What to do when you are the only one on the tram? Play Mahjong 打麻雀 🀄️ - I am not joking!
See if you lucky enough to catch tram No. 61 when you are on Hong Kong island! Get onto this moving bird cage, go to the upper deck, and check out the artworks inspired by the last birdbridge maker in Hong Kong, Chan Lok-choi and mahjong tile maker, Cheung Shun-king.
Hong Kong is evolving fast and traditional craftsmanship are gradually eliminated by this city. Giving a new meaning to these fading crafts is probably the best way for us to re-discover these gems before it is too late. Explore it when you are on No. 61 tram.
“𝐂𝐥𝐚𝐬𝐬𝐢𝐜 𝐂𝐫𝐚𝐟𝐭, 𝐌𝐨𝐝𝐞𝐫𝐧 𝐌𝐞𝐚𝐧𝐢𝐧𝐠”
𝗪𝐡𝐞𝐧? 17 April - 10 June 2020
𝗪𝐡𝐞𝐫𝐞? On a moving tram! No. 61, plying between Shek Tong Tsui 石塘咀and North Point 北角Terminuses
𝐀𝐫𝐭𝐢𝐬𝐭𝐬: @g.o.h.u.n.g @amandatongceramics @junmat.ceramics @fredbussiere
Check out our Instagram:
www.instagram.com/explore_hongkong
#explorehongkong_transport
#explorehongkong_SaiYingPun
#explorehongkong_Art
#hk #hongkong #🇭🇰 #香港 #hktravel #hktraveller #hktravelbloggers #hongkongtravel #hktrip #香港旅遊 #香港旅行 #explorehongkong #discoverhongkong #hkstyle #travelgram #香港好去處 #travelasia #art #tram #mahjong #麻雀 #hkart #handmade Hong Kong Tramways 香港電車 ceekayello
同時也有6部Youtube影片,追蹤數超過2,400的網紅魔術師黃柏翰-奇幻製造Pohan Magic-Wonder Studio,也在其Youtube影片中提到,官方網站https://www.pohanmagic.com 粉絲頁https://www.facebook.com/pohanmagic 【演出經歷】01/金融業 匯豐銀行感恩晚宴、安聯投信感恩晚宴、施羅德投資論壇、元大資產尾牙、元大證券尾牙、保德信金融集團家庭日。 02/科技業 台積電P4廠...
deck maker 在 賣字 Facebook 的最佳解答
世上有如此多的不許人間見白頭,有那麼多原以為不會分離的同偕白首,像在我心裡面秋官還是楚留香的模樣,周潤發和鍾楚紅是秋天的童話裡的一對。這些照片記著的不單是傾倒眾生的風華絕代,還是粵語最漂亮精彩的年代,最動人心魄又不可方物的聲音。
很久之前,有一個朋友,經已記不起是誰,向我提議開闢一個攝影專欄,以拍攝電影界人物為主。我本來就喜歡拍攝人物,又由於當時加入了『電影雙周刊』,跟電影界朋友有著密切的聯絡,何不藉此「專欄」逼自己不停拍攝?我生性疏懶,要是沒有「專欄」的壓力,我是不會定期工作的。故此,就於一九七九年十月十一日在『電影雙周刊』第二十期開始了「曝光人物」一欄。當時,「曝光人物」是意圖把有突出表現的電影工作者,或有潛質的幕後工作者介紹出來,特意「曝光」一番。
記得第一個電影人,我是選擇了許鞍華,那時她剛拍完了處女作《瘋劫》。許鞍華的性格,我是知道的,要她拍照,實在為難她,我私下有點兒不忍逼害她,可是任務在身,唯有努力把她誘請出來。回想也好笑,我把她帶到深夜的電車上,舉機相向,她還苦苦哀求我放好一馬拍。她不是矯扭作態,因為四周無人,而是她真的很怕拍照。怕拍照,我覺得完全正常,我也怕被人拍照。終於我還是完成了任務。我很喜歡那張照片。
說起來,譚家明也是一個怕拍照的人,他可害得我苦了!我曾經隻身夜探嘉禾片場,在又焗又熱的廠景內苦候整個晚上,一無所獲,就是因為他怕了我的攝影機,又很會躲。又有一次我碰見他在尖沙咀拍戲,立刻趕回家取攝影機,以為可以替他拍得一張照片,豈料,他竟然在眾人面前央求我不要拍,真給他氣壞!所以至今我還未有一張滿意的譚家明照片,遺憾!
