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

‼️NỐI ÂM KHÔNG KHÓ KHI BẠN CÓ CÁC QUY TẮC NÀY
👉Xem thêm tại: https://bit.ly/3nRmshm

Chúng ta vẫn biết cách nối âm cuối của từ trước với âm đầu của từ sau để câu văn dễ nói và liền mạch hơn. Đây là thói quen phát âm phổ biến của người bản xứ, tuy nhiên người học tiếng Anh cơ bản lại thường thấy khó khăn trong việc nghe hiểu nội dung lời nói khi bắt gặp Linking sound.

Dưới đây là 4 QUY TẮC mà bạn nhất định phải nắm vững nếu muốn phát âm chuẩn.

Quy tắc 1: Nếu từ phía trước kết thúc bằng phụ âm và từ đứng sau bắt đầu bằng nguyên âm, đọc nối liền hai âm đó.

Quy tắc 2: Nếu từ trước kết thúc bằng phụ âm giống với phụ âm bắt đầu của từ thứ hai, lược bớt một phụ âm đi.

Quy tắc 3: Nếu từ trước kết thúc bằng phụ âm gần giống với phụ âm bắt đầu của âm thứ hai, giữ nguyên khẩu hình miệng để phát âm.

Quy tắc 4: Nếu từ trước kết thúc bằng nguyên âm và từ thứ hai bắt đầu bằng nguyên âm, dùng âm /j/ hoặc /w/ để nối. Việc lựa chọn âm sẽ tùy thuộc vào cảm giác khi phát âm của người nói.

Các bạn có thể xem ví dụ cụ thể trong bài viết trên trang VnExpress này nhé: https://bit.ly/3nRmshm

=================
Hành trình IELTS Fighter phổ cập IELTS cho người Việt đồng hành báo VnExpress tháng 9 này đã cập nhật thêm nhiều bài mới, cả nhà đọc hết chưa nào? Toàn thông tin hữu ích nhất định phải xem nha!

👉 Những lỗi phát âm tiếng Anh thường gặp:
https://bit.ly/2YxrTHK

👉 Cách học 8.0 IELTS Reading từ sinh viên Ngoại Thương: https://bit.ly/3nnxQRZ

👉 Cô giáo 8.0 IELTS Speaking chia sẻ về accent trong IELTS:https://bit.ly/3hpYVQy

👉 Bí quyết phát âm tự nhiên như người bản xứ: https://bit.ly/3ziAkTX

Với gần 40 bài chia sẻ về kiến thức học IELTS nói riêng và tiếng Anh nói chung, IELTS Fighter sẽ tiếp tục đồng hành cùng VnExpress cập nhật thêm nhiều bài viết hữu ích cho học viên để thực hiện sứ mệnh " Vì một triệu người Việt đạt 6.5+ IELTS"

Đăng ký nhận full bài học online và ebook Phổ cập IELTS cùng VnExpress tại:
https://hocieltsvnexpress.ielts-fighter.com/

Cùng chờ đón các ấn phẩm mới nữa cùng IELTS Fighter nhé ^-^

- Hôm nay, hãy cùng Ms.Quỳnh thực hiện luyện tập Linking Sound - Vũ khí bí mật để nói tiếng Anh như người bản xứ nhé!

Nối âm trong tiếng Anh rất quan trọng do đó cả nhà cùng luyện tập chăm chỉ nha.

【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

《夜の国》
トリル / Trill / 顫音
作詞 / Lyricist：aimerrhythm
作曲 / Composer：飛内将大
編曲 / Arranger：飛内将大、 玉井健二
歌 / Singer：Aimer
翻譯：CH（CH Music Channel）
意譯：CH（CH Music Channel）
English Translation: Genius Lyrics

背景 / Background - "Yuru no Kuni" scene :
https://i.imgur.com/qOHDm0q.png

上傳你的字幕吧！/ Submit your subtitles here!
https://forms.gle/MSsAM2WHpT31UuUh8

版權聲明:
本頻道不握有任何音樂所有權，亦無任何營利，一切僅為推廣用途。音樂所有權歸原始創作者所有。請支持正版。

Copyright Info:
Be aware this channel is for promotion purposes only without any illegal profit. All music's ownership belongs to the original creators.
Please support the original creator.

