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

想想今年的拍攝作品都沒什麼搞笑到，
剛好可以趁著這個短片來搏搏大家笑意哩❤️
順便一起來看看拍片防疫守則🎉

每一次參與不同團隊的拍攝，
都覺得很新鮮有趣，
因為阿枝的邀請，
緣分的促使而到來也覺得很神奇，
來自共同的人引領至不同的組織。
印象很深刻是於定裝當天，
導演很用心的與我們一起討論角色與故事劇情，
很喜歡這些前置與拍攝日的火花！
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導演 Director／黃季雍 Huang,Chi-Yung
編劇 Screenplay by / 黃季雍 Huang,Chi-Yung
策劃 Associate Producer / 王祥瑋 Yellow
副導演 Assistant Director／林姿均 Lin,Tzu-Chun
製片 Producer／王祥瑋 Yellow
執行製片 Line Producer／陳東良 Chen,Tung-Liang
製片助理 Production Assistant／趙皓韋 Zhao,How-Wei
選角 Casting／張毓真 Chang,Yu-Chen
攝影師 D.O.P.／鍾訓維 Chung,Hsun-Wei
跟焦師 Focus Puller／陳晧堯 Chen,Hao-Yao
攝影助理 Assistant Camera ／徐章竣 Hsu,Chang-Chun 廖竺洧 Liao,Zhu-Wei
燈光師 Gaffer／楊青翰 Yang,Ching-Han
燈光助理 Best Boy／許原毓 Hsu,Yuan-Yu 曾宥運 Tseng,You-Yun 陳柏成 Chen,Po-Cheng 林盈宏 Lin,Ying-Hong
美術指導 Art Director／陳炫劭 CHhen,Hsuan-Shao
收音師 Boom Operator ／ 陳炫宇 Chen,Hsuan,Yu
收音助理 Boom Man ／ 曾欣虹 Chan,Xin-Hong
造型師 Stylist／李若熏 Lee,Ruo S.
造型助理 Actor Stylist Assistant / 李冠芊 Kuan,chien-Li
妝髮師 Make Up / 王君慈 Wang,Chun-Tzu
攝影器材 Camera Equipment／好趙電影
燈光器材 Lighting Equipment／ZBTS貞寶企業有限公司
場務器材 Field Equipment ／永焺影視器材有限公司
剪接師 Editor / 蔡靜霈 Dora Tsai
特效合成 VFX / 蔡承威 Way Tsai
調光師 Colorist / 童丞薇 Tung,Cheng-Wei
混音師 Sound Mixer / 徐智淵 Hsu,Chih-Yuan
演出 Talent ／
女主持人 何諭函 Ho,Yu-Han
防疫組員 巫奇優 Wu,Chi-Yu 黃韋捷 Huang,Wei-Chieh 黃贊恩 Huang,Tzan-En
收音助理 胡皓翔 Hu,Hao-Hsiang
美術助理 陳映如 Chen,Ying-Ru
造型助理 鄭景文 Zheng,Jing-Wen
搖滾燒酒雞女主角 辰亞御 Chen,Ya-Yu
搖滾燒酒雞邱比特 陳彥佐 Chen,Yen-Tso
特別演出／
搖滾燒酒雞導演 陳炫劭 Chen,Hsuan-Shao
搖滾燒酒雞男主角 黃季雍 Huang,Chi-Yung
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台北市電影戲劇業職業工會
我是黃季雍
陳映如

【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

2020踏入下半年了，我地要請人啦！



SWAG HAIR是一間香港Start-up公司，沒有大財團支持，沒有10,000位員工，也沒有10,000呎的公司，但我們會給予同事很大的自由度、參與度去創作，我們重視每一位同事、重視團隊合作。希望每一位成員也可以跟著SWAG HAIR 一起成長，做有意義的創作，跟大家一起去實踐SWAG HAIR 核心概念 "Make Everyone A Little Better Every Day"　

喜歡媒體創作、對個人護理、形象管理(時裝、美容、髮型)有興趣? 那我們的Content Assistant會是你的選擇！

以下是有關職位 Content Assistant 的資訊(節錄), 請有興趣的你點按我們Profile Link 去了解詳細版本：

Responsibilities
* Research and produce creative photographic and video materials directed by project brief

* Assist during live projects/interview/out-job at studio and on location with on-camera video content creator (Director of SWAG HAIR), artists and influencers

* Develop best practice interesting and fun content and apply design techniques to enhance content performance across social platforms

* Involved in all stages of video/photo shooting, production including making thumbnails and editing photos as well as working on the initial creative process with teammates�
* Contribute to our editorial calendar, manage and create relevant content (Blog article) towards educating audience regarding beauty/personal care information within deadline�
Requirements

