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

🎉🎉🎉“Samsara Ep1.” Puts Taiwan On the Map! New Media Artist Hsin-Chien Huang Wins the Top Awards of SXSW🏆🏆🏆🥳

The awards ceremony of the American international film festival, South by Southwest Film Festival (SXSW), will be held in the morning on March 20, 2021. The latest VR production created by artist Hsin-Chien Huang has taken the festival by storm and bring home the prestigious “Jury Awards” in the virtual cinema competition category. “Samsara Ep. 1” is the first VR production from Taiwan to receive such honor and has put the creativity of Taiwan on the map!

In the acceptance speech, Huang mentioned that he would like to thank the jury of SXSW for the recognition and encouragement. It was absolutely his honor to win this award. He’d also like to thank the full support from the Ministry of Culture of Taiwan 文化部, the Taiwan Creative Content Agency 文化內容策進院 Taiwan Creative Content Agency , and Kaohsiung Film Archive 高雄市電影館 VR 體感劇院 VR FILM LAB to make it possible to complete the work. Finally, he thanked all the crew members of the production for letting the world see how amazing the VR production from Taiwan.

The story background of “Samsara” is set as a timeline when humans completely destroyed the environment on earth and begin to go on a quest through space for hundreds of years. People try to immigrant to a new planet, so they redesign the DNA to adapt to a new environment and evolve into a new life form. However, after so many years, people gradually realize that it is never possible to find a new planet to settle. They merely keep returning to the original earth they have damaged in a different era, in a different life form, as an endless circle of reincarnation.

The plot involves many different social issues, including ecology, technology, natural resource, and war, and calls on viewers to reflect themselves with a profound philosophical perspective. Moreover, several concepts of embodied cognition are used in the story to make viewers transform into different animals, including Taiwan’s indigenous species, such as Taiwan Blue Magpie and Formosan Black Bear, to interact with the scenes. “Samsara Ep.1” also features the latest somatosensory technology, including the 4Dviews shooting techniques by the Industrial Technology Research Institute and Taiwan Creative Content Agency, with 48 4DV-EX-Z cameras and a digital shooting system composed of a high-sensitivity 4 million-pixel full-color CCD sensor. “Samsara Ep.1” is able to be taken from an omnidirectional view without blind spots and be shot without any blind spots to create the ultimate immersive experience.

The first SXSW was held in Austin, Texas in 1987. This long-standing international event is held around March every year ever since. The festival features various themes, such as films, music, VR/AR, art and games, etc. The SXSW is the world’s largest event for creative content. Many creators and brand owners in the fields will not miss out on the festival. Therefore, the festival has become a trial balloon, attracting hundreds of bands and film crews to participate, estimated over 400,000 people joining the event. This year, the festival has changed the event to an online form for the first time since the pandemic is raging as before. All screening events, industry matchmaking, seminars will be carried out via its own online platform, SXSW Online, without difficulty. It has made it possible for all the artists, creators, and professionals to break down the physical borders and participate in this magnificent annual event together.

There are nine productions in total nominated in the Virtual Cinema Competition category this year, with teams from the US, Canada, the UK, France, Germany, Poland, Australia, South Korea, and so on. This is the first time that “Samsara Ep.1” has competed in the international film festival and has achieved a great result with much international recognition. This is also the first time for Taiwanese production to receive an award from the SXSW competition. The full version of “Samsara” is expected to start the global tour in the second half of the year. Huang said that “Samsara” would return to Taiwan for its Asian premiere and ask the fans in Taiwan to stay tuned!

