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

https://www.gamersgate.com/DD-CON…/control-ultimate-edition…
Control Ultimate Edition กำลังลดราคา 20% ใน Gamersgate เหลือราคา 952 บาท ใส่คูปองคำว่า control-ggsg ในช่องใต้ Order Total ลดราคาได้อีก 7% เหลือ 885.36 บาท (Steam)
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รายละเอียดเพิ่มเติมดูที่หน้าร้านค้า
https://www.gamersgate.com/DD-CON…/control-ultimate-edition…
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อนึ่ง Steam คีย์
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อสอง ซื้อกับ gamersgate จะได้ 5% ของที่จ่ายไป กลับคืนมาเป็น Blue Coin ไว้สะสมแลกเกมในเว็บ ( จ่ายทุกๆ $1 ได้ 50 Blue Coin และ 1000 Blue Coin = $1) / ซื้อเกมเดียวกันได้ account ละ 2 ชุด เท่านั้น / ติด Manual Review ให้รอ 30 นาที - 2 ชั่วโมงเพื่อรอตรวจบัตรเครดิต / ซื้อด้วย Paypal โดนค่าธรรมเนียมน้อยที่สุดให้เลือก แปลงสกุลเงินกับธนาคารผู้ออกบัตร / วิธีรับเกม มองทางซ้ายจะเห็น My Games คลิกชื่อเกมที่เราซื้อ แล้วมองทางขวากด Show Serial หรือกด Activate Content กรณีเป็นเกมของ Ubisoft
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อสาม ดีลนี้หมดเวลาในอีก 6 วันกว่าๆ ถูกกว่าบน Steam โซนไทยตอนนี้นิดหน่อย ด้วยคูปองลดอีก 7%
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เกมดีราคาถูกแบบนี้
ไม่สอยได้ไงพี่น้องงงง
https://www.gamersgate.com/DD-CON…/control-ultimate-edition…
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Humble Choice ประจำเดือน ส.ค. จ่าย $5 ประมาณ 160 บาท (สำหรับสมาชิกใหม่เท่านั้น) รับสตีมคีย์ Vampyr, Hello Neighbor, Wargroove, Call of Cthulhu, The Coma 2, Automachef และอื่นๆ ดูที่นี่ - https://bit.ly/2EAvomy
https://www.gamersgate.com/DD-CONTROL-ULTIMATE-EDITION-EM-ASIA/control-ultimate-edition?aff=sheapgamer
Control Ultimate Edition is discounting 20 % in Gamersgate. Price is 952 Baht. Put a coupon for control-ggsg in the box under Order Total. Discount for 7 % to 885.36 Baht (Steam)
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More details see store page
https://www.gamersgate.com/DD-CONTROL-ULTIMATE-EDITION-EM-ASIA/control-ultimate-edition?aff=sheapgamer
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Incidentally, Steam key
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The second buy with gamersgate will get 5 % of the paid back to Blue Coin to collect games on the web. (Pay every $ 1 to get 50 Blue Coin and 1000 Blue Coin Coin $ 1) / Buy the same game account for 2 sets only / Stick Manual Review. Wait for 30 minutes-2 hours to wait for credit card check / buy with Paypal. Minimum fees. Choose currency conversion with card issuer bank / How to get the game. Look at the left. You will see My Games. Click the name of the game we bought and look at the right. Press Show Serial or press Activate Content in case of Ubisoft game.
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This deal ends in 6 days. Cheaper than on Steam in Thailand zone now. With a coupon for 7 % off.
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Good game. Cheap price like this.
How can I not take it? Brothers and sisters.
https://www.gamersgate.com/DD-CONTROL-ULTIMATE-EDITION-EM-ASIA/control-ultimate-edition?aff=sheapgamer
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Humble Choice of the month. July. Pay $ 5 Approximate 160 Baht (for new members only) Get Vampyr, Hello Neighbour, Wargroove, Call of Cthulhu, The Coma 2, Automachef and more. See here-https://bit.ly/2EAvomyTranslated

【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

#葉郎每日讀報
#一週大事版

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「疫情持續越久，觀眾的行為改變將越劇烈」
——John Stankey（AT&T營運長）
─────────────────────

本週試辦把每日讀報變成週記簿的一週大事欄位。華爾街日報說這波疫情用一把刀把世界切成兩個世界：一個是還沒有數位化的產業，和已經數位化的世界。以下是數位分隔線以上跟以下的世界過去一週忙碌的事：

