關於 small black room design ，我們在網路上蒐集到這些相關的討論、資訊與評價

PRODUCTS REVIEW - KANGOL

1. KANGOL FLOCKING SIMBOL CANVAS BUCKET

💡DETAILS: Model #3791 BLACK + Size: 18 x 21.5 x 18 cm

🔴MY REVIEW: I’ve already got a lot of compliments on this canvas bucket. It’s very thick canvas material and the straps are thick and strong. I really like that there are two small compartments on the left and right sides of the bucket, big enough to fit in one pair of sunglasses, AirPods in one and a travel sized hand sanitizer in the other. This bucket can easily hold my iPhone12ProMax, wallet and my planner as well as water. It is roomier than it looks, super sturdy, really cool bag. Definitely recommend.

2. KANGOL DUO CANVAS BUCKET

💡DETAILS: Model #3794 IVORY + Size: 23.5 x 15 x 15 cm

🔴MY REVIEW: This bucket is very nicely made of good quality canvas, sturdy and it has plenty of room, not too small. It’s light weight too. I carry my essentials inside it such as wallet, iPhone, Airpods, keys and other things. Well, I’ve received many compliments for its simplicity yet unique design. Been using for a month and no signs of wear or tear. I love this bag.

📌Disclaimer: The above review is purely personal opinion. Not everyone likes what I like. Please note that what may work for me, may not work for anyone else. Results may vary from person to person, so please take this into consideration if you decide to try those products.

🔎WEBSITE - https://m.kangolkorea.com
🔎FACEBOOK - https://m.facebook.com/KangolKorea/
🔎IG - @kangokorea

🔎WEBSITE - https://www.kangol.com
🔎FACEBOOK - https://m.facebook.com/kangol.headwear.usa
🔎IG - @kangol

#kangol #kangolkorea #streetfashion #lovekakalovefashion #hkfashion #fashionblogger #kakablogs #kakalovekakalovelife #productreview #shoponline

【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

Member of the Month – Rocco Ancora @ X Sight

Member of the Month – Rocco Ancora @ X Sight
( www.xsight.com.au )
MORE PHOTO AND INTERVIEW : www.wppa.com.hk
Member of the Month – Nick Ghionis @ X Sight ( www.xsight.com.au)

1. You have become the Creative Director of XSiGHT since 2010, what you have to do under this title? Is it a very busy position as you are responsible for all the XSiGHT in Australia and over the world?

My role as creative director was to implement efficient workflows & unique post-production techniques to give the quality that XSiGHT is renowned for. With my knowledge & expertise in post-production & fine art printing together with Nick & Sharifa we have introduced a new range of fine art products that have once again propelled XSiGHT to the forefront of the Australian wedding industry. My role is exclusive to XSiGHT Melbourne.

2. What is your target or aim when you made the decision to take this role? Have you participated in polishing the marketing plan of XSiGHT since your joined into them?

When I took on the role of creative director, I became a piece of a jigsaw puzzle that forms XSIGHT. I am part of a team that can only be described as the best in the business. We all have our strengths and the key is to concentrate on what you’re good at.

3. How you come to the idea of XMENTORS with Nick Ghionis? Any specific marketing plan of it?

The idea of the XMENTORS came about when I joined the XSIGHT family. My passion for the art of photography and post-production was matched by Nick and Sharifa’s amazing business and marketing strengths. We decided that by each of us teaching our strengths we would have an amazing product to deliver our seminar attendees. It is all about taking your photography beyond just pretty pictures.

4. How do you keep a balancing role in Creative Director, Photographer and also Speakers? How you manage your work and time especially you are one of the most sought after speakers in the world in these years?

Having a great team to support me, allows me to balance all of the things that I do. Each person has specific roles to help the business run smoothly but most important is client liaison, especially when we are away doing XMENTORS seminars.

5. Any advise or suggestions to photographers who just entered the industry and thinking about to set up their own business; and also to those photographers who are already running their own company?

As photographers we consider ourselves artists first and business people last. We have to realize that we are sales people as well and a business plan needs to be put in order to succeed. You have to make informed decisions and grow your business and profit margin. Too many up and coming photographers fail because they don’t value their work or indeed their time.

6. When you have started your career as a photographer?

“I went to school to study architecture and somehow ended up doing Photography. I never actually completed my photography course. I was fortunate enough to be given the opportunity to do a traineeship with a very large wedding and portrait studio in Melbourne. At the time the studio was shooting over 300 weddings a year with 6 full time photographers.”