幸而,電影工作者不是全部都害怕攝影機,有些根本喜歡上鏡,這類型的人最受歡迎,亦是最合作的模特兒。章國明就最可愛,他懂得怎樣引導你的攝影,不斷提出意見刺激你。面對著他,你會有很多很多選擇,而不是相對無言─尷尬。拍攝過程是輕鬆、愉快的。徐克也是很好的拍攝對象,他會給你機會,給你時間。有些導演在工作時異常緊張,不停走動,使你一個鏡頭也沒法捕捉。楚原在邵氏片場內,快步來回,難得有停下來的一刻,但在適當的時候,他也會記起我的存在,而給我機會。但有些導演便不會明白我持機等待的苦心,像有意作弄似的永遠不會走到「有足夠光線」的地方,使我用武無地。有時連燈光師也同情我的苦候,通情達理的特意把燈光射去,給我拍攝的機會,為了拍攝「曝光人物」,多年追縰電影進行拍攝的實況,跟很多工作人員都熟絡起來,他們給我很多方便和幫忙,感激不盡。
拍攝人像,我喜歡用廣角鏡,在短距離捕捉對方最自然,最不自覺的面貌。為了達到這個目的,我唯有在他們工作時進行拍攝,因此使我有機會體會拍電影的艱苦,亦豐富了我的經歷。我會落到中區的地底深處,那時黃志強正在那裡拍攝《癲佬》。我冒生命危險攀落地鐵的地底地盤,裡面沒有空氣調節,烏煙瘴氣,真難為那班工作人員要在裡面工作多日。我又曾探過西環上面的防空洞,那時鄧光榮在山洞裡面拍《怒拔太陽旗》。我要忍受那些防空洞的髒和黑,工作人員都懷疑我為何要自討苦吃。我又試過在寒風凜裂的高速公路佇立,那時曾志偉在拍《最佳拍檔大顯神通》的飛車鏡頭。全組工作人員士氣高昂,像感覺不到寒冷,只有我一個冷得牙根打顫。
記得有一次,我要替麥嘉拍照,照例先打電話追查行蹤,他說:「今晚我們半夜出發,像黑夜行軍,要攀山越嶺,你還是別跟來吧!」永遠是那樣大男人口氣,我才不被他嚇倒,堅持跟隨出發。麥嘉唯有帶同我摸黑走路,一行人有講有笑,並不太辛苦。雖然當晚捱到通宵,我也拍不到一張滿意的照片。可是深夜行山是我前所未有的經驗,也算是有多少收獲。
說來「曝光人物」帶給我的收獲可不少,除了經驗、朋友之外,就是意外的讚賞。有點奇怪,不少人都表示喜歡「曝光人物」。施南生便說過她和徐克喜歡把所有的「曝光人物」放在一起來欣賞。台灣『中國時報』亦要求刊登那些照片,另立名目為「電影人映象」。直至一九八三年九月一日,『電影雙周刊』第119期,「曝光人物」一欄才停止。因為我要應付一項新的工作,分身不暇,唯有割愛。想不到有不少朋友比我還緊張,屢次追問我何時再續 ,此事一直令我耿耿於懷。
我可不曾想過把作品結集成書,名攝影家翁維銓早已建議我進行出版攝影集,他的鼓勵使我欣然,但亦令我歉疚,我曾替上百的電影人拍照,竟然遺漏了這位也是導演的朋友。其後還有不同的機構及朋友向我提議出版「曝光人物」,可是每次翻看那些攝影作品,都覺得成績平平,差強我意,實在沒有勇氣再拿出來獻醜。幾經規勸和催逼,我才毅然把四年來的『曝光人物』和其他電影人的照片勉強整理出一個大概,完全是就地取材。真怪自己疏懶,心無大志。要是早有計劃,就不至內容偏頗不全。
這本『電影人』只是這幾年的攝影紀錄,我希望會有第二集的『電影人』,能夠把本港現在及將來出色的電影工作者的照片收集,攝影師不必是我。
希望這願望有實現的一天。
A long time ago, a friend persuaded me to start a photo column expressly on film makers. i love photographing people, and ever since, I joined the film Biweekly in 1979, i have come to know film makers well. Being a photo columnist, I had to photograph continuously. The column"exposeure" came into existence in the 10/11/79 issue of the flim Biweekly, solely to "expose" and introduce to the public some remarable film makers or outstanding personaliities in the industry.
