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front aerial 在 2how Facebook 的最讚貼文
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【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
front aerial 在 相信音樂BinMusic Youtube 的最佳貼文
即使現在哪裡都不能去
也可以在家跟著台式復古新舞曲
搖擺身體 跳落去
一級嘻遊玩家 陳布朗 ✕ 本土天團 玖壹壹
大人的恰辣舞曲《恰查某》
恰出台式復古新滋味
#陳布朗 #玖壹壹 #恰查某
🎶線上聽:https://mrbrown.lnk.to/LadyChaCha
陳布朗頑心回歸,攜手本台客天團玖壹壹共同打造2021台式復古全民舞曲《恰查某》,輕快洗腦的節奏與旋律,引領身體不自覺跟著搖落去!陳布朗與玖壹壹早在十年前便結識,當時陳布朗號召各路音樂人參與他主辦的音樂節,剛創團的菜鳥玖壹壹恰好正在尋找舞台機會,陳布朗力挺新樂團,毫不猶豫邀請玖壹壹加入演出陣容!因緣際會,兩組人馬因音樂相遇,十年後終於再以音樂互相激盪合作。
陳布朗在音樂嘻遊實境秀《Song walks寫一首愛上台灣的歌~Beat & GO布朗!阿財勒?》中特別邀請玖壹壹客座加入,來自台中的玖壹壹善盡地主之誼,不僅帶著陳布朗探索台中私房景點,更讓他卸下嘻哈才子的包袱,勇敢釋放肢體,拜師學習台中最道地的「恰恰」舞步。而正港台中恰恰體驗不僅激發出眾人創作靈感,也讓陳布朗骨子裡的台客魂全然爆發,以此寫出俏皮活潑的舞曲《恰查某》,琅琅上口的洗腦旋律,勢必成為新一代K歌舞曲!
- Music Credit -
作詞、作曲 Lyricis & Composer:陳布朗 MrBrown、陳皓宇、洪瑜鴻、廖建至
製作人 Producer:潘信維 Lil Pan (跳蛋工廠EGGO Music Production) / CYH (跳蛋工廠EGGO Music Production)
執行製作 Production Assistant:CYH (跳蛋工廠EGGO Music Production)
編曲 Arrangement:Chris Wu 巫孟儒 (跳蛋工廠有限公司 EGGO Music Production) / CYH (跳蛋工廠有限公司 EGGO Music Production)
合聲編寫 Backing Vocal Arranger:李雅薇、陳布朗 MrBrown、陳皓宇、洪瑜鴻、廖建至、潘信維 Lil Pan (跳蛋工廠EGGO Music Production)
合聲 Backing Vocalist:李雅薇、陳布朗 MrBrown、陳皓宇、洪瑜鴻、廖建至、潘信維 Lil Pan (跳蛋工廠EGGO Music Production)
錄音工程師 Recording Engineer:黃君富
錄音助理 Assistant Recording Engineer:柯弗奇
錄音室 Recording Studio:Binmusic studio
混音工程師 Mixing Engineer:陳陸泰 Atai
混音錄音室 Mixing Studio:原艾音樂錄音室 Mugwort Studio
母帶後期處理工程師 Mastering Engineer:陳陸泰 Atai
母帶後期錄音室 Mastering Studio:原艾音樂錄音室 Mugwort Studio
- Video Credit -
導演 Director:方豪 Fang Hao
導演助理 Director Assistant:劉家綺 Liu Chia Chi
製片 Producer:藤本讓 Joe
攝影師Director of Photography:方豪 Fang Hao
二機Additional Camera :吳凱崴 Kylewu、歐陽杰 Jeff
剪接師 Editor:方豪 Fang Hao
調光師 Colorist:方豪 Fang Hao
妝髮師Makeup:劉家綺 Liu Chia Chi
場務Set Coordinator:吳澄鋒Cheng Front Wu
空拍師Aerial photographer:亞崴尤奈 Yawi Yungay
標題字體 Front Design:吳澄鋒 Cheng Front Wu
花絮側拍Behind the scenes:楊哲豪 Harrison Yang
舞蹈總監Dance director:徐豪lilhow
舞者Dance:凱帝 Keddy、金針 JIN、潘子莨 Alvin、大摳Daco、李得民 Bunai、句點 Stern、白白 White、薇崴Vivi、謙謙 Chian、田田 Tian
特別感謝:
香蕉新樂園 董事長 邱冠蓉、企劃總監 劉書銘
臺中市喜樂文化推廣協會 理事長何郁青
歐嗨喲舞團OhHiYo:小喬、潔西卡、安安、童童、巧巧、曉函、晶晶
舞台燈光:懋科燈光音響 林頴宸、吳坤澤、施淯洲
西裝服飾:七顆梨西服台南實驗室
國立勤益科技大學 休閒產業管理系
副教授 羅友志
協助學生名單
蔡昀靜 林家伶李佩珊 黃翊瑄 張雯硯
宋羿嬛 林宛承 陳妤欣 黃阡薇 邱朝朋
顏丞佑 洪雅芯 廖孚珅 張亦宣 羅羽杉
吳雅婷 邱詩芸 賴亭穎 鄧芸其 許盛崴
邱奕翔 李琳彥
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▍全新音樂嘻遊實境秀
《Song walks寫一首愛上台灣的歌~Beat & GO布朗!阿財勒?》
「大囍門」主唱「陳布朗」領銜主秀,攜手最萌招財神犬「阿財」
一起開啟玩樂無限的感官探險!
