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

Here’s our @baumhaushk baby / Kindermusik graduate Lily, who is gifted with a beautiful voice, and a keen ear for music.

I’ve asked her to sing the “Robin song” from our #Kindermusik program. She had this when she was two years old, and I am still amazed at how simple songs, when taught with appropriate pedagogy, become strong foundations for musical performance.

Sol-mi, Sol-mi, Sol-re, Sol-re...
Sol-mi, Sol-mi, Mi-mi-re-re-do.

As we say in @kindermusikhk, “Let it begin with Kindermusik.”

#KindermusikHK #BaumhausHK
@lilyharleygreen

【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

優質限定 〈３
REGGAE ！

We are proud to present to you the first video teaser for our groundbreaking Havana Meets Kingston album 🇯🇲🇨🇺

So many great artists, so much incredible music & moments!

Featured tracks in this video:

* 'Carnival' feat. Randy Valentine & Solis
* 'Chan Chan' feat. Maikel Ante, Félix Baloy, El Raspa & Solis
* '410 San Miguel' feat. Ernest Ranglin
* 'Dubwise' feat. Prince Alla & France Nooks

The album is now available worldwide here!

Vinyl, deluxe CD, mp3: https://abcmusic.lnk.to/HavanaMeetsKingston
WAV, FLAC: https://mistasavona.bandcamp.com/

We have also released three singles so far - 'El Cuarto De Tula', 'Candela' and 'Carnival' - listen to them here:

www.mistasavona.bandcamp.com
www.havanameetskingston.com
www.apple.com/itunes

HAVANA MEETS KINGSTON: The Album & Documentary

Australia’s leading reggae and dancehall producer and accomplished pianist, Mista Savona (aka Jake Savona), has gathered some of Cuba and Jamaica’s most influential musicians in the one recording studio to create a world first album.

Despite their huge respective global appeal and geographical proximity, there has never been a full length album that unites the unique sounds of both Jamaican and Cuban music - till now. This is a truly groundbreaking record and project that honours both islands' incredible musical foundations and legacies while inspiring and creating something entirely new. Drawing from the styles the islands are best known for - roots reggae, dub and dancehall on one hand and son, salsa, rumba and Afro-Cuban on the other - 'Havana Meets Kingston' sees an incredible team of musicians come together to bend and twist genres effortlessly, and the results are exceptional.

Savona's main intention is to bring Jamaican soundsystem and bass culture together with Cuba's electrifying and virtuosic Afro-Cuban and jazz traditions, and this is where the album excels and is unique in musical history. Energetic and passionate vocals in Spanish, English and Jamaican patois twist and turn over the distinctly Cuban rhythms and melodies, while the deep basslines that Jamaica is best known for pulse underneath, unifying the music of both cultures and creating something fresh, bold and exciting.

'Havana Meets Kingston' brings together established and emerging Cuban and Jamaican musicians in an album of mostly original songs, as well as covers of classic Cuban material. The main recording sessions took place over 10 days in June 2015 at the famous Egrem Studio in Havana, Cuba. Savona personally flew seven Jamaicans into Havana for these sessions, including Sly & Robbie and Bongo Herman among other greats. Since this time he has travelled to Jamaica, Cuba and the UK numerous times to complete the recordings. The calibre of artists on this two part album project speaks volumes.

The full album is released on November 3, 2017: https://abcmusic.lnk.to/HavanaMeetsKingston

To add to this already grand project, acclaimed filmmakers Rick Mereki (of MOVE, EAT, LEARN fame), producer Lauren Beck and photographer Lara Merrington travelled to Cuba and Jamaica to capture every moment on film. They will be providing an independent documentary which will celebrate the music and stories of the artists involved against the backdrop of three diverse nations.

EPK by Lauren Beck.

#havanameetskingston

《マブラヴ オルタネイティヴ》
未来への咆哮 / Asu e no Houkou / 向著未來的咆哮 / The Howl Towards Tomorrow
作詞 Lyricist：影山ヒロノブ
作曲 Composer：影山ヒロノブ
編曲 Arranger：須藤賢一
歌 Singer：JAM Project featuring 影山ヒロノブ、遠藤正明、きただにひろし、福山芳樹
翻譯：CH（CH Music Channel）
意譯：CH（CH Music Channel）

背景 Background - Official Soundtrack album cover:
https://i.imgur.com/GAMikam.jpg

上傳你的字幕吧！ Submit your subtitles here!
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版權聲明:
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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=5263823

日文歌詞 Japanese Lyrics :
立ち上がれ　気高く舞え　天命(さだめ)を受けた戦士よ
千の覚悟　身にまとい　君よ　雄々しく　羽ばたけ

闇の時代を告げる　鐘が遠く鳴り響く
戦う友よ　今　君は　死も恐れず

瓦礫の街を染めて　沈む夕日は紅
愛する地球(ほし)の未来を守るため

おお　神の刃は　人類(ひと)の愛
祈りを　込めて　つらぬけ

立ち上がれ　気高く舞え　天命(さだめ)を受けた戦士よ
明日の平和への　礎となれ
熱くなれ　大きく咲け　天に捧げし命よ
弱き者の盾となれ　そして　世界を　導け

きらめく星の海に　浮かぶ　おまえの面影
二度と逢えない愛ゆえに　なお　いとしい

背中合わせの世界　重ね合えない現実
涙とともに捨て去れ　なにもかも

さぁ　振り返らずに　風になれ
痛みを越えて　駆け出せ!!