Ann Hui, was my first subject, who had just finished her first film, "The Secret" In spite of her reluctance of being photographed, I accomplished my first shooting assignment on the upper deck of a tram - but not without much coaxing and cajoling. This particular portrait meant much to me.
Patrick Tam too, was reluctant to be photographed. In spite of my patience and perseverence, I yielded to Patrick's evasiveness and reluctance. Consequently, i never did photograph Patrick.
Fortunately, not all film makers had " camera fright" and these cooperative personalitieswere excellent subjects as well as models. Alex Cheung was great because he would not mind being photographed, and he even offered suggestions which made the photo-session a delightful and happy experience.
Tsui Hark was easy to work with for his cooperativeness and time. While photographing Chu yuan at work, His mobility almost rendered the mission impossible, but his understanding enabled me to accomplish my mission. Often, the dimness of the studios possed problems to photographing directors at work; and without the lighting men's special assistance, some works would never have been achieved. Many thanks are due to those i have come to know and worked with during those years.
The focal length of a wide angle lens is my preference for portraiture. It facilitates my capturing the subjects in the naturnal and uncontrived. On following film makers around in those photo--sessions - through studios and on locations, I experienced the hard work of film-making. I lived with the heat and grime of MTR construction site in Central where Kirk Wong was filming "The Mad man." i experienced the darkness and filth of the tunnel in kennedy Town where Allan Tang filmed the "Aces Go places II" on a freeway.
Once i hiked all night to photograph Carl Mak. Though the night trip did not merit any good photographs, the experience itself was rewarding.
Not only had the "Exposure" won me experiences and friennds, bbut also pleasant surprises - acceptance. people from many walks of life expressed interests in those works. Often, Nansun shi recalled she and Tsui hark would lay them out for appreciation. The "China Times" of Taiwan had publish them ina photo colum. "portraits of Flim Makers' Against my friends Advice the "Exposure" ended on September 1,1983 when I took up another job.
Peter Yung, a renowned photographer and film maker as well, whom I regretably did not photograph, encouraged me to publish them.Repeatedly, publishers approached me with similar ideas to which I had not complied. After much rationalization, I re-examind and re-edited the body of work, an accomplishment in four years. i reaized that had I been planning in advance, I would have been been more organized and comprehensive in covering more film makers.
" The Flim Makers" is merely a photographic record to which i wish there could be a sequel by me or other photographers. I hope I can find the time and energy to make the wish come true.
deck maker 在 Tina Liu 劉天蘭 Facebook 的最佳解答
寶藏!捕捉了一代香港電影人映像的盧玉瑩攝影作品<電影人-The Film Makers> , 太珍貴!