開門還是不開門這是個難題
￣￣￣￣￣￣￣￣￣￣￣￣
在沒有發生COVID-19疫情的另外一個平行時空，過去一週原本應該是《No Time To Die 007:生死交戰》打破《Bad Boys For Life 絕地戰警3》和《Mulan 花木蘭》的紀錄成為今年最賣座電影的時刻。

實際上發生的是上個週末全美只剩下佛羅里達州一家放映新片的汽車電影院回報票房。所以任何電影在這家汽車電影院賣出的票房就等於該片的全美票房。

VOD市場上，直接跳過電影院的NBCUniversal電影《Trolls World Tour 魔髮精靈唱遊世界》連續兩週穩坐冠軍。有趣的發展是NBCUniversal嚐到甜頭後，似乎鐵了心全力發展VOD事業，不想再被Apple和Amazon抽成。該集團旗下原本經營電影售票業務（顯然現在沒有任何票可以賣）的Fandango票務系統本週傳出併購了原本屬於Walmart集團的VOD平台Vudu。

有趣的是這則新聞充滿了上個世紀末DVD大爆炸的遺跡，因為Amazon和Walmart這兩家零售業巨頭都是當時DVD最大的通路，賣DVD致富後兩家公司先後覬覦VOD市場走上這條好萊塢不歸路。好萊塢則在電影院通路面臨末日之際，才想起來是不是應該要有自己的數位通路。

如今電影院也開始像DVD一樣騎著馬迎向夕陽。

在美國總統Donald Trump誘發保守派集結抗爭之下，美國喬治亞州搶先各州宣佈明天(4.27）進入第一階段經濟重啟，允許電影院開門營業。這個冒進的重啟政策並沒有真的重燃電影業/電影院業的希望之火：NATO美國電影院經營者協會表示沒有新片上映的狀況下，電影院業主並不必然配合政策開門。中國萬達集團所擁有的全世界最大連鎖電影院系統AMC也發表聲明表示除非有發行商決定推出大片吸引觀眾走出家門，全美AMC電影院才有可能開門營業。

天能到底能不能
￣￣￣￣￣￣￣
於是所有的電影老闆都把頭轉向Christopher Nolan。

身為守衛電影院體驗的聖杯騎士，Nolan目前仍鐵了心要在7月17日上映他那部造價高達2億美元的新片《Tenet 天能》的計畫。也就是說我們大概還有將近三個月的時間把自己和這個世界整理好，迎接Warner的這部暑假大片。

好萊塢票房分析師對於《天能》的上映計畫反應兩極：有分析師認為預算2億的該片需要在電影院累積4億美元票房才能回本，而且這還不包含可能要5千萬美元的行銷預算，因此認為就算Warner真的要讓《天能》上戲院，也絕對不是7月17日。

另外一名票房分析師則認為Warner應該有把握總票房落在4.5億～5億票房，而且如果到時候其他片廠還不敢上氾反而讓該片在欠缺競爭對手的狀況下得以停留在電影院更長時間，最後票房甚至有機會超過《Dunkirk 敦克爾克》的5.27億或是《Interstellar 星際效應》的6.78億。

在此同時，《天能》的發行商Warner卻已經開始調整他們對於未來電影產業的預期。WarnerMedia的母公司AT&T營運長John Stankey說他們正在重新評估過去的電影院發行模式。這波疫情停留的越久，消費者的行為改變會越激烈，因為他們越會習慣在Netflix、Amazon和Disney +上看電影，未來好萊塢也越來越難把他們拉回電影院。分析師認為那些有機會賣到10億美元的大片或許不可能直接上串流，但未來任何比這個規模小的電影都很可能跳過電影院、直接上串流。

這段訪談刊出不到24小時，AT&T突然傳出執行長即將卸任，受訪的John Stankey馬上要接任執行長。也就是說他在訪問中的發言即可能就代表了Warner未來的政策方向。

萬達是一個謎
￣￣￣￣￣￣
中國萬達集團本週的每一則新聞都充滿了問號。

先是美國媒體盛傳AMC電影院已經連房租都繳不出來，即將申請破產保護，萬達隨即表示純屬謠言。

緊接著這幾天發佈的萬達電影2019年年報顯示去年5月整併萬達影視後，利潤大幅下滑，同時傳出第一季虧損5.5~6.5億人民幣，並準備裁員20~30%。

萬達電影總裁曾茂軍隨後表示裁員消息不屬實。

在此同時，萬達電影還發佈了非公開募資43.5億人民幣的計畫，其中有高達30.45億會用於新建電影院。萬達樂觀地預估中國電影院市場還有很大空間，而且疫情過後將會淘汰一定數量的小品牌，使具領先地位的萬達電影院有機會加速擴張。本文認為即便不考慮疫情過後觀眾是否能脫離網路影音的習慣回到電影院，原本中國電影市場就已經成長放緩，平均每一個銀幕的利潤也在下滑，萬達的不尋常樂觀，似乎有幾分當時共享單車ofo或是連鎖咖啡瑞幸的味道。

