我嘅BB又出世啦!一年前嘅計劃到
今年終於可以實行啦!
慈善寵物書《Be my part of Life愛寵心語》正式推出!
好多謝今次支持機構同團隊們落力幫忙!
寵物書總編輯及宣傳部 Locasi Leung
寵物書編輯及中日翻譯混血兒Cecilia Shing
寵物書藝術總監 EDPO | Jenny
主要受惠機構: SPCA (HK) 香港愛護動物協會
其他受惠機構 : 港九寵物協會 大樹下善待動物庇護站(錦田)有限公司-- 即之前錦田狗場 爪家舍Paw’s Home 香港香港兔友協會
拍攝場地: 2+Studio
製作單位:
LL Workshop
一馬娛樂
In’s studio Dc Chung
Furin Media Production 翟星宇
ITVmedia
V match Wen Pak Hei
A match
FB Eat All Day
贊助機構:
國際中華福利基金會 King 阿雷
Qivaro Roland Lee
Konica Minolta Hong Kong 葉卓雄
V Care U 心令william
PON 小羊金寶 Caeser 醫生
gglight
Macros 宏焯工程有限公司Jason Lo
漢皇拍賣行 Hans Honors Auction Peter Lau
博顥出版有限公司 Literate Publication Limited
Susanna Muk
支持機構:
Re:spect Music Magazine 紙談音樂
Jesper Chan
MEAT TOWN
2 plus studio Rainbow
Studio one
Petfeny
爪家舍
祥興紙品廠 祥哥
田園寵物店 Countryside Pet Salon. - TST
SENS Pet Limited
支持媒體:
ChillClub HK
MegaLife Club
支持人士:
雷健邦醫生
陳彥行
全民造星3 高晉 Ken Law
曾頌珊 Kiddie Tsang
中國小姐冠軍李美琳 Michelle Li
路芙
註冊體適能教練暨伸展運動治療師 小吉 勞宥娜
張麗琪 Suzie
小婷Tiffany Chan
Albert Wong
Judy Chung
沈運龍博士 Aaron Shum
Jacky Lee Jacky Lee
Mr. Kyran Sze
港九寵物協會副主席 Yenng Yen
鐘文正主席
王正強主席
Bono Ng
Bobo To
Joseph C
香港設計學院 HONG KONG SCHOOL OF DESIGN兼總監James Tsui
Mr Lewis Shum Lewis Shum
動保神婆 Ms. Jacqueline Lee
Ms. Erica Wong
#鍾雨璇 #寵物歌 #Savealife #全民造星 #高晉 #曾頌珊 #bemypartoflife #愛心寵語 #蘇慧恩 #opheliaso #o3 #song #animals #cat #catlovers #dog #doglovers #動物 #領養 #寵物拯救 #慈善活動 #寵物 #貓奴 #寵物書 #book #ngo #event #愛護動物協會 #spca #bmpol
同時也有27部Youtube影片,追蹤數超過475萬的網紅JianHao Tan,也在其Youtube影片中提到,School is back and it's time for everybody's favourite subject... Mathematics. Exams are coming soon and Class T1t5 and N4T1 will return next. Follow...
「production design school」的推薦目錄:
- 關於production design school 在 蘇慧恩 Facebook 的最佳解答
- 關於production design school 在 Melissa 翁昕瑩 Facebook 的最讚貼文
- 關於production design school 在 喜劇演員 Facebook 的精選貼文
- 關於production design school 在 JianHao Tan Youtube 的最讚貼文
- 關於production design school 在 Ghost Island Media 鬼島之音 Youtube 的最佳貼文
- 關於production design school 在 黃昺翔官方專屬頻道 Sean H. Official Channel Youtube 的最佳貼文
production design school 在 Melissa 翁昕瑩 Facebook 的最讚貼文
*飞*
*_半岛啊!让我纵情地在您怀里跳舞_*
石头舞团成立20周年,艺术总监陈连和以挚爱马来西亚的心情推出全新舞作《飞》,将家国的大地之美,融舞之中。
演出阵容鼎盛
✨创团舞者与舞团新星联袂出演
✨灵魂震动Souls Impact现场配乐
✨著名灯光设计师陈永兴精心设计
✨时尚编舞手法
✨马来半岛的实景影像
*这是一场视觉与心灵的响宴,不容错过!*
*FLY*
*_Dancing in the arms of Peninsular Malaysia_*
A dance production that fuses the beautiful landscape of Malaysia into dance, specially created by Mr. Vincent Tan Lian Ho to celebrate the 20th anniversary of Batu Dance Theatre.