(<電影人>結集,電影工作室1986年出版)
很久之前,有一個朋友,經已記不起是誰,向我提議開闢一個攝影專欄,以拍攝電影界人物為主。我本來就喜歡拍攝人物,又由於當時加入了『電影雙周刊』,跟電影界朋友有著密切的聯絡,何不藉此「專欄」逼自己不停拍攝?我生性疏懶,要是沒有「專欄」的壓力,我是不會定期工作的。故此,就於一九七九年十月十一日在『電影雙周刊』第二十期開始了「曝光人物」一欄。當時,「曝光人物」是意圖把有突出表現的電影工作者,或有潛質的幕後工作者介紹出來,特意「曝光」一番。
記得第一個電影人,我是選擇了許鞍華,那時她剛拍完了處女作《瘋劫》。許鞍華的性格,我是知道的,要她拍照,實在為難她,我私下有點兒不忍逼害她,可是任務在身,唯有努力把她誘請出來。回想也好笑,我把她帶到深夜的電車上,舉機相向,她還苦苦哀求我放好一馬拍。她不是矯扭作態,因為四周無人,而是她真的很怕拍照。怕拍照,我覺得完全正常,我也怕被人拍照。終於我還是完成了任務。我很喜歡那張照片。
說起來,譚家明也是一個怕拍照的人,他可害得我苦了!我曾經隻身夜探嘉禾片場,在又焗又熱的廠景內苦候整個晚上,一無所獲,就是因為他怕了我的攝影機,又很會躲。又有一次我碰見他在尖沙咀拍戲,立刻趕回家取攝影機,以為可以替他拍得一張照片,豈料,他竟然在眾人面前央求我不要拍,真給他氣壞!所以至今我還未有一張滿意的譚家明照片,遺憾!
幸而,電影工作者不是全部都害怕攝影機,有些根本喜歡上鏡,這類型的人最受歡迎,亦是最合作的模特兒。章國明就最可愛,他懂得怎樣引導你的攝影,不斷提出意見刺激你。面對著他,你會有很多很多選擇,而不是相對無言─尷尬。拍攝過程是輕鬆、愉快的。徐克也是很好的拍攝對象,他會給你機會,給你時間。有些導演在工作時異常緊張,不停走動,使你一個鏡頭也沒法捕捉。楚原在邵氏片場內,快步來回,難得有停下來的一刻,但在適當的時候,他也會記起我的存在,而給我機會。但有些導演便不會明白我持機等待的苦心,像有意作弄似的永遠不會走到「有足夠光線」的地方,使我用武無地。有時連燈光師也同情我的苦候,通情達理的特意把燈光射去,給我拍攝的機會,為了拍攝「曝光人物」,多年追縰電影進行拍攝的實況,跟很多工作人員都熟絡起來,他們給我很多方便和幫忙,感激不盡。
拍攝人像,我喜歡用廣角鏡,在短距離捕捉對方最自然,最不自覺的面貌。為了達到這個目的,我唯有在他們工作時進行拍攝,因此使我有機會體會拍電影的艱苦,亦豐富了我的經歷。我會落到中區的地底深處,那時黃志強正在那裡拍攝《癲佬》。我冒生命危險攀落地鐵的地底地盤,裡面沒有空氣調節,烏煙瘴氣,真難為那班工作人員要在裡面工作多日。我又曾探過西環上面的防空洞,那時鄧光榮在山洞裡面拍《怒拔太陽旗》。我要忍受那些防空洞的髒和黑,工作人員都懷疑我為何要自討苦吃。我又試過在寒風凜裂的高速公路佇立,那時曾志偉在拍《最佳拍檔大顯神通》的飛車鏡頭。全組工作人員士氣高昂,像感覺不到寒冷,只有我一個冷得牙根打顫。
記得有一次,我要替麥嘉拍照,照例先打電話追查行蹤,他說:「今晚我們半夜出發,像黑夜行軍,要攀山越嶺,你還是別跟來吧!」永遠是那樣大男人口氣,我才不被他嚇倒,堅持跟隨出發。麥嘉唯有帶同我摸黑走路,一行人有講有笑,並不太辛苦。雖然當晚捱到通宵,我也拍不到一張滿意的照片。可是深夜行山是我前所未有的經驗,也算是有多少收獲。
說來「曝光人物」帶給我的收獲可不少,除了經驗、朋友之外,就是意外的讚賞。有點奇怪,不少人都表示喜歡「曝光人物」。施南生便說過她和徐克喜歡把所有的「曝光人物」放在一起來欣賞。台灣『中國時報』亦要求刊登那些照片,另立名目為「電影人映象」。直至一九八三年九月一日,『電影雙周刊』第119期,「曝光人物」一欄才停止。因為我要應付一項新的工作,分身不暇,唯有割愛。想不到有不少朋友比我還緊張,屢次追問我何時再續 ,此事一直令我耿耿於懷。
我可不曾想過把作品結集成書,名攝影家翁維銓早已建議我進行出版攝影集,他的鼓勵使我欣然,但亦令我歉疚,我曾替上百的電影人拍照,竟然遺漏了這位也是導演的朋友。其後還有不同的機構及朋友向我提議出版「曝光人物」,可是每次翻看那些攝影作品,都覺得成績平平,差強我意,實在沒有勇氣再拿出來獻醜。幾經規勸和催逼,我才毅然把四年來的『曝光人物』和其他電影人的照片勉強整理出一個大概,完全是就地取材。真怪自己疏懶,心無大志。要是早有計劃,就不至內容偏頗不全。
這本『電影人』只是這幾年的攝影紀錄,我希望會有第二集的『電影人』,能夠把本港現在及將來出色的電影工作者的照片收集,攝影師不必是我。
希望這願望有實現的一天。
A long time ago, a friend persuaded me to start a photo column expressly on film makers. i love photographing people, and ever since, I joined the film Biweekly in 1979, i have come to know film makers well. Being a photo columnist, I had to photograph continuously. The column"exposeure" came into existence in the 10/11/79 issue of the flim Biweekly, solely to "expose" and introduce to the public some remarable film makers or outstanding personaliities in the industry.
Ann Hui, was my first subject, who had just finished her first film, "The Secret" In spite of her reluctance of being photographed, I accomplished my first shooting assignment on the upper deck of a tram - but not without much coaxing and cajoling. This particular portrait meant much to me.