✔️SXSW website: https://www.sxsw.com/festivals/film-awards/

✔️SXSW YouTube: https://www.youtube.com/watch?v=T9G_7NZh_Oo&feature=emb_logo

#黃心健 #HsinChienHuang #輪迴 #Samsara #Virtualcinemacompetition
#Juryaward
#VR #台灣VR #TaiwanVR
#SXSWFilm #SXSW #2021SXSW #SXSWOnline

雨國 Kingdom Of Rain - 無所謂 (Official Music Video)

這是一座人生必經的迷宮。
在迷宮裡，連牆壁都不提供任何提示，反而會迷惑你，有時還想把你推倒。
以改變作為糧食，用歲月劃下記號，一步步走下去。
等待著的會是解脫，還是下一座迷宮？

─

⾳樂錄影帶製作團隊 Film Production Crew

演員 Cast | 鄧忻穎 Elica

製作團隊 Production House | 捌目映像

導演 Director | 曾慶治 Milk Tsang
副導 Assistant Director | 呂燕蘋 Lu Yen Pin
前期製片 Producer | 林子强 ZQ
製片 Producer | 吳苡瑄 Betty Wu
製片助理 Assistant Producer | 許書維 Shu-Wei, Hsu
攝影 D.P | 楊鈞羽 Chun-Yu Yang
攝影助理 1st Assistant Camera | 林健徫 Kiwee Lim
燈光 Gaffer | 楊鈞羽 Chun-Yu Yang
燈光助理 Lighting Technician | 林健徫 Kiwee Lim
梳化 Make-up & Hair | 李宜靜 Lee Yi Jing
側拍/劇照 Still Photographer | 洪晧珉 Hao-Ming, Hung
剪輯 Editor | 曾慶治 Milk Tsang
調光 Colorist | 呂燕蘋 Lu Yen Pin

─

雨國 Kingdom Of Rain〈無所謂〉
吉他 Guitarist｜林俞宏 QQ
⿎ Drummer｜王祐翔 You Shoan
⼈聲 Vocal｜陳翰 Chen Han
合聲 Chorus｜陳俊澔 / 曾思瑜

發行 Published by
BLACK MARKET MUSIC COMPANY LIMITED

─

◤ 全新第二張概念專輯 《無所謂》
2020. 9. 14 全平台數位上架
各平台連結： https://www.soundscape.net/a/12002

◤ 《無所謂》專輯發片場
10. 11 台 北 The Wall Live House
10. 18 高 雄 LIVE WAREHOUSE
『預售票已開放購買』購票連結：https://reurl.cc/odZeYv

◤ 資訊
streetvoice | https://streetvoice.com/kingdomofrain/
instagram | https://www.instagram.com/kingdomofraintw/
facebook | https://www.facebook.com/kingdomofraintw/
contact | bmmptw@gmail.com

https://youtu.be/QM2iEPLPmVg

#雨國 #KingdomOfRain #KOR #黑市音樂 #indiepop #postpunk #electronic

【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

#TheMalaysianSong

Now available on Spotify, Apple Music and all major music platforms.

LINKS TO FOLLOW:

http://www.facebook.com/thesaladshow
http://instagram.com/saladshow

For business enquiries, contact us at: saladshowproduction@gmail.com

STALK THE TEAM:
Jiven Sekar: @jivensekar
Shaianne: @shaiannedelaney
Gabriel: @gabrielnoelpountney
Tamra: @tamra_jaksha
Divya: @divyasekar
--------------------------------------------------------------------------------------------------------------
Credits

Music Produced and Arranged by Darren Ashley
Chorus Vocals by Darren Ashley
Lyrics by Vix Chandra and Jiven Sekar
Performed by Jiven Sekar

Crew
Jiven Sekar
Tamra Jaksha
Shaianne Delaney Sarut
Divya Sekar
Tiara Anchant
Ian Steven Ong
Vishnu

Location By
Kayu Nasi Kandar Taipan
Anwar Maju Usj Heights

Choreography
Kenneth Koshy

Dancers
Kenneth Koshy
Tasha Chitty

Special Appearance
Jinnyboy(JinnyboyTV)
Ryan Matjeraie
Jonathan Toh (CjWorks Production)
Ta Ta (Tata Studios)
Harvinth Skin (SkinTv)
Joshua Micheal
DJPri2 (PrithuVlogs)
Talitha Tan (TaLiThAbE)
Tiara Anchant
Gabriel Noel Pountney
Mathubalan (BawahPokokFilms/Visual Narratives)
Tanesh (Taneshh/Taneshh Vlogs)
Vishnu (Soya n Cincau)