最後一個謎是萬達創辦人、曾經的中國首富王健林已經超過100天沒有露面。

數位分隔線以上的世界
￣￣￣￣￣￣￣￣￣￣
以下則是數位分隔線以上的那個忙碌的網路內容產業：

所有人都在快馬加鞭地把握機會在亂世中衝出重圍。疫情Netflix第一季暴增1580萬訂戶，是Netflix原本預期的兩倍之多。來勢洶洶的是WarnerMedia的新串流服務終於要來了，走高單價路線的HBO Max月租費確定是14.99美元，將於5月27日開張營業。預計內容包含《Friends六人行》、《The Big Bang Theory宅男行不行》、《Rick and Morty瑞克與莫蒂》和HBO 原有的各種重量級節目。

本週另外一個重量級的網路事件就發生在虛擬世界中：

去年美國DJ Marshmello在線上遊戲《Fortnite 要塞英雄》中舉辦的虛擬音樂會吸引超過千萬玩家同時上線之後，今年該遊戲邀來饒舌歌手Travis Scott在遊戲中舉行演唱會。今年的活動形式不僅做到了實體演唱會也可以做的形式（比如為不同時間上線的觀眾連唱好幾場），還玩了實體演場會做不到的形式——玩家從演唱會搭台期間就可以參與，還可以在搭建中的舞台和大型充氣裝置藝術旁邊廝殺。上週演唱會開始以來已經吸引超過一千多萬玩家參與。

這個線上音樂會模式也展現了虛擬世界贏過現場表演的其中一個壓倒性優勢——幾乎無上限的人數。金氏世界紀錄演唱會參與人數最高紀錄是420萬。《要塞英雄》因此已經成為全世界最大的音樂表演場館。

除了虛擬表演場館的功能之外，更重要的是《要塞英雄》其實和我們過去這一兩個月玩的《集合啦！動物森友會》一樣，是一種沈浸式社交體驗平台。科技媒體TechCrunch這兩天刊出的報導中認為《要塞英雄》不只是遊戲，還是一個聊天室，一個聚會場所，一個新世代行動裝置消費者的共通語言。因此他們大膽在報導中建議自己的母公司Verizon 應該和Microsoft一樣押寶線上遊戲的虛擬世界，迅速收購《要塞英雄》的遊戲公司。Verizon不像競爭對手AT&T（擁有WarnerMedia）那樣在娛樂產業踩這麼深，只擁有偏重新聞內容的Yahoo，更別提與媒體巨人Disney競爭。而《要塞英雄》就像是Microsoft的《Minecraft 當個創世神》一樣，只是玩家的年齡更成熟、更有經濟能力，這個充滿潛力的新業務正好可以彌補Verizon的媒體拼圖。


｜新聞出處｜

4/19~4/25一週大事：

Box Office: ‘No Time To Die’ Would Have Just Topped ‘Bad Boys 3’ And ‘Mulan’（https://bit.ly/2XTuTvs）

Christopher Nolan Will Have ‘Tenet’ Ready to Open July 17 — Unless Theaters Are Closed （https://bit.ly/34ZfWcV）

Box Office Experts Split on ‘Tenet,’ Christopher Nolan’s Upcoming Film （https://bit.ly/3azvrcH）

Movie Theater Owners Respond To Calls For Reopenings （https://bit.ly/2Ky9Arr）

NBCUniversal’s Fandango to Buy Vudu From Walmart （https://bit.ly/2VnzDb5)

Coronavirus Fallout May Redefine the Types of Movies That Play in Theaters （https://bit.ly/3ePefDm）

WarnerMedia Sets HBO Max Launch Date & Opening Slate （https://bit.ly/2S1FQHU）

中國首富變「負翁」　萬達王健林傳負債逾1.7兆台幣（https://bit.ly/2zrtlPb）

Travis Scott’s first Fortnite concert was surreal and spectacular （https://bit.ly/2yFO5m9）

Verizon should make an Epic acquisition（https://tcrn.ch/2VSZJls）

Phê Phim News: Bom Tấn TENET Lại Lùi Lịch | Henry Cavill Sẽ Tiếp Tục Vào Vai SUPERMAN?

