【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
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同時也有5部Youtube影片,追蹤數超過1,860的網紅Suetzi.Sherin Tang,也在其Youtube影片中提到,2020萬聖節呈獻 ::: 出動海底女巫 Evil Witch Sherin [underwater behind the scene] How to do an underwater shot -Follow Mermaid Sherin- ***Happy Halloween*** Lea...
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"Until you spread your wings, you will have no idea how far you can fly."
Loving the big girl's latest artwork using George Suerat's Pointillism technique - where small, distinct dots of color are applied in patterns to form an image. The theme was circus and she chose to do a painting of an aerial acrobat.
Thanks to the teachers @heartstudiosg for their patient guidance. I really love the end result of this painting of hers. So much effort, so much detail, so much heart that went into it. ❤
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What Are Ground Control Points (GCPs) and How Do I Use Them?
A Guide to Using Ground Control Points with Drone Mapping Software
If you work with drone mapping software, you’ve no doubt heard talk of ground control points (GCPs). Used often in the surveying industry, as well as in virtual design and construction, GCPs greatly increase the global accuracy of drone maps. Although they are not necessary in every situation, GCPs are a vital tool for precision mapping. But what exactly are ground control points? And how do you go about using them correctly?
To help crack the code on ground control points, we’ve put together this short guide to using GCPs with drone mapping software.
What Are Ground Control Points?
So what exactly are ground control points? Ground control points are large marked targets on the ground, spaced strategically throughout your area of interest. If you use ground control points with your aerial map, you first need to determine the RTK GPS coordinates at the center of each. (We’ll explain how to do this a little later.) The ground control points and their coordinates are then used to help drone mapping software accurately position your map in relation to the real world around it.
It might be helpful to think of your GCPs as a series of thumbtacks placed on your drone map. Because the drone mapping software knows the exact location of each of these “thumbtacks”, it can reference their locations when it matches up all of the other points on the map.
When and Why Are GCPs Important?
When used correctly, ground control points greatly improve the global accuracy of your drone map. That is to say, they help ensure that the latitude and longitude of any point on your map corresponds accurately with actual GPS coordinates. This is important in situations where precision mapping and true global accuracy are needed. As we mentioned above, surveying companies generally use GCPs, because a high level of global accuracy is important in most of the work that they do. Virtual design and construction is another sector that often requires this level of precision drone mapping.
Landpoint, a surveying company based in Louisiana, uses ground control points when creating drone maps used for topographical surveying. Using GCPs on an 85-acre map, their team conducted an accurate aerial survey, saving over 80 man hours compared to traditional land survey methods.
Each drone mapping project is unique, and not all projects require a high level of global accuracy. Because of this, it is important to assess each project individually before you decide to take the extra step of using GCPs. But generally speaking, projects like geo-referenced overlays, design documents and land title surveys benefit from the use of ground control points. In an upcoming post, we’ll take a deeper look at which types of projects are best suited for using GCPs.
How to Construct a Ground Control Point
There is no one right way to make a ground control point. One important thing to remember is that the GCP must be easily visible in your aerial imagery. This is achieved by using high-contrast colors and by making sure the ground control point is large enough to be seen from your particular flight altitude. We generally recommend flying at 300 feet with a frontlap and sidelap of 70/75 when using ground control points. Keep in mind that this may change dependent upon the area you are mapping. Learn more by reading our recent post about mapping accuracy and reviewing our GCP support documents.
A number of companies do sell pre-made, portable ground control points. However, many drone users simply fashion their own.
This well constructed GCP was spray painted onto the concrete using a stencil. Notice that the marker is large enough to be visible from far away. A center mark helps eliminate any confusion as to where the center point is located.
If you’re unable to mark GCPs with paint, there are a variety of low-cost ways to make markers with items available from any local hardware store. The weather-resistant rubber and vinyl markers seen above end up costing about $5 each and are very durable.
Measuring the Location of Your GCPs
As we mentioned above, it is important to measure the GPS coordinates at the center of each ground control point. To do this, you need either a Real Time Kinematic (RTK) or Post Processing Kinematic (PPK) GPS receiver. Trimble and Leica products are commonly used for high-accuracy GPS measurements. New, lower-cost alternatives have recently come onto the market as well. Hiring a surveyor to measure the location of your ground control points is also an option.
