關於 what is extended reality ，我們在網路上蒐集到這些相關的討論、資訊與評價

So....Rex and I had a chat about the future of this page. He sat there cross armed and scratching his chin while I pretty much do all the work (as usual).

This is how it will move forward from November 2020.

The unfortunate reality of this pandemic is the fact cross border travel and large scale events are still severely curtailed, and likely until the effects of the virus on society dies down, or an effective vaccine can be developed (that's another discussion in itself). We've known since April we would not be able to go to any conventions and therefore we've delayed the production of Rex Regrets Volume 3. We're mostly self funded/run and our day job was (and still is) impacted by the poor economy. I won't say how bad, lol, but we can't possibly set aside money now to make a product that has no place to sell to. We could do online, but that still depends on a lot of factors that....to be fair, feels like a lot of work for a 1 man 1 dinosaur shop. And Rex is useless at packing. Having said that, it also means most merch plans will be on hold too. In fact we're aware the problems with the T-Shirts that were sent out with the Kickstarter (from 2 years ago now) and we'll be looking into new suppliers before we start doing anything again.

We've also been pretty laid back with new comics. Honestly its been 7 years of Rex and its starting to feel a lot like work. I hate work.

Rex and I have gone on an extended break and recently we both feel we're ready to be back. After the passing of our good friend and supporter Matthew, and more recently re-hearing about TOYSREVIL's brush with stroke 10 years ago, we feel that to abruptly sign off at Volume 3 is doing a disservice to the friendships we've forged with Rex. So we're gonna try and return to the normal schedule in November and we'll try to keep to the schedule.

Folks who've been following on here will also notice since May we've been running this live drawing stream CB draws. It is a partnership between A Good Citizen, Muffinsaurs and us. We feel its time to move it onto its own platform since Citizen Dan and Muffinsaurs both are gonna likely start ramping it up again on their end too. So if you've been a fan of CB draws, its not going away, just headed to a different page. We hope you'll follow us there, but do be warned, the content can be a bit crass (blame Citizen Dan) and focused on Singaporean/Southeast Asian perspectives.

With that being said, Rex and I will also start a new dinosaur drawing stream in November. Since we have no idea what we're doing (as usual) we will start small and work our confidence up.

All in all, thank you guys for continuing to support Rex. We're a bit rusty. Rex will need to do his stretches again to contort himself into those compromising situations. Hopefully you'll find the upcoming content still fresh and fun.

PS, he's still sitting there thinking.

【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

New York Times 第三擊

【China’s Hong Kong Policy Is Perverse. It Always Has Been.】

By Lewis Lau Yiu-man

HONG KONG — Beijing says it wants to safeguard “one country, two systems,” the principle that supposedly guarantees Hong Kong’s semiautonomy from the mainland. In reality it is weaponizing the policy to crush the city’s freedoms.

On Thursday, the Chinese government announced a plan to pass national security laws for Hong Kong. It has long been after something like this, though previously it expected the local authorities to do the job. Not this time. This law would be ratified in Beijing — at worst, as soon as next week.

This sinister move caps several weeks of mounting acts of repression in Hong Kong, in almost all spheres of public life — politics, law, education, the media.

Last week, students sitting for a university-entrance history exam were asked if they agreed with this statement: “Japan did more good than harm to China in the period of 1900-45.” The Hong Kong Education Bureau promptly complained that the question was “leading” and asked that it be stricken from the exam, even though some students had already answered it.

The Education Bureau also claimed that the question “seriously hurt the feelings and dignity of the Chinese people who suffered great pain during the Japanese invasion of China.” For many traditional Chinese patriots there is simply no way the Japanese could have brought any benefit whatsoever to China; to merely ask that question is to somehow prettify the Second Sino-Japanese War of 1937-45.

