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The sixth age shiftsInto the lean and slipper'd pantaloon,With spectacles on nose and pouch on side,His youthful hose, well saved, a world too wideFor his shrunk shank; and his big manly voice,Turning again toward childish treble, pipesAnd whistles in his sound. Last scene of all

第六个时期变成了精瘦的趿着拖鞋的龙钟老叟，鼻子上架着眼镜，腰边悬着钱袋；他那年轻时候节省下来的长袜子套在他皱瘪的小腿上显得宽大异常；他那朗朗的男子的口音又变成了孩子似的尖声，像是吹着风笛和哨子。

Into the lean And slipper'd pantaloon,With spectacles on nose And pouch on side,His youthful hose, well saved, a world too wideFor his shrunk shank; And his big manly voice,Turning again toward childish treble, pipesAnd whistles in his sound. Last scene of all

第六个时期变成了精瘦的拖着拖鞋的龙钟老叟，鼻子上架着眼镜，要变悬着钱袋；她那小小心心省下来的年轻时候的长袜子套在他皱瘪的小腿上宽大异常；他那朗朗的男子的口音又变成了孩子似的尖声，像是吹着风笛和哨子。

We are raveling by train.Out the windows,we drink in the passing scene of cars on nearby highways,of children waving at the crossing,of cattle grazing on a distant hillside,of smoke pouring from a power plant, of row upon row of corn and wheat,of flatlands and valleys,of mountains and rolling hillsides,of city skylines and village halls.

乘着火车，我们领略着窗外流动的景色：附近高速公路上奔驰的汽车、十字路口处招手的孩童、远山上吃草的牛群、源源不断地从电厂排放出的烟尘、一片片的玉米和小麦、平原与山谷、群山与绵延的丘陵、天空映衬下城市的轮廓，以及乡间的庄园宅第！

We are traveling by train. Out the win dows, we drink in the passing scene of cars on nearby highways, of children waving at a crossing, of cattle grazing on a distant hillside, of smoke pouring from a power plant, of row upon row of corn and wheat, of flatlands and vall eys, of mountains and rolling hillsides, of city skylines and village halls.

乘着火车，我们领略着窗外流动的景色：附近高速公路上奔驰的汽车，十字路口处招手的孩童，远山上吃草的牛群，源源不断地从电厂排放出的烟尘，一片片的玉米和小麦，平原与山谷，群山与绵延的丘陵，天空映衬下城市的轮廓，以及乡间的庄园宅第！

Out the windows, we drink in the passing scene of cars on nearby highways,of children waving at a crossing, of cattle grazing on a distant hillside

乘着火车，我们领略着窗外流动的景色：附近高速公路上奔驰的汽车、十字路口处招手的孩童

Out the windows, we drink in the passing scene of cars on nearby highways, of children waving at a crossing, of cattle grazing on a distant hillside, of smoke pouring from a power plant, of row upon row of corn and wheat, of flatlands and valleys, of mountains and rolling hillsides, of city skylines and village halls. But uppermost in our minds is the final destination.

我们欣赏着窗外的美景：附近高速公路上的小汽车，十字路口上挥舞着手臂的小孩，远处山坡上吃草的牛群，发电厂处升起的黑烟，一排接一排的小麦和玉米，平原和山谷，山峰和起伏的山坡，城市的轮廓和乡村的门厅，但是在我们心中最重要的是最终的目的地。

We are traveling by train. Out the windows, we drink in the passing scene of cars on nearby highways, of children waving at a crossing, of cattle grazing on a distant hillside, of smoke pouring from a power plant, of row upon row of corn ad wheatof flatlandsand valleys, of mountains and rolling hillsides, of city skylines and village halls.

乘着火车，我们领略着窗外流动的景色：附近高速公路上奔驰的汽车、十字路口处招手的孩童、远山上吃草的牛群、源源不断地从电厂排放出的烟尘、一片片的玉米和小麦、平原与山谷、群山与绵延的丘陵、天空映衬下城市的轮廓，以及乡间的庄园宅第！

Out the windows, we drink in the passing scene of cars on nearby highways, of children waving on a crossing, of cattle grazing on a distant hillside, of smoke pouring from a power plant, of row upon row of corn and wheat, of flatlands and valleys, of mountains and rolling hillsides, of city skylines and village halls.But the uppermost in our minds is the final destination.

乘着火车，我们领略着窗外流动的景色：附近高速公路上奔驰的汽车、十字路口处招手的孩童、远山上吃草的牛群、源源不断地从电厂排放出的烟尘、一片片的玉米和小麦、平原与山谷、群山与绵延的丘陵、天空映衬下城市的轮廓，以及乡间的庄园宅第！

One of Adapta's principal missions is to create a dialogue between the Western and Asian street art scene, and therefore, we have specifically invited local artist duo, Graphic Airlines, together with French street artist, L1ES ONE, to participate in "live art performance" sessions, to demonstrate their skills at our branch gallery on Hollywood Road and main galley on Old Bailey Street.

Adapta其中一个主要任务是为东西方街头艺术制造沟通的桥梁。因此，我们特别邀请了两位本地艺术家二人组Graphic Airlines和法国街头艺术家L1ES ONE参与画廊位于荷里活道分店及奥卑利街主店举行的&现场艺术表演&环节，向公众展示他们的技巧。

I'll describe a shot from the Exterior Brookfield sequence of an exterior of a row apartment on fire with an explosion blasting out the third story windows. The shot was composited on an Inferno by Bob Wiatr. We started with a live plate of the street scene. Our first task was to remove a foreground chainlink fence and camera crew. We recreated the fg matching the flashing ambulance lights. To create a snowy, misty look we used a number of logic ops of the bg with a mist plate which was basically the bg heavily blurred and multiplied back onto itself, graduating to create a sense of dimensionality. Glows were added around lights and flames using Sapphire plug-ins and light beams were added to streetlights. Four or five layers of 3d particle snow created in Maya were combined with practical elements varying in size and focus depending on distance from the camera.A miniature explosion element was incorporated into the comp, also with added glows, interactivity with the building, and rotoscoping of foreground objects. The entire comp was then time warped for editorial matching with the subsequent cut.

我可以描述一个Exterior Bookfield的几个镜头，那是一排的公寓着火，在三楼窗户引起爆炸，这个镜头是Bob Wiatr用Inferno合成的，我们用一个现场的街道镜头开始，我们的第一个任务是删除一个在前景中的链条状的篱笆和摄像人员，我们重新制作了前景以期与前景中的闪烁的救护车灯匹配，为了制作一个下雪的雾蒙蒙的效果，我们用了大量的logic ops，用了一个雾层，这个层基本上就是把背景尽量模糊然后再把它重新加到背景上面，渐变式的制作出一个层次感，自发光用Sapphire插件加在灯光和火焰的周围，而光线被加到路灯上，在maya中制作的四到五层的三维的粒子雪用来和不同大小的真实的素材混合在一起，焦距则依赖镜头的景深，同时在楼房爆炸的地方加入了一个缩小了的爆炸素材，以及爆炸的辉光效果，和重新放置的前景物体，整个的镜头接着匹配时间用来做最后的剪辑制作。

They weren't aggressive, but I yelled and threw a rock in their direction to get them off the trail and away from me, just in case.

他们没有侵略性，但我大喊，并在他们的方向扔石头让他们过的线索，远离我，以防万一。

In slot 2 in your bag put wrapping paper, quantity does not matter in this case.

在你的书包里槽2把包装纸、数量无关紧要。