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

“ขอแคปชั่นหน่อยครับ" : )

ตารางงานเดือน เมษายน
02/04 #เชียงใหม่ - ร้าน สวนไผ่ / สันป่าตอง (acoustic)
03/04 #ตาก - ร้าน Reddoor craft beer / แม่สอด (acoustic)
10/04 #ประชาอุทิศ - ร้าน Zea bla'h / ทุ่งครุประชาอุทิศ-พระสมุทรเจดีย์
11/04 #กทม - งาน Good Hood X Papaya Studio " Present " Good day Never End Market " / Papaya Design Furniture & Studio ลาดพร้าว 55/2
12/04 #เชียงใหม่ - ร้าน Five bar / สันกำแพง (acoustic)
13/04 #เชียงราย - ร้าน Level Chiangrai
24/04 #เชียงใหม่ - งาน LEO Presents Cat Expo Cat Radio
25/04 #พระราม 2 - ร้าน สร้างสรรค์โรงดนตรี / (acoustic)
27/04 #Cat Radio - จัดรายการ จดหมายเด็กแมว

จองงานโชว์ 083-260-066 Line @GreasyBooking https://smarturl.it/gcbooking

🌟🌟🌟 MV首播 《Itini Itira 這裡 那裡》
#請大家熱烈的轉po

“凝視的「眼睛Mata」、聆聽的「耳朵Tangnira」、悲傷的「淚水Tangnic」、指引方向的「這裡Itini」和「那裡Itira」，在彼此的語言中幾乎一致，簡短的詞彙中彷彿可以聽見隱藏千年的航海線索....” 這一首歌，就是來自Sasela’an氣息專輯的一首送給大家的一份海洋禮讚～🌏

🌿🌿🌿

如果有一首歌，重新可以把島嶼與海洋串起
希望這是一首從台灣開始唱起的歌～
五千年前，台灣的祖先勇敢地航向海洋後
我們就共享著那屬於生命氣息的南島文化

如今，在五千年後的現在，當Ado阿洛從台灣為起點開始與紐西蘭毛利族、復活節島Rapa Nui人、索羅門群島、馬達加斯加、巴布亞新幾內亞的朋友們開始相遇，這首歌，就是一份來自千年來祖先們的祝福～

🌺🌺🌺

“Itini Itira” (Here and there) music video premiere 💐

All the vocabularies, “Mata” (eyes) for gazing, “Tangnira” (ears) for listening, “Tangnic” (tears) for sadness, and “Itini” (here) and “Itira” (there) of the direction are similar within Austronesian languages. It seems that we can hear the hidden nautical clues for thousands of years from the short words. This song is a compliment to everyone from the album Sasela’an (Breath).


If there is one song reconnecting the islands and the ocean…
Hope this is the song starting from Taiwan~
The ancestors in Taiwan bravely sailed to the ocean five thousand years ago…
We share the Austronesian culture that belongs to the breath of life…

Nowadays, when Ado has met friends of Maori in New Zealand, Rapa Nui of Easter Island, Solomon Islands, Madagascar, and Papua New Guinea from Taiwan. This song is a blessing from our ancestors for thousands of years.🌴🌴

⠻
官方ＭV製作團隊
出品 | 阿洛無限有限公司 No Trouble Co., LTD.
導演 Director | 阿洛˙卡力亭˙巴奇辣 Ado˙Kaliting˙Pacidal
監製 Executive Producer | 熊妤璇 Shawna Hsiung
攝影師 D.O.P. | 王嬿妮 ／ 王怡晴／劉松頤
剪接設計Editor | 劉盈瑞 Ｌiou Ray
歌詞字幕設計 Lyrics Front Design | 劉盈瑞 Ｌiou Ray
調光後製 Ｄimming | 時間軸 ＴimeLine Studio
翻譯 Translator | 林果葶 Ｋoing
特別感謝：馬太鞍部落、ＬＥＧＡＣＹ傳音樂展演中心、阿米斯音樂節、小島大歌

・Album Credit・
製作人 Producer: Ado 阿洛・卡力亭・巴奇辣
協力製作人 Co-producer: 卓士堯 Vincent Cho
／Suana Emuy Cilangasa 蘇瓦那・恩木伊・奇拉雅善
錄音師 Recording Engineer: 葉育軒Yu Hsuang Yeh／Tim Cole／林唐鈺Samuel Lin
錄音室 Recording Studio: Sanctuary Sound Studio／健康合作社／浮光音樂工作室
混音師 Mixing Engineer: Paul Drew
母帶後期處理工程師 Mastering Engineer: 陳陸泰 A-Tai
母帶後期處理錄音室 Matering Studio: 原艾母帶工程錄音室 Mugwort Mastering