Patrick Tam too, was reluctant to be photographed. In spite of my patience and perseverence, I yielded to Patrick's evasiveness and reluctance. Consequently, i never did photograph Patrick.
Fortunately, not all film makers had " camera fright" and these cooperative personalitieswere excellent subjects as well as models. Alex Cheung was great because he would not mind being photographed, and he even offered suggestions which made the photo-session a delightful and happy experience.
Tsui Hark was easy to work with for his cooperativeness and time. While photographing Chu yuan at work, His mobility almost rendered the mission impossible, but his understanding enabled me to accomplish my mission. Often, the dimness of the studios possed problems to photographing directors at work; and without the lighting men's special assistance, some works would never have been achieved. Many thanks are due to those i have come to know and worked with during those years.
The focal length of a wide angle lens is my preference for portraiture. It facilitates my capturing the subjects in the naturnal and uncontrived. On following film makers around in those photo--sessions - through studios and on locations, I experienced the hard work of film-making. I lived with the heat and grime of MTR construction site in Central where Kirk Wong was filming "The Mad man." i experienced the darkness and filth of the tunnel in kennedy Town where Allan Tang filmed the "Aces Go places II" on a freeway.
Once i hiked all night to photograph Carl Mak. Though the night trip did not merit any good photographs, the experience itself was rewarding.
Not only had the "Exposure" won me experiences and friennds, bbut also pleasant surprises - acceptance. people from many walks of life expressed interests in those works. Often, Nansun shi recalled she and Tsui hark would lay them out for appreciation. The "China Times" of Taiwan had publish them ina photo colum. "portraits of Flim Makers' Against my friends Advice the "Exposure" ended on September 1,1983 when I took up another job.
Peter Yung, a renowned photographer and film maker as well, whom I regretably did not photograph, encouraged me to publish them.Repeatedly, publishers approached me with similar ideas to which I had not complied. After much rationalization, I re-examind and re-edited the body of work, an accomplishment in four years. i reaized that had I been planning in advance, I would have been been more organized and comprehensive in covering more film makers.
