Editing with Warmth 正当阳光灿烂时

June 12, 2019 2019年6月12日
Before → After / KP8 / Warmth +2.0 / Exposure +1.2

This story is part of a content partnership and media exchange between Neocha and VSCO. VSCO’s membership program is designed to help you reach your creative potential. Take the next step in your creative journey by starting your free 7-day trial today and gain access to the complete VSCO preset library, the newest editing tools, and inspiring educational content.

Film X presets offer unique control over the look and feel of your images. In addition to authentically reproducing vintage films, the extra flexibility of Character and Warmth sliders allow you to create entirely new expressions of these iconic looks. Learn about Warmth and how you can use it to add a natural glow to any image.

本篇文章来自新茶媒体合作伙伴  VSCO 的内容交换。VSCO 是一个专门帮助摄影爱好者发挥创造潜力的会员项目。现在就开启你的 7 天免费试用,获取完整的预设滤镜,以及新的编辑工具、视频编辑和教程内容。

Film X 预设滤镜让你可以掌控照片的外观和气氛。除了重现胶片的复古风格,利用其他工具如字符(Character)和温暖(Warmth),提供你创建全新表现的选择。了解更多关于温暖工具,以及如何利用它在照片中注入一股自然光泽。

Find a Film X preset by looking for the white tiles in your preset dock.

To access the Warmth slider, tap the Film X preset you have selected a second time.

在滤镜库里找到有白色背景的选项,就是 Film X 系列。

再次点击 Film X,就可以找到色温(Warmth)工具。

Increasing Warmth gradually shifts the tones in the image toward yellow and orange. This is great for enhancing the feel of a sunny outdoor shot or for balancing out a photo that just feels a little too cold or blue.


FS4 / Warmth +2.0 / Exposure +0.5 / Shadows +3.5 FS4 / 温度 +2.0 / 曝光 +0.5 / 阴影 +3.5
FS4 Fuji Superia 400 / KP8 / Kodak Portra 800 / KG2 Kodak Gold 200

These Film X presets naturally enhance warm tones, making them good starting points if you’re not sure which preset to try first. Even if your favorite preset is cooler feeling, like FP8 below, you can still experiment with new and different variations by adding a touch of Warmth.

Film X 系列预设为暖色调滤镜,如果你在选择滤镜时不知从何下手,它可以是一个很好的尝试起点。即使你最喜欢的滤镜有冷色调的感觉,例如下面的 FP8,你依然能借着将温暖增强,可以实验比较一下。

FP8 / Warmth +4.0 FP8 / 色温 +4.0
KG2 / Warmth +3.0 / Exposure +2.0 / Highlights +12.0 KG2 / 色温 +3.0 / 曝光 +2.0 / 高光 +12.0

6,248 Miles 6,248 英里

June 10, 2019 2019年6月10日



6,248 miles is the distance from Beijing to Los Angeles. But in the documentary short 6,248 Miles, it alludes to a distance that’s much harder to bridge than geography: Alzheimer’s.

The director, Jeffrey Wu, whose grandmother suffered from the disease, was born in the US but spent his early childhood in Beijing with his grandparents, who were his main caregivers. After a year of kindergarten, Wu’s parents took him back to Los Angeles, where he grew up far away from his grandmother.

In 2015, upon learning of the Alzheimer’s diagnosis, Wu traveled back to Beijing for a four-day trip with his father. He brought along a camera, hoping to record some precious moments with his grandma before the disease completely took hold. “I felt really determined,” he recalls. “It might have been my arrogance, but I just didn’t understand how much Alzheimer’s could change my grandma in just a year. I also underestimated how differently we would all view my grandma as a result. Over the course of four days, I went from determined to anxious and, then, to be honest, a little defeated at the end of it all. I realized how little I could actually do for my grandma.”

