【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
同時也有4部Youtube影片,追蹤數超過136萬的網紅JJ Lin林俊傑,也在其Youtube影片中提到,林俊傑 JJ Lin x 孫燕姿 Sun Yanzi《Stay With You》英文版 數位收聽 ? https://jjlin.lnk.to/StayWithYouEngAY 就算難關將我們分開 只要心在一起就不難 Even when tough times drive us physic...
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O yeah, my favourite asana, to me this is convenient, if I don’t have time, if I don’t have enough sleep, if I feel sad, i will just do it for 10 minutes, sometimes 15 minutes, everything will feel better after that
Repost from @day1yoga May 16 2019
Day 4 #Sirsasana
✋Ok let’s start to turn these lessons upside down. Today we will do SIrsasana or headstand. Many people practice headstand and yet still
find it a bit scary or a bit elusive. Now is your chance to incorporate the work you’ve been doing into something that gets you literally upside down but also is common enough that it won’t completely freak you out. 😅
✋ Headstand requires the same scapular depression and protraction that I have been preaching the past 3 days. You’ll notice especially if you are on the right or new side to yoga asanas, that your shoulders may want to hunch or elevate towards your ears as you walk your feet towards your face. But if you do that you will somersault over and squish your fingers 😅. No one wants this. So you must learn to depress your scapula and engage the lats (not the traps!), maybe near a wall but not on top of it (give yourself a little wiggle room- to see how you do free balancing on your own. If you completely rely on the wall, you may allow some bad habits like scapular elevation to creep in and set! Don’t do this!
✋Lastly you can play with longer hold on this one. 1 min up to 5 min hold if you’re experienced. I promise you’ll feel that too! And you can also play with how much weight bearing your head will actually do. I’d say about 2/3 arms and 1/3 head is average. But if you’re new, maybe try to keep 80/90 % of the weight in your arms. If your more experienced you can play with 80/90% of the weight in your head! 😅 yes believe it or not- crazy advanced yogis out there can do unsupported headstands ! 100% head bearing the weight. Though not recommended for this challenge or on your own or for new practitioners. But something to be inspired by!
Enjoy the KING of ASANAS ! -
To enter, simply follow the below steps ·
@iris.hkg @easyogahk @day1yoga
#day1yogainAsia @ The Practice Studio
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Happy Valentine's Day! (中文在後)
This is a painting inspired by a scene in Kowloon, Hong Kong many moons ago (1985). Kowloon's Mong Kok was not far away from my studio. Many first-run movies were usually shown there and most of the audience was made up of young people. In front of the movie theater were many hawkers selling snacks for the audience. The most common snacks were boiled corncob and pop corn. As I was fresh off the boat from Mainland China (Hong Kong at the time was a British colony and Mainland China in contrast was still recovering from the Cultural Revolution and just opened its door to the world), this was of novelty to me. I had never seen anyone sell snacks at the movies in China. People did not take snacks into the theater either because it was a bad habit of the "Old Society"! In Hong Kong, however, it was a natural cultural phenomenon. There was nothing strange about it and being "new" or "old" didn't matter at all.
I often saw young men and women flirting with each other at the entrance to the movie theater. It all felt very natural, warm, and touching. A boy and a girl eating a corn cob together naturally became the main image in my painting. So I made a sketch then asked a student to bring his girlfriend along as a model. The finished image was transplanted to a space near the ticket booth of the movie theater and the movie poster just happened to be of Saturday Night Fever.
情人節快樂!
