hard sound effects的八卦，Yahoo名人娛樂都在討論

Hello. I am KIVΛ.

Over the past 3 years, I have been working under Rayark Inc. on the rhythm game title 《Cytus II》 as Sound Director, as well as music and sound effects production, together with story design and a portion of motion design. In June last year, I found myself going into different paths with the company, so I left the position as regular staff member, but continued to work with the remainder of the project until version 3.0, where the story finally reaches the finale, so did my journey and objectives for this game development journey. Having this opportunity, I would like to share some of my thoughts regarding this epilogue.

Since I joined this project, the focus of design has always been the joint experience of story and music. With the story reaching the end, I would like to potrait the overall ambient to be more film-like, which players might experience the tension of the climax through music. Having such thoughts, I was determined to unify the music genre in 3.0 as film-score like, blending in motifs from song lineup of each and every game character. I am totally aware that level design for symphonic music is difficult, especially in emphasizing the groove like how it was usually done in electronic music. I want to thank all level designers for their hard work in overcoming such challenges.

The epic vibe from combining contemporary electronic and symphonic music is something that I always wanted to attempt for, and in my previous works there has been appearance of such sound elements, but by using only virtual instruments it might just not reaching my expected result. I want to thank Rayark for being so generous to provide all the support, making the symphonic recording come true.

Having such opportunity, I went for two of my friends who I have never work together with: Shao-ting Sun, a recording engineer in Carnegie NYC; Chamber Chu, a symphonic music producer. They have been my game peers for quite a while, but I have always been admiring their aesthetics and abilities in sound design, and these two grandmasters have definitely outperformed themselves. I spent a whole week staying with Chamber for the arrangement of symphonic parts, which was a very precious experience in music creation. The recording team that Sun brought together, as well as the professional performers that participated in the recording session, is by no doubt astonishing. Recalling that we rushed for the full score of all the pieces until the very morning of the recording session (our sincere apologies), but it took no more than 5 takes for all sections to get the desired outcome. Absolutely fascinataing.

It is also worth mentioning that the entire team of roughly 60 were all Taiwanese. I guess we might have made another achievement in the history of Taiwanese game music production. I am so honoured to have the opportunity in leading such a groundbreaking project, together with all the grandmasters.

3 years isn't that long, but it is more than one out of ten for my life. There were other creation experience that were fun but painful, and many achievements were unlocked when I worked in this company. Standing on the stage in front of the screaming crowd, working with Japanese voice actors that I admired for so long, having so many supporters of my work, all these could never be possible without Rayark. Even I left the company going for different paths, I still wish for the very best of this company to become a even better one.

It is a pity that I can no longer work together with the fantastic members of Team Cytus. Perhaps they are fed up with my twisted personality and being stubborn for what I wanted to create. I would like to thank you all for your understanding and forgiveness. Each of you have the profession and passion, and I found myself so tiny and unintellegent working with all of you, and I have learned a lot over the years. I wish all of you could push the creative industry in Taiwan even further forward. I am returning as a mere artist, working hard on what I could. No matter how harsh life is, I am still working on it, as this is the only thing I am capable to do.

Last but not least, I would like to thank all of you players that have supported this game. Without you, this could never happen. No matter to me, to the Team and to the players, 《Cytus II》 might not be the perfect piece of game, we might have different imaginations on the enormous world settings, characters or even the game design itself. What in common was we spent 3 years to experience the creation and playing process. It is the story and music that linked us together. I believe this is the charisma of the game. I wish you are all loving this game, loving the characters, and loving the time that we created together.

There are so many more to thank, to apologize, the satisfaction and sorrows, and they are all included in this ending music. It is time for me to step down.

Thank you, and goodbye.

【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

‼️ LUYỆN ĐỀ WRITING TASK 2 ‼️

Đề bài: You should spend about 40 minutes on this task.

Write about the following topic: It is generally believed that some people are born with certain talents, for instance for sport or music, and othersare not. However, it is sometimes claimed that any child can be taught to become a good sports person or musician.