Do not use a phone or tablet to measure the location of your ground control points. The accuracy of these devices is very similar to that of a drone’s onboard GPS system and will not deliver precise results. Instead, use one of the previous methods listed above, such as an RTK or PPK GPS receiver.
Best Practices for Using Ground Control Points with Drone Mapping Software
Of course, if you use ground control points with drone mapping software, it is important to use them correctly. Follow these best practices to help ensure your GCPs serve their intended purpose and improve the accuracy of your map.
Use a minimum of 4 large GCPs: DroneDeploy requires a minimum of 4 ground control points. Each should measure at least four feet. No more than 10 are usually needed for larger maps.
Evenly distribute your GCPs on the ground: For most maps of moderate size, we recommend 5 GCPs, one located near each corner and one located in the center, as pictured above. Also, make sure GCPs are spaced far enough apart, to avoid confusion. As a general rule, if you can see more than one GCP in an image, they are too close together.
Create a buffer zone around your map’s perimeter: We recommend a buffer zone between the edges of your map and any ground control points. This ensures there is enough image coverage to carry out reprocessing. The size of your buffer zone should be somewhere between 50–100 feet, depending on the overlap of your flight. A higher overlap produces more images and generally requires less buffer zone.
Be aware of elevation changes: If the area being mapped has noticeable elevation changes like hills, mines and valleys, make sure to place at least one ground control point on each of the different major elevations.
Make sure your GCPs are unobstructed: Visual obstructions like overhangs, snow, shade or glare make ground control points difficult to identify on your drone map.
Know Your EPSG code: Before processing your map in DroneDeploy, you must enter the EPSG code that relates to your GPS measurements. Choose your EPSG code by modifying the settings of your GPS measurement device. In most cases, we recommend using WGS84 (EPSG: 4326).
how to do an aerial 在 Suetzi.Sherin Tang Youtube 的最佳解答
2020萬聖節呈獻 ::: 出動海底女巫 Evil Witch Sherin
[underwater behind the scene]
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Sofie Dossi is an amazing aerialist, contortionist and hand balancer. Her insane flexibility makes us think she doesn’t have a spine. We never thought we would see someone who could shoot arrows on fire with their feet.
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While we were in LA we got to spend a couple days filming with Sofie Dossi. She’s an incredible self taught contortionist, aerialist, and hand balancer. She was a finalist in season 11 of America’s Got Talent and has been featured on different shows for the Disney Channel, Nickelodeon, and The Ellen Show. She also performs around the world and is a huge hit performing at NBA and college basketball games. She was even given the title “Halftime Performer of the Year” by Sports Illustrated in 2017. Sofie has some of the most insane strength and flexibility we have ever seen. It’s crazy to see in person, we don’t get how it’s even possible. It doesn’t seem like she has a spine or bones at all. The highlight of our shoot though was filming her shoot a bow and arrow on fire with her feet. What made it even more entertaining was being able to capture that stunt in super slow motion using a Phantom high speed camera. We filmed the slow motion shots at up to 2500 fps and we’re stoked with how the shots turned out. It was a super fun and exciting shoot. Big thanks to Sofie Dossi and her family for all their help and time making this video possible!