立ち上がれ　気高く舞え　天命(さだめ)を受けた戦士よ
たとえ傷ついて　力尽きても
赤く燃え　見事に散って　星になった命よ
時を越え　その名前を　胸に刻もう Just Forever

立ち上がれ　気高く舞え　天命(さだめ)を受けた戦士よ
たとえ傷ついて　力尽きても
熱くなれ　大きく咲け　天に捧げし命よ
明日の平和への　礎となれ
赤く燃え　見事に散って　星になった命よ
時を越え　その名前を　胸に刻もう Just Forever

中文歌詞 Chinese Lyrics :
奮身站起、氣宇昂揚，領受天命的戰士啊
伴隨身懷的千百覺悟，你啊，終將英勇地展翅高飛

遙遠彼方的鐘聲正響遍四方，昭告黑暗時代的降臨
並肩抵抗的戰友啊，現今，你已不再畏懼死亡

西沉的夕日為瘡痍滿目的瓦礫街道，浸染了熾熱的緋紅
只為了守護，屬於這深愛地球的未來

哦，神的刀刃，乃賜予人類的愛
貫徹注入其中的千萬祈願，便無堅不摧

奮身站起、氣宇昂揚，領受天命的戰士啊
化作邁向明日和平的堅固基石吧
熾熱地燃燒、壯烈地綻放這獻予上天的生命
成為保護弱者的堅盾，並引領這個世界吧！

望向熠熠生輝的星海，憶起了你的容貌
正因這是份再也無法重逢的愛，才令我如此眷戀

在兩相互斥的世界，充斥著無法重疊的現實
但將所有一切連同淚水都盡數捨棄吧

來吧！不再回首，而是化作一陣疾風
超越一切傷痛，向前奔馳而去！！！

奮身站起、氣宇昂揚，領受天命的戰士啊
哪怕早已遍體鱗傷；哪怕早已竭盡氣力
將這猶如明星般的生命，熱血地燃燒、璀璨地殞落吧
這個名字定將穿越時空，銘刻於人們心中，直至永恆

奮身站起、氣宇昂揚，領受天命的戰士啊
哪怕早已遍體鱗傷；哪怕早已竭盡氣力
熾熱地燃燒、壯烈地綻放這獻予上天的生命
獻上此身成為明日和平的堅固基石
將這猶如明星般的生命，熱血地燃燒、璀璨地殞落吧
這個名字定將穿越時空，銘刻於人們心中，直至永恆

英文歌詞 English Lyrics :
Rise up, Stay noble, warriors who have accepted heaven's mandate
Thousand resolutions, bound to your body, oh you, bravely thrust forth

A bell heralding an age of darkness rings far away
Comrades, now, you fear not even death

A destroyed city stained by the setting sun red
To protect this beloved earth's future


Oh, God's blade is humanity's love
Filled with prayers, pierce !

Rise up, Stay noble, warriors who have accepted heaven's mandate
Become the foundations towards tomorrow's peace
Become fervent, bloom greatly, lives offered to the heavens
Become the shield of the weak, and, lead the world

Floating in the shining sea of stars, your image
For a love you will never meet again, still beloved

Back to back with the world, an unmatching reality
Throw them away along with tears, everything

Come on, don't look back, be the wind
Surpass the pain and run !!

Rise up, Stay noble, warriors who have accepted heaven's mandate
Even if hurt and exhausted
Burn red, scatter grandly, lives who became stars
Overcoming time, we'll brand those names into our hearts, Just Forever

Rise up, Stay noble, warriors who have accepted heaven's mandate
Even if hurt and exhausted
Become fervent, bloom greatly, lives offered to the heavens
Become the foundations towards tomorrow's peace
Burn red, scatter grandly, lives who became stars
Overcoming time, we'll brand those names into our hearts, Just Forever

こんにちは♡Shioneです!
今回はDiorのサマーコレクションでメイクしました♡


私のチャンネルではメイク・ファッション・ネイル・購入品・お気に入りのアイテムなど私の好きな物やオススメのアイテムなどを動画で紹介しています♡
SNSもたくさん更新しているので是非見てみてください♡

お洋服も作ってます♡
Libecka
・ショップURL♡
https://muuu.com/brand/libecka/

・シャネル ル ブラン ラバーズ ロゼ ¥6,600
https://www.chanel.com/ja_JP/fragrance-beauty/makeup/p/complexion/base/le-blanc-la-base-correcting-brightening-makeup-base-long-lasting-radiance-and-comfort--spf-40--pa--p147410.html#skuid-0147410

・シャネル レ ベージュ タンベルミン イドゥラタン B20 ¥7,700
https://www.chanel.com/ja_JP/fragrance-beauty/makeup/p/complexion/foundations/_-_-_-_-_-_-_spf-25pa_-p184410.html#skuid-0184420