7. What reasons made you have such decision (to be a photographer)?

Just fell in love with the idea of capturing moments that can never be repeated and interpreting how I see the world through my camera.

A moment that can never be repeated but can be cherished for a lifetime by the viewer.

9. Do you remember what was your first set of equipment as a professional photographer? How’s their performance? Good?

When I first started to shoot weddings, it was almost 20 years ago, there was no digital. My first camera was a haselblad 503cx medium format film camera. The image quality of medium format film was amazing. As a photographer you really needed to know your craft in order to come back with great results.

The flash system i used on location was a Metz 45. It was used in manual mode…no TTL and of course a flash meter.

10. When was the 1st time you had your very first shot? In what circumstances? Was it an amazing one? Then immediate fell in love with “shooting”?

It was a portrait of my father that I shot on black and white film which I processed and hand printed myself. It was very early in my photographic career, but it made me realize just how much control i had in the image making process from capture to print.

11. After determined to be a professional photographer, what was your plan? Like setting up a company?

I worked for a studio for several years before I ventured out and set up my own studio. I felt that in order to succeed I not only needed to be a good Photographer and also have good business sense. I learned a lot by being part of such a large successful studio

12. Do you have any secret method to make your “perfect shot” if everything at the moment is just like a mess? (Like place is dirty, not enough lighting, a small room crowded with people, kids and dogs are running around, couple is getting angry and even yelling & etc.)

You really need to be malleable with your personality and take control of any situation. Having great communication skills is a very important tool.

Before we even consider taking a photograph we need to be in control of our subjects and effectively communicate our intentions to the couple. I never turn up to a wedding without first building some form of relationship with the client. This happens well before the wedding and it is very important that they understand also what is expected from them as a couple.

The main ingredients for me are as follows:

Your heart, your mind, and your eyes. You need to feel with your heart the emotion pre visualize how you can covey that mood with your mind and finally use your eyes to arrange the elements that create the image.

13. What do you think is the most important element in photo shooting?

The most important element in photography is LIGHT. You need to master the use of Natural and artificial light. By doing so, you have the confidence to create anywhere anytime. The other important tool is understanding focal lengths of your lenses. This not only helps you to control perspective but also it teaches you how to control messy and un interesting backgrounds.

14. Which place or country you like the most as you have traveled to so many places for shooting? And why? (Could be in terms of people there, scene, food & etc)

The most amazing place for me is New York city. There is so much to shoot there… the people are great and the vibe is just awesome. Having said that you can take amazing images anywhere. As a wedding and portrait photographer it is more about the subject rather than the idea of easily being seduced by the location.

15. When and what is the most impressive moment for all the years as a professional photographer?

Winning my first “Australian Wedding photographer of the year” award back in 2004. At the time I felt that I had really achieved my ultimate goal and was afraid of losing my inspiration now that i had achieved such an accolade. I pushed myself further and further from that point on and won it again for a record Four times. This has never been done before in Australia by any photographer.

16. Have you ever met any difficulty that made you very frustrated and even thinking to give up as a photographer?

I can’t imagine being anything else but a photographer and I would like to think that I will be photographing in some shape or form till the day I die. Haven encountered any obstacle that was ever too big to be overcome by the passion that i have for what I do.

17. When and what is your milestone in your career life as a photographer?

Being named as one of the top 10 Wedding photographers is the world by American Photo magazine. This truly has been a great honor.

18. Do you have any mentor?

“Early in my career, the amazing Yervant was my teacher and mentor. These days, I still find his work very inspirational, but there are many others in the industry whose work I admire, it’s just too difficult to narrow down to one name. Having said that it’s great to share Ideas with my business partner and amazing artist Nick Ghionis.

19. Which is your best shot? And why? (Would be great if you could show us)

I love this shot of the bride walking down the stairs and this beautiful moment presented itself. The parents were hugging with joy in the right hand corner of the frame unseen to the bride. On the walls of the house there were photographs hanging of moments that had already been documented in that family history. I named this image “as time goes by”, and was awarded the Grand award and WPPI for wedding Photojournalism.

20. If, you haven’t chosen to be a professional photographer, what do you think you will become? An accountant? An architect? A chef?

I was studying Architectural design before I became a photographer so I would probably say “Architect”

21. Any advice or suggestion could be given to photographers, especially for those fresh photographers?

Value your work and your time. Get plenty of experience before going out on your own.