這幅畫“熱玉米”是香港時期的創作。作於1985年。當時我在九龍開畫室謀生。離我的畫室不遠就是熱鬧的九龍旺角,那裡經常放映一些首輪電影,看電影的觀眾年青人居多。電影院前有許多小販出賣零食給觀眾,見得最多的就是水煮玉米和爆米花。因為剛從內地到香港不久,一切都還是很新奇。我在大陸內地看電影從來沒人出賣零食,更沒人帶零食進場呀,那是「舊社會」的不良習慣啊!可在香港,這是自然發生的文化現象,既不奇怪也無所謂"新舊"。
我在電影院門口常常看到青年男女的親熱動作,自然、親切、動人。男女共吃一個玉米的親密動作自然成為我畫中的主要形象。於是,我畫了草圖後請我的學生帶他的女朋友來作模特兒,最後完成的畫面移入電影院售票處附近的空間,櫉窗的劇情圖片介紹正是「周末狂熱」。
studio time near me 在 JJ Lin林俊傑 Youtube 的精選貼文
林俊傑 JJ Lin x 孫燕姿 Sun Yanzi《Stay With You》英文版
數位收聽 ? https://jjlin.lnk.to/StayWithYouEngAY
就算難關將我們分開
只要心在一起就不難
Even when tough times drive us physically apart
We’ll find a way, if our hearts are near
當陣雨使我們暫緩腳步
別忘了這份陪伴
溫柔支撐的力量
I’ll Stay With You
愛 一直都在
When troubles weigh us down
Know that I’ll be by your side
I’ll Stay With You
And love will see us through
亞洲唱作天王 JJ林俊傑 再度攜手 華語樂壇天后 孫燕姿
打造《Stay With You》英文版,用音樂始終陪伴。
溫暖的嗓音融化嚴峻的考驗,擁抱無助的心靈。
將歌聲化為柔軟但堅韌的力量,
與各界前線奮鬥的人們同在,也為難關重重的現今,注入飽滿的能量與陪伴。
Top Mandopop acts JJ Lin and Sun Yanzi have come together to create an English rendition of the heartwarming single, Stay With You. Besides writing it specially in appreciation of frontline workers, the singers also hope to bring comfort and hope through music.
《Stay With You》(英文版) 歌詞 MV 所得之全部版稅收入將捐助於聯合國兒童基金會。
#林俊傑孫燕姿staywithyou
#JJStefstaywithyou
#staywithyou
_
《Stay With You》 (English)
Music - JJ Lin / Lyrics - Sun Yanzi
Just the other day I heard your voices right by here
Maybe it’s all in my head but still I feel you near
All the memories of your faces
Seem like days of yore
And if the walls are closing in We’ll find a window deep within
I’ll stay with you
Till the rays come through
Till we find a way and we’d say Look what time has held true
Stay with you
We will all come through
Till we find a way me and you We’d gather our dreams again
Come round I’ll be here,
Right with you
Just the other day I heard your voices right by here
Maybe it’s all in my head but still I feel you near
All the memories of your faces
Seem like days of yore
And if the walls are closing in We’ll find a window deep within
I’ll stay with you
Till the rays come through
Till we find a way and we’d say Look what time has held true
Stay with you
We will all come through
Till we find a way me and you We’d gather our dreams again
Come round I’ll be here,
Right with you
I’ll stay with you
Till the rays come through
Till we find a way and we’d say Look what time has held true
Stay with you
We will all come through
Till we find a way me and you
We’d gather all our dreams again
We may not all be the same
But come round I’ll be here, right with you
_
Director 導演:Alex Popkin
Animator 動畫師:Ben Brown
Illustrator 插畫家:Claudia Dillard
Producer 製片人:Zhe Chong
_
詞 Lyrics:孫燕姿 Sun Yanzi
曲 Composer:林俊傑 JJ LIN
製作人 PRODUCER:林俊傑 JJ LIN
配唱製作 VOCAL PRODUCTION:林俊傑 JJ LIN / 陳蔚甄 MISO TAN
製作協力 PRODUCTION ASSISTANT:黃冠龍 ALEX.D / 周信廷 SHiN CHOU
編曲 & 鍵盤 MUSIC ARRANGEMENT & KEYBOARDS 林俊傑 JJ LIN
弦樂編寫 STRINGS ARRANGEMENT:林俊傑 JJ LIN
吉他 GUITAR:黃冠龍 ALEX.D
大提琴 CELLO :劉芸貝
錄音室 RECORDING STUDIOS :THE JFJ LAB (Taipei) / MAKE MUSIC STUDIO (Singapore)
錄音師 RECORDING ENGINEERS:林俊傑 JJ LIN / 陳蔚甄 MISO TAN
混音室 MIXING STUDIO:THE JFJ LAB (Taipei)
混音師 MIXING ENGINEER :林俊傑 JJ LIN
後期母帶處理製作人 MASTERING PRODUCER:林俊傑 JJ LIN
後期母帶處理錄音室 MASTERING STUDIO:Bernie Grundman Mastering, LA
後期母帶處理錄音師MASTERING ENGINEER:Mike Bozzi
單曲封面設計 COVER ARTWORK DESIGN:Alexa Ong (Wood & Lead)
_
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studio time near me 在 LiTing 旅游美食攻略 / Milaylay Youtube 的最佳貼文
Tokyo Disneyland is a 115-acre theme park at the Tokyo Disney Resort in Urayasu, Chiba Prefecture, Japan, near Tokyo.