陳布朗 MrBrown
Facebook:https://fb.com/MisterBrownChen
YouTube:@陳布朗Mr Brown
IG:https://www.instagram.com/mrbrownchen/
◎獲文化部影視及流行音樂產業局108年補助
![post-title](https://i.ytimg.com/vi/N0iAiHRA5XE/hqdefault.jpg)
front aerial 在 Suetzi.Sherin Tang Youtube 的最佳貼文
美人魚教學系列EP4
美人魚裝備介紹及水下示範
Mermaid gear introduction & mermaid swim demonstration
[Learning with Sherin x MFI]
Special thanks:
?MFI
https://instagram.com/official.mfi
?攝影 Benson Wong
http://instagram.com/benson.wmt
?Underwater photography Kent Yeung
http://instagram.com/kentyeung420
?慢活房子
http://www.facebook.com/slowlivingten29/
?Diving Express
http://instagram.com/divingexpress
練習上有任何問題 或 對影片有什麼意見歡迎提出
喜歡的話 更希望大家可以讚好 訂閱和分享 感謝各位支持
其他主題:
Rollerskating
? https://youtu.be/ueTf8w4acnY
Cocktail mixing
? https://youtu.be/TU_pjSeyUgo
Longboarding
? https://youtu.be/AzGGctkE8kQ
Aerial Silk
?
![post-title](https://i.ytimg.com/vi/VWEL03IjZak/hqdefault.jpg)
front aerial 在 初心者鉄道探検隊 Youtube 的最佳貼文
GoPro HERO 9→https://amzn.to/2PD1q7k
GoPro自撮り棒 + 三脚 + セルカ棒→https://amzn.to/2PxiMCA
鉄道の基礎知識[増補改訂版]→https://amzn.to/2Po6dtx
2020年2月24日撮影
京都駅(きょうとえき)
0:00 冒頭はSKYWAY(スカイウェイ)
6:13 下りのエスカレーター
11:32 駅北口
12:56 0番線ホーム
20:27 京都線(東海道本線)ホーム
JR西日本 東海道本線・山陰本線・奈良線
1877年(明治10年)2月6日に京都停車場(京都駅)が開業。
1964年(昭和39年)10月1日に東海道新幹線の京都駅が開業。
1997年(平成9年)9月11日に京都駅ビルが全面開業。
JR西日本の在来線各線は地上駅であり、東海道本線(JR京都線・琵琶湖線)・湖西線用の島式ホーム3面6線と単式ホーム1面1線、構内西側に山陰本線(嵯峨野線)用の頭端式ホーム3面4線、南側に奈良線用の頭端式ホーム2面3線(このうち1線のみ大阪方面に延びている)を持つ。各ホームは西側橋上駅舎と東側改札内地下通路で結ばれている。
北側の烏丸中央口に面しているホームは、全長558mで日本一長いホームとして知られているが、0番のりば(旧1番のりば)のホーム自体の長さは323mであり、残りの部分は西端に切り欠きホームとして設けられている30番のりば(235m)である。
中央コンコースは、4000枚のガラスを使用した正面と大屋根で覆う広々とした吹き抜け(横幅147m、奥行29m、高さ50m)になっている。吹き抜けの最上部には地上45mの空中径路(SKYWAY)が通っている。
中央コンコースの巨大な吹き抜け空間は、映画『ガメラ3 邪神覚醒』ではガメラとイリスの決戦の舞台とされた。
JR西日本の2018年度の1日平均の乗車人員は200,426人で、同社の駅では大阪駅に次ぐ第2位。
Kyōto Station
0:00 SKYWAY
6:13 Escalator
11:32 Station North Exit
12:56 Platform 0
20:27 Kyoto Line (Tokaido Main Line) Platform
JR West Tokaido Main Line, Sanin Main Line, Nara Line
Opened February 6, 1877.