FLY combines stylish choreography, new innovation out of traditional and contemporary dance vocabularies, and the scenic views of Peninsular Malaysia from the sea to the mountain, from the flying birds and the chirping of the insects, to express the greatest love to our homeland, Malaysia. The audience will be able to feel the tenacity and energy of life from the breath and movements of the dance.
Highlights
✨ The former and the current dancers onstage together
✨ Percussion accompaniment by Souls Impact
✨ Lighting design by renowned lighting designer Tan Eng Heng
*Performance Details*
🕣 14 Feb 2020 (Fri) 8:30pm
🕒 15 Feb 2020 (Sat) 3:00pm _*School Group Reserved_
🕣 15 Feb 2020 (Sat) 8:30pm
🕒 16 Feb 2020 (Sun) 3:00pm
📍 The Platform at Menara KEN
https://waze.com/ul/hw283bmzk7
Online Booking
➡ http://bit.ly/BATUFLY
Ticket Hotline
➡ +603 7880 7999
School Group Purchase
➡ +6016 272 3949
Facebook
➡ facebook.com/batudt
production design school 在 喜劇演員 Facebook 的精選貼文
Join the crew https://www.facebook.com/groups/2366734596727746/?ref=share
The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris
Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.
According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.
According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.
When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.
Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.
Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.
‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.
This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article
Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.
During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”
Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.
In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.
In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.
"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."
The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.
At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.
The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.
Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.
The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened
From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.
production design school 在 JianHao Tan Youtube 的最讚貼文
School is back and it's time for everybody's favourite subject... Mathematics.
Exams are coming soon and Class T1t5 and N4T1 will return next.
Follow me on Instagram: http://www.instagram.com/thejianhaotan
Sherly: https://www.instagram.com/lyzpopz/
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Liz: https://www.instagram.com/kylolizy/
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Rainer: https://www.instagram.com/rxiner/
Tong En: https://www.instagram.com/tongennnn/
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Ferra: https://www.instagram.com/ferraxferynna/
Arya: https://www.instagram.com/aryayunata/
Tzkai: https://www.instagram.com/tzkaiiii/
Director: Hakim
Producer: JianHao Tan
Editor: Hakim
Assistant Director: Amander Liew
Cinematographer: Danial Ron, Darrel, Sofyan
Sound: Fatimah
Written By: JianHao Tan, Hakim
Set Design: Erica Koh, Kaela Ng
Production Assistants: Kevin Foo, Sam Kongs, Hamzar, Ivan
EMAIL:
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production design school 在 Ghost Island Media 鬼島之音 Youtube 的最佳貼文
Do you ever wish you were smarter? Well, turns out you need a smart window first.
This episode, Nature N8 looks into a smart windows company: View, to chat with Piers MacNaughton. Piers is the Director of Health Strategy at View, a Research Associate at the Harvard School of Public Health, and an expert on how our living space changes our daily performance. He sheds light on how smart windows conserve energy, save money, and also, improve our brains!
Aren’t these windows so insightful? Can we offer you a View in these uncurtain times?
A shoutout to PicCollage for letting us stay in their apartment in Silicon Valley!
