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

“There is something infinitely healing in the repeated refrains of nature—the assurance that dawn comes after night, and spring after winter”
With such a quick paced world we all live in today, we sometimes forget to slow down and reconnect with some of nature’s wonders. Did you know the ocean produces up to 85 percent of the Earth's oxygen? Tiny sea-dwelling creatures called phytoplankton are actually the ones that produce the vast majority of the oxygen in our atmosphere: 50 to 85 percent to be exact. Any crazy facts you know about our nature?

#nature #naturephotography #naturelovers #NatureLover #losangeles #nationalgeography #earthday #ecofriendly #protectourearth #ecofootprint #carbonemissions #earth #saveourplanet #beauty #photography #wilderness #green #outdoorphotoshoot #protectourearth #savetheturtles

【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

Being a PADI Torchbearer and Reefcheck Ambassador I love the ocean & today is World Ocean Day. Some fun facts on why the ocean is important to us •
1. The ocean produces more oxygen than the Amazon •
2. The Ocean regulates the earths climate •
3. It’s an important source of food n livelihood •
4. Many communities life revolves around the ocean •
5. Many beautiful memories are made around the ocean •

So my wish for the ocean is for her to flourish and age calm and beautiful for eternity and we can all constantly return to its embrace and create more awesome memories •

This is a short little clip by my fan club @awesomers01 and me sharing our beautiful memories by the ocean•

Oh did I tell you @reefcheckmalaysia is holding a competition with great merchandises as gifts 🎁 for you to send your love and wishes this World Ocean Day. Go n stalk their Instagram •

Edited with GoProApp•

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hế nhô ;) hôm nay chúng mình sẽ có 1 video tổng hợp "cách để xinh từ a-z" hahaa nghĩ là từ ngoài đời tới trên mạng bằng việc makeup nè, đi sống ảo thì chụp ảnh như thế nào nào, sau đó chỉnh ảnh "nghìn like" ra sao nhaaaa~
À tham gia group "Săn sale & Give Away" tớ mới mở nè các bạn ơi, quà tặng siêu nhiều và độc quyền chỉ member mới có nhé: https://www.facebook.com/groups/207594294346309

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♥ You are welcome babe~ ♥♥♥

♥ Đừng ngần ngại pm cho Witch / Connect with me:
►Email: [email protected]
►Facebook : https://www.facebook.com/huong.witch
►Instagram: https://www.instagram.com/huong.witch/
►TikTok: hwitch99
► Kênh Youtube trực thuộc hệ thống Schannel Network !
♥ Witch là đứa "hâm hấp" như thế nào? / Fun facts about me:
https://goo.gl/29nHMy

♥ Chuyện "bí mật" của riêng con gái nè / Everything about girl / Girl talks:
https://goo.gl/CeZU2b

♥ Đi chơi khắp nơi tận hưởng cuộc sống tươi đẹp nào / Let's go with Witch:
https://goo.gl/MBYYCU

♥ Bàn luận, chặt chém tất tần tật các loại mỹ phẩm / Review cosmetics:
https://goo.gl/8PibsV

♥ Mỗi ngày đều đổi thay, hãy biến hoá bản thân với Witch / Makeover with Witch:
https://goo.gl/KtpUZB

#huongwitch
#cachtaodangchupanh
#cachchinhanh
#makeupsuongsuong

嗨！大家好～
今天要帶大家一起去宜蘭「大蘭盃」
雖然這次沒有順利得名...
但真的還是有很多好球可以看
大家快跟我們一起去比賽吧！

🏐Gaston Luga Praper後背包合作：
你也想要擁有Gaston Luga好看、好用的背包嗎？
可以到官網使用85折優惠碼：「mingvolley」
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🏐️MVC銘排俱樂部資訊🧑🏻‍🏫：
MVC銘排俱樂部FB社團連結👉🏻 https://pse.is/Q7KYG
MVC銘排俱樂部訂課連結👉🏻 https://pse.is/NLB9R
課程資訊或是想知道更多都可以到FB社團中取得喔！