" The Flim Makers" is merely a photographic record to which i wish there could be a sequel by me or other photographers. I hope I can find the time and energy to make the wish come true.
deck maker 在 魔術師黃柏翰-奇幻製造Pohan Magic-Wonder Studio Youtube 的精選貼文
官方網站https://www.pohanmagic.com 粉絲頁https://www.facebook.com/pohanmagic
【演出經歷】01/金融業
匯豐銀行感恩晚宴、安聯投信感恩晚宴、施羅德投資論壇、元大資產尾牙、元大證券尾牙、保德信金融集團家庭日。
02/科技業
台積電P4廠尾牙、SAS科技聖誕晚會、TPCA電子展、四零四科技家庭日兩千人、神腦國際XSony經銷商晚宴、HTC家庭日。
03/車商
藍寶堅尼車主晚宴、保時捷70週年晚宴、賓士汽車貴賓活動、中國Volvo經銷商會議
04/醫學年會
放射線醫學會年會、獸醫師年會一千人 、台中中國附醫泌尿科忘年會、生殖醫學年會。
05/政府活動
僑務委員會議行政院長晚宴、GEC+全球創業大會、賓州投資貿易辦事處貴賓之夜、外交部英語小尖兵選拔記者會、新北市自造者嘉年華。
06/飯店百貨業
涵碧樓會員之夜、微風南山開幕、長榮鳳凰酒店駐演、理想大地表演、 環球購物中心貴賓活動、台茂週日綜藝秀、遠東童裝活動。
07/尾牙春酒
可口可樂千人春酒、緯來電視尾牙、 康新設計耶誕派對、龍星公司尾牙、嬌生集團尾牙、施舒雅晚宴、謚台工業尾牙、龍星公司尾牙、Costco春酒、祈憶艾益生尾牙
08/開幕式&記者會
傑太日煙公益支持大會、 yes123求職網記者會、大風起兮:民國初年知識份子文化救國歷程特展 、故宮列支敦士登秘藏珠寶展貴賓之夜、親子天下MAKER PARTY。
09/其它
國泰人壽雪梨高峰會兩千人、Thermos保溫瓶會員之夜、台中扶輪社年會、國家實驗動物中心餐敘。
010/婚禮
王李府婚宴等數十場桌邊魔術。
011/【校園演講】逐夢的魔法旅程、【企業演講】幽默互動的魔力、
TEDxTaipei、和碩科技、公視「就是這Young!」校園巡迴、明基友達基金會講師等數十所校園演講。
012/課程
華視訓練班講師、吳若權「魅力自信課程」、HAHOW好學校、Design For Change年會。
013/
壽宴&生日派對
王先生、陳先生70大壽等數十場私人派對。
014/社區活動
中悅維也納母親節、天泉社區聖誕節、發現之旅社區耶誕活動。
【個人簡介】
畢業於台灣⼤大學,也是台灣最年年輕的魔術冠軍,他獨樹一格 的表演風格,與幽默的互動⽅方式,帶給觀眾華麗的視覺饗宴。
2010年年曾受邀於「中國央視曲苑雜談」節⽬目演出
2012年年代表台灣遠赴英國參參加「F.I.S.M.世界魔術⼤大賽」
2014年年受邀⾄至美國好萊塢「魔術城堡」演出
2015年年登上TEDxTaipei演講
2016年年登上法國著名電視節⽬目「世界超級夜總會」
2017年舉辦首度舉辦個人秀「奇幻製造者」
Magician Pohan Huang,is the youngest magic champion in Taiwan.His unique performing style and humorous interaction with people.Leads the audiences in to a feast with full of surprises.
【歡迎訂閱頻道~】
粉絲頁Fanpage:https://www.facebook.com/pohanmagic
網站Website: https://www.pohanmagic.com
IG: pohanmagic
信箱Mail: hank79527@gmail.com
手機Phone:+886-913-571-868
舞蹈表演,特技表演,樂團表演,表演活動,表演節目,產品發表會,記者會表演,產品發表會表演,晚宴表演,VIP晚宴表演,親子表演,家庭日表演,魔術表演,魔術師,魔術,尾牙春酒表演,尾牙表演,客製化表演,婚禮表演,婚禮樂團,展場表演,活動主持,社區表演,表演公司,表演企劃,娛樂公司,活動公司,表演推薦,生日派對表演,壽宴表演,桌邊魔術表演,演講,校園演講,夢想演講,企業演講,激勵演講,魔術教學,魔術破解,Magic TrickLe plus grand cabaret du monde,magic,magician,活動表演,聯歡晚會表演,晚會節目表演,開幕活動表演,生日表演,母親節表演,父親節表演,聖誕節表演,中秋節表演,週年慶表演,兒童節表演
觀光節表演,元宵節表演,表演設計,駐場表演,中國風表演,復古風表演
deck maker 在 肥貓丸 FatCatBall Youtube 的精選貼文
Combo:05:29、12:08
BGM:https://youtu.be/qIIOza9ZaXw
※本牌組勝率不高,請斟酌使用
加入肥貓丸頻道會員,享專屬會員徽章:
https://www.youtube.com/channel/UCbr1TwV0Tk7LeQ5Yzi0vRxA/join
『下葬者』安卡
Anka, the Buried
戰吼:將你手中的 死亡之聲 手下變為1/1且消耗為(1)
Battlecry: Change each Deathrattle minion in your hand into a 1/1 that costs (1).