Its main gate is directly adjacent to both Maihama Station and Tokyo Disneyland Station.
Address:
Japan, 〒279-0031 Chiba Prefecture, Urayasu, Maihama, 1-1
Tokyo DisneySea is a 176-acre theme park at the Tokyo Disney Resort located in Urayasu, Chiba Prefecture, Japan, just outside Tokyo. It opened on 4 September 2001
Address:
Japan, 〒279-0031 Chiba Prefecture, Urayasu, Maihama, 1-13
完整文章 : https://www.goody25.com/mind1349604
===========More Vlog on Japan=============
✈ Tokyo Disneyland Parade : https://youtu.be/ZRxpz409MBA
✈ Singapore Airline Experience to Tokyo : https://youtu.be/ilKcjN7ofaQ
✈ Ichiran Ramen : https://youtu.be/jzj2h-RCeL0
✈ Best Food to eat in Japan : https://youtu.be/eeFOkquXxIQ
✈ Merchandise Shop in Tokyo DisneyLand: https://youtu.be/3xViGftHfy0
✈ Lake Kawaguchiko : https://youtu.be/D_QhcbcDIKc
✈ Tokyo Meiji Shrine : https://youtu.be/8GRRFUHZvBw
✈ Tokyo Disney Sea : https://youtu.be/Soif0x8DDMg
✈ Tsukiji Fish Market : https://youtu.be/YF548G9ew9Q
=============Stay in Tokyo ================
➳ Most of our Stay in Japan are on Airbnb, Sign up now and get your free credit TODAY!
➳ https://www.airbnb.com/c/shangy17?cur...
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☝ 推荐您轻松管理您的 Youtube Channel ??
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每个Youtuber必备的数据分析工具 (免费)
➳ https://www.tubebuddy.com/Liting1121
==========☎ Stay connect with me=============
➳ Instagram: https://www.instagram.com/liting_21
➳ Blogspot :https://milaylay.blogspot.com/
➳ Milaylay Facebook Fan Page : https://web.facebook.com/milaylaytalk
studio time near me 在 Mateusz Urbanowicz Youtube 的精選貼文
See the finished image here: http://mattjabbar.tumblr.com/post/162708653726/if-you-follow-me-on-social-networks-you-probably
If you follow me on social networks you probably know that we (me and Kana) moved houses from Tokyo, Waseda to near Enoshima.
Setting up our work space anew took us some time but I could finally sit at my desk yesterday and start painting again.
The first thing I wanted to do was a sketch of our small studio room at Waseda that we just left. I wanted to draw it only from memory so I had to move fast - before I forget where everything was.
This illustration was inspired by the works of Hayao Miyazaki and especially his watercolour paintings of airplanes, tanks, and fantastic machines where he meticulously marks everything of interest. I love those illustrations even though his writing is intelligible half of the time (even for Kana).
Technical details:
* colors: My main Schmincke 48 colours set.
* lines: Copic Multiliner 0.35mm
* paper: White Watson 190g/m B4
studio time near me 在 Schedule video publish time - YouTube Help 的推薦與評價
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studio time near me 在 Bro Time Studio 音樂工作室 - Facebook 的推薦與評價
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