🏐️推薦影片😘：
例行賽第一場純手工精華！
兩場都對上台電Highlight： https://youtu.be/HHo9AXqR-HY

久違的比賽Vlog～達樂友拿冠軍喔！
桃園主委盃Vlog： https://youtu.be/tbiT4JjJjqU

你了解自由了嗎？自由這個位置可是來頭不小喔～
自由球員是什麼？： https://youtu.be/4rWOW2iE6_8

知道我是誰嗎？趕快來看看50件關於我的事！
50 Facts About Me：https://youtu.be/1XtED2C-OBM

知道舉球的重點之後，當然就是來練練舉球啊！
6招練爆舉球員： https://youtu.be/R-te4J8G-p4

擊球位置好難抓！
擊球位置處方箋：https://youtu.be/QUm8yksgjRE

我怎麼不知道還有這些跳飄？
五種最常見的跳飄： https://youtu.be/SflsxPQiLGs

哇！原來買球鞋有這麼多要注意～
亞瑟士排球鞋大評比： https://youtu.be/x2_hPyjhxFs

不會倒身？口訣輕鬆讓你會～
排球場上的護身倒法： https://youtu.be/yC1_ScIqlTo

攻擊要什麼時候進場呢？
基本攻擊時機：https://youtu.be/QYKIElFWMfk


🏐️喜歡我的影片的話，記得訂閱我的頻道並開啟小鈴鐺🛎
也可以在臉書、IG搜尋“Ming's volleylife 銘排生活”看看我的日常～
YT👉🏻 https://pse.is/LUXCG
FB👉🏻 https://pse.is/PT37A
IG👉🏻 https://pse.is/QM4GC

#是Vlog不是V-log #anywherewithGL #GastonLuga

🏐️BGM🎵：
Amber Lights - Chill Cole
Believe Me When I Say It - Matt Large
Chuva Quente - Elevador
Faster Car (Acoustic Version) - Loving Caliber
Frio Suave - Elevador
Kingdoms - Hallmore
Looking for Your Attention - Sture Zetterberg
Mercedes Denzs - Jobii
Pomelo - Jobii
Railroad Trail - Martin Klen
Reach Out to Me - Daxtan, Wai feat. Andy Delos
Rumors - Daxten
Siempre - El Neon
Skyline - Catiso
Smoothy - Gregory David
Starfields - Hallman
Striving Towards Success - Philip Ayers
The Break - Fasion
The Drama - Hallman
Tired of Waiting - Hallman
Verbatim(flip) - Guustavv, Jobii, Justnormal feat. Tilden, Parc, [Ocean Jams]
Weather Any Storm - Cody Francis
Woop - Amber Spill
Would You Stay - Mindme

Epidemic Sound推薦連結： https://www.epidemicsound.com/referral/7j2rdr/

Hiiltop
Hooky_with_Sloane
Jeremiah_s_Song
Life_is_Good

From Youtube Music Center

🏐字幕📝：
如果字幕有不流暢或是不妥，都可以留言跟我說喔~
If you find anything wrong with the subtitle, please leave your comment down below, thank you!
因為個人能力、時間有限，非常歡迎熱心的觀眾幫忙進行字幕翻譯
字幕翻譯以英文為主，如果還能提供日文、韓文等其他語言也非常歡迎～
有興趣的話，可以寄信到 mingvolley@gmail.com 並在主旨標示想翻譯影片喔！
上傳翻譯成功的話，我都會在以小禮物酬謝😘
如何上字幕的教學👉🏻 http://goo.gl/iURCeD

🏐工作、合作邀約請與我聯絡📨：mingvolley@gmail.com

🏐備註
特別感謝：台南市張祐禎診所
拍攝相機：Canon EOS M50
畫面編輯：Canva
影片編輯：Final Cut Pro

Azmi and I recently took part in the Downbelow x Rip Curl Marine Conservation Program 2017: a joint event between Downbelow Marine & Wildlife Adventures and Rip Curl Malaysia with the objective to raise awareness, educate, and encourage action towards the global problem of marine debris and the importance of preserving our coral reefs.


This event was fully sponsored by the Downbelow & Rip Curl partnership and was held on the 19th of November, 2017 at Downbelow PADI 5 Star IDC Dive Centre in Tunku Abdul Rahman Marine Park, Sabah Borneo. We were amongst the 100 participants who took part in this marine conservation activity on-site and BOY! Did we have fun!

Anybody can be an ocean hero irrespective of whether you are a scuba diver, snorkeler or non-swimmer, all you need to take part is a desire to make a difference. Marine conservation activities are fun and a heroes way of life is rewarding !

ALL proceeds went to AWARE Project as well as the Society for the Prevention of Cruelty to Animals Kota Kinabalu (SPCAKK). I LOVE my furry animals, so this struck a chord with me and I will be working closer with SPCAKK to encourage more folks to choose to adopt than to buy a new pet from the store.

Love and light everyone... Hope you enjoy this vlog of ours. Some important facts here. Please do spread the video if you are into marine conservation and helping animal shelters too ok?


Music by Philip E Morris https://soundcloud.com/philipemorris

Music by Joakim Karud https://soundcloud.com/joakimkarud
http://youtube.com/joakimkarud

Music by Blue Wednesday https://soundcloud.com/bluewednesday


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