關於 why do you like film photography ，我們在網路上蒐集到這些相關的討論、資訊與評價

A few years ago I asked Tepu' Ira (Sina’ Radu) "why do you sing?", she said "to bring people together". The process of making this music video was just so full of LOVE, working closely with my cousin Sarah Lois (director) and team at Project Room . It was important for us to shoot in the land where the song came from, the Kelabit Highlands and in Miri (Sarawak, Malaysia on the island of Borneo). It was also important that each film department was led by a Kelabit youth, so that each of us could bring to the table our expression of our shared experiences growing up as Kelabits in this contemporary world. We would like to thank all the project partners, crew, fashion designers, travel agent (getting to Bario is not easy!), Kelabit community, Bario village, our parents, friends and family, our ancestors. We all have a vision that's beyond this music video. To share stories. To make heritage contemporary and relevant. To look into our past histories. To keep language alive. Today, I am grateful for this.
MIDANG MIDANG / Music Video
#MidangMV #MidangMidang

https://www.youtube.com/watch?v=NZUf2hHq-EE

Artist: Alena Murang
Director: Sarah Lois Dorai
Executive Producer: Alena Murang / Fabian Wilfred Joseph
Director of Photography: Fabian Wilfred Joseph
Song from: Tepu' Ira / Sina' Radu
Music Producer: Josh Maran (PepperJam Productions)
Focus Puller/Lighting: U-Jinn Teh
1st Camera Assistant: Veknesuaran Thiagarajan
Production Coordinator: Annabel Michael
Production Assistant/2nd Camera Assistant: Pearly Choo Hui Wen
Production Assistant: Fara Emiera
Stylist: Sarah Lois Dorai / Alena Murang
Wardrobe Assistant: Sharifah Nur Hannah
Hair & Make-up Artist: Gebriel Padan
Hair & Make-up Artist Assistant: Aqeem Yusuf
MV Audio Mix: Yuen Yiet Soo
BTS Videographer: Candy Fredrick
Choreographer: Sarah Lois Dorai
Dancers: Sharabana Mala Ulun
Vivianna anak Jimbun
Amelia Usun Juing
Norina Anak Changan
Miri Production Runner: Amreetpul Singh
Daniel Sim Mong Say
Bario Locations & Production Runner: Zac Labang
Lian Naree
Food & Accommodation: Lucy Bulan & David Labang (Labang Longhouse Lodge)
Post Production
Post Supervisor: Fabian Wilfred Joseph
Post Producer: Teh U-Jinn
Offline Editor: Sarah Lois Dorai / Fabian Wilfred Joseph
Online Editor: Fjallraven Boy
Color by Company 3 Los Angeles
Colorist: Tyler Roth
Executive Producer: Ashley McKim
Producer: Mario Castro
Special thanks to:
Elle Sia
Gary Lionel
Julian Rang
Lawrence Lawai Lukas
Lynette Nicholas
Paul Anis Pian
Nazri Bin Mahari
Sharifah Nur Annissa
Nicholas Chin
Cinerent (M) Sdn. Bhd.
AV8 Media Pte. Ltd.
Special thanks to:
Sarawak Tourism Board
Miri Marriott Resort & Spa
Miri City Council
LANA
Maatin Shakir
Neng Kho Razali
Raben Beads
Tanoti
Von Jolly Couture
Wan Bynun
Gebriel Padan Makeup Artistry
Music Video Produced by Project Room & Kanid Studio

Thanks Vogue Hong Kong for featuring me as one of the HK street photographers 🙏🏼

https://www.voguehk.com/en/article/art-lifestyle/best-hong-kong-photographers-instagram/

Below is the previously unreleased complete interview in which I shared about my inspirations, creative flow and philosophy, as well as some techniques. Feel free to take a look & CLS (comment, like & share) 😀

——

(V: Vogue J: Jeremy)

V:
What/who inspired your photography style?

