關於 run for cover live ，我們在網路上蒐集到這些相關的討論、資訊與評價

最新單曲《無處遊人》經已上架，立即到各大音樂平台下載及收聽🤠

Apple Music/iTunes: apple.co/37g5uQg
KKBOX: https://kkbox.fm/cSqMdp
JOOX - bit.ly/3jpntJwbit.ly/3jpntJw
MOOV: https://s.moov.hk/r?s=OfDsIA
Spotify: spoti.fi/37mCeaFspoti.fi/37mCeaF
Tidal: https://tidal.com/track/192393749

這是我們以獨立樂隊身份推出的第一首歌。

時代的洪流異常喘急，幻想你在浪潮之間 - 水力澎湃，一路把你向前推，你選擇如何生存下去？
隨波逐流，也不過是與時並進的進程；逆流而上嗎，當然是一種生命力的體現；而途中，也有人會奮力爬上岸邊，離開洪流。冒着被時代遺棄的危機作出選擇，也許是堅持理想、也許為尋找答案。可以放逐自己，可以用自由意志去認清在世上的崗位，那樣就很足夠。

在錯誤的時空裏，一班狂人正在做着他們認為最偉大的事情。

Destination Nowhere is Nowhere Boys’ first release as an independent band.

In the rapid World we live in it’s like we are being carried downstream by the unstoppable current of time.

Flowing with the current may be the path of least resistance but while you comfortably flow down the river, you must reconcile that eventually you will reach the falls.

You may swim upstream, an exciting and unconventional choice, but you will always be battling the current and you must swim with the insecurity of not knowing wether the current will prove too strong after all, and you’ll end up with the people who simply swam downstream.

Another option is to climb out of the river itself, out of the water you have the freedom to move freely, but with that freedom you run the risk of being forgotten by those who stayed in the river. No matter the predicament, having the freewill to make the choice for yourself is paramount.

Thus appear a renegade group, seemingly not suited for this time and place, they are on a mission of freewill to choose their destiny, to do what’s most bold, most satisfying and to choose what’s most worthwhile.

《無處遊人》

作曲: Nowhere Boys
填詞: Oscar Lee @oscarlee
編曲: Nowhere Boys
監製: Nowhere Boys

Performed by Nowhere Boys
Vocals, acoustic guitar, drums, bass, banjo, harmonica & violin recorded by Nowhere Boys at Studio B
Electric guitars recorded by Kenneth Angus at Got Soul Studio
Guitar solo (2nd part) recorded by Jason Kui @jkui
Mixed by Jordie Guzman @musicbyjordie at Studio B
Mastered by Andy Wilson Mastering
OP: Frenzi Music Ltd admin by SONY MUSIC PUBLISHING (HONG KONG) LIMITED
OP: 土方製作admin by Music Nation Publishing Co Ltd

Wardrobe @midwestvintage
Makeup @phoebeleung_makeup
Cover art @anthology.space
Title calligraphy @karen.t_calligraphy
Special thanks to @hktimberbank
📷 @szekit.c

#無處遊人 #NoWhereBoysHK #NowHereRecords

我想結婚、生小孩／旅行世界、買個房子／有個浪漫假期、整天只吃冰淇淋／在海外生活／達到並且維持理想體重／寫一本很棒的小說／跟老友保持聯繫／我想種一棵樹／從頭開始準備一頓美味晚餐／感覺非常成功／洗冰水浴、跟海豚一起游泳／辦一個很特別的生日派對／活到一百歲／維持婚姻到死／寄一封很棒的瓶中信，也得到同樣有趣的回信／克服所有的害怕和恐懼／整天躺著看雲／擁有一棟裝滿小東西的老房子／跑完全程馬拉松／讀一本很棒的書，一輩子都記得書裡的話／畫出驚人的畫，表現出真實感受／牆壁掛滿畫和深得我心的字句／擁有我喜歡的節目的每一集／專注在某個重要議題／讓大家願意聽我說話／玩高空跳傘、裸泳、開直昇機／有一份每天都很期待的工作／有一個浪漫獨特的求婚／睡在廣闊的天空下／去爬巴薩巖／演出一部電影，或在國家劇院演出／中樂透彩／每天過著有用的日子／被人愛著
⠀
──《八月三十一日，我在奧斯陸》
⠀
⠀
I want to marry, have kids. Travel the world. Buy a house. Have romantic holidays. Eat only ice cream for a day. Live abroad. Reach and maintain my ideal weight. Write a great novel. Stay in touch with old friends. I want to plant a tree. Make a delicious dinner from scratch. Feel completely successful. Go ice bathing, swim with dolphins. Have a birthday party, a proper one. Live to be a hundred. Stay married until I die. Send an exciting message in a bottle and get an equally interesting reply. Overcome all my fears and phobias. Lie watching the clouds all day. Have an old house full of knick-knacks. Run a full marathon. Read a book that’s so great I’ll remember the quotes from it all my life. Paint stunning pictures that show how I feel. Cover a wall with paintings and words close to my heart. Own all the seasons of my favorite shows. Attract attention to an important issue, make people listen to me. Go skydiving, skinny-dipping, fly a helicopter. Have a good job I look forward to every day. I want a romantic, unique proposal. Sleep beneath open skies. Hike on Besseggen, act in a film or a play at the National Theatre. Win a fortune in the lottery. Make useful everyday items. And be loved.
⠀
—Oslo, August 31 (2011) by Joachim Trier