すべての権利は正当な所有者/作成者に帰属します。あなたがこの音楽（または画像）の作成者で、この動画に使用されたくない場合はメッセージまたはこのYoutubeチャンネルの概要のメールアドレスにご連絡ください。私はすぐに削除します。

如果你喜歡我的影片，不妨按下喜歡和訂閱，你的支持就是我創作的最大原動力！
If you like my videos, please click like and subscribe! Thx :)

粉絲團隨時獲得最新訊息！
Check my Facebook page for more information!
https://www.facebook.com/chschannel/

中文翻譯 / Chinese Translation :
https://home.gamer.com.tw/creationDetail.php?sn=5264734

英文翻譯 / English Translation :
https://genius.com/Genius-english-translations-aimer-trill-english-translation-lyrics

日文歌詞 / Japanese Lyrics :
かすれた声のまま　消えた君は帰らないから
冷たい夜空のよう　闇の中　滲んでゆくこと
散らかったおもちゃや　吐き捨てたどろんこさえも
美しく輝く星屑を探してたんだね？

ミッドナイトにカスタネットを　どうかするくらい鳴らして
It’s all rightとか　いっそcryとか　どうかしてるから言わないで
10日前から　こんな毎日　過ごした程度で怖がって
Only oneのLonely night　眠れないまま

揺れるトレモロのように囁く言葉が
失くした記憶の灯火を　そっと胸の奥で揺らめかせて
平気なんて嘘ばかりで
君は幻の翼で空に浮かんで　得意げな顔でおどける
ふいにふりしぼる　その笑顔が　さよならの合図なんだと　わかっていた

明日になれば　また　この空は違って見えるかな？
大人になれば　ただ　目を閉じて眠ってしまうかな？
繋がれた鎖や　せわしない時計の針が
美しく輝く星屑を連れて行くんだね

交差点から高架線まで　いっそライトは消し去って
It’s all rightとか　いっそcryとか　どうかしてるから言わないで
通り過ぎてく　こんな毎日　過ごしてばっかじゃ　ダメだって
Only oneのLonely night　聞こえてるかな？

君は瞬きと共に過ぎてく時間も　遠くから見てると微笑んで
夜がつきつける　その明日を　あの日見た絵本のように　愛していて

揺れるトレモロの夜にきらめく雫が　集めた奇跡を音にして
ずっと憧れてた　夢見ていた　おやすみの合図のように
そして　思い出は二人の音を結んで　途切れないトリル奏でる
夜がつきつける　その明日を　あの日見た絵本のように
君を打ちつける　その涙も　朝を待つ世界のように　愛していて

愛していて

中文歌詞 / Chinese Lyrics :
就算用嘶啞的聲音叫喊，但早已離去的你也回不來了啊
猶如冰冷刺骨的夜晚，漸漸滲入黑夜的死寂
但不論是四處散落的玩具，亦或被吐出口的泥濘
也曾探尋著美麗又璀璨生輝的星塵吧？

午夜時分的響板們啊，請盡你們所能地響徹鳴奏吧
「已經沒事了」、「盡情哭泣吧」，讓人難受就請別再說了
自十天前開始，每日都如此虛度光陰令我感到膽怯
在這孤單的無法入睡的夜晚，徹夜未眠

夜裡紛飛著，彷彿震音般的喃喃細語
幾時曾遺落的記憶燈火，靜靜地在這內心深處搖曳渲染
你總是撒下和煦平靜的謊言安撫此心
你展著虛幻的羽翼在空中翱翔，一臉得意地作伴嬉戲
不經意地竭盡哭喊，但我知道的啊，你那強顏歡笑，正是象徵離別的信號

倘若到了明天，還能看見這片不同的天空嗎？
倘若成了大人，閉上雙眼就能夠入眠了嗎？
但緊緊相繫的鎖鏈，亦或急忙奔走的時針
仍會帶著絢麗耀眼的繁星離去吧

自十字路口到高架鐵道，索性將所有光芒都抹去吧
「已經沒事了」、「盡情哭泣吧」，讓人難受就請別再說了
總是如此虛度光陰地度過每一日可不行啊
在這孤單的形單影隻的夜晚，你能聽見嗎？

與你共度的時光轉瞬即逝，但你仍會自遙遠的彼方面帶微笑守望
「哪怕漫漫長夜迎面而來、待至明日，仍將如那一天的繪本所描繪般，深愛著你。」

夜裡搖曳著，滴滴晶瑩剔透、熠熠生輝的震音，猶如匯聚而成的奇蹟樂章
我一直憧憬著、日夜夢著那聲響，聽來彷彿告別夜晚的信號
彼此的回憶令二人的聲音緊緊相繫，響徹永不停歇的顫音合奏
「哪怕漫漫長夜迎面而來、待至明日，仍將如那一天的繪本所描繪般——」
「那簌簌滴落你面頰的淚水，仍將如靜待黎明的世界般——深愛著你。」

