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

我們到茂宜島囉～
真的跟Honolulu 很不一樣的風情
兒子一直很期待～
他說這是小叮噹的Treasure island☺️☺️
是嗎？那我們就上山下海看看囉～

這幾天自己招待自己
住💎Hyatt Regency Maui spa and resort 💎
ㄧ進飯店就有鮮花環～ALOHA~~~
從房間看出去的view一樣有海～
有洞穴溫水游泳池，
最驚喜的是洞穴裡有酒吧（讓我喝下去～～～）
還有天鵝湖🥰
讓人很放鬆的地方～

2021.06.10(四)抗疫停課第24天 來去夏威夷
和好友因為打疫苗問題而討論起夏威夷有什麼好玩景點？
夏威夷共有6大開放觀光的島嶼：
夏威夷島(大島)Kawaii (Big Island)、歐胡島Oahu、可愛島Kauai、
茂宜島Maui、摩洛凱島Molokai、拉奈島Lanai，
風貌多變，有3000公尺高山、多變沙灘、火山地形、一大堆瀑布，
夏威夷大島是首都島，多逛街電影院等都會風情，很適合一家大小去，
大島因為有活火山，可近距離欣賞火山岩漿噴發口，地質控必去，
大島Hilo那側有非常多身心靈的活動，死藤水體驗啦什麼的都有。
歐胡應該是最商業的一個，其他5個島比較有原始美，
茂宜島是很多人度蜜月會去的島，
有非常多嬉皮次文化，晚上有beach bonfire，
可以去火山頂看日出，然後騎腳踏車下山，
體驗一天內從35度到零度的刺激感！
可愛島是1998年哈里遜福特<六天七夜>拍片的地方，
可愛島西南側有一個小島，叫Nihao，是只有原住民才可以登的聖島，
也是私人島嶼。但他旁邊的海域有非常多海洋生物，是潛水的好地方，
夏天可以跟大翅鯨共遊，可以看到Monk Seal，
夏威夷到處都是海龜，有人下海浮潛還被四隻海龜包夾，
他們幾乎是日本人居多，政府部門有一半以上是日裔美國人，
夏威夷真的太讓人驚艷，去了絕對顛覆想像，
如果可以去夏威夷打疫苗，又可以度假，真的超棒！
#夏威夷 #美國 #疫苗 #宅在家救台灣 #全民抗疫 #台灣加油 #旅人Carrie愛漫遊

【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

Instagram: https://www.instagram.com/dw_kid12/

Facebook: https://www.facebook.com/deepwebkid/?modal=admin_todo_tour
訂閱: https://www.youtube.com/channel/UC8vabPSRIBpwSJEMAPCnzVQ?sub_confirmation=1

鬼故事: https://www.youtube.com/watch?v=H4rmkFI1ik0&list=PLglqLngY6gv5BCwaoP-q6DOwUmw1lIusF

我最高觀看次數的影片 (我為何不再拍暗網? 只說一次): https://www.youtube.com/watch?v=jbihKaqEEQw&t=127s

曼德拉效應: https://www.youtube.com/watch?v=OMutzRIE_uE&list=PLglqLngY6gv5BCwaoP-q6DOwUmw1lIusF&index=17&t=5s

我的100K成長故事: https://www.youtube.com/watch?v=Kdhtp6A6YJE

破解Kate yup事件是假的! 不是綁架! 不要被騙! (Facebook上的證據): https://www.youtube.com/watch?v=2NJVt56ORWo&t=2s

日本最殘酷的直播節目: https://www.youtube.com/watch?v=7E81OKVX7wc

網上最可怕的一個字 (Ft. HenHen TV): https://www.youtube.com/watch?v=tLedkSHc7Os&t=145s

美國紐約真實怪物紀錄片 Cropsey (令我極度不安!!!)

【恐怖】美國紐約真實怪物紀錄片(令我極度不安!!!)

外國長大的小孩小時候聽到的鬼故與亞洲長大的小孩是jit yin不同的. 亞洲鬼喜歡長成長髮紅鞋白面. 我們Halloween永遠都會有一個mung住面的黑衣人, 手是一個鉤. 不聽話的小朋友就會被jook走到黑衣人的地lo, 叫多大聲也沒人聽到.