6248 英里,大约是北京到美国洛杉矶的距离。但在纪录片《6248 英里》(又名《我们中间的距离》)中,描绘了一种远比地理阻碍更难克服的心理距离——阿尔茨海默病。

影像工作者 Jeffrey Wu,他的奶奶正是阿尔茨海默病的患者。虽然他出生在美国,不过童年时候大多是在家乡北京度过,而爷爷奶奶是主要扶养和陪伴他的人。在北京进入幼儿园就读的一年后,父母将 Jeffrey 带回洛杉矶,从此定居在那里,和奶奶分隔两地。

2015 年,在得知奶奶患病之后,他规划了一趟四天的旅程。带着简单的摄影机和爸爸一起回到北京,想记录下这一段也许是奶奶清醒前最后一段在一起的时光。“我认为这可以作为长大后错失和她相处机会的弥补,当时我对于这趟旅程感到很坚定。可能多少因为我的自大,我不明白阿尔茨海默病可以在一年内就完全改变我的奶奶,我也低估了它会如此改变我们对她的看法。这四天之间,我的心情从坚定到焦虑,然后,诚实来说,我觉得我被打败了。因为我意识到我几乎没办法为她做到什么。”

At the end of the trip, Wu’s father told him, “Your intentions are good, but in reality, it’s not going to help. She doesn’t understand. The moment you leave, she won’t remember.”

It was a cruel but sobering statement. Wu’s grandfather remained by his wife’s side as the disease mercilessly progressed and the family even hired two around-the-clock caregivers, but the truth is that Wu himself was largely absent. This forced him to ask, “What role did I play as the American grandson? What more could I have done to help? How does my family maintain relationships when the distance between us seems insurmountable?” Plagued by doubt, he sought answers.

“After returning home from Beijing, I found myself sorting through the footage and piecing it together as a means of coping, an attempt to find meaning in it all,” Wu recalls. “Making films was always a way of expressing myself, but this was the first time I ever tried to tell my own story.”

Upon its release, Wu’s short film, which has been retitled The Distance Between Us, quickly gained traction in the U.S. and abroad: the Alzheimer’s Association of Los Angeles shared the documentary on their website, and a Beijing Alzheimer’s advocacy group included the film as part of their educational course for Alzheimer caretakers. It was also selected to be part of Culver City Film Festival and will be screened at the upcoming Asian Film Festival of Dallas in July.

旅程短暂,终有尽头。准备启程回美国时,爸爸向 Jeffrey 说,“你的意愿是好的,但并不实际。她不会明白的,你一走,她就忘了。”即使残酷,却一语道破现实。虽然爷爷始终守候在逐渐被病症吞噬的奶奶身旁,家人也雇请两个阿姨全天候照顾她,但 Jeffrey 无法参与这个过程,作为一个缺席的小孩,他始终在问自己:“我在家庭中扮演的角色是什么?还有什么是自己能做的?要如何维系家庭即使我们中间隔着这难以克服的距离?”种种疑问萦绕在他的脑海,他也一直在试图寻找答案。

“当我把这些素材拼凑在一起,试图从中找到一些意义,我才渐渐了解到这趟旅程是一种我去“面对”的方法。拍电影一直都是我表达自己的方式,但这是我第一次尝试讲述自己的故事。”Jeffrey 说道。之后,剪辑完的成片被更名为《我们之间的距离》受到海内外不小的关注——洛杉矶阿尔茨海默病协会的分享、北京的阿尔茨海默病倡导团体找上门,将影片作为教育资料、后来还入选美国当地的卡尔弗城市影展(Culver City Film Festival),并在今年七月将于达拉斯亚洲电影节(Asian Film Festival of Dallas)中播映。

Not long after filming, Wu’s grandmother passed away. Wu didn’t expect that four-day trip to be the last time he saw her. “She watched through all the cringey videos I made in middle school and high school,” he recalls. “She would dance in the living room even when I played classic piano songs off-key—she honestly supported anything and everything I did. I could do no wrong in her eyes. I think that’s what hurts the most because I was always young and naive while she was alive. I wasn’t old enough to truly appreciate everything she did for me.”

With this short film, Wu hopes to highlight the devastating effects of Alzheimer’s and stress the importance of people cherishing what time they have with family. The gnawing self-doubt he was originally afflicted with also gave way to clarity. “I not only want to advocate for Alzheimer’s awareness, but I want to advocate for people spending time their loved ones while they can before they can’t anymore.”