J:
When I started photography, Hong Kong’s legendary photographer Ho Fan’s work has inspired me a lot, mostly about the use of light and composition as well as the way to authentically capture the secular life of Hong Kong people. Around 6-7 years ago, I met some friends from Instagram whose double exposure film works are fascinating. They have inspired me to explore deeper in this special way of photo story-telling, which I tried to incorporate daily ordinary elements to make new interpretations of what I feel and perceive about the city. After years of experimentation, I am still enjoying the possibility double exposure brings to my creative journey.

——

V:
How would you describe the Hong Kong that you present in your photos?

J:
Hong Kong is a city of varying landscapes (hills, harbours, hyper-dense urban hubs etc). My photos always try to illustrate snippets of things happening around the city, mixing the common experience with a bit of poetic imagination if possible (including openness or even ambiguity for the readers to interpret). At the same time, I always put in mind not to create something too cliche or off-the-ground. Words also play a role in my photos too, as they could add another layer (or twist) of background info or feel to the photos themselves.

——

V:
In what way do you present it?

J:
Analogy with an implicit storyline is what I always aim at when I take photos. Although double exposure comprises of only a fraction of my photography work, I believe it suits my visual philosophy well in (1) recording things happening or surrounding around myself/the city in terms of both factual archives and personal-based memory, (2) freeing up the mind by letting imagination flow in (as to temporarily overlap the concrete realities into some forms of surrealism, creating as a remedy for the chaotic world). So I would say it is an aesthetically refreshing way of visual representation.

——

V:
Why did you choose this photo?

J:
One of my mostly used double exposure approaches is the experimental blending of observed urban moments with on-the-spot patterns/materials (I have been using the instagram hashtag #rambler_hkdouble to collect my double exposure photos posted on IG). For this picture of Mongkok, I first captured a V-shaped pattern of bluish/greenish tiles from a nearby pedestrian underpass, then I captured the second layer on the Argyle Street footbridge which oversees the V-shape urban canyon of Mongkok. This was taken by an old Nikon film camera with a discontinued film stock called Rollei CN200. I like how the grains and tints worked together to offer a mood of ruggedness.

——

V:
Is there a message that you’d like to share through your photos?

J:
I always try to capture the subtlety of a place (incl. urban fabrics and artefacts) through compositions and lighting. I hope my photos would bring a sense of resonance, reminiscence and reflection to my audience (whether HKer or not), connecting them with a place’s own history, her present reality and an extrapolation of the future.

My main channel of photo sharing is on Instagram, but I really treasure the interactions with my audience both online and offline, local and overseas, mostly through web comments, my own photo exhibitions or occasional organised photowalks. I love the moments when I try to inspire people, I got reversely inspired by them too. I hope these modes of sharing could continue in the future.

2020 Aug

——

Vogue Hong Kong
Vogue

【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

Aisho Nakajima “Needed” 
“Needed” on Spotify : https://open.spotify.com/artist/73TJEwnZTYd2p0qRbn2Pi3
“Needed” on Apple Music : https://music.apple.com/us/artist/aisho-nakajima/1503461433

MV credits
film director - MATHEUS KATAYAMA (W)
director of photography - Yuki Yamaguchi
assistant director - Yui Nogiwa
camera assistant - Ali Yokota
on-set photographer - Haruki Koyama
hair cut/colored - Ryo
hair & makeup - Aisho Nakajima
nails - Aisho Nakajima
wardrobe styling - Aisho Nakajima

Aisho’s Instagram : https://www.instagram.com/aishonakajima/?hl=en
Aisho’s Twitter : https://twitter.com/aishooo74?lang=en

‘Needed’
Written by Aisho Nakajima
Produced by ELI 
Recorded/ Mixed by Aisho Nakajima 
Mastering by Wax Alchemy 

Lyrics - 

“Want you”
Skin on skin on crescent moon 

I wanna hear you say “I love you”
Why is it so hard to say it, hard to play it

All the private shit I ask why 
Whole lot of complicated shit on ur mind 

“You can do you”
Needed that from you 

Why is everything so secretive 
My mind is always over weighted 

Tell me how u got me, got me, got me to 
Convince me that I’m crazy, crazy. 
Tell me how’s the view 
The walls you built around me
Tell me why don’t you love me 
I’m tired of the separation 
it’s time to have this conversation 
ohh