【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

Just for fun?

=Connect with me＝
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-
Dua Lipa - Levitating
Instrumental: https://www.youtube.com/watch?v=G5HPfY-vzjg

If you wanna run away with me, I know a galaxy
And I can take you for a ride
I had a premonition that we fell into a rhythm
Where the music don't stop for life

Glitter in the sky, glitter in my eyes
Shining just the way I like
If you're feeling like you need a little bit of company
You met me at the perfect time

You want me, I want you, baby
My sugarboo, I'm levitating
The Milky Way, we're renegading
Yeah-yeah-yeah-yeah

I got you, moonlight, you're my starlight
I need you all night, come on, dance with me
I'm levitating
You, moonlight, you're my starlight
I need you all night, come on, dance with me
I'm levitating

#DuaLipa #Levitating #Cover #shorts

開始から1時間半実施予定です。毎週月曜日にASMR配信してます。
なんだか寝付けない・リフレッシュしたいにおすすめです。

皆さんが今夜も安心して眠れますように囁きと癒し中心の配信になっております。心をこめて1人1人に届くよう実施しております。
仕様マイクはKU100＆オーダーメイドマイク使用です。

コメント高評価励みになります本当にいつもありがとうございます。リクエストの音ありましたらコメントしてください！
Thanks again for coming tonight. We have a new microphone.
We have a sleepy delivery every Monday, and it will run for an hour and a half.
The delivery is centered on whispers and healing so that everyone can sleep in peace tonight. I'm going to reach each one of you with all my heart.
Thank you so much for your high ratings and encouragement.

タイムスタンプれいんさんのコメントからお借りしました！
0:00:00【もふもふ / Fluffy Object】
両耳にもふもふ，囁き，オノマトペ，よしよし，「ふー」，とんとん

0:02:10【ジェルボール / Gel Ball】
少し冷やしたジェルボールを耳に，囁き，オノマトペ，耳たぶ

0:03:52【耳を触る / Ear Touching】
耳を触る，囁き，オノマトペ

0:04:15【ちくちくタオル / Scrubbing Towel】
ちくちくタオルを耳の中へ，囁き，オノマトペ，耳を覆う

0:05:45【ふわふわ尻尾 / Fluffy Tail】
耳にふわふわ尻尾，囁き，オノマトペ，「ふー」

0:07:16【耳のマッサージ1-1 / Ear Massage 1-1 (Vitamin C Cream)】
マッサージクリーム(ビタミンC)の容器の音，クリームを手で伸ばす，耳のクリームマッサージ，囁き，オノマトペ，耳を塞ぎながら，耳餃子の上からぐにぐに，「ふー」，耳の縁，ぺたぺた，耳餃子でぎゅーっと耳を塞ぐ

0:17:28【耳のマッサージ1-2 / Ear Massage 1-2 (Sliced Sponge & Cream)】
スライスしたスポンジを耳の内側に，囁き，オノマトペ，耳のツボ押し，耳を塞ぎながらツボ押し

0:19:42【耳を拭く / Ear Wiping (Fluffy Towel, Cotton Swab)】
ふわふわタオルで耳を拭く，囁き，オノマトペ，耳を塞ぐ，綿棒で耳の隙間を拭く，「ふー」，タオル越しの指耳かき