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SHOW CREDIT
Emily Y. Wu (Executive Producer)
https://twitter.com/emilyywu
Nate Maynard (Producer / Host)
https://twitter.com/N8MAY
Yu-Chen Lai (Producer / Editing)
https://twitter.com/aGuavaEmoji
Ghost Island Media (Production Company)
https://twitter.com/ghostislandme
www.ghostisland.media
MB01K3PCRHLKZ49
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production design school 在 黃昺翔官方專屬頻道 Sean H. Official Channel Youtube 的最佳貼文
訂閱我的頻道/Subscribe my channel
►https://pse.is/ETCMN
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https://www.facebook.com/SeanHuang1212
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Who群Go黨
黃昺翔 Sean H. ft. Double B 無所謂
詞:吳維章 朱秝樞 黃昺翔 曲:黃昺翔
編曲:黃昺翔 吉他:陳俊霖
Yo! 別嫌太煩
Call你出來你還會嫌太晚
害怕出來明天會太慘
你需要Chill
需要朋友
工作沒做完根本沒差
主管的責任 你就還給他
把老闆開除你聽過安慄嗎
先別說這個 等等怎麼回家
我有聽沒有懂 (我們說走就走 )
是否真的挺我 (你只是藉口 )
會不會太過火 (有種就不要躲 )
這是什麼朋友 (就是你的最佳損友)
天塌下來 我們幫你扛 酒喝太快 我們幫你擋
這首歌 我陪你一起唱 Party直到天亮 (派對直到天亮)
沒地方待 地板借你躺 小孩太壞 我們幫你養
槍林彈雨陪你一起闖 誰叫我是你的Who群Go黨
當你心情不好只要一通電話說走就走
一起喝杯抒發負面能量不需太多藉口
總是踩踏同個節奏 我們就是最佳損友
不管多久沒見播下通話鍵我們感情依舊
老師 阿翔又在睡覺 (黃昺翔)
有難一定相挺 但有機會 我們帶頭整你
ㄟ怎麼感覺心情不好 有什麼困難說出來聽聽
也許 我們可以一起笑你
相處自然不用假裝外面那套
在你面前大聲放個響屁還很驕傲
講話太過直接因為真心希望你好
當你走歪直接踢你一腳 讓你醒腦
像櫻木流川楓都直接打臉吐槽
像魯夫跟索隆常一起耍廢搞笑
但若遇到困難我一定是兩肋插刀相挺到最後
挖ㄟ麻吉底堆 永遠在我身後
天塌下來 我們幫你扛 酒喝太快 我們幫你擋
這首歌 我陪你一起唱 Party直到天亮 (派對直到天亮)
沒地方待 地板借你躺 小孩太壞 我們幫你養
槍林彈雨陪你一起闖 誰叫我是你的Who群Go黨
Yayaya~現場所有的最佳損友們 舉起你們的酒杯
And Make Some Noooooise
Every Body Say 狐群狗黨
狐群狗黨 狐群狗黨
Say狐群狗黨
狐群狗黨 狐群狗黨
天塌下來 我們幫你扛 酒喝太快 我們幫你擋
這首歌 我陪你一起唱 Party直到天亮 (派對直到天亮)
沒地方待 地板借你躺 小孩太壞 我們幫你養
槍林彈雨陪你一起闖 誰叫我是你的Who群Go黨
Who群Go黨
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製作/統籌 節奏空間 RhythmSpace
導演/Director 李婉君
攝影/Camera 黃敏茜
製片/Production 蔣訓文
燈光師/Gaffer 郭宗瑋
製片助理/Production Assistant 張甄妮
調光/Colorist 郭宗瑋
剪接/Cutter 連冠宏
髮型/化妝/Hairstyle/Makeup 簡岑因、游佳玲
封面字體設計/Cover Font Design 黃文
手寫字體設計/Hand Font Design 蕭羽心
GuAtMusic 很會音樂
EndlessJoy 無限美好文創娛樂
特別感謝
場地協力/Studio 隱士餐酒館 The Hermit/東湖國中
服裝協力/Clothing 崇義高中
演出協力/Actors
學校/School Gred (Reformerz)/小B (Reformerz)/EN (Reformerz)
Jace/Keep Jia Hong/Juice/庭維/陳筱薇/邱怡文/陳妤柔/柯知易
餐酒館/Bistro Arthur/Sam/Levi/阿Q/Leo蔡/修誠/凱凱/阿緯/
原原/饅頭/藍藍/April/珉婕/毛毛/沃痞0
![post-title](https://i.ytimg.com/vi/T1aKiNkllqU/hqdefault.jpg)