「深愛著你。」

英文歌詞 / English Lyrics :
My voice is still hoarse since you disappeared, never to return
Inside darkness resembling a cold night sky, tears blur my eyes
As even within scattered toys and spilled mud, I'm searching
For beautiful, shining pieces of stardust

Somehow I'm able to ring the castanets at midnight
Whether it's all right or whether I'd rather cry, I'll manage somehow, so don't tell me
Ten days ago, the thought of spending, every day like this terrified me
Only one lonely night, I'm still unable to sleep

Like a wavering tremolo, the whispered words
Make forgotten memories, as torches, gently flicker in the depths of my chest
The seeming composure is just a lie
Lifted by wings of fantasy, you float in the sky, joking with an elated expression on your face
That smile in which you put forth your entire heart, somehow, I understood it was a sign of farewell

If tomorrow comes, will this sky look different then, too?
If I grow up, will I be able to fall asleep just by closing my eyes?
The chains linking us together, and the rushing hand of the clock
Are taking away with them the beautifully shining stardust

From the intersection to the overhead train, I'd rather the light wipe it all away
Whether it's all right or whether I'd rather cry, I'll manage somehow, so don't tell me
Though day after day passes, I can't just spend each one like this
Only one lonely night, will you be able to hear me?

You're in the twinkling of the stars as well as the past we shared, watching over me from afar and smiling
"When night confronts you in the coming days, like in those picture books we read back then, I'll always love you"

In the night with a wavering tremolo, the sparkling droplets. Cause the gathered miracles to let out a sound
Forever full of longing, I fell into dreams, as if it were a sign of farewell

Then, our memories tie our sounds together, playing a trill that will never come to an end
"When night confronts you in the coming days, like in the picture books we read back then"
"Even those tears which drip heavily from you now. just like a world waiting for morning, I'll always love all of you"
"I'll always love all of you"

バイクに荷物を積んでラーツーしたいです！キャリアとシーシーバー付ければ可能性は無限大？(笑)LINKING RACKリンキングラック フルパッケージ LOW
【Amazonアフィリンク】https://amzn.to/3zq6UEF

【仙人オリジナルグッズ販売中】https://muuu.com/videos/66276b94accefa76

----------☆使用機材など(Amazonアフィリエイトリンク)☆----------
・主な車中泊グッズ
【カセットコンロ】https://amzn.to/2D00L5I
【山クッカー 角型 3 】https://amzn.to/2CYohjm
【BioLiteサイトライトMINI】https://amzn.to/2CZNKJn
【防風板】https://amzn.to/2D1UHtv
【巨大お盆】https://amzn.to/2D1CcFF
【マナイタセット M 】https://amzn.to/2D38IHl
【寝袋毛布】https://amzn.to/2D7oell

・主な撮影機材
【α7SⅢ】https://amzn.to/2L0H9GD
【レンズ16-35 F2.8 GM】https://amzn.to/3neIqqL
【GH5S】https://amzn.to/2mZGs0v
【レンズ12-35mm】https://amzn.to/2OyIzVN
【レンズ7-14mm】https://amzn.to/2xygDxH
【GoPro HERO7Black】https://amzn.to/2xU2iYy
【GoProFusion】https://amzn.to/2D2LbpW
【DJI OSMO POCKET】https://amzn.to/2S5jBmb
【SIRUI三脚】https://amzn.to/2S2tHV0
【マイクRODE VideoMic NTG】https://amzn.to/3c7Qx3y
【マイクRODE Wireless GO】https://amzn.to/2SCxvux
【マイク RODE VideoMicro】https://amzn.to/2U9hDCA
【SONY RX0M2】https://amzn.to/2UWjmdP

・主な生放送機材
【AVerMedia 4Kキャプチャ】https://amzn.to/2FNFXRo
【ElgatoCamLink 4Kキャプチャ】https://amzn.to/2JV5iNm
【webカメラ BRIO 4K】https://amzn.to/2U8zGbX
【マイクAston Microphones】https://amzn.to/2U8pMqR
【マイクアーム HEiL SOUND PL2T】https://amzn.to/2Ul5zNR
【大型時計DTC-001W】https://amzn.to/2UlcKqb
【AVミキサー VR-1HD】https://amzn.to/2JzxJ2E

