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

Self-care has and will always be my priority but it doesn’t end with mental or physical care; what you consume and apply to your skin is important too. As years passed, my preference for skincare and body care changed as well. I prefer applying natural, organic products on my skin rather than chemical infused ones.

Ethereal Mobile Spa & Salon, a home-grown brand offers exactly what I search for in products. They value quality over quantity to ensure what their consumers apply on their skin is safe & healthy. Here are the products I’ve been using religiously for over a week now :

Exfoliating & Moisturizing Sugar Body Scrub: Blended with essential oils and 5 oils (coconut, castor, Moroccan argan, olive & jojoba) ensures your skin gets the required exfoliation without damaging your skin. The smooth consistently ensure your skin does not end up turning red due to inflammation. The exfoliating process causes the skin to dry up however this scrub contains a lot of ingredients that lock in moisture during the process hence your skin feels clean and soft by the end of it.

Refreshing Body Mist: Certain toxins in chemical infused body mist can cause perfume poisoning which results in nausea, blister & itchy/flaky skin. My suggestion? Switch to natural perfumes or body mist. This body mist was customized to my preference hence it is a blend of 3 essential oils (lavender, rose geranium & peppermint). Adding peppermint into your body mist is advisable because of its ability to help prevent sickness from coming on in the first place. Does it last long? Well, like every other body mist, it stays up to 4 hours but you can always re-spray if required.

Plumping & Exfoliating Lip Scrub: The product that you use on lips has to be milder than what you use on your skin because it is way thinner and delicate. Our lips only have 3-5 cell layers of thickness while our body skin has up to 16 layers. This product does exactly that! They’ve added on quite a generous amount of shea butter & oils to ensure your skin receives the required hydration.

For more info: visit @escapetoethereal

#malaysianblogger #selfcareday #lipscrub #bodymist #bodyscrubmalaysia

【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

Delicious Nasi Bokhari (Chicken or Mutton), Burger Ramly (Chix or Beef) & Bubur Durian by @burockcuisine.
.
---‐---------------------------------------------------
.
During Ramdhan we operate daily from 4pm to 8pm. Every Thursday will be our off day. LAST order for delivery will be at 2pm daily.
.
To order Watsapp to : 88151652
.
Please input quantity below :
.
Nasi Bukhari Mutton ($6.50) =
Nasi Bukhari Chicken ($6.50) =
Papadom ($1.00) =
Pengat Durian ($3.50) =
Burger Ramly Special Beef ($4.00) =
Burger Ramly Special Chicken ($4.00) =
(3 Burgers for $11.00)
Thai Milk Tea (1 bottle $3.00) =
Thai Green Milk Tea (1 bottle $3.00) =
(2 bottles for Thai Tea = $5.00)
.
Time of Delivery : 4pm to 7pm
Delivery Charge : $10.00 (Islandwide)
.
For Self pick up. Address BLK 418 Bedok North Ave 2 (460418)
.
Payment method:
OCBC Saving 520-5-168544
Paynow 88151652
.
Payment required after orders made. Please forward payment receipt once transferred. Thank you! 😊

Closed caption is available in this video.

3 exercises you should start implementing in your workout routine in 2021! Remember, quality over quantity! Always execute each move with good form, and then add up the reps and sets. That's how you evolve!

▷Connect with Me
Instagram: https://www.instagram.com/jordanyeohfitness
Facebook: http://facebook.com/jordanyeohfitness
Personal Training Web App: https://ironmastery.com

DISCLAIMER

The exercises and workouts provided in this video are for educational purposes only. They are not to be interpreted as a recommendation for a specific treatment plan, product, or course of action.

Before beginning this or any exercise program, please consult a physician for appropriate exercise prescription and safety precautions.

The exercise instruction and advice presented are in no way intended as a substitute for medical consultation. As with any exercise program,
if at any point during your workout you begin to feel faint, dizzy, or have physical discomfort,
you should stop immediately and consult a physician.

#TrainWithJordan #BodyMaster #IronMastery

今次又去同一個地方，會唔會悶親大家？
如果你望望條片就知道今次去搞搞震，想知搞乜，咁就要去片。

另設Facebook群組Hi Fi 發燒圈，歡迎加入：
https://www.facebook.com/groups/454356881290493/

#音響 #發燒圈 #Lee388 #HiFi #Cello #粵語youtuber

The Audio Palette
Richard S. Burwen developed the concept for the Audio Palette. Burwen found that certain tone control adjustments were necessary to obtain the most natural, lifelike sound from recordings.
Cello has identified the major cause of sonic problems in recordings as the tonal balance that has been adjusted by the recording and mastering engineers in the studio. Each engineer uses a monitoring system that is unique. Because the tonal balance of each system is different, each recording is different. Engineers primarily use equalization to optimize tonal balance for the best sound on their system.

The Audio Palette advances musical realism more than any other single component. Tonal balance can be corrected from the most delicate and subtle adjustments for the best recordings, to the most extreme and dramatic adjustments for vintage material, in order to restore the vitality and life to recordings of music without sonic deterioration.

The Audio Palette is used by record companies, mastering laboratories, and also by discriminating home listeners.

Product Specifications:

The Standard Version of the Audio Palette has one (1) Fischer 3-pin balanced input. The Multiple Input Version (M.I.V.) Audio Palette total of four (4) inputs, one (1) Fischer 3-pin balanced and three (3) single ended.