Traumatized, you just don’t know it 
All my issues, you still don’t get it 
Act like ain’t nothing wrong 
You made me feel I don’t belong 

Ashes, tragic, if you only took in action
Tired of crying
Tired of fighting 

Childish games 
But I always was the one to blame 
It wasn’t worth it 
U weren’t just messing around 

Whole lot of anxiety 
All I wanted was a family 

Years without you 
Been in my head since u left me 

Tell me how u got me, got me, got me to 
Convince me that im crazy, crazy. 
Tell me how’s the view 
The walls you built around me
Tell me why don’t you love me 
I’m tired of the separation 
it’s time to have this conversation

這樣的2020年，我們寫了一首這樣的歌——〈敬啟者 Dear Humans〉。

給所有活著、並期待或害怕末日來臨的人們。人們鑄下大錯、人們後悔、人們領悟、人們乞求著被世界原諒。但何不從現在開始？好好愛著那些該愛的，好好珍惜地球上的每一個生命、每一方土地。

這封信，給末日來臨時逃離地球的人類們。我們是當初曾與你們相伴，卻被獨自留下的寵物，是狗、是貓、是烏龜、是一株盆栽。

這次，請換你們聽聽我們說。

In a time like 2020, this is the song we wrote —— “Dear Humans”.

To all the living humans who expect or are afraid of the coming of apocalypse: People made big mistakes. People regretted making them. People admitted the wrongs. Now, people are begging to be forgiven by the world. But why not start making amends right away? Love those who deserve to be loved. Cherish every form of life and every inch of land.

This letter is written to the humans who left the Earth when the apocalypse came. We are the pets that accompanied you in the past, but then you left us here alone. We are dogs, cats, turtles and potted plants.

And now, please listen to what we have to say.

——————

2020 大象體操跨界計劃｜
【莎士比亞的妹妹們的劇團 王嘉明作品《物種大樂團》】
▶︎時間：2020.10.23-10.25
▶︎地點：台北國家戲劇院 National Theater
▶︎購票：https://bit.ly/2YPsC4j

——————

〈敬啟者 Dear Humans〉

放棄了的 進化了的
The abandoned, the evolved
你是不是仍然相信著當時的選擇
Do you still believe in the choice you made?

後來的 大象早就 學會遺忘
Before long elephants learned to forget
流浪的 北極熊也 在天上飛翔
Nomadic polar bears now soar in the sky
突然 一艘船 從天而降
A vessel dropped from the clouds all at once
狼狽的 沈重步伐
Plodding, trudging
你是否 就是早已離開的人啊
Are you the one who’s already left?

宇宙中 完美的家 你說那是無聊的謊
“The ideal home in the universe” You call this a tedious lie
眼前的 這片海洋 卻恢復原來的模樣
The ocean before our eyes has renewed, revived
為什麼 人類 渴望遠方
Why do humans thirst for the distance
卻 無法守護 腳下土壤
But fail to protect the soil under their stride?
你問我 該怎麼做 才能被原諒
You asked me what to do
To receive forgiveness

曾相信的 曾心愛的
Once believed, once beloved
現在的我仍然相信著當時的選擇
I still believe in the choice I made

我從來 沒有離開也不想要遺忘
I never left, I don’t forget
一輩子 都在這裡等待 著你回來
Waiting for your return with all my life
好想 告訴你 不用害怕
To tell you that don’t be afraid
放下所有的 後悔悲傷
Lay down all the regrets and sorrow
只要你 願意擁抱我們曾受過的傷
As long as you embrace our woes

偶然的 巧合 已開始流轉
Circumstantial, Coincidental, Circulation
那 隨機的 安排也不斷在變換
Random orders, tireless changes
淘汰的 願望 又回來了嗎
Is the eliminated hope rekindled?
曾 緊緊擁抱的 和深深愛過的
Once caressed, once cherished
未來的 還在 遙遠的未來
The future is still in the far-fetched future
而 過去的已經消失在過去了
Yet the past has vanished in the past