----------☆各SNSへのリンク☆----------
【チャンネル】
http://www.youtube.com/user/SatoshiMachida

【セカンドチャンネル】
https://www.youtube.com/channel/UCKla_MbCwoFzPt7Y-5Kd0jQ

【ゲームチャンネル】
https://www.youtube.com/channel/UC17IaYQwwmLmsG1l_1i44lw

【Twitter】
https://twitter.com/MachidaSatoshi

【Instagram】
https://www.instagram.com/saitamanosennin/


【仕事のご依頼はこちらへお願いします】
https://www.uuum.co.jp/inquiry_promotion

----------☆この動画について☆----------　　　　　
【編集ソフト】：Final Cut Pro X

【音楽】：Soft
　　　　　E_Minor_Prelude
　　　　　Venice Beach

【使用画像】：メーカーHP等より引用しています

※動画および発言内容の無断転用を禁じます

#リンキングラック
#バイク
#キャリア
#カスタム
#デイトナ

0:00 Intro
0:56 1. Avoid using the schwa /ə/ sound
1:43 2. No linking
2:10 3. Replace "th" with "f"
2:30 4. Replace "z" with "s"
2:56 5. No contractions
3:29 6. Stress more syllables
4:15 7. MORE stress
4:41 Differences between Hong Kong English, Singaporean English and Malaysian English
5:17 Ending particles in Hong Kong English
5:49 Why I am making this video


?️ Clubhouse: @tiffanysuen

? MeWe 專頁 ► https://bit.ly/fla-mewe
? MeWe 學英文群組 ► https://bit.ly/fla-mewe-group

____________________________________________

?【成人英語再起步】網上課程 ► http://bit.ly/2We1n2Q

? Patreon 月費學習計劃 ► https://bit.ly/3fZcjID

____________________________________________

? 訂閱電郵通訊，收取學習資源、心得和課程最新消息 ► http://bit.ly/fla-nl

? 每星期兩個Podcast，分享學英文貼士、心得：
收聽 ► http://bit.ly/3aTkoNP

? 我的相機和其它拍攝器材 ► https://kit.co/finnieslanguagearts/canon-800d-rebel-t7i-youtube-kit

✏️ 歡迎提供字幕 :) ► https://www.youtube.com/timedtext_cs_panel?tab=2&c=UCHkPJ7O9LLjEntwbsgn5TOg

?? 英文 channel ► http://bit.ly/tiffanysuen-youtube

? 芬尼創業日記 channel ► http://bit.ly/fmkt-yt

感謝各位同學熱烈查詢，暫不設一對一、面授、小學和幼稚園學生為對象課程。


▶️ SUBSCRIBE 訂閱 ► http://bit.ly/flayt-sub
記住要按訂閱按鈕旁邊的小鈴鐺，那麼我們每次推出新片，你就會收到通知了！
It would mean the world to me if you could hit that bell ? beside the SUBSCRIBE button because that way, you get notified EVERY SINGLE TIME a new video goes live. \
____________________________________________

▍WATCH MORE 收看更多:

名人英語 ► http://bit.ly/2EUc8QO

時事英語 ► http://bit.ly/2RqrMok

文法懶人包 ► http://bit.ly/2UPUzI4

品牌名學英語 ► http://bit.ly/2qd3mUq

語文知識 ► http://bit.ly/2GzuW8b

今天只學一個字 ► http://bit.ly/2DRQPgE

Word Pairs 怎樣分 ► http://bit.ly/2hS1MCF

____________________________________________

▍FOLLOW ME:

Instagram ► http://bit.ly/fla-ig
Facebook ► http://bit.ly/fla-fb
MeWe ► https://bit.ly/fla-mewe
Blog ► http://bit.ly/fla-medium
Twitter ► http://bit.ly/fla-twitter
Telegram ► https://bit.ly/fla-tg
Pinterest ► http://bit.ly/fla-pinterest
Twitch ► http://bit.ly/fla-twitch

____________________________________________

Free stuff!!! :)
► Use my iHerb Discount Code: ASC7218
► Sign up at AirBnb and get HKD$290 in travel credit: https://www.airbnb.com/c/tiffanys213
► Get a FREE first Uber ride (up to HK$50): https://www.uber.com/invite/tiffanys2213ue
► Get TWO months of free SkillShare premium: https://skl.sh/2IIHhr8
► Get HKD$100 of credit to spend across your next 4 orders at Deliveroo: https://roo.it/tiffanyccs
► Get HKD$100 off your order at NOSH: TIFH437