* Attitude to make better life every day�
* Experience in photo and video production will be an advantage (Including setting-up and operating various production equipment including cameras, audio and video recorders, lighting system etc)�
* Enthusiasm, self-motivation and self-learner are a must!�
* Proficient with Final Cut Pro and Adobe Photoshop�
* Outstanding sense of aesthetic and attention to brand image and detail especially in post-production and photo-editing are very important�
* Excellent written in English and presentation skills�
* Understanding of digital platforms and social media best practices�
* Professional conduct both in the office and on set�
* Bachelor’s degree in field of Media, Communication, Film and Television or other related fields will be preferred�
* Able to accommodate flexible work schedule as you may have to work overtime or during weekends to handle different ad-hoc tasks�

#TagYourFriends #請人 #香港搵工 #hkjobs #hiring #media #brandcommunication #ecommerce #creativemedia #problemseeker #swaghair

The second form of Castform has gotten its shiny form released after a rather long time. It might be ideal to try to get this shiny during the Weather Week event while they are still available from field research tasks.

Join me as I travel, eat and play Pokémon GO the way a local trainer would in their own country and city. Visiting one country and one city at at time through Pokémon GO.

Subscribe if you would like to watch my Pokémon GO travel adventure as I visit different countries, cities and communities, https://tinyurl.com/y65jruw2

Social:
Instagram: https://www.instagram.com/brandontan91/
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Vlogging Set-Up:
Camera - Sony RX 100 Mark 7
Mic - Rode VideoMicro
Screen Recorder - iPad Mini 5

Pokémon is Copyright Gamefreak, Nintendo and The Pokémon Company 2001-2016

All images and names owned and trademarked by Nintendo, Niantic, The Pokémon Company, and Gamefreak are property of their respective owners.

One single subscription for unlimited stock video, music, sound effect, photo and graphic all in Storyblocks! No more managing multiple accounts. Check it out here https://storyblocks.com/LOK

30fps 50 megapixels and 8K, the best camera is the ONE that has it all!

Pre-order Sony a1 https://geni.us/b6tTm

Special thanks to these patrons who had pick the "Your name here" reward from my Patreon page:
Steve Zimmerman https://zipitzimmerman.com
Consider helping out and pick your reward here https://www.patreon.com/lokcheung
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As always, I don’t do paid reviews. Product was sent to me for review but I don’t get any benefits at all. The manufacturer have no control of my content. When I do paid content I’ll always make it clear in the video.

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In this video I will be talking about the crucial elements to tell a meaningful story.
In order to give you a better explanation, I will be breaking down the scenes from my latest video called "Follow What You Love". https://youtu.be/Ye5yp4YPGlM

Content:
00:00 Intro on why I made this video
02:00 Handheld Look
04:23 Most Important element to any good video
06:36 How locations can play a key role in the mood of the video
07:47 Shooting in the field
09:35 Climax

Shoutout to NiSi Filters for believing in my vision for this project.
These are the camera filters I use on all my projects.

Allure Streak Filter - https://nisifilters.jp/product/allure-streak
Black Mist Filter (1/4) - https://nisifilters.jp/product/mc-black-mist-1-4
Variable ND Filter - https://nisifilters.jp/product/nd-vario-pro-nano-1-5-5stops-enhanced-variable-nd

Thank you for watching! If you want to learn more about my travels, check out my other socials!

Instagram - https://www.instagram.com/eiki_akiyama/

Special Thanks for helping out with this project!
DIN - @DIN FILMS
Ussiy - @Ussiy Films
Gotan - https://www.instagram.com/shunya_gotan/
Reiya - https://www.instagram.com/__xxsr08/
Hikaru - https://www.instagram.com/hikaruguangth/

Other Videos:
Rediscover Japan - A different side of Japan
https://youtu.be/8q4JoAivW-I

Against the Waves - A story behind Kaiki Yamanaka (A Surfer's Documentary)
https://youtu.be/066L83m4bi8

Slow Down, you're in the Philippines - cinematic video
https://youtu.be/HiMDBRoedis

To Let Go Sometimes - Hong Kong (cinematic travel video)
https://youtu.be/CNS1WYAsgDU

Playlist:
My Films - https://www.youtube.com/playlist?list=PLZ1-bB6mB3FG7zcNowGQRYfN0xuSkyTXL
Cinematic Vlogs - https://www.youtube.com/playlist?list=PLZ1-bB6mB3FGEZoro_0WbJ7_LTQENegZC
Premier Pro & After Effects Tutorials - https://www.youtube.com/playlist?list=PLZ1-bB6mB3FEe1ggJVpKM1vbRAAlZJb8d
Camera Gears - https://www.youtube.com/playlist?list=PLZ1-bB6mB3FFMus10Bkl5j2gfkEQK4yDR

About Myself:
I guess I'm a filmmaker, adventure photographer, storyteller, and content creator...
I'm based in Tokyo, doing freelance video work for both Japanese and international clients.
My interest for video grew when I first went backpacking on my own. In the beginning it was just for fun, but I slowly found myself loving to express through visuals.

tag:
#Japan #Cinematic #travel #4K #video #camera #filters #Kyoto #Tokyo