? FOLLOW/LIÊN HỆ CHÚNG MÌNH TẠI ?
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Nội dung: Leng
Dẫn: Linh
Editor: Nhân

Tin 1: “TENET” TIẾP TỤC LÙI LỊCH CÔNG CHIẾU
https://deadline.com/2020/06/tenet-release-date-change-august-12-christopher-nolan-coronavirus-1202969834/
Tin 2: HENRY CAVILL CHIA SẺ VỀ JUSTICE LEAGUE SNYDER CUT VÀ VAI DIỄN SUPERMAN
https://variety.com/2020/film/news/henry-cavill-justice-league-zack-snyder-cut-superman-1234647576/
https://variety.com/2020/film/news/henry-cavill-superman-man-of-steel-dc-universe-1234647554/
Tin 3: "HOTEL DEL LUNA" SẼ CÓ PHIÊN BẢN TRUYỀN HÌNH MỸ
Tin 4: NHỮNG CẬP NHẬT MỚI NHẤT VỀ TÌNH HÌNH PHÒNG VÉ TOÀN CẦU:
https://deadline.com/2020/06/france-cinema-reopenings-international-box-office-weekend-korea-onward-1202968495/
https://www.metaflix.com/movie-news/2020/6/24/upon-reopening-regal-bringing-back-blockbusters-the-dark-knight-lord-of-the-rings-empire-strikes-back-and-more

ĐIỂM TIN:
1. LEONARDO DICAPRIO VÀ ĐẠO DIỄN "MOON Light" LÀM PHIM CHO NETFLIX
2. ANNE HATHAWAY VÀ BILL MURRAY THAM GIA PHIM MỚI CỦA ĐẠO DIỄN “GREYHOUND”:
https://www.hollywoodreporter.com/news/anne-hathaway-bill-murray-join-get-low-team-bums-rush-1299942
3.PHIM MỚI CỦA M. NIGHT SHYAMALAN SẼ RA MẮT VÀO THÁNG 7/2021:
https://www.hollywoodreporter.com/heat-vision/universal-sets-m-night-shyamalans-next-movie-july-2021-1299932
4. “MULAN” CÓ NGUY CƠ TIẾP TỤC BỊ LÙI LỊCH CHIẾU
https://www.hollywoodreporter.com/heat-vision/mulan-late-july-release-date-jeopardy-1287110

#PhêPhimNews #Số172 #Tenet

Link to blogpost with extra info and parts list:
http://www.chungdha.nl/?p=28

Normally a Matte box that can hold filters will cost you at least more than $100, but this tutorial I am showing you how to get it one for even less. Watch this video, how I show you all the parts needed and what you need to do to modify the affordable Matte box into a professional matte box that would hold filters too. And optional you can also buy Cokin Z filter holders to enable using 4x4 filters.

Parts list
$15 - Matte Box : http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=9&pub=5575082006&toolid=10001&campid=5337466177&customid=mattebox&icep_uq=matte+box+movie&icep_sellerId=&icep_ex_kw=&icep_sortBy=15&icep_catId=625&icep_minPrice=&icep_maxPrice=&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg
$2 - Cokin 82mm adapter: http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=9&pub=5575082006&toolid=10001&campid=5337466177&customid=cokin&icep_uq=cokin+82mm&icep_sellerId=&icep_ex_kw=&icep_sortBy=15&icep_catId=625&icep_minPrice=&icep_maxPrice=&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg
$1 - Cokin P filter holder: http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=9&pub=5575082006&toolid=10001&campid=5337466177&customid=cokin&icep_uq=cokin+p+holder+3&icep_sellerId=&icep_ex_kw=&icep_sortBy=15&icep_catId=625&icep_minPrice=&icep_maxPrice=&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg

Optional
$2 - Cokin hood: http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=9&pub=5575082006&toolid=10001&campid=5337466177&customid=cokin&icep_uq=cokin+hood&icep_sellerId=&icep_ex_kw=&icep_sortBy=15&icep_catId=625&icep_minPrice=&icep_maxPrice=&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg
$15 - Cokin P194 Gelatine holder: http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=9&pub=5575082006&toolid=10001&campid=5337466177&customid=cokin&icep_uq=cokin+p194&icep_sellerId=&icep_ex_kw=&icep_sortBy=15&icep_catId=625&icep_minPrice=&icep_maxPrice=&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg
$20 - Cokin Sets with ND filters: http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=9&pub=5575082006&toolid=10001&campid=5337466177&customid=cokin&icep_uq=cokin+set&icep_sellerId=&icep_ex_kw=&icep_sortBy=15&icep_catId=625&icep_minPrice=&icep_maxPrice=&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg

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