Never mind that the exam referred to the years between 1900 and 1945, rather than solely to the war. And never mind that there is ample historical evidence showing that Japan’s vast influence on China during that period also served China well in some ways. Sun Yat-sen, the most famous early leader of post-imperial modern China; major actors in China’s socialist movement; even Lu Xun, arguably the greatest writer in modern Chinese literature, were all inspired or shaped to a certain extent by contact with Japan.

More than anything, questions such as this one have been a fixture of history exams in Hong Kong. I studied history at university, and I remember this exam question from 2006: “Some people think Emperor Wen of Sui (541-604) did more harm than good. Do you agree with that?”

Then this week pro-Beijing lawmakers hijacked the election for chairperson of a committee of Hong Kong’s legislative council, calling in security guards to control the scene, and placed at the committee’s head a pro-establishment legislator accused of abuse of power.

“Headliner,” a satirical show of the public broadcaster RTHK, was canceled after Hong Kong authorities complained that it denigrated the Hong Kong police.

And the government, even as it is relaxing various social-distancing rules to fend off Covid-19, just extended restrictions on group gatherings to June 4 — the anniversary of the 1989 massacre at Tiananmen Square. The commemorative protest vigil that has been held that day every year may not take place for the first time in three decades. (It occurred even during the SARS outbreak of 2002-03.)

Next week, Hong Kongers face another blatant effort by Beijing to instill in them patriotism for China and loyalty to the Chinese Communist Party: The local Legislature will consider a bill that would criminalize the misuse of China’s national anthem or insults toward it. And, of course, there is the national security legislation.

The Chinese Communist Party is ambitious, and it is impatient. It doesn’t just want to control Hong Kong; it wants to remodel the minds and souls of the Hong Kong people.

Chinese state media said of the history exam controversy that it was an occasion for Hong Kong to “surgically detoxify” its education system so as to make it “compatible” with “one country, two systems.” What they really were calling for is a radical change of the status quo.

“One country, two systems” is designed, in theory, to safeguard the fundamental rights of Hong Kong’s people. In fact, our rights are gradually being taken away in the name of safeguarding “one country, two systems” — Beijing’s version of it. The policy isn’t dead so much as it is perverse. Which it always has been.

“One country, two systems” was a ploy from the outset, a tactic for China to buy time, the better to absorb Hong Kong sooner or later. Preferably sooner, it seems.

STREAM UNDEFINED: https://lnk.to/UndefinedDontCallMe

–––
Music & Lyrics: Benji Cormack, Elise Go
Production: Benji Cormack, Elise Go
Mix & Master: Tom Iannello
Horn Arrangements: Elise go, Ethan Santos
Trumpet: Scott Bell
Tenor Sax: Kyle Zimmerman
Trombone: Ethan Santos

–––

This is my f*ck you song !!

–––
Lyrics:
Shoulda seen the writing on the wall
Didn't want to, didn't want to
Never cared enough to take my calls
Made excuses, why you put me through this

My friends kept tellin' me
But I did not believe
Your bullshit came for free
But it's, too late to run away
But now at least I know

Don't call me
Don't call me yours
If you don't even care no more
So undefined
Fucked with my mind
If you don't even care
Don't call me yours

Oooo undefined were we (don't call me, don't call me, don't call me)
Oooo undefined were we (Don't call me, don't call me, don't call me, call me yours)

Made me think that what we had was real
Were you lyin'
Were you fakin' it
Told me all the things I wanna hear
But you were hidin' (hidin', hidin')
Were you feelin' it

My friends kept tellin' me
But I did not believe
Your bullshit came for free
But it's, too late to run away
But now at least I know

Don't call me
Don't call me yours
If you don't even care no more
So undefined
Fucked with my mind
If you don't even care
Don't call me yours

Oooo undefined were we (don't call me, don't call me, don't call me)
If you don't even care, don't call me yours, yeah
Oooo undefined were we (Don't call me, don't call me, don't call me, call me yours)
Oooo undefined were we
Oooo undefined were we