『奪魂者』哈卡
Hakkar, the Soulflayer
死亡之聲:將一個墮落之血洗入雙方牌堆
Deathrattle: Shuffle a Corrupted Blood into each player's deck.
淘氣鬼
Mischief Maker
戰吼:雙方交換牌堆最上面的牌
Battlecry: Swap the top card of your deck with your opponent's.
※本牌組勝率不高,請斟酌使用
附上牌組:
卡卡der
職業:盜賊
規則:標準
巨龍年
2x (0) 準備
2x (0) 背刺
2x (2) 剔骨
1x (2) 毒襲
1x (2) 血法師薩爾諾斯
1x (3) 淘氣鬼
2x (3) 苦痛侍僧
2x (3) 軍情七處密探
1x (3) 飛舞刀刃
2x (4) 嘍囉幫竊賊
1x (4) 學術間諜
2x (4) 逼迫下海
1x (5) 『下葬者』安卡
1x (5) 麥菈的不穩定元素
1x (5) 齊里亞斯
1x (6) 加基森拍賣師
2x (6) 卡爾吐特防衛者
2x (6) 受詛咒的船難者
1x (7) 女伯爵艾希摩
1x (7) 希亞梅特
1x (10) 『奪魂者』哈卡
AAECAaIHDL0EmwXtBaQHm/ACqPcC5/oCoIADlooDzqIDhKYDhKcDCbQBiAfdCIYJ+wzf7wLOjAOQlwOhoQMA
#爐石Combo
deck maker 在 Ashley Van Youtube 的最佳貼文
Click vào xem thêm thông tin nhé!
Cushion Anpoy đang là sản phẩm mới mà Ashley yêu thích. Mình dùng màu số 21 Natural Beige mà ko hề bị trắng bệt như những cushion màu số 21 khác. Tuy nhiên độ che phủ vừa phải nên các bạn cân nhắc kĩ nha!
Phụ kiện siêu chất từ nhãn hàng LOVISA Việt Nam nha cả nhà ơi!
Check out Lovisa's facebook page: https://www.facebook.com/lovisavietnam/
Music:
Deck the Halls B by Kevin MacLeod is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/)
Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100368
Artist: http://incompetech.com/
------------
☼FOLLOW & CONTACT ME
☼INSTAGRAM : https://www.instagram.com/ashleyvanbeauty
☼FACEBOOK : Ashley Van Beauty https://www.facebook.com/ashleyvanmakeup
☼Email: ashleyoanh@gmail.com
------
FAQs:
1. Bạn tên gì ? - Tên là Oanh ( nhiều bạn gọi nhầm Vân ý ;) )
2. Bao nhiêu tuổi? - Gần 19 rồi
3. Bạn ở đâu ? - Sài Gòn
4. Bạn quay phim bằng gì ? - Canon 700D
5. Bạn sửa video bằng gì ? - Movie Maker, Proshow Producer 6.0. Có khi là Premiere Pro CS6
THANKS FOR WATCHING *wink*
(Cảm ơn đã xem video nhé *nháy mắt*)
*Video này ko được tài trợ bởi bất kì ai. Mọi điều trong video đều là cảm nhận riêng của mình.
YOUR SUPPORT MEANS SO MUCH TO ME