Discuss both these views and give your own opinion. Give reasons for your answer and include any relevant examples from your own knowledge or experience.

Write at least 250 words.

BÀI MẪU:

Whenever people talk about what make successful persons such asoutstanding athletes or musicians, their views will certainly differ from thatnature fills a dominant role in determining if one may possibly become anexpert in some field to that it is nurture that exerts direct effects.

It must be admitted that there indeed exist some people born with innatetalents which predict the possibility for a would-be winner. In other words,without these suitable characters which more or less are beneficial to mastersome skills, there is little likelihood to become elites in an area. Also,there is growing evidence that those with born talents achieve more than thosewho do not have, which naturally become a motivator for further triumph.Therefore, an increasing number of parents begin to observe or even experimentto judge if their children fortunately possess some talents to allow them toexcel.

However, some people still argue for the belief that with professional andsystematic training, each one may have surprisingly brilliant performance innot only academic but also entertainment field. Those who are capable of makingamazing achievement in later days, as a matter of fact, have inherited sometalents via genes if researched carefully. As a result, if not having enviabletalents, sound education system and hard-working can at most quality someone inone field, but never send him/her to the top.

In conclusion, my strongly held view is that natural talents are theprerequisite for anyone who desire to be excellent in some areas like sport andart, but subsequent professional training will unquestionably endow anyone withbasic skills.

PHÂN TÍCH BÀI MẪU

Bài văn gồm bốn phần:·

Đoạn 1: đưa rathông tin chung, khái quát.
Đoạn 2: đưa ra ý kiến rằng những người có tài năng bẩm sinh thì sẽ đạt được thành tựu xuất sắc
Đoạn 3: đưa ra luận điểm thứ hai rằng những người không có năng khiếu bẩm sinh thì có thể trau dồi thêm nhưng sẽ không thể vượt qua được những người có năng khiếu
Đoạn 4: kết luận.

TỪ VỰNG NỔI BẬT:
outstanding (a) : xuất sắc, nổi bật
determine (v) : quyếtđịnh, xác định
nurture (v) (n) : sự nuôi dưỡng, giáo dục
admit (v) : thú nhận
exist (v) : tồn tại
evidence (n) : bằng chứng, chứng cứ
possess (v): sởhữu
triumph (n) : thắng lợi, thành công
to be capable of sth: có khả năng làm điều gì đó
to desire to do sth: khaokhát, mong muốn làm điều gì đó
prerequisite (a) : tiên quyết, cần phải có trước tiên
subsequent (a) : đến sau, theo sau

MẪU CÂU NỔI BẬT:
1. It must be admitted that there indeed exist some people born with innate talents which predict the possibility for a would-be winner.
2. Asa result, if not having enviable talents, sound education system and hard-working can at most quality someone in one field, but never send him/her to the top.
3. In conclusion, my strongly held view is that natural talents are the prerequisite for anyone who desire to be excellent in some areas like sport and art, but subsequent professional training will unquestionably endow anyone with basic skills.

Các bạn cùng tham khảo nha!

大家好，我來自馬來西亞
在艱難的2020年，我透過留學的方式來到了紐西蘭拍攝
為了完成這組作品，記錄下最原始純凈的中土世界自然風光
我花了10個月時間實現新西蘭南北島自駕大縱走，超過32000公里的旅程
Hello everyone, I am Yap Hui Phong from Malaysia.
In 2020, I filmed a video by studying abroad in New Zealand.
In order to complete these works, I recorded the most primitive and pure nature of New Zealand.
It took me 10 months to realize a self-driving trip across the North and South Islands of New Zealand. The total mileage exceeds 32,000 kilometers.