0:23:11【シャンプー / Shampoo (Peppermint, Rosemary, Lavender)】
囁き，よしよし，桶のお湯の音，シャンプー(ペパーミント，ローズマリー，ラベンダー)を泡立てて髪へ，シャンプーを追加，シャンプーする音，オノマトペ，シャカシャカと，お湯を追加，耳の周りの側頭部，首の近くの後頭部，揉み込むように，細かく

0:34:10【お湯とタオル / Hot Water & Towel】
桶のお湯で髪を濡らす，タオルで髪を拭く，囁き，耳周りを拭く

0:35:34【ふわふわスポンジ / Soft Sponge】
「ふー」，ふわふわスポンジを耳に，ゆっくりとしたテンポで，囁き，オノマトペ，「ふー」，スポンジの表面をタッピング

0:40:04【ブラシ状のゴム耳かき / Brush Type Rubber Ear Pick】
ブラシ状のゴム耳かき，囁き，オノマトペ，細かくゆっくりと

0:42:55【綿棒 / Cotton Swab】
綿棒の容器の音，綿棒(左耳)，囁き，オノマトペ，(右耳)，細かく

0:49:48【耳を触る＆ふー / Ear Touching & Blowing】
耳を触る，囁き，オノマトペ，「ふー」

0:50:54【梵天＆竹の耳かき / Down Puff & Japanese Bamboo Ear Pick】
囁き，「ふー」，両耳に梵天，両耳に竹の耳かき，オノマトペ，耳を触る

0:54:27【耳のマッサージ2 / Ear Massage 2 (Foam)】
泡スプレーの容器の音，囁き，泡を手で伸ばす，耳の泡マッサージ，オノマトペ，耳の隙間，指圧，耳を覆いながら，耳を塞ぐ，耳を塞ぎながら指圧，タッピング

1:03:00【ふわふわタオル / Fluffy Towel】
ふわふわタオルで耳を拭く，囁き，オノマトペ，「ふー」，首元を拭く，ぎゅーっと耳を塞ぐ，励まし，なでなで

1:06:53【耳のマッサージ3 / Ear Massage 3 (Lavender & Orange Oil)】
マッサージオイル(ラベンダー，オレンジ)の容器の音，オイルを手で伸ばす，囁き，オノマトペ，耳のオイルマッサージ，耳を覆いながら，「ふー」，タッピング，オイルを追加，耳餃子，耳の縁，ゆっくりと

1:19:14【ふわふわタオル / Fluffy Towel】
ふわふわタオルで耳を拭く，囁き，オノマトペ，耳を塞ぎながら，タオルの上からタッピング

1:22:02【スライスしたスポンジ / Sliced Sponge】
耳の内側にスライスしたスポンジ，囁き，オノマトペ

1:24:19【耳のマッサージ4 / Ear Massage 4 (Vanilla Cream)】
マッサージクリーム(バニラ)の容器の音，クリームを手で伸ばす，耳のクリームマッサージ，囁き，オノマトペ，耳餃子，「ふー」，耳餃子で耳を塞ぐ，手のひらで耳を塞ぐ，ぺたぺた，タッピング

1:33:17【こんにゃくスポンジ / Konjac Sponge】
耳にこんにゃくスポンジ，囁き，オノマトペ，耳元でぎゅむぎゅむ，スポンジの上からタッピング，耳の周りでにぎにぎ

1:38:10【ぱりぱりスポンジ / Rough Sponge】
耳にぱりぱりスポンジ，囁き，オノマトペ，「ふー」

1:39:50【イヤーカバー / Ear Cover】
耳にイヤーカバーを付ける，イヤーカバー越しに触る，囁き，オノマトペ，タッピング

1:43:00【耳のマッサージ5 / Ear Massage 5 (Vaseline)】
ワセリンの容器の音，ワセリンを手で伸ばす，耳のワセリンマッサージ，囁き，オノマトペ，耳の後ろ，「ふー」，耳餃子，耳を塞ぐ，ぺたぺた

1:50:15【ふわふわスポンジ / Sponge】
耳にふわふわスポンジ，囁き，オノマトペ

1:51:59【おやすみなさい / Falling Asleep Together】
タオルケット，囁き，オノマトペ，「ふー」，いいこいいこ，耳を塞ぐ，タオルケットの上からタッピング，「おやすみなさい」
■3万DLありがとう！
悪魔娘が最高に癒すのでものすごく眠れる(耳かき・囁き・マッサージ・泡オイル)/周防パトラ https://dlsite.jp/hoant/RJ299717/?utm_content=RJ299717
◆周防パトラ1stアルバム「あいあむなんばーわん！」
詳細はこちら：https://ptrm-001-i-am-no1.spwn.jp/
◆2ndソロライブ 「PatLive2」アーカイブ配信チケット
https://spwn.jp/events/200829-patra