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Tiffen Variable ND Filter : http://amzn.to/1RQ8Z2M
Shure VP83F video mic : http://amzn.to/1LuVXRZ
![post-title](https://i.ytimg.com/vi/n5GqMlo4fPs/hqdefault.jpg)
how to do an aerial 在 My Mate Nate Youtube 的最佳解答
การท่องเที่ยวทั่วหัวหินสุดคุ้ม มุมมองสวยที่สุดที่คนเคยดู ใครจะไปคิดหล่ะ ว่าบ้านใกล้เรือนเคียงเรานี้จะมีอะไรอีกเยอะแยะที่เราไม่เคยเห็น
If you want to know more about the Sira Sila Resort, check it out here:
http://sirasilahuahin.com/index.php
Email: area_property@yahoo.com
Phone: +66 083 555 5310
Big Thanks to "The Venezia" for allowing me to go in and film their Venice-type venue. It was beautiful. You can check out more details here: http://www.theveneziahuahin.com/
Make sure to subscribe! http://goo.gl/ar4inv
ถ้าเกิดคุณชอบคลิปนี้อย่าลืมกดติดตามนะครับ http://goo.gl/ar4inv
The amazing music is by "Built By Titan"
Check out the original music video here: https://goo.gl/KRieto
Don't forget to follow me on instagram, facebook, and subscribe on youtube, it's the cool thing to do these days :)
อย่าลืมติดตามผมใน อินสตาแกรม เฟสบุ๊ค และ ยูทูป ทำสิ่งนี้แล้วเท่มาก
http://www.facebook.com/mymatenate
http://instagram.com/mymatenate/
https://www.youtube.com/c/MyMateNate
http://www.mymatenate.com/
Places seen in the Video:
BIG STATUES: Ratchapakdi Park - อุทยานราชภักดิ์
RESORT: Sira Sila Hua Hin
WATER PARK: Vana Nava - วานา นาวา
WATERFALL: Pala-U Waterfall - น้ำตกป่าละอู
TEMPLE+SITTING DOWN STATUE: Wat Huay Mong Khon - วัดหวยมงคล
On a technical note:
This was all filmed on a Panasonic GH4 using a 12-35mm f/2.8 lens
All aerial shots were filmed on the DJI Phantom 3 Professional
Underwater shots were filmed on a GoPro Hero 4 Black
It was all filmed at 4K (or Ultra High Definition) I film at 4K to make all my content future proof. When the standard becomes 4K in a few years down the road, all of my content will still be viewable instead of having it HD
For business or stock footage inquires ONLY contact me here: mymatenate69@gmail.com & www.mymatenate.com
I'm an American who lives in Bangkok and loves making movies. ผมเป็นคนอเมริกาที่ใช้ชีวิตอยู่ที่กทม. ผมชอบถ่ายทำคลิปวีดีโอ คำถามที่คนชอบถามบ่อยๆ
Here are FAQ's
Q - How do you make money?
A - I do freelance videography work
ถาม - ได้เงินได้อย่างไร
ตอบ - ผมรับทำฟรีแลนซ์ (เป็น จ๊อบ)
Q - What camera do I use?
A - 95% of my work is done on a Panasonic GH4 in 4K resolution. Anything from the sky is from my DJI phantom 3 professional (also in 4k)
ถาม - ใช้กล้องอะไรถ่าย
ตอบ - 95% ผมใช้ panasonic gh4 มุมอากาศผมใช้โดรนติดกล้อง dji phantom 3 pro
Q - Where did I go to film school?
A - I never went to university. I only finished high school
ถาม - เรียนจบที่ไหน
ตอบ - ผมเรียนจบ ม. 6 เท่านั้นเอง
Q - What do I edit with?
A - Adobe Premiere CC
ถาม - ใช้โปรแกรมอะไรตัดต่อ
ตอบ - Adobe Premiere CC
Q - How long have you been in Thailand?
A - As of today it's been 2.5 years. (Today is Feb 1, 2016... so if i dont update this you can do the math)
ถาม - อยู่เมืองไทยนานหรือยัง
ตอบ - 2.5 ปีแล้ว (วันนี้ วันแรกของเดือนกุมภา 2559)
![post-title](https://i.ytimg.com/vi/N2eg1vWtJTs/hqdefault.jpg?sqp=-oaymwEbCKgBEF5IVfKriqkDDggBFQAAiEIYAXABwAEG&rs=AOn4CLDlQqlBxnMwVzcFc0_dRR0QvdF_9Q)
how to do an aerial 在 Get your Aerial! How to do an Aerial Fast - YouTube 的推薦與評價
![影片讀取中](/images/youtube.png)
Follow along to this routine to get your aerial! Learn how to do an aerial fast with these simple steps. I recommend following along 3 or ... ... <看更多>
how to do an aerial 在 How to do an Aerial - YouTube 的推薦與評價
![影片讀取中](/images/youtube.png)
OPEN FOR MORE TC2↓Today's video is about how to do an aerial ! ps if you notice i (Ciera) am squatting it;s because I was standing on a hill ... ... <看更多>
how to do an aerial 在 How to do an Aerial in One Day! - YouTube 的推薦與評價
My best tips & tricks to learn how to do an aerial ! Follow this tutorial step by step tutorial to possibly get your aerial in only one day ... ... <看更多>