Extras
Sateshraj
Gajen Mahendran
Noor Mohamed
Davina Prabagaran
Haroon Faleel
Anand Raj
Shania Perkins
Jacqueline Ng
Magdalene Faye
Kevan Brian
Sean Jeremiah William
Trisha Savina Devakaran
Phraveen Arikiah
Baven Kumar
Adrianna Silvarajah
Amy Teo
Jonathan Louis
Aghilan
Divyarhuben
Gerald Poo Jian Chen
Angel Wong

Special Thanks
Cheng Wei Lim (FILM WAY)
Vikarworld
3Dots Distribution for Black Magic Camera

Huge thanks to all our friends and fans who appeared in the video!
_______________________________________________________________

Lyrics :
VERSE #1
I dunno where to start la boss, I’m just a macha in the house,
Our mamak super clean,
You won't see no freakin’ mouse.
The real question is, Macha, what do you like?
Lu mau itu roti, or lu mau itu rice?
We are the chef of all chefs, semua pun boleh buat,
Gordon Ramsay punya skill pun tak cukup kuat,
Our food ada kick, everybody know we good,
If food is the cinema, we are Bollywood!

You don’t want pedas also got, you want pedas also got,
You want to makan sikit-sikit, kenyang-kenyang also got,
You want goreng also got, you want soup also got,
You want sayur, takmau sayur, vegetarian also got,
You want manis also got, kurang manis also got,
Makan pagi tea time, makan petang also got,
You want dinner also got, you want supper also got,
Ini mee, itu mee, apa mee also got.

Mamak Say, Mamak How, Mamak So Susah,
Mamak Say, Mamak How, Mamak So Susah,
Mamak Say, Mamak How, Mamak So Susah,
Mamak Say, Mamak How

CHORUS
Saya suka my Mamak, suka my Mamak,
Love for your mee, roti, and nasi lemak,
Suka my mamak, suka my mamak,
College days, broke days, he’s your macha.
Suka your Mamak,
Suka your Mamak,
Love for your mee, roti, and nasi lemak,
Suka your Mamak,
Suka your Mamak,
College days, broke days, he’s your macha

BRIDGE #1
I got ikan kari, koli kari, mutton kari, campur kari,
Go with puri, go with thosai,
All kinds of different roti,
Roti canai, roti sardine, roti bom, roti planta,
Roti garing, roti stim, roti telur, roti bakar,
Maggi goreng, mee goreng, bihun goreng also can,
Indo mee, maggi soup, kari soup, what’s the plan?
Nasi goreng macam macam macam macam got macha,
Goreng kampung, goreng Cina, nasi goreng Pattaya,
Burger ayam, burger daging, burger special double cheese,
Ada bawang, ada mayo, ada sauce, ada ghee,
If you want a custom burger,
Ramli can also do, takmau daging, only telur?
Dei, that’s egg benjo!
Want to thani? I got thani – all kinds very nice,
Teh tarik, teh halia, teh o panas, teh o ais,
Ada Cola, ada Milo, ada sirap, limau suam,
Anything you order, confirm all very ngam!

CHORUS
Saya suka my Mamak, suka my Mamak,
Love for your mee, roti, and nasi lemak,
Suka my mamak, suka my mamak,
College days, broke days, he’s your macha.
Suka your Mamak,
Suka your Mamak,
Love for your mee, roti, and nasi lemak,
Suka your Mamak,
Suka your Mamak,
College days, broke days, he’s your macha

BRIDGE #2
Ikan kari, koli kari, mutton kari, campur kari,
Go with thosai, go with puri,
All kinds of different roti,
Roti canai, roti sardine, roti bom, roti planta,
Roti garing, roti stim, roti telur, roti bakar,
Maggi goreng, mee goreng, ayam goreng, Indo mee,
Burger ayam, burger daging, burger special double cheese,
Ada bawang, ada mayo, ada sauce, ada ghee,
Mamak raps with the flow,
Yeah, we make it banjir!