★メンバーシップ登録はこちらから★
https://www.youtube.com/channel/UCeLzT-7b2PBcunJplmWtoDg/join

★周防パトラTwitter★
https://twitter.com/Patra_HNST

＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊
★公式ホームページ★
https://www.774.ai/

★オリジナルソング / ボイス / LINEスタンプ / Live Movie 配信中★
https://www.774.ai/music

★公式グッズ★
https://774inc.spwn.jp/events/HoneyStrap/goods

★MMD配布★
https://www.774.ai/special

★サプライズボックスに参加してます！
https://surprisebox.jp/lineup/honeystrap
何が届くかはお楽しみです♪
ハニストならではの毎月届くサプライズをお楽しみください！

★ハニスト公式Twitter★
https://twitter.com/HNST_official

開始から1時間半実施予定です。毎週月曜日にASMR配信してます。
新しいマイクを導入してさらに気持ち良くなりました！

皆さんが今夜も安心して眠れますように囁きと癒し中心の配信になっております。心をこめて1人1人に届くよう実施しております。
仕様マイクはKU100＆オーダーメイドマイク使用です。

コメント高評価励みになります本当にいつもありがとうございます。リクエストの音ありましたらコメントしてください！
Thanks again for coming tonight. We have a new microphone.
We have a sleepy delivery every Monday, and it will run for an hour and a half.
The delivery is centered on whispers and healing so that everyone can sleep in peace tonight. I'm going to reach each one of you with all my heart.
Thank you so much for your high ratings and encouragement.

コメントかられいんさんのタイムスタンプお借りしました！
0:00:00【イヤーカバー / Ear Cover】
囁き，イヤーカバーをつける，イヤーカバー越しに耳を触る，オノマトペ

0:03:14【炭酸水の水中音 / Underwater Sounds (Sparkling Water)】
[Binaural 1] 炭酸水の水中音
[Binaural 2] 囁き，オノマトペ

0:05:57【ふわふわタオル / Fluffy Towel】
ふわふわタオルで耳を拭く，囁き，オノマトペ，ぎゅっと耳を包み込む，タオル越しにとんとん，「ふー」

0:08:04【もふもふ尻尾 / Fluffy Tail】
耳にもふもふ尻尾，囁き，オノマトペ，「ふー」

0:10:45【耳を触る＆指を耳の中に / Ear Touching & Putting Fingers in Ears】
耳を触る，囁き，タッピング，指を耳の中に，耳を塞ぐ，「はー」

0:13:29【ぱりぱりスポンジ / Rough Sponge】
ぱりぱりスポンジをにぎにぎ，囁き，耳にパリパリスポンジ，「ふー」，オノマトペ

0:17:07【ふわふわスポンジ / Soft Sponge】
耳にふわふわスポンジ，ゆっくりと耳を包み込んだりはなしたり，囁き，耳の周りでにぎにぎ

0:19:19【耳のマッサージ1 / Ear Massage 1 (Cream)】
マッサージクリームの容器の音，クリームを手で伸ばす，耳のクリームマッサージ，囁き，耳の後ろ，オノマトペ，耳餃子の上からぐにぐに，「ふー」，耳餃子，耳のツボ押し，耳餃子でぎゅーっと耳を塞ぐ，耳餃子の上からぺたぺた，タッピング

0:31:22【耳のマッサージ2 / Ear Massage 2 (Foam)】
もこもこの泡を耳に，耳の泡マッサージ，囁き，オノマトペ，耳の隙間，「ふー」

0:35:57【ふわふわタオル / Fluffy Towel】
桶のお湯で手を洗う，ふわふわタオルで手を拭く，ふわふわタオルで耳を拭く，囁き，オノマトペ，「ふー」，タオル越しにとんとん，耳の入り口

0:38:57【ブラシ状のゴム耳かき / Brush Type Rubber Ear Pick】
両耳にブラシ状のゴム耳かき，囁き，オノマトペ

0:40:48【耳を触る / Ear Touching】
耳を触る，囁き，オノマトペ，耳餃子

0:41:13【ステンレス耳かき / Stainless Steel Ear Pick】
ステンレス耳かき(左耳)，「ふー」，囁き，オノマトペ，(右耳)，耳を触る