——————

【音樂製作 Music Production】

製作 Producer：大象體操 Elephant Gym
作詞 Lyrics：張凱婷 KT Chang、張凱翔 Tell Chang
作曲 Composer：張凱婷 KT Chang
編曲 Arrangement：大象體操 Elephant Gym
電吉他 Electric Guitar：張凱翔 Tell Chang
鍵盤 Keyboard：張凱翔 Tell Chang
電貝斯 Electric Bass：張凱婷 KT Chang
鼓 Drums：涂嘉欽 Chia-Chin Tu
錄音工程師 Recording Engineer：陳瑩哲 Ying-Che Chen @小白馬音樂工作室 White Pony Music Studio
混音工程師 Mixing Engineer : 邱建鈞 J-Jyun Ciou @玩痛音樂工作室 Playtone Studio
母帶後期處理工程師 Mastering Engineer : 陳陸泰 A-Tai
母帶後期處理錄音室 Mastering Studio : 原艾母帶工程錄音室 Mugwort Mastering

——————

【MV製作 Music Video Production】

監製 Executive Producer：伊晉褕 Eric Yi
導演 Director：許睿庭 RAY
攝影師 Director of Photography：萬又銘 ONE
攝影助理 Camera Assistants：張岳群 Henry Chang
燈光師 Gaffer：萬又銘 ONE
燈光助理 Best Boys：曾鈺展 Yu Zhan Cent、楊鈺銘 Yu Ming Yang、陳宇颿 Yu Fan Chen
美術指導 Production Designer：潘幸均 PAN
小精靈 Elf：馮會元 Hui Yuan Feng
演員 Cast：艾迪 Addy、吳為 Wei Wu、Ray Han、蹦蹦 Bong Bong
後期製作 Post production：萬事屋影像制作 Onezpro Studio
剪接 Editor：朱威 Wei Chu
調光 Color Grading：周采葳 Cai Wei Zhou
合成 FX Artist：江偉 Will Chiang
器材協力 Equipment Support：乒乓影像器材 Ping Pong Film Studio、仙人掌影業器材 Cactus Studio
歌詞翻譯 Lyrics Translation：覃天愛 Tien-Ai Chin
特別感謝 Special Thanks：眉角映像 MEGA Pictures、TheBayStudio、嚴敏 Mia Min Yen

In this video we recommend two compact light stands for on location shoots for start up photographers or filmmakers. As for any job having proper lighting is important, but also the correct tool for holding the lights up. This video we recommend two compact light stands that we use quite a lot and found them the best suited to move to locations when having a shoot.

Manfrotto Nano Pole Stand - https://amzn.to/2QrhuZc
The first is that Nano Pole Stand which got special features and it being quite small when collapsed 49cm and reach 195cm height when extended. Its a great light stand when you are a single shooter and only need one stand for the job, as its lightweight and also quite small to carry without getting in your way. There is also a version without the extended feet which is the Manfrotto 5001B Nano stand ( https://amzn.to/2EjbESw ) which cost slightly less, but honestly the extended feet often needed when using any modifiers like and umbrella. Also we found the bag that comes with the Manfrotto Compact action tripod ( https://amzn.to/2UF74Uo )is the perfect fit for this stand and enable us to carry it and not get damages when traveling.

Manfrotto 1051bac - https://amzn.to/2PzxvHh
The 2nd light stand we recommend is the Manfrotto 1051bac, which in size is taller than the Nano being 67cm, but also have a reach of 210cm which is taller. However why we recommend it is because this stand is stackable and interlocks with each other making it easier to carry a stack of them, but also when placed in a case, they don't shuffle around and get scratch that easily. And the 1051BAC can hold up to 4kg which allows it being use with a much heavier light setup on top.

Gear used to film this episode:
Sony A7rii - https://amzn.to/2Qc8dUO
Sony 28mm f2 - https://amzn.to/2Qyn8rT
Rode Smartlav - https://amzn.to/2PnAfr8
Manfrotto Befree Live - https://amzn.to/2Qem9ha
Aputure Mini 20D - https://amzn.to/2UFou2X
Profoto B10 Duo Kit - https://amzn.to/2zGBIUf
Manfrotto 1052BAC - https://amzn.to/2QcG4gv


Edited with Adobe Premiere Pro - http://goo.gl/k2EagF

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