Don't call me
Don't call me yours
If you don't even care no more
So undefined
Fucked with my mind
If you don't even care
Don't call me yours
Don't call me
Don't call me yours
If you don't even care no more (if you don't even care no more)
So undefined
Fucked with my mind
If you don't even care
Don't call me

Called me all these pretty words (your your yours)
What you did ain't what I heard be real with me (your your yours)
You don't even care
Done with all your schemin' ways
I'm just gonna have to face the truth 'bout you
You don't even care
Don't call me
Don't call me, yours
If you don't even care,
Don't call me

–––

Directed by Jordan Hwang
IG: @jordanhwang
Website: http://www.jordanhwang.com

–––

Credits:
Director / Producer / Editor: Jordan Hwang
Director of Photography: Darren Samuels
Production Designer: Olivia Amalia Temblador Ferguson
Key Grip: Sam Kim
Gaffer: Wooho Kim
Art Dept: Gabe Ferguson
Hair: Erica Ishiyama
On Set Photographer: Bert Alexander
Logo: Emmanuel Guzman

SUBSCRIBE FOR MORE: http://bit.ly/2sGrt1u

–––

Follow me on the socialz:
IG: http://instagram.com/nihaoelise
Spotify: https://spoti.fi/2KAWr17
Twitter: http://twitter.com/nihaoelise
FB: http://facebook.com/nihaoelise

2016 年又是個電音 EDM 文化高度成長的一年。剩不到一個月就要走入 2017 了， OOC 為大家精選 10 首最代表 2016 好歌！來看 OOC 團隊內的排名吧！

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更多高畫質完整版影片請上 OOC 的 YouTube 頻道： https://www.youtube.com/OOCplanet
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如有侵權請告知，我們會盡快處理。
We do not own some clips in this video, and here are the original video of those clips that we’ve used:
Alan Walker - Sing Me To Sleep: https://youtu.be/2i2khp_npdE
Calvin Harris - This Is What You Came For (Official Video) ft. Rihanna: https://youtu.be/kOkQ4T5WO9E
DJ Snake - Let Me Love You ft. Justin Bieber: https://youtu.be/euCqAq6BRa4
DJ Snake ft. Justin Bieber - Let Me Love You [Lyric Video]: https://youtu.be/SMs0GnYze34
DJ Snake - Middle ft. Bipolar Sunshine: https://youtu.be/IvPT2QuCIOA
Flume - Never Be Like You feat. Kai [Official Music Video]: https://youtu.be/-KPnyf8vwXI
Hilight Tribe - Free Tibet (Vini Vici Remix): https://youtu.be/0lBjcaMokvo
Marshmello - Alone (Official Music Video): https://youtu.be/YnwsMEabmSo
Martin Garrix & Bebe Rexha - In The Name Of Love (Official Video): https://youtu.be/RnBT9uUYb1w
Oliver Heldens ft. Ida Corr – Good Life (Official Music Video) Watch_Dogs 2: https://youtu.be/tgGB0oSgw8E
POKEMON GO SONG!!! by MISHA (FOR KIDS) [ORIGINAL]: https://youtu.be/vfc42Pb5RA8
Porter Robinson & Madeon - Shelter (Official Video) (Short Film with A-1 Pictures & Crunchyroll): https://youtu.be/fzQ6gRAEoy0
Rae Sremmurd - Black Beatles ft. Gucci Mane: https://youtu.be/b8m9zhNAgKs
Simulated Reality: https://youtu.be/K4rCzA8fS84
Skrillex & Rick Ross - Purple Lamborghini [Official Video]: https://youtu.be/ZkqyIoYAXV8
The Chainsmokers - Closer (Lyric) ft. Halsey: https://youtu.be/PT2_F-1esPk
The Chainsmokers - Don t Let Me Down ft. Daya: https://youtu.be/Io0fBr1XBUA
Why Elon Musk says we re living in a simulation: https://youtu.be/J0KHiiTtt4w
Zomboy - Like A Bitch (Extended Mix): https://youtu.be/eVJRyBX1W1c