拍摄完一段时间后,奶奶离开人世了。Jeffrey 没有想到的是,那四天的旅程竟是他最后一次见到奶奶。“以前她会看完所有我在中学和高中时期拍的那些尴尬的影片,她会跟着我弹得走音的钢琴在客厅跳华尔兹。她支持所有我做的事,我在她的眼里永远不会做错。回想起这一切最让我痛心的地方,是她还在世时我太年轻,没办法理解她为我做的一切。”

这部纪录片伴随着 Jeffrey 与奶奶最后相处的回忆,也把他带到更远的地方去,那些曾经盘踞他心中如乌云般的疑问,也逐渐明朗了。“我想借由这部片提升大家对于阿尔茨海默病的关注,以及即时陪伴家人的重要性,在你还可以做到之前。”

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Instagram: @moodinfinite


Contributor: Yang Yixuan



Instagram: @moodinfinite


供稿人: Yang Yixuan

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Working in the Gray 乌云背后的彩色图案

June 7, 2019 2019年6月7日

“Cities can be overwhelmingly gray,” declares Zihee, a tattoo artist, from her perch in a rooftop studio. It’s an odd statement, considering the bustling streets below us, crowded with neon signs and fashionistas sporting the latest colorful trends. She shares the space with two other artists who are currently at work with new clients. Dressed in her usual all black and hair up in a ponytail, Zihee chooses her words carefully, not out of shyness, but out of a desire to express her thoughts as precisely as possible. “I think colorful images can pierce through that grayness, and really draw in people’s gazes,” she says, her voice barely audible over the sound of needles that fills the room.

Zihee is a rising star among tattoo artists in South Korea. In less than five years, her tattoos—marked by bursting blues, deep reds, and forest greens—have attracted such a large following that she has been invited to do guest work in Barcelona, London, Los Angeles, and Hong Kong. 

“城市,总让人有‘黑云压城而欲摧’之感。”在纹身艺术家 Zihee 的屋顶工作室里,她如此说道。对照我们楼下人头攒动的街道,充斥着霓虹招牌和穿着五彩斑斓的时尚达人,这个说法显得有点奇怪。她和另外两位正在跟新顾客交流的文身师分享这个工作室。素日里,Zihee 身着一身黑,头发扎成马尾。她措辞谨慎,不是因为羞怯,而是想尽可能准确地表达自己的想法。我认为色彩丰富的图可以穿透那层乌云,真正吸引人们的目光。在充满房间的针刺声里,Zihee 的声音几乎听不到。

Zihee 是韩国文身艺术家中一名冉冉升起的新秀。在不到五年的时间里,她的文身——以抢眼的蓝色、绛红色和森绿色为标志——吸引了众多粉丝,也让她受邀前往巴塞罗那、伦敦、洛杉矶和香港做嘉宾项目。

Her artistic ambitions can be traced back to her childhood. Fascinated with cartoons as a kid,  she often spent entire days hunched over on the ground drawing instead of going to school. This interest in the moving image led her to major in animation in college. Though tattoos are static, her approach to colors remains heavily influenced by her background in animation: “I’m drawn to color because, just like in animation, I can layer different shades within a clearly defined area,” she says. “I can watch the colors blend without disrupting the unity of the overall work.” She emphasizes that the precision of lines and how neatly color is kept between them is crucial, referring to Edward Hopper as an artist whose work she admires for exemplifying these qualities.

Zihee 对艺术的向往可以追溯到她的童年时代。小时候的她为卡通深深着迷,比起上学念书,她更常常花一整天的时间趴在地上画画。为此,她在大学时也选择了主修动画专业。尽管文身是静态的,但她对色彩的态度仍然受到她动画的影响:我被色彩所吸引,就像在动画中一样,我可以在一个明确定义的区域内给不同的色调分层。也可以在不影响整体作品的统一性的前提下,观察这些颜色的混合。她强调,线条的精确和色彩的干净是至关重要的,她提及了艺术家爱德华·霍普(Edward Hopper),因为很欣赏他的作品体现了这些特质。

The ambiance of her studio is laid back, with a constant background of rock and hip-hop music. Sunlight streams in through the windows, and various art books featuring animals, such as one on dragons from different continents, are strewn across a coffee table for inspiration. Zihee understands the collaborative nature of the business as central to furthering her art, and she frequently brainstorms with her colleagues. Even clients play the role of collaborators. “A lot of my trademark designs have come from clients, and my clients have given me the opportunity to work on designs that I had never tried or thought of before.” Her multicolored snake, now one of her most popular tattoos, was originally inspired by a client who asked for a flower and all the colors of the rainbow in a snake.