我住的城市跟美國紐約只是幾小時的車程. 小時候常常跟家人一起去旅遊. 紐約的staten island小島上Cropsey的傳說我小時候就聽過.

Cropsey描繪為靈體嗎? 他是7-80年代一位從精神病院逃走出來的變態殺手. 又是住在fong fai醫院的底lo下面，又有著手鉤. 1981年電影The Burning, 1982年Madman, 也是kuy fat於這個都市傳說.

直到有一天, Crospey開始在Staten island現真身.

1987年12歲的Jennifer Schweiger, Tiahease Jackson,, 一個一個的小童開始離奇失蹤. 最年長有21歲的Hank Gafforio. 這麼多年屍骨無存. 當年全部都是弱智人士.

2009年Breaking glass pictures製作這部Cropsey紀錄片. 到Tribecca電影節, 被影評譽為: 美國最恐怖的紀錄片.
該片導演Joshua Zeman, Barbara Brancaccio本身身份也duk sooh. 兩位分別都是小時候居住Staten Island, Cropsey怪物伴隨著長大的人. 長大成人後卻想回到家heung, chung破自己的童年陰影.
而他們拍攝過程中真的找到cropsey答案. 這答案是糾纏在當年一間非法殘障學校,一個地底秘密社kwun, 和撒但教juy ji yi sik當中.

大家好又是我暗網仔. 今天又是看看我小時候常聽的一個傳說. 你們即將看到的片段. 令到我極度不安.

87年, 夏天, 12歲有唐氏綜合症的Jennifer Schweiger在街上被lo走. 除即一位可疑的流浪漢Andre Rand被捕. 審查中卻發現Rand跟多行兒童失蹤案可能有關連. 最早可疑個案發生於1972年5歲Alice Pereira. 1981年Holly Ann Hughes, 到87年的Jennifer.

Andre rand被懷疑除了因為他有犯罪前科, 就是他曾經在Willowbrook State school做過校工.

Willowbrook曾經是美國最大的兒童殘障設施. 亦出名做過一些非常不道德的事.

美國肝炎爆發的50至70年代，Willowbrook變成人體實驗基地. 多名殘障兒童被joo seh病毒然後被yin gauw. 有20年時間, chit si人數超過容量局限的4000名兒童, 長期居住6000名殘疾兒童.
原來Rand當時除了做校工也是Willowbrook其中一位治療師. 1987年willowbrook正式關閉後, rand失業, 但仍然在fong fai的土地上居住. 同年，jennifer schweiger失蹤.

物證不足的情況下，Rand只被控告兩行綁架罪. 他sik fong年份：2037. 他將會是93歲.

Chum找各個失蹤屍體是推進紀錄片的主sin劇情.
導演Joshua和Barbara嘗試找Rand訪問, rand姐姐. 主要解答多年來誰也不知道的問題: 死屍chong在那兒?
但其實這種不肯定情suey chung jik整個1小時24分鐘的影片.
片-中-後段: 探索Willowbrook舊地，附近醫院地下室，發現有一個地下社區居住過的hun jik. 是城市的底下gaiy chung和流浪hon吧!
當局人員相信那些小孩就是被Rand帶到這個地方被這些城市地底人為所yuk為.
1小時01分發現一些撒旦教的標記. 小孩是否被迫進行撒旦教的juy ji儀式呢?

真相到30年後的今天, 仍然在Rand的心入面, 不肯講出來. 相信到他百年gwuy老的那一天, 我們還是不會知道真相.
Cropsey片最後想帶出意思就是：傳聞的答案永遠不會只得一個. 多個觀點被提出後, 就是kauw觀眾自己, 去決定peen向那一個真相.