Rajesh has a colourful secret to tell his black and white parents. How will his parents think about it? Watch to find out!

-----------------------------------------------------------------------------------------------------
LINKS TO FOLLOW:

http://www.facebook.com/thesaladshow
http://instagram.com/saladshow

For business enquiries, contact us at: saladshowproduction@gmail.com

STALK THE TEAM:
Jiven Sekar: @jivensekar
Shaianne: @shaiannedelaney
Gabriel: @gabrielnoelpountney
Tamra: @tamra_jaksha
Divya: @divyasekar

-------------------------------------------------------------------------------------------------
CAST AND CREW LIST:

STORY BY
Jiven Sekar

DIRECTOR AND EDITOR
Jiven Sekar

PRODUCED BY
Jiven Sekar

SCREENPLAY BY
Jiven Sekar
Mathubalan
Divya Sekar

DIRECTOR OF PHOTOGRAPHY
Jiven Sekar

ART DEPARTMENT
Divya Sekar
Shaianne Delaney

PRODUCTION ASSISTANTS
Divya Sekar
Shaianne Delaney

AUDIO
Shaianne Delaney

GAFFER TEAM
Tamra Jaksha
Gabriel Noel

STARRING
Adrien Rahul as Rajesh
Harvinth Skin as Darwin @SkinTv
Francis Wolf as Father
Sharmini Ramesh as Mother
Tiara Anchant as Stephanie
Jiven Sekar as Nathan

CAMEOS
Vishnu as Priest @Soya N Cincau
Tamra as Assistant Priest
Jon Chew as Doctor
Vikar as Shivan @vikarworld
Shaianne as Parvathi

EXTRAS
Divya Sekar
Shaianne Delaney

SPECIAL THANKS
Flower Girl Cafe
Peninsula College
Consultant (Peter Mark Leon Nunis)
Spectrum Films
Cheng Wei Lim

FOLEY WORK
Gabriel Noel
Shaianne Delaney

Drone Footages by Ian Steven Ong

MUSIC
‘Nathan’s Intro’ by Music Kitchen
‘Hello OST’ by Chris M. Yong
Title Music by Ego
https://youtu.be/qawFnaMcPC0

Copyrighted Music
Bigil BGM by A.R.Rahman
Theri BGM by G.V.Prakash
VIP 2 BGM by Sean Roldan
We would like to apologise if we missed out anyone. Thank you for reading until here. Thank you for watching. Please help us make this viral by sharing it with your friends and family. We love you!

Watch the full Music Video➤
✦https://www.youtube.com/watch?v=v9q2ZKq6uzI

Ring is my longest playing band, and I am very happy to share our first music video with you!

The song is included in Ring's first album "pOst - Вавилон epoko"
Apple Music ➤https://apple.co/2YhcS8A
Amazon Music ➤https://amzn.to/34RY42U
KKBOX ➤https://kkbox.fm/Sa4zyX
Spotify ➤https://spoti.fi/35qcNSi
YouTube Music ➤http://bit.ly/2qyERUX

Ring-
■ Facebook：https://www.facebook.com/ringbandtw/
■ Instagram：https://www.instagram.com/ringbandtw
■ YouTube：https://www.youtube.com/ringbandtw
■ twitter：https://twitter.com/ringbandtw

------------
✦Film crew BLACK JACK Studio 黑傑克影像製作
Director：悅蘭芳
Camera：郭賜金
Assistant：鄭詠禎
Editor：悅蘭芳&桿子
Effects：悅蘭芳

✦Ring Member-
Vocal：Hanabi
Guitar：Narsil
Guitar：Bryan
Bass：Mugi
Keys：Reina
Drum：Stick

✦Special thanks
Violin：Lethe
Makeup：AKi

✦Sound
Producer: Drumstick
Music & Lyrics byNarsil
Recording Engineer: Narsil
Mixing Engineer: Narsil
Mastering Engineer: KIVΛ

#Cytus #ringbandtw #βinαrΨ