・ミラノコレクション フェースアップパウダー ¥8,280
https://amzn.to/3mHOzgk

・MAC スタジオフィックス スカルプト＆シェイプ コントアーパレット ライト/ミディアム ¥7,370
https://www.maccosmetics.jp/product/13845/60431/makeup/studio-fix-sculpt-and-shape-contour-palette-lightmedium

・レアナニプラス ラスティングデュアルアイブロウ ナチュラル ¥1,450
https://loft.omni7.jp/detail/4582398421965?utm_source=google&utm_medium=cpc&utm_campaign=loft_google_product-list&gclid=Cj0KCQjwgtWDBhDZARIsADEKwgNNhL43Zu4XZJzUmgWQdy0GBbTzFuatEsfLlCPaxXR6UChYrF49rQAaAnXAEALw_wcB

・キャンメイク カラーチェンジアイブロウ 06 ¥550
https://amzn.to/2Qny0dn

・Dior サンククルールクチュール 759 デューン ¥8,580
https://www.dior.com/ja_jp/products/beauty-Y0218006-サンク-クルール-クチュール-＜サマー-デューン＞-(サマー-コレクション-2021-数量限定品)-クリーミーな生質感、高発色高密着を叶えるパウダー-アイシャドウ

・コージー アイラッシュカーラー ¥720
https://amzn.to/3tdy3XS

・ヒロインメイク ボリュームUP マスカラ スーパーWP ¥1,320
https://www.cosme.com/products/detail.php?product_id=221515

・マージー ヘリテージシリーズ ペンアイライナー ブラウニー ¥1,550
https://www.qoo10.jp/su/1050719763/Q110475660

・Dior ディオールスキンミネラルヌードルミナイザーパウダー ピンクデューン ¥6,380
https://www.dior.com/ja_jp/products/beauty-Y0126730-ディオールスキン-ミネラル-ヌード-ルミナイザー-パウダー-＜サマー-デューン＞(サマー-コレクション-2021数量限定品)-輝くピグメントがたっぷり配合された、軽やかな煌めくパウダー

・Dior スティックグロウ 445 ¥5,500
https://www.dior.com/ja_jp/products/beauty-Y0197008-スティック-グロウ-(サマー-コレクション-2021数量限定品)-艶のあるテクスチャーと美しい発色が続く、グロウ%E2%80%90イン%E2%80%90バーム-スティック

・Dior ディオールアディクト ラッカースティック 323 ヌードデザート ¥4,400
https://www.dior.com/ja_jp/products/beauty-Y0028808-ディオール-アディクト-ラッカー-スティック-とろけだすツヤ、挑発する発色%E3%80%82夢中にさせるつけ心地%E3%80%82

・Poplens Scande ヘーゼル ¥2,490
https://www.poplens.jp/shop/prod/shop_prod_product_view.do?i_sProductcd=POP20200224000000902

楽曲提供：Production Music by http://www.epidemicsound.com


#Dior #フルメイク #ディオール
・ショップURL♡
https://muuu.com/brand/libecka/


herb URL
http://jp.iherb.com/?rcode=QFL562

instagram
http://instagram.com/shione__1101/

twitter
http://twitter.com/Kuualoha_s

#乾肌粉底 #專櫃粉底 #粉底測試
'
我知呢條片大家等左好耐！
今次我都幾開心可以控制到個燈光！！
清清楚楚咁比大家睇到每枝粉底既效果！
放心由始至終我既片都冇開過美肌冇落FILTER
我睇返條片其實都有d覺得好似太clear
But at least one thing that I’m very proud of - I am always 100% true to you guys~
不過可能都仲有不足希望大家可以多多包容
我會努力改進！
呢條都算我花左幾多時間拍既片，雖然d粉底唔係最新
都希望比到一個參考大家啦！
‘
Products Mentioned:
??GUERLAIN L’Essentiel Natural Glow 16Hours Foundation
??GUERLAIN Parure Gold 24 Hours Foundation
??ESTEE LAUDER Futurist Aqua Brilliance Foundation
??BOBBI BROWN Intensive Serum Foundation
??PAT MCGRATH Sublime Perfection Foundation
??ANASTASIA BEVERLY HILLS Luminous Foundation
??GIORGIO ARMANI Designer Lift Foundation(*)
??SHU UEMURA Unlimited Foundation
??SHISEIDO Synchro Skin Self Refreshing Foundation(*)
??CHARLOTTE TILBURY Airbrush Flawless Foundation
‘
(*) means gifted
'
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'
Background Music by:
Dreams by Joakim Karud https://soundcloud.com/joakimkarud
Creative Commons — Attribution-ShareAlike 3.0 Unported— CC BY-SA 3.0 http://creativecommons.org/licenses/b...
Music promoted by Audio Library https://youtu.be/VF9_dCo6JT4
‘
‘
business coop: stayreview@gmail.com
yoga class: dadeyologi@gmail.com
***** This video is not sponsored and 100% honest opinions*****