從北島的塔拉那基山，到南阿爾卑斯山的最高峰庫克山
從東海岸廣袤無垠的坎特伯雷平原，到西海岸郁郁蔥蔥的冰川雨林
我背著30公斤的器材上到高山之巔等待日出的到來
也在同一地點蹲守數日，只為等待落霞與孤鶩齊飛的一刻
我迷戀於波瀾壯闊的太平洋，也驚嘆世界上最大的星空保護區下的萬點繁星
我曾在38℃的炎熱高溫下熱淚盈眶，也在-12℃的刺骨寒風中瑟瑟发抖
From Mount Taranaki on the North Island to Mount Cook, the highest peak of the Southern Alps.
From the vast Canterbury Plain on the east coast to the lush and glacier rainforest on the west coast.
I carried 30 kilograms of equipment to the top of the mountains to wait for the sunrise.
Staying at the same place for a few days, just to wait for the moment when the sunset and the lonely bird fly together.
I am obsessed with the magnificent Pacific Ocean. And also marvel at the view of stars under the world's largest International Dark Sky Reserve.
I used to have tears in my eyes under the hot temperature of 38℃, and also shivered in the freezing wind of -12℃.

奔山赴海，只為心中的熱愛
無所畏懼，只因那不屈的執念
忘了有多少個夜晚，我癡癡地守候在三腳架前，等著將滿眼的星河燦爛一點點寫入相機裡
拍攝照片超過20萬張，不斷購買硬碟用以儲存檔案，經過1000多個小時的後期制作，最終精簡成這12TB的素材
也忘了有多少個夜晚，我伏案電腦前，一次次調整修改照片的每一個細節，常常不知不覺中发現窗外天色已微亮
I can go over the mountain and across the sea, just because I love and enjoying in filming.
I am fearless, just because of the unyielding obsession.
Forgot how many nights there were. I was waiting in front of the tripod to write the entire galaxy into the camera bit by bit.
I keep buying hard drives to store the files. I have took more than 200,000 photos and post-production more than 1,000 hours.
Finally reduced to this 12TB material.
I also forgot how many nights there were. I seat in front of my computer adjusting every details of the photo again and again. And often unconsciously find that the sky outside the window is slightly bright.

為了新西蘭最能代表春天的魯冰花，拍攝到完整的四季
我再一次申請延長留在新西蘭的簽證，守候蒂卡波湖畔半個月，只為捕捉到魯冰花盛開的那一刻
為了捕捉螢火蟲的美，我深入與世隔絕的深山洞穴，雙腳浸泡在溪流中三天才拍出想要的畫面，在這三天里都與螢火蟲為伴
In order to be able to capture the Lupins which represent the spring of New Zealand, and also to film the complete four seasons of New Zealand.
I applied for an extension of my visa once again to stay in New Zealand. And waiting by the Lake Tekapo for half a month, just to capture the moment when the Lupins bloom.
In order to capture the beauty of Glowworm, I went deep into the cave in the isolated mountain. My feet were soaked in the stream for three days before I took the picture I wanted.

而這部作品也成功獲得了8KRAW攝影大賽 第一名
在全世界最頂尖的團隊所辦的比賽，我很幸運拿到了夢寐以求的獎項
還要感謝精研國際 呂文元導演一直大力支持我的計劃
得到精研國際的支持讓我設備，技術大幅升級得以製作出高規格的作品
這也讓我更加堅定追求心中的熱愛，繼續去追逐我的夢想與創作
Fortunately, the film also successfully won the first place in the 8KRAW photography contest.
In the competitions held by the best teams in the world, I was lucky to have won the coveted award.
I also want to thank Director Wen-yuan, Lu of HD.CLUB CO., LTD for supporting my plan.
With the support of HD.CLUB CO., LTD, my equipment and technology have been greatly upgraded to produce high-standard works.
This also makes me more determined to pursue what I love and continue to work hard on my dreams and creations.