Zihee 工作室里的氛围很悠闲,萦绕着摇滚和嘻哈歌曲。阳光透过窗户打进来,各种以动物为主题的艺术书散在咖啡桌上,其中有一本是来自不同大洲的巨龙。Zihee 以此寻求灵感。她知道商业合作的本质也是她拓展艺术创作的核心,她经常与她的同事头脑风暴,甚至有时候顾客也扮演合作者的角色。我的很多设计都来自文身者自己的想法,而他们也给了我机会去设计一些我以前从未尝试过或想过的设计。她现在最流行的文身之一:五彩蛇,最初的灵感就来自一名要求一朵花和所有彩虹颜色集在一条蛇上的顾客。

“When you meet her, you know you have nothing to worry about—you’ll know you are in the hands of a good artist,” a client tells me. He came with only a vague idea of what he wanted for his tattoo—one of Zihee’s snakes—but he hadn’t decided on the size or color. After some discussion, they reached an agreement  and Zihee got to work. “I thought I was going to get two or three colors, but she brought out fifty,” he recalls. “She plans a lot but can also be very flexible. The work was almost evolving as she was going.”

当你见到她,你就知道没什么可担心的——因为你知道你被一个很棒的艺术家‘接手’了。一个来文身的顾客告诉我,他来的时候只有一个模糊的概念,就是希望他的文身包含那条蛇,但他还没有最终决定尺寸和颜色。经过一番讨论后,他们达成一致,Zihee 着手工作。我原以为会有两三种颜色,但她拿出了 50种。”客户回想道,“她有很多计划,但也可以随机应变。作品几乎随着她的想法递进而层层蜕变。”

In describing her art, Zihee returns again and again to the ideas of “precision” and “flawlessness” that give her tattoos an incredibly clean, almost geometric, finish. When asked if this affinity might come from her personality, she laughs. “No, I’m actually not that neat and organized, but my art turns out that way.”

在描述自己的艺术时,Zihee 一次又一次地回归到“精确”和“完美”的理念,这让她的文身呈现出难以置信的干净,几乎呈现出几何学的美感。当被问到这是不是和她个性相同的时候,她笑说:“不,实际上我不是那么整洁和有条理的人,但我的艺术作品是这样的。”

Zihee is hopeful about the younger generation of tattoo artists she is a part of. Tattoos are still illegal in South Korea, but Zihee says people are becoming more receptive to them, seeing body art as part of a larger fashion culture. She also mentions that though many Korean artists are finding success abroad, she hopes that they’ll continue contributing to the local tattoo scene. To this end, she’s currently taking on students interested in the craft, teaching them just as she was mentored not too long ago.

Zihee 对年轻的文身艺术家抱着希望,当然她也正是其中一员。在韩国,文身仍然是非法的,但是 Zihee 说人们对文身的态度越来越包容接纳,他们认为身体艺术是更宏观的时尚文化的一部分。她还提到,尽管许多韩国艺术家在国外获得了成功,但她希望他们能继续为当地的文身艺术做出贡献。为此,她目前正在招收对这门手艺感兴趣的学生,就像她不久前她也是学员一样。

With more than half of her social media followers living abroad, Zihee will continue traveling the world in search of new inspiration. An excitement crawls into her voice as she recalls being surprised by the open expressions of her American clients, or the way clients in Barcelona would chat endlessly with their tattooists. In contrast, she also recalls being surprised by her clients in England, where the culture reminded her a lot her Korean clients, who are generally more quiet and formal. What she’s found to be most rewarding has been the human connection, the opportunity to meet with people from all walks of life. She remembers one client who started crying tears of joy because he was so satisfied with the tattoo. “The thought that I could give someone that kind of emotion gave me goosebumps,” she says.

Now, with a budding community at home and a growing list of clients abroad, Zihee’s colorful tattoos are gradually seeping into streets all around the world—the grayness receding at her touch.