22. What is your plan in the coming 5 years?

Recently I launched a new company “CAPTURE TO PRINT” which specialized in post-production of images and fine art printing. I still love shooting but post-production and fine art printing is also a passion and love to offer my skills as a master printmaker to bring other photographers vision to life.

23. What is your motto as a professional photographer?

Photography is a journey in the life of the photographer not a destination.

24. What is your motto in your life?

It is only by giving that you shall receive.

こんにちは！Hoshです。
ブログ【僕の自己紹介】→https://eightinterior.com/profile/
チャンネル登録はこちらから→https://www.youtube.com/channel/UCBwGrVNF6KCJonbnoRZ1gmA?view_as=subscriber
今回は壁を塗って部屋の印象を変えて、最近購入したイケアさんの照明などを使ってインテリアコーディネートしてみました。
グリーンの壁がナチュラルで北欧インテリアに合うなぁと感じました。
皆様のインテリアコーディネートのヒントになれば嬉しいです。

【 I T E M S 】
ペンキ「ボンジョルノ」→https://amzn.to/378xVAk
ペンキ「ティンバーランド」（今回使用したもの）→https://amzn.to/3783IBm
ソファ→https://ad2.trafficgate.net/t/r/1036/188/298851_373393/0/-/https://item.rakuten.co.jp/tansu/31200014/?s-id=ph_pc_itemname
下地探しどこ太→https://amzn.to/37cfsmG
ニトリフェイクグリーン→https://ad2.trafficgate.net/t/r/1036/188/298851_373393/0/-/https://item.rakuten.co.jp/nitori/8240807/
イケア照明→https://www.ikea.com/jp/ja/p/sinnerlig-pendant-lamp-bamboo-80342194/
イケアクッションカバー→https://www.ikea.com/jp/ja/p/stenmaetare-cushion-cover-multicolour-40472516/
イケアラグ→https://www.ikea.com/jp/ja/p/roerkaer-rug-flatwoven-black-natural-50418779/
イケア座椅子→https://www.ikea.com/jp/ja/p/alseda-stool-banana-fibre-40158135/
イケアキャンドルホルダー→https://www.ikea.com/jp/ja/p/paerlband-tealight-holder-30348546/
BLACK + DECKER(電動ドライバーマルチツール）→https://amzn.to/3cYrsZB

【関連動画】
センターテーブル作り→https://youtu.be/sf8McDg7U9M

【人気のインテリアコーディネート系の動画】
一人暮らしベッドルーム→https://youtu.be/WIgesQg6FNo
フェミニンシックなお部屋→https://youtu.be/9zC6uPRnqgw
ナチュラルダイニングルーム→https://youtu.be/gUP8KOlhVIU
緑のある暮らし→https://youtu.be/r-eqc3M09ds
簡単キッチンMAKEOVER→https://youtu.be/sJdGqcHl5D4
一人暮らしインテリア→https://youtu.be/W94eLd6Fvd0
ミニマリストモダンなインテリア→https://youtu.be/4l6YAyBjgG8
子供部屋MAKEOVER→https://youtu.be/3opVpT6MkMI

Follow me!!
blog:https://eightinterior.com/
instagram: https://www.instagram.com/eight.bldg/
Facebook: https://www.facebook.com/eight.bldg/
Twitter: https://twitter.com/EIGHT_BUILDING
Pinterest:https://www.pinterest.jp/Eightbldg/

M U S I C
Epidemic Sound
https://www.epidemicsound.com/referral/ckmroh/

E Q U I P M E N T
a7Ⅲ (Main Camera)→ https://amzn.to/2Mew82k
SEL1635GM Lens→ https://amzn.to/2MGpnVR
Kenko variable ndx→https://amzn.to/2L2okzN
Tripod→https://amzn.to/2MisQuJ
Lighting→https://amzn.to/2ISWc0E
Microphone→ https://amzn.to/2OtgEso

T H A N K Y O U
Thanks so much for watching and I hope you enjoyed. Leave any future video ideas you would like to see in the comments below!