器材方面/Gear:
製作8K 的設備 Production 8K Equipment：ASUS ZenBook Pro Duo 15 UX581GV
Higrace 投入式漸層濾鏡系統：ZERO R0.6 | R0.9 | S0.9 | NDCPL32 | ND1000
YC 洋蔥熱狗滑軌 l 飛宇Qing l Vixen Polarie

Sony A7R4 | A7R3 | A7R2（MOD）
-Canon 16-35 F2.8 L ii
-Sigma 24-70 F2.8 Art
-Sony 100-400 F4.5-5.6 GM
-Sigma 14 F1.8 Art
-Sony 24 F1.4 GM
-Sigma 40 F1.4 Art

軟體Software:
LRTimelapse | Adobe Lightroom | Premeire l DaVinci Resolve 17 | After Effects | Media Encoder | Photoshop

若有縮時專案或8K縮時素材授權需求
If there is a time-lapse project or 8K time-lapse material authorization needs，Manufacturers are welcome to cooperate
LINE：yaphui96 Mr.Phong，馮先生
Email : yaphui01111740800@gmail.com

關於我的故事：https://www.youtube.com/watch?v=gFtcGnjyIEQ
臉書FaceBook : https://www.facebook.com/yaphui1996
INSTAGRAM : https://www.instagram.com/yh.1102/
音樂Music：Cassiopea - FullMix-15297
Maximum Impact Aurora 3149 - Look To The Stars 3149/7
影片歡迎個人非營利 FB 分享

前回の動画を観て、皆さんから沢山のリクエストをいただいた脚痩せ企画！

実際に私が脚痩せした時と同じ順番で同じ内容で撮影してみました！

高校生ぐらいから下半身が太いのが悩みで
何をやっても痩せなかった私の脚。
今年の1月からフォームローラーで脚のほぐしを毎日行い、3月頃には今まで履けなかったデニムが履けるように！

筋膜リリースで期待できる主な効果は冷え性、浮腫み、疲れ、老廃物、代謝アップなどなど
そして下半身痩せには、私は自身をもってフォームローラーでの筋膜リリースをオススメします！

初めての方は激痛覚悟で行って下さい（笑）
まずは3日、1週間と…続けていくうちに痛くなくなり、その頃には結果もついてくるはず！！
始めから頑張りすぎず無理は禁物です！

動画でやってみた感想ぜひぜひ、教えてね♡

〜　See below for the English version.　〜

Hi friends,
This time, I tried my first English subtitles.
The content is a training video of lower body thinning.

I'm worried that my lower body is thick since I was a high school student.
My legs didn't lose weight no matter what I did.
From January of this year, I will loosen my legs with a foam roller every day so that I can wear denim that I could not wear until around March!


The main effects that can be expected from fascia release are poor circulation, swelling, tiredness, waste products, metabolism up, etc.
And for lower body thinning, I recommend myself to release the fascia with a foam roller!


If you are new to this, please be prepared for severe pain.
First of all, 3 days, 1 week ... As you continue, it will not hurt, and by that time the results should come!
Don't try too hard from the beginning!

Please tell us your impressions of the video ♡


−１４kgダイエットの秘密・食事術などは是非こちらの動画も観てみてね！
↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓


【60→46kg】14kg痩せた私がやめた10の事【食べて痩せる】
https://www.youtube.com/watch?v=2jaokJrNjZo&t=14s


【60→46kg】14kg痩せた私が行った10の事【食べて痩せる】
https://www.youtube.com/watch?v=YW627rrOdl8&t=28s


【-14kg5年キープ】食べても太らない1日の食事・ダイエットレシピ全部見せます【Diet Vlog】
https://www.youtube.com/watch?v=-FkFCTfUD_M&t=68s


【−14kg】辛くない！しっかり食べて確実に痩せる1日の減量ご飯【ダイエットVlog#3】
https://www.youtube.com/watch?v=UD-WNuft-LY&t=29s




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00:00 オープニング
01:09 下半身ほぐし
13:01 エンディング


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・instagram
https://www.instagram.com/andoerina_official/


・Twitter
https://twitter.com/andoerina


ーーーーーー


お仕事のご依頼はこちらまでお願いします！


【E-mail】 info@a-tokyo.com
【会社情報】 https://www.a-tokyo.com




ーーーーーー

ファンレターはこちらの住所までお願いします★

https://www.a-tokyo.com/contact

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Music♩
・Sound cloud
https://soundcloud.com/discover
・DOVA-SYNDROME
https://dova-s.jp


ーーーーーー

#フォームローラー#ダイエット#筋膜リリース

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