Zihee 的社交媒体上的粉丝,有一大半生活在国外,她也将以此为契机,继续周游世界,寻找新的灵感。她回忆起一名美国顾客对她公开表达的惊讶之情,巴塞罗那的顾客不停地和文身师聊天时,她的声音激动地颤抖。对比之下,她也记得让她倍感惊喜的英国文身者,那里的文化让她想起了韩国人,这些文身者通常都比较安静和严肃。Zihee 发现,最有价值的是人与人的交往、与各行各业的人会面的机会。Zihee 记得有位顾客因为对文身太满意而流下了眼泪。一想到我能给人那样的情感,我就会激动得起鸡皮疙瘩。她说。

现在,这个在韩国境内正在萌芽的文身社区和其越来越多的外国爱好者,Zihee 的色彩文身正逐渐渗透到世界各地——那压抑在城市上方的黑云,在她的影响下,也在慢慢消失。

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Instagram: @zihee_tattoo
Facebook: ~/krziheegmailcom/


Contributors: Eugene Lee, Joe Park
Chinese Translation: Chen Yuan

Images Courtesy of Zihee



Instagram: @zihee_tattoo
脸书: ~/krziheegmailcom/


供稿人: Eugene Lee, Joe Park
英译中: Chen Yuan

图片由 Zihee 提供

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Underground & On the Air 诞生于画廊的独立“夜店”

June 5, 2019 2019年6月5日

A tiny elevator plastered in stickers struggles its way up to the 12th floor of a Hong Kong apartment building. When it arrives I step out to find myself in a miniature shop crammed with an eclectic assortment of toys, vinyl racks, cassette tapes, and even a stack of vintage VHS porn. This is the unlikely headquarters of Absurd Trax, Hong Kong’s most prominent crew of DJs and producers dedicated to experimental club music. No one seems to mind the shoebox-sized space—in fact, they treasure it. In a city with astronomical rents and a constantly dwindling choice of music venues, they rally around the space they consider home.

一幢香港公寓楼里,贴满贴纸的小电梯摇晃着地往上攀升,一直到 12 楼停下。走出电梯,我发现自己身处一间狭小的商店里,里面堆满各种各样的玩具、唱片架、盒式磁带,甚至还有一堆复古的家用录像(VHS)色情片。这里就是 Absurd Trax 的工作室,让人有点意外。对于这群专注于实验俱乐部音乐的 DJ 和制作人,逼仄的空间并无大碍,事实上,他们很珍惜这个空间。在香港这个租金高昂、音乐场所不断减少的城市,他们聚集在这个小小的空间中,把这里称之为家。

Absurd Trax defies categorization. The music they produce is based on established club genres, but it quickly departs from the formula to incorporate unconventional beats and instrumentation. Six members make up the crew: the founder Gavin Wong (aka T0C1S), Kelvin T, Tsalal, ASJ, Alexmalism, and shealwaysappears. Another member, ANNA, passed away earlier this year. In addition to their record label, they also run a blog, the aforementioned shop, and a radio station called Hong Kong Community Radio, or HKCR—all out of their cramped 12th-floor office.

Absurd Trax 的音乐很难分类。他们基于传统俱乐部流派创作电子音乐,又脱离其经典公式,不拘一格融入了非传统的节奏和乐器。团队共有六名成员:创始人 Gavin Wong(又名 T0C1S)、Kelvin TTsalalASJAlexmalism和 shealwaysappears。另一位成员 ANNA 今年早些时候去世。除了他们的音乐厂牌外,Absurd Trax 还经营着一个博客、一家商店以及一个名为香港社区广播(Hong Kong Community Radio,简称 HKCR)的电台——所有这些都在这个位于 12 楼的狭窄工作室内完成。

From left to right: Kelvin T, Alexmalism, ASJ 左到右:Kelvin T, Alexmalism, ASJ

Listen to to some of our favorite tracks from Absurd Trax below:

点击即可试听几首 Absurd Trax 成员的歌曲:

With space at a premium, competition is fierce, and underground scenes are difficult to sustain. In the nightlife district Lan Kwai Fong, most bars and clubs play mainstream music with commercial appeal, leaving little room for experimentation. It’s a common problem in Hong Kong: there aren’t many outlets for niche tastes like Absurd Trax, and the few remaining independent outlets keep shuttering.

