’s supercharger/intercooler assembly. Additional features, including aero packages with stanchion-mounted wings, help push the ZR1 harder onto the track for more confident handling and faster lap times. Top speed of the ZR1 is over 210 mph.

“As the highest-performing Corvette ever, the ZR1’s design supports its capability in every way,” said Kirk Bennion, Exterior Design manager. “The new wings, for example, help generate more downforce without adding drag, enhancing road holding and top speed.”

The ZR1 will offer two aero packages: a standard rear Low Wing, which delivers the highest top speed and helps generate up to 70 percent more downforce than the Z06’s base aero package, and an available two-way-adjustable High Wing that offers maximum downforce on the track for the quickest lap times — about 60 percent more downforce than the Z06 with the available Z07 Performance Package. All models also feature a Chevrolet-first, downforce-enhancing front underwing.

The adjustable High Wing is part of the new ZTK Performance Package, which also includes a front splitter with carbon-fiber end caps, Michelin Pilot Sport Cup 2 summer-only tires, and specific chassis and Magnetic Ride Control tuning for greater cornering grip.

Both of the ZR1’s wings are tied into the chassis, like the Corvette Racing C7.R racecar, for strength and stability.

Sebring Orange Design Package

The Corvette ZR1 introduced today also debuted a dynamic, available Sebring Orange Design Package. Centered on its Sebring Orange Tintcoat exterior color, the package also includes orange brake calipers, orange rocker and splitter accent stripes, orange seat belts, orange interior stitching and unique, bronze aluminum interior trim.

The new design package complements the Corvette ZR1’s tradition of offering maximum performance with refinement and design distinction. The driver-focused, well-appointed cockpit includes standard leather-trimmed seats, with sueded microfiber inserts offered. Heated and vented Napa leather-trimmed seating is also available, as well as a carbon fiber-rimmed steering wheel, competition sport seats, Performance Data Recorder, Bose premium audio system and more.

The 2019 Corvette ZR1 goes on sale next spring, poised to take on the world’s best.

It’s good to be the King.