One (1) set of single ended and one (1) set of Fischer 3-pin balanced main outputs are provided.

Two (2) sets of single ended record outputs are provided.

Frequency Adjustment Controls:
25 kHz control: +/- 24 dB in 1.00 dB increments
5 kHz control: +/- 12 dB in 0.50 dB increments
2 kHz control: +/- 6 dB in 0.25 dB increments
500 Hz control: +/- 6 dB in 0.25 dB increments
120 Hz control: +/- 14.5 dB in 0.50 dB increments
15 Hz control: +/- 29 dB in 1.00 dB increments

Dimensions:
19"w / 7.4"h / 14.1"d (Audio Palette)
19"w / 3.9"h / 8.5"d (Master Supply)

Shipping Weight:
41 lbs. (Audio Palette)
35 lbs. (Master Supply)

Grand Masters
Like the concert grand piano, the Grand Master is the largest model. Elegant in dimension, each Grand Master is a towering cabinet with eight tweeters, eight midranges, and two 12" woofers. These drivers allow for a great quantity of air to be moved quickly, achieving not only very low distortion but a staggering 127-dB SPL peak capability.
Since no single driver is required to overwork, a completely effortless reproduction is evident on even the most demanding musical passages.

Product Specifications:

Tweeters:
3/4" (8)

Midranges:
2" (8)

Woofers:
12" (2)

Design:
Acoustic Suspension

Minimum Power Requirement:
200 watts per channel

Impedance:
2 ohms (nominal)
1 ohm (minimal)

Crossover Frequencies:
500 Hz, 5000 Hz

SPL:
127 dB

Efficiency:
96 dB

Dimensions:
17"w / 86.5"h / 18"d

Weight:
500 lbs. each

The Performance Amplifier II
The Performance Amplifier is a four chassis set, comprised of two mono power supplies and two mono power amplifiers.
The Performance Amplifier includes many engineering features exclusive to Cello, which together provide unparalleled speed, clarity, impact, natural tone quality and reliability.

Each amplifier chassis has a balanced audio input, balanced bridging output, and four sets of barrier strip outputs. Three pin Fischer connectors are used to provide balanced line audio connections of the highest quality.

The cost of the Performance Amplifier reflects Cello's insistence on the most innovative circuitry and premium parts.

The Performance Amplifier offers a combination of sonic purity, power, build quality, freedom from obsolescence, and flexibility that makes a new level of musical integrity and system performance possible.

Product Specifications:

Power Output (single amp):
@8 Ohms Rated: 200 Watts
@4 Ohms Rated: 400 Watts

今年の子供の日は、二人の大好きなアンパンマンとバイキンマンの柏餅。
リノはバイキンマンを食べ悪者退治、アンパンマンはマー君の垂直落下で終了（笑）

リノは普段お餅系等をほとんど食べません(*□*）
ノーマルな柏餅ですが、見た目をキャラクターにすることによって食べる意欲が違いますね (^―^)

Because it is Children's Day, I made Kashiwamochi. This is their favorite Anpanman and Baikinman. We generally celebrate May 5 as "Kodomo no hi (Children's day)", which is one of Japanese national holidays. I was able to form it well somehow. They were pleased.

レシピ：

材料

上新粉(300g)
白玉粉(75g)
片栗粉(75g)
ぬるま湯(230ml)
砂糖(130g)
あんこ(適量)

着色料(各色適量)
柏の葉(適量)

1.白玉粉を粉状にすり潰す。
2.粉状にした白玉粉・上新粉・片栗粉・お湯を混ぜる。
3.砂糖を加えて混ぜる。
4.レンジで加熱する。
5.混ぜて、まとめて、ラップをかける。
6.レンジで加熱する。（2度目）
7.混ぜて、まとめて、ラップをかける。（2度目）
8.レンジで加熱する。（3度目）
9.そのまま粗熱がとれるまで冷ます。
10.よく揉む。
11.切り分けて、食紅で各色に着色する。
12.あんこを丸めて、餅で包む。
13.それぞれのパーツを装飾する。
14.柏の葉で挟んで完成。

※お餅が柔らかすぎると手に付いて形成が困難なので、着色前は少し固め位がベストです。

Recipe:

Ingredients

300g rice flour
75g sweet rice powder
75g potato starch
230ml hot water
130g sugar
Red bean paste - Moderate amount

Food artificial coloring- Moderate amount(every color)
Oak leaf(kashiwanoha) - Moderate amount

1.The powdered the Shiratamako. (sweet rice powder)
2.Mix Shiratamako & Joushinko(rice flour) & potato starch & hot water.
3.Add the sugar, and mix.
4.Heated in a microwave oven.
5.After mixing, it is covered with Saran Wrap.
6.Heating again.
7.After mixing, it is covered with Saran Wrap.
8.Heating again.
9.Cool down a little as it is.
10.Knead.
11.Cut the required quantity, and coloring with a colorant.
12.Make a ball of the red bean paste, wrap it in a rice cake.
13.Decoration.
14.Covered with Kashiwa's leaves...Done!

※Because it remains in a hand when a rice cake is too tender, and the formation is difficult, some rice cake hardening before coloring it is good.

☆ 登録/Subscribe: http://www.youtube.com/user/nozamama
☆ My Children's Channel: http://www.youtube.com/user/rinozawa
☆ ブログ/My Blog: http://rinozama.blogspot.jp/2013/06/anpanman-kashiwamochi-recipe.html