無論是Cropsey導演Joshua和Barbara相信的: Rand因為當年willowbrook工作變得非常tung hun世上殘障兒童, 覺得他們不應該存在. 企圖將他們殺害.
或者根本不相信Andre Rand是殺手, 他就算是也一定不是主maui這個角度.
其實整個Andre Rand案件處理充滿著草率馬虎的辨事態度. 沒有物證 (影片/相片也沒有）沒有屍體, 沒有確定動機, 只是一推傳言. 片中也講了：當Rand第一次審理被帶到法院門口, 流口水的那一刻, 大家其實已經poon了他的罪. 其實我覺得只是社會需要在這麼多不安事件上找一個答案解釋而已. 流浪hon, 怪人, 就是最好做這一集代罪go羊. 讓社會上的人可以繼續他們朝9晚5的生活. 而sik日的tung fu可以被社會遺忘. 你可知道20多年後那班小孩的家sook是仍然想念他們.

其實cropsey事件跟我最喜歡的外國都市傳說1999相似. 曾擁有著90年代電視機的作者憶記小時侯電視節目?出現的奇sook sook.
一間奇怪兒童電視台背後是為了殺小朋友. 地點在我住的fu gun小鎮發生. 90年代電視也跟我一樣. 我之前頻道有Vlog型式去過該小鎮甚至森林?面拍攝.
結尾我假jong當時是死了. 最後fan生. 整個事件都當作笑話.
但知道Cropsey整個故事後. 我的童年. 笑不出.

CelesteTerry官網 https://celesteterry.com.tw
IG https://www.instagram.com/celestebigpei/
FB粉絲團 https://goo.gl/3buH6u

Bourjois - 果然美肌光輕粉底 # 51
https://www.watsons.com.tw/果然美肌光輕粉底-51-亮膚色/p/BP_650265

Loreal - 24H無瑕完美粉底液 # 130
https://www.watsons.com.tw/巴黎萊雅-24h無瑕完美粉底液-130-明亮色/p/BP_172459?text=loreal粉底&page=0

I’m Meme - 我愛精靈女神打亮盤
https://www.watsons.com.tw/immeme我愛精靈女神打亮盤/p/BP_177680?text=IMMEME&page=1

Loreal - 油光OUT恆霧蜜粉餅 # 100
https://www.watsons.com.tw/巴黎萊雅油光out恆霧蜜粉餅-100白皙色-9ml/p/BP_158836?text=loreal蜜粉&page=0

Rosy Rosa - 果凍感低敏粉撲五角形
https://www.watsons.com.tw/rosy-rosa-果凍感低敏粉撲五角形n-6入-袋/p/BP_129473?text=rosy%20rosa&page=0

CNP - Propolis Ampule in Cushion # 23
https://www.cnpmall.com/index.php/front/product/product_view/PBB1216

LUNA - Long Lasting Tip Concealer # 02
http://item.gmarket.co.kr/Item?goodscode=1567761012&pos_shop_cd=SH&pos_class_cd=111111111&pos_class_kind=T&keyword_order=luna&keyword_seqno=20882812571&search_keyword=luna

Anastasia - Brow Wiz # Taupe
https://www.anastasiabeverlyhills.com/brow-wiz/brow-wiz.html#

Kate - 凝色柔滑眼線膠筆 # BK-1
https://www.kate-global.net/tw/all_products/eye_liner/

UZU - Eye Opening Liner # Gray
https://www.uz.team/ph/eyeopeningliner/

Canmake - 花漾戀愛修容組# 10
https://www.watsons.com.tw/canmake-花漾戀愛修容組-970-10/p/BP_174770?text=canmake&page=3

Canmake - 唇頰兩用霜# CL01
https://www.watsons.com.tw/唇頰兩用霜-1451-cl01/p/BP_512239?text=canmake%2001&page=0

Fenty Beauty - Sun Stalk’r # India Sun
https://www.fentybeauty.com/sun-stalkr/instant-warmth-bronzer/FB30015.html?dwvar_FB30015_color=FB9010&cgid=makeup-face-bronzer

Colourpop - Coconuts About You Kit
(# gimme s’more & # cherry pickin)
https://colourpop.com/products/coconuts-about-you

Colourpop - You’re A Peach Kit
(# rise n shine & # z boys)
https://colourpop.com/products/youre-a-peach

Colourpop - Cherry & Bright Kit
(# city of stars & # cutie fruity)
https://colourpop.com/products/cherry-bright