＃diy　＃インテリア　＃一人部屋

こんにちは！Hoshです。
ブログ【僕の自己紹介】→https://eightinterior.com/profile/
チャンネル登録はこちらから→https://www.youtube.com/channel/UCBwGrVNF6KCJonbnoRZ1gmA?view_as=subscriber

今回はインテリアの実験でサンゲツさんのフロアタイルを床に置くだけで床を模様替えできるか試してみました。
きっちり床全体に敷き詰めればできるので、現在、賃貸住まいで床の柄に満足していない方にはオススメの方法です。
その後、イケアさんの棚を使いインテリアコーディネートしました。
皆様のインテリアコーディネートのヒントになれば嬉しいです。

【 I T E M S 】
ヘリンボーン柄フロアタイルWD914→https://amzn.to/32VemJa
両面テープ→https://amzn.to/3nGKbgL
クッション１→https://amzn.to/391yKMV
クッション２→https://amzn.to/3pJydVu
ニトリフェイクグリーン→https://ad2.trafficgate.net/t/r/1036/188/298851_373393/0/-/https://item.rakuten.co.jp/nitori/8241425/
おしゃれな本kinfolk→https://amzn.to/3kMUUV8
アート→https://amzn.to/3lOH71K
BLACK + DECKER(電動ドライバーマルチツール）→https://amzn.to/3cYrsZB

【関連動画】
イケアアイテム３０選→https://youtu.be/8KavSxH7-WI
壁吊り下げ収納DIY→https://youtu.be/dQRimhSfnSo
アートのDIY→https://youtu.be/xHaxfPbRoG8
DIYアクセサリーコーン→https://youtu.be/GxgSiaV5h84
DIYアクセサリートレイ→https://youtu.be/Fd-HBdnH8yY
DIYトレイ（ベッドの上）→https://youtu.be/_cm5X9HqtTA

【人気のインテリアコーディネート系の動画】
一人暮らしベッドルーム→https://youtu.be/WIgesQg6FNo
フェミニンシックなお部屋→https://youtu.be/9zC6uPRnqgw
ナチュラルダイニングルーム→https://youtu.be/gUP8KOlhVIU
緑のある暮らし→https://youtu.be/r-eqc3M09ds
簡単キッチンMAKEOVER→https://youtu.be/sJdGqcHl5D4
一人暮らしインテリア→https://youtu.be/W94eLd6Fvd0
ミニマリストモダンなインテリア→https://youtu.be/4l6YAyBjgG8
子供部屋MAKEOVER→https://youtu.be/3opVpT6MkMI

Follow me!!
blog:https://eightinterior.com/
instagram: https://www.instagram.com/eight.bldg/
Facebook: https://www.facebook.com/eight.bldg/
Twitter: https://twitter.com/EIGHT_BUILDING
Pinterest:https://www.pinterest.jp/Eightbldg/

M U S I C
Epidemic Sound
https://www.epidemicsound.com/referral/ckmroh/
Warefare (Instrumental Version)

E Q U I P M E N T
a7Ⅲ (Main Camera)→ https://amzn.to/2Mew82k
SEL1635GM Lens→ https://amzn.to/2MGpnVR
Kenko variable ndx→https://amzn.to/2L2okzN
Tripod→https://amzn.to/2MisQuJ
Lighting→https://amzn.to/2ISWc0E
Microphone→ https://amzn.to/2OtgEso

T H A N K Y O U
Thanks so much for watching and I hope you enjoyed. Leave any future video ideas you would like to see in the comments below!

＃diy　＃インテリア　＃インテリアコーディネート

#南極鯨魚 #南極觀鯨 #鯨魚包圍
一個非常南極, 非常Antarctica 的早上
一條小茉香鯨
擱淺係南極~
小抹香鯨情況穩定....
ok 我收聲 :O)

?For inquiry: [email protected]

??Subscribe for more upcoming videos!
https://www.youtube.com/channel/UCkdEqlRnoKQTBez32SagNZg?view_as=subscriber
??Follow my Instagram and Facebook
https://www.instagram.com/derek_tch/
https://www.facebook.com/derektangtch-2052770508155193/
??Subscribe to my personal webpage
https://www.derek-tan.com/?lang=zh

---------------------------------------------
?Filmed and Edited by Derek
My 2020 gears for filmmaking, photography, and vlogs:
If you sign up using my link, I get a small commission :)