0:44:26【スライスしたスポンジ / Sliced Sponge】
スライスしたスポンジを耳の中に，囁き，オノマトペ

0:45:17【耳を触る / Ear Touching】
耳を触る，耳を塞ぎながら，囁き，オノマトペ，耳餃子の上からとんとん，耳餃子で耳を塞ぐ

0:48:16【ジェルボール＆ふー / Gel Ball & Ear Blowing】
耳にジェルボール，囁き，オノマトペ，「ふー」(長め)

0:51:21【シャンプー / Shampoo】
タオルを首に巻く，タオルを耳にぎゅっ，桶のお湯の音，シャンプーする音，囁き，オノマトペ，シャカシャカと，側頭部，後頭部，ぎゅっと揉み込むように，細かくシャカシャカと，ぎゅむぎゅむと指圧

1:04:32【ふわふわタオル / Fluffy Towel】
ふわふわタオルで髪を拭く，囁き，オノマトペ，「ふー」

1:05:45【こんにゃくスポンジ / Konjac Sponge】
耳にこんにゃくスポンジ，囁き，オノマトペ

1:07:36【耳のマッサージ3-1 / Ear Massage 3-1 (Citrus Oil)】
マッサージオイル(シトラス)の容器の音，オイルを手で伸ばす，囁き，オノマトペ，耳のオイルマッサージ，手のひらで大きめにマッサージ，「ふー」，手のひらで耳を塞ぎながら，耳のツボ押し

1:14:59【耳のマッサージ3-2 / Ear Massage 3-2 (Orange Cream & Citrus Oil)】
マッサージクリーム(オレンジ)を手で伸ばす，耳のオイルクリームマッサージ，「ふー」，囁き，手のひらで耳を塞ぎながら，指先で押したり離したり，タッピング，くるくると，耳の縁

1:21:28【ふわふわタオル / Fluffy Towel】
ふわふわタオルで耳を拭く，耳を塞ぐ

1:23:26【耳を触る / Ear Touching】
耳を触る，耳を覆いながら，囁き，オノマトペ，手のひらでぎゅむぎゅむ，手のひらでぎゅーっと耳を塞ぐ，ぺたぺた，「ふー」

1:29:41【おやすみなさい / Falling Asleep Together】
タオルケット，タオルで耳を包む，囁き，オノマトペ，タオルで耳を塞いでとんとん，タオルケットの上からとんとん，「ふー」，ひざ枕に横たわる，頭なでなで，「おやすみなさい」
■周防パトラ・堰代ミコによるオンラインイベント
「PatMico in WonderLand」4/29（木）祝日 20:00-
チケット販売が開始されました！
https://spwn.jp/events/21042920-PatMico
■ハニスト第5衣装の定番グッズが新登場です！
4/12(月)18:00 ~ 4/18(日)23:59まで
https://774inc.spwn.jp/events/HoneyStrap/goods
■3万DLありがとう！
悪魔娘が最高に癒すのでものすごく眠れる(耳かき・囁き・マッサージ・泡オイル)/周防パトラ https://dlsite.jp/hoant/RJ299717/?utm_content=RJ299717
◆周防パトラ1stアルバム「あいあむなんばーわん！」
詳細はこちら：https://ptrm-001-i-am-no1.spwn.jp/
◆2ndソロライブ 「PatLive2」アーカイブ配信チケット
https://spwn.jp/events/200829-patra

★メンバーシップ登録はこちらから★
https://www.youtube.com/channel/UCeLzT-7b2PBcunJplmWtoDg/join

★周防パトラTwitter★
https://twitter.com/Patra_HNST

＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊
★公式ホームページ★
https://www.774.ai/

★オリジナルソング / ボイス / LINEスタンプ / Live Movie 配信中★
https://www.774.ai/music

★公式グッズ★
https://774inc.spwn.jp/events/HoneyStrap/goods

★MMD配布★
https://www.774.ai/special

★サプライズボックスに参加してます！
https://surprisebox.jp/lineup/honeystrap
何が届くかはお楽しみです♪
ハニストならではの毎月届くサプライズをお楽しみください！

★ハニスト公式Twitter★
https://twitter.com/HNST_official