Colourpop - Gimme A Slice Kit
(# chimichanga & # a go go)
https://colourpop.com/products/gimme-a-slice

Colourpop - Guava Have Kit
(# maui wowie & # chubby bunny)
https://colourpop.com/products/guava-have-it

Colourpop - Dragon My Heart Around Kit
(# the strand & # treasure island)
https://colourpop.com/products/dragon-my-heart-around
___
我用的粉底色號

植村秀 - 無極限超時輕粉底 # 764
https://www.shuuemura.com.tw/products/unlimited-fluid-fdt

雅詩蘭黛 - 粉保濕訂製雙效氣墊粉餅 # warm vanilla
https://www.esteelauder.com.tw/product/641/62211/product-catalog/futurist-aqua-brilliance/spf40pa#/shade/66-Cold-Bobe-1C1

Addiction - 晴癮防曬粉底液 # 003
http://www.tw.addiction-beauty.com/products/ItemDetail.php?cmId=1019

Laura Mercier - 煥顏粉露 # Ivory (PR)
https://www.lauramercier.com.tw/粉底/煥顏粉露-prod12704724.html;app.gtmInternalPromotion.click(%7Bposition:%20'slider%201-2',%20id:%20'homepage-slider-1',%20creative:%20'flawless%20lumiere',%20name:%20'homepage-slider-1'%7D)

3INA - The 3in1 Foundation # 224
https://global.3ina.com/collections/foundation/products/the-3in1-foundation?variant=29682683576419

Make Up For Ever - ULTRA HD超進化無瑕粉底液
(我手上有的色號是Y245，但我目前膚色應該是Y225)
https://www.makeupforever.com.tw/SalePage/Index/4443200?cid=248454

Addiction - 癮耀顏水凝粉霜 # 003
http://www.tw.addiction-beauty.com/products/ItemDetail.php?cmId=980

植村秀 - 天生光圈鑽石光粉底液 # 764
(這個色號比我膚色深一點點，但不確定再淺會不會太淺)
https://www.shuuemura.com.tw/products/lightbulb-secondskinglow-breathable-fdt

Tom Ford - Traceless Touch Foundation # Buff
https://www.tomford.com/traceless-touch-foundation-spf-45-refill/T6ER.html?dwvar_T6ER_color=PORCELAIN#q=%2BTRACELESS%2BTOUCH%2BFOUNDATION%2B&start=1

Bobbi Brown - 彈潤提拉精華粉底 # 1 warm ivory
https://www.bobbibrowncosmetics.com.tw/product_list.php?pno=EF9M&c1=1&c2=11

嬌蘭 - 24K純金光系列粉底液 # 01
(這罐改版了～)
https://www.guerlain.com/tw/zh-tw/24kchun-jin-guang-xi-lie-di-zhuang/24kchun-jin-guang-xi-lie-di-zhuang-24kchun-jin-guang-fen-di-ye-spf-30-pa

SUQQU - 晶采光艷粉霜 # 101
http://www.suqqu.com.tw/product/basemake_step.html

Bobbi Brown - 高保濕修護精華粉底 # 2 sand
https://www.bobbibrowncosmetics.com.tw/product_list.php?pno=ECJJ&c1=1&c2=11

Enjoy the beautiful stars!

Location : Molokai island, Maui island and Big island

-----------------------------------------------------------------------

Website : https://ryoyatakashima.com
Instagram : @ryoya_takashima
Other Youtube Channel : https://www.youtube.com/user/ryoya1983

-----------------------------------------------------------------------

Equipments & etc:

Camera : Sony A7RII / Sony A7SII / Sony A7III(Astro modified)
Lens : Sigma 14mm f1.8 / tokina firin 20mm f2.0 / Sony FE 35mm F1.4 ZA / Sony FE 85mm f1.4 GM
Star Tracker : iOptron SkyGuider PRO
Slider : iFootage Shark Slider Mini with additional Track
Edit : Adobe Premiere Pro CC / Lightroom CC / LRTimelapse
Music : Gentleness by Sirus Music (https://www.premiumbeat.com/royalty-free-tracks/gentleness)

-----------------------------------------------------------------------