Main Camera
1. Canon EOS R Body: https://amzn.to/2Qn9qGh
Lenses
1. Canon RF15-35mm F2.8 L IS USM: https://amzn.to/2Qg2OcP
2. Canon Rf 24-240mm f4-6.3 IS USM: https://amzn.to/3aLifTZ
3. Canon RF 35mm f/1.8 IS Macro STM: https://amzn.to/2EqQP9S
4. Canon EF 85mm f/1.4L IS USM: https://amzn.to/3glsTSv
Other Cameras
1. GoPro HERO7 Black: https://amzn.to/3giqV5f
2. DJI Mavic Pro Fly More Combo: https://amzn.to/3hk96UU
Microphone:
1. Rode VideoMic Pro+: https://amzn.to/2QhAYNC
2. Rode Wireless Go: https://amzn.to/2YpEIAN
3. Micro Wind Muff: https://amzn.to/2YsjX7H
Accessories:
1. Peak Design Capture Camera Clip V3 (Black with Plate): https://amzn.to/31jJsK6
2. JOBY GorillaPod 3K Kit: https://amzn.to/3hmlQKv
3. JOBY GorillaPod 5K Kit: https://amzn.to/3hlZA3z
4. Peak Design Cuff Camera Wrist Strap Black: https://amzn.to/31if3vY
5. Peak Design Slide Lite Camera Strap SLL-BK-3 (Black): https://amzn.to/31khttR
Computer:
1. Dell XPS 15 9570 15.6" 4K UHD TouchScreen Laptop: https://amzn.to/2Qe0jIb
2. SanDisk 2TB Extreme Portable External SSD: https://amzn.to/2EwdnFZ
Editing Software:
1. Adobe: http://clkuk.tradedoubler.com/click?p=264318&a=3171866&g=22913610
2. Songs (Epidemic Sound): https://www.epidemicsound.com/referral/ff3ujw/

---------------------------------------------
?Featured Videos:
88日中南美:
?This is ANTARCTICA南極!! My 7th Continent!! | 88日中南美EP22
https://www.youtube.com/watch?v=8NeGbGdiQE8
[EP21]媽~我成功了! 百內絕景健行挑戰?! (下) | 黑夜攻頂看日出! Torres Del Paine 智利百內國家公園 | 88日中南美EP21⚠️一定要看到最後!!
https://www.youtube.com/watch?v=pezgm3PWu3I
[EP17]究竟樹懶有多慢...? ? | 88日中南美EP17 (Eng Sub)
https://www.youtube.com/watch?v=gSdEZYGrfaQ
[EP12]跟無數隻鯊魚海獅共潛 ? 絕對是世上最棒的潛水! | 加拉巴哥群島潛水 Scuba Diving Galapagos Island Gordon Rock | 88日中南美EP12
https://www.youtube.com/watch?v=u8CF_9d_hZ8
[EP9]媽呀~我親眼望見火山爆發?危地馬拉火山露營vlog | 88日中南美EP9 [English Sub]
https://www.youtube.com/watch?v=qYmEWKhAuTc
[EP7]?不看一定後悔の40米深潛！世界十大潛水勝地 - 大藍洞!!!! | 加勒比海Belize Blue Hole Diving 伯利兹 | 88日獨遊中南美EP7 [English Sub]
https://www.youtube.com/watch?v=ADbX9lZTHqA
[EP2]??古巴到處到是旅遊騙案?!! 我被騙徒騙了!! | Tourist Traps are everywhere in Cuba?!! | 88日獨遊中南美 [English Sub]
https://www.youtube.com/watch?v=hOtxWbdmrIQ
[EP0]88日獨遊中南美。序??‍♂️
https://www.youtube.com/watch?v=43WjpdyCwmU
[?? Vlog]??‍♂️ ?獨遊開始の勁食北海道EP1 | 札幌 壽司 刺身 蟹 | 日本 Sapporo
https://www.youtube.com/watch?v=RYB2SR4qZnc&t=17s

非你所想 - 非洲肯亞:
[Africa Vlog]?我最期待的畫面出現了 | 非你所想EP7 | 非洲 肯亞 熱氣球?| Lion Mating Kenya Masai Mara
https://www.youtube.com/watch?v=aCh2j-YsDoo&t=616s
[非洲vlog] 爆笑非洲！看完你就會知應否來非洲肯亞!!??| You shouldn't visit Africa Kenya Masai Mara | 非你所想EP8
https://www.youtube.com/watch?v=NDBr65Ul_8Q
被警察逮捕!!??‍♀️??‍♂️ | 非你所想EP1 | 非洲 肯亞 黑警| I was arrested in Kenya
https://www.youtube.com/watch?v=paNLVc0xFp0
---------------------------------------------
▶ Check out my gear on Kit: https://kit.co/chtangac