由于空间有限,竞争激烈,地下音乐越来越难以为继。在夜生活中心的兰桂坊,大多数酒吧和夜店都会播放更具商业魅力的主流音乐,实验音乐几乎没有生存的空间。 这是香港的一个常见问题:能容纳像 Absurd Trax 这样的小众音乐的场所不多,剩下的少数独立音乐场所也在逐一倒闭。

One venue that stood out as an exception was XXX Gallery, an important meeting point for the city’s creative outcasts. That’s where the Absurd Trax crew first got together. “We all met online originally,” Alexmalism says, setting down his electric violin. “But XXX was where we really started everything and became friends in real life. We did shows, had record clubs, and hosted workshops there.” Sadly, the space closed its doors in 2018, leaving a vacuum in the creative community.

在这些小众的音乐场所中,最著名的是 XXX 画廊,这个香港小众创意文化的重要交汇点,也是 Absurd Trax 成员第一次见面的地点。“我们最初都是在网上认识的。” Alexmalism 边说着,边放下了他刚演奏过的电子小提琴。“但是,在 XXX 画廊碰面后,我们才在现实生活中成为朋友,真正开始这一切。我们在那里做过节目、办过唱片俱乐部和工作坊。”遗憾的是,画廊去年关门了,整个创意社区仿佛失去了重心。

In its absence, Absurd Trax floats between whatever venues they can find, often random bars and semi-legal raves in discreet warehouses. There are festivals like Sónar and Clockenflap, but they only come around once a year. One veteran from XXX, James Acey, now works as the music director of the Eaton Hotel, where he’s been using his position to create more spaces for the scene, but they’re still limited. The speaker system from XXX ended up at HKCR, and now even their tiny office has become a makeshift performance space.

“HKCR is the club now!” ASJ chirps, only half-joking. The only reason they have their current space is because their building, Foo Tak, on Hennessy Road, the main commercial strip of the Wan Chai neighborhood, is a “vertical arts village” whose landlord offers heavily discounted rents to artists and community groups.

画廊关门后,Absurd Trax 来回于他们所能找到的各种场所,比如随机挑选的酒吧、在隐蔽仓库举行的半合法聚会等等。香港也有会举办各种音乐活动,譬如 SónarClockenflap 音乐节,但这些活动一年只举办一次。来自 XXX 画廊的 James Acey 现在是逸东酒店的音乐总监,他现在会尽量利用自己的职位,为小众音乐提供表演场所,但成败参半。XXX 画廊的音响系统如今留在了 HKCR,而 Absurd Trax 狭窄的工作室也成为了一个表演空间。

“HKCR 现在也是一家夜店了!” ASJ 半开玩笑说道。他们的这个工作室位于湾仔的主要商业街轩尼诗道上,之所以能保留现在这个工作室,唯一的原因是因为他们所在的富德楼是一个“垂直艺术之乡”,业主为艺术家和社区团体提供了大幅度的租金优惠。

“Our music is very niche here. You need a physical space as a platform to develop your artistry,” says Kelvin T, between jokes. But he accepts their position in the city. “People don’t always go to popular clubs for the music anyway—it’s often just a place to party.” Instead, they often throw private parties just for themselves.

“When only a couple people show up for my performance, they’re the ones who are really into music,” says Alexmalism. “Those people are so precious to me. Sometimes you have a larger crowd, but they don’t always care about what you’re doing.”

玩笑之余,Kelvin T 说:“我们的音乐在这里算是非常小众的。”但他接受团队的音乐在这座城市的地位,“我们需要一个实体空间作为平台来磨炼自己的技术。”“而那些热闹的夜店,去的人往往也不是为了听音乐的,大多时候,人们只是想去蹦个迪。”相反,他们常常会举办属于自己的私人派对。

Alexmalism 说:“我表演时,可能只有廖廖几位听众,但他们是真正喜欢音乐的人。对我来说,那些人才是最珍贵的。有时候即使听众多,也不一定说明他们对你的创作感兴趣。”

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Contributor: Mike Steyels
Photographer: Tang Kam Hong Kenneth
Chinese Translation: Olivia Li





供稿人: Mike Steyels
摄影师: Tang Kam Hong Kenneth
英译中: Olivia Li

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