#Ado阿洛 #阿洛 #Ado #AdoKalitingPacidal #氣息 #Saselaan

【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

This winter break, Fushing Studio helped TEDx Fuhsing to decorate the guest room for this year's TED talk held in Fuhsing. The topic of this year's TED talk is "Off the Wall". The five-days deco process may appear very easy, but members of TED club and Fuhsing Studio spent a lot time preparing this event. Although the event had passed, I still decided to vlog this process. This video contains our design concept and the methods we employed to display our designs.

# 陳飛宏SAXO 首張個人創作專輯 - {城市沙發客} 9/5正式發行


# 關於 - 『CAN'T STOP』舞蹈版本

表演舞者
Sunny、A Po、Laba、Meck、小硯、妞

影像製作
胡瑞財、順、蘇志超

特別感謝
First Place Dance Studio
M Studio
Ionism Design
思涵姐
罐頭
阿G
小宇
阿緻
Buffy

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# 關於 - 首波主打 『CAN'T STOP』 音樂電影
http://youtu.be/p3sCIEOO7Hk

由歌手-陳飛宏，主演並包辦詞曲創作。
音樂記錄著陳飛宏人生的轉折與困境，啟發這張專輯的概念。

影像由新銳導演-胡瑞財，編導製作完成。
在有限資源裡，尋找音樂結合影像之無限可能。

＿不管路途多遠，完成夢想前，只有 Can't Stop ！_

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# 關於 - 『CAN'T STOP』音樂資訊

曲 : 陳飛宏
詞 : 陳飛宏
編曲 : 任中強
製作人 : 祝鏘博 James Chu

換上新的外套調整自己的步調
翻閱每一頁的目標新航道
每一次的心跳都為當下重新再燃燒
喚出愛的新浪潮跟我跳
微弱的光點模糊的視線
節奏在蔓延你腦中的畫面

Bounce x3 甩掉所有煩惱
Down x3 跳出新的世界
Now x3 用力大聲Shout out
Can’t stop x3

你要相信前進的意義打開新買的心靈耳機
這是New arrivel的聲音打開a new visual 的清晰
跟我來 Change your life Homie I gotta make your better life I try I try I can’t stop

扭轉所有訊號干擾每一段頻道
Free your mind copy the code down in and out
集中能量準備未來以愛為中心發現
Follow 我的新視野無極限

聚焦的光點自信的笑臉
節奏在震碎一觸即發超前

Bounce x3 甩掉所有煩惱
Down x3 跳出新的世界
Now x3 用力大聲Shout out
Can’t stop x3

這是我們第一個high five .We believe connect
I want you 全程戒備
I want you 跟著轉變
Let’s do right now. Everyday I shout
經過末日現在讓愛緊貼跳
Everybody on the roll ,turn the music up this time x4

And I can’t stop now , and I can’t stop love you girl
Now x3 , you let me crazy falling , I don’t wanna stop now
Bounce x3 甩掉所有煩惱
Down x3 跳出新的世界
Now x3 用力大聲Shout out
Can’t stop x3

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# 我們都在這座城市裡，不斷移動著。在無題中，成長著。

陳飛宏粉絲專頁
https://www.facebook.com/flyinsaxo

陳飛宏微博
http://www.weibo.com/u/2045971975

陳飛宏 Instagram
http://instagram.com/flyinsaxo


第二波抒情主打歌曲『除濕機』MV 音樂電影
http://youtu.be/1Bs7OFPeKwY


[線上音樂搶先聽]

KKBOX http://www.kkbox.com/tw/tc/album/cD29...
myMusic http://www.mymusic.net.tw/album/show/...
Omusic http://www.omusic.com.tw/albumpage.ph...

[ CAN'T STOP 來電答鈴下載 代碼 816557 ]

中華用戶: 手機直撥700,
遠傳用戶: 手機直撥900,
台哥大用戶: 手機直撥803,
威寶用乎: 手機直撥700,

皆按{4} 後,輸入代碼,就可立即設定。


相關活動聯絡
flyinsaxo19850321@gmail.com

網路通路：KKBOX、myMusic、Omusic、iTunes Store

實體通路：五大、佳佳、玫瑰、誠品、博客來、光南...等全國各大唱片行


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