Kyoto Station on the Tokaido Shinkansen opened on October 1, 1964.
The Kyoto Station Building was fully opened on September 11, 1997.
Platform 0 is the longest platform in Japan with a total length of 558m.
The central concourse has a spacious atrium (147m wide, 29m deep, 50m high) covered with a front and a large roof made of 4000 sheets of glass. At the top of the atrium, there is an aerial path (SKYWAY) 45m above the ground.
The huge atrium of the central concourse was the stage of the decisive battle between Gamera and Iris in the movie "Gamera 3 Evil Awakening".
JR West Japan has a daily average of 200,426 passengers in FY2018, ranking second at JR West Station.
京都站
0:00 開啟空中通道
6:13 自動扶梯
11:32 站北口
12:56 0線站台
20:27京都線(東海道本線)站台
JR西東海道本線,山陰本線,奈良線
1877年2月6日開業。
東海道新幹線的京都站於1964年10月1日開放。
京都站大樓於1997年9月11日全面開放。
0線站台是日本最長的平台,全長558m。
中央大廳有一個寬敞的中庭(寬147m,深29m,高50m),前面覆蓋著頂棚,頂棚由4000片玻璃製成。 在中庭的頂部,離地面45m有一條空中路徑(SKYWAY)。
在電影《 Gamera 3 Evil Awakening》中,中央大廳的巨大中庭被設置為Gamera和Iris之間決戰的舞台。
在2018財政年度,JR西日本每天平均有200,426名乘客,在JR西車站排名第二。
京都站
0:00 开启空中通道
6:13 自动扶梯
11:32 站北口
12:56 0线站台
20:27 京都线(东海道本线)站台
JR西 东海道本线,山阴本线,奈良线
1877年2月6日开业。
东海道新干线的京都站于1964年10月1日开放。
京都站大楼于1997年9月11日全面开放。
0线站台是日本最长的平台,全长558m。
中央大厅有一个宽敞的中庭(宽147m,深29m,高50m),前面覆盖着顶棚,顶棚由4000片玻璃制成。在中庭的顶部,离地面45m有一条空中路径(SKYWAY)。
在电影《 Gamera 3 Evil Awakening》中,中央大厅的巨大中庭被设置为Gamera和Iris之间决战的舞台。
在2018财政年度,JR西日本每天平均有200,426名乘客,在JR西车站排名第二。
교토 역
0:00 스카이 웨이
6:13 에스컬레이터
11:32 에키 키타
12:56 0 번선 플랫폼
20:27 교토 선 (도카이도 본선) 플랫폼
JR 서일본 도카이도 본선 · 산인 본선 · 나라 선
1877 년 2 월 6 일에 개업.
1964 년 10 월 1 일에 도카이도 신칸센 교토 역 개업.
1997 년 9 월 11 일에 교토 역 빌딩이 전면 개업.
0 번선 플랫폼은 길이 558m로 일본 제일 긴 플랫폼으로 알려져있다.
중앙 광장은 4000 장의 유리를 사용하여 정면과 큰 지붕으로 덮는 넓은 불어 (폭 147m, 깊이 29m, 높이 50m)가있다. 상단에는 지상 45m의 공중 径路 (SKYWAY)이 다니고있다.
중앙 광장의 거대한 아치형 공간은 영화 '가메라 3 사신 각성'는 가메라와 이리스의 결전의 무대가되었다.
JR 서일본의 2018 년도 1 일 평균 승차 인원은 200,426 명으로 JR 니시 역에서 2 위.
![post-title](https://i.ytimg.com/vi/FcOOnG5lIvg/hqdefault.jpg)