#重返哈林將登上英國愛丁堡爵士及藍調音樂節
在疫情艱難、面對許多未知的近日,很開心從海外捎來了一個好消息!2019年由徐崇育與 Harlem Inc. 爵士樂團演出、兩廳院夏日爵士派對委託製作的《重返哈林》(Harlem Legacy: Back to St. Nick’s Pub),即將登上英國愛丁堡爵士及藍調音樂節 (Edinburgh Jazz & Blues Festival),成為唯一入選之亞洲團隊,在 "JAZZ FROM AROUND THE WORLD" 線上單元,與來自義大利、愛爾蘭及盧森堡等音樂家們共襄盛舉!
「愛丁堡爵士及藍調音樂節」創立於1978年,原以傳統爵士為音樂節主軸,90年代後擴大規模成為全球爵士樂手的舞台,廣邀來自其他歐洲國家、美國、古巴及中南美洲等國音樂家參與。知名樂手如 John McLaughlin、George Benson、Dave Holland、Chris Potter、John Scofield、Antonio Sanchez、THE BAD PLUS、Joshua Redmam、Enrico Pieranuzi、Daymé Arocena、Cory Henry、Vijay Iyer 都曾在音樂節中演出,為英國規模最大之爵士音樂節慶。我們能參與其中,覺得萬般榮幸!
《重返哈林》是2019兩廳院夏日爵士在實驗劇場舉辦的特別計畫,融合了聽覺、視覺、味覺,我們期待讓觀眾因感官經驗的沈浸,對爵士樂文化有更強烈的好奇與探索。節目內容以 Vincent 過去多年在哈林區 St. Nick’s Pub 演出的回憶為主軸,除了音樂家們多元曲風的精彩演出,更融合了與觀眾讀詩互動、貝斯即興的「詩人角落 “Poet’s Corner”」。音樂、文字、文化精神的結合與傳遞,也體現了 Vincent ㄧ直以來關心爵士人文思維的使命。歡迎大家在線上參與今年的愛丁堡爵士與藍調音樂節,7月5日前購買線上通行證即可於各場節目限定期間觀賞所有線上節目。
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音樂節官網:https://bit.ly/35SKyht
中央社報導:https://bit.ly/2T7g8p3
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★Musicians 演出者★
Vincent Hsu & Harlem Inc.
Music Director & Double Bass|Vincent Hsu 徐崇育
Spoken Word|David Chen 陳思銘
Tenor Saxophone|Hank Pan 潘恒健
Alto Saxophone|Ruby Pan 潘子爵
Guitar|Shih-chun Lee 李世鈞
Keyboard|Martin “Musa” Musaubach 明馬丁
Congas|Agüero Al Cuero 趙貴民
Drums|Devlin Chen 陳彥丞
★Production Team 製作團隊★
Producer|Calice Chen 陳思含
Producer (NTCH)|Wei-Teng Huang 黃緯騰
Production Coordination (NTCH)|Pei-Shan Su 蘇珮珊
Stage Design & Production|山峸製作設計 Ridge Studio 顏尚亭
Recording Engineer|Min-Fu Kao 高敏福
Sound Engineering|Just Music Ltd. 捷越音響有限公司
773 Sugar Hill Creative Cocktail|Draft Land
Photography|Joe Russo
Live Concert Video Program Director|Patricia Huang
Live Concert Cinematography|Feng-Chia Yang, Hsu-Chung Wang, Wen-Pin Kuo
Live Concert Video Editing|J.M. Communication Co., Ltd.
★Special Thanks to 特別感謝★
Cultural Taiwan UK 文化部駐英國代表處文化組
National Theater & Concert Hall 國家兩廳院
同時也有10部Youtube影片,追蹤數超過58萬的網紅Rainie Yang's Official Channel楊丞琳官方專屬頻道,也在其Youtube影片中提到,🎧 數位收聽▶https://umg.lnk.to/LIKEASTAR 💌 專輯收藏▶https://umg.lnk.to/RYLIKEASTAR20 . 回憶過去的星夢淚痕 珍惜現在的星願感恩 因為有你 我才像是一顆星星 〈像是一顆星星〉 是丞琳紀念出道20週年的全新世界巡演「LIKE A S...
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double bad studio 在 羅展鵬 /Lo Chan Peng Facebook 的最佳解答
I received the "Hennessy X.O 2021 Chinese New Year Special Edition" launched by the world's leading cognac brand-Hennessy during the Lunar New Year. Hennessy asked me to share my thoughts about this special edition wine.
This whole last year has been unique for us all and I have stayed in my studio even longer than before. Compared with the ups and downs and the chaos outside the studio, I still encountered vividly my good days and bad days during the art creation process. As an artist and a painter, I am better at expressing my feelings of Hennessy Cognac through my work.
The Hennessy Cognac is from France. It uses specific white grapes and double distillation. The wine then curated the French oak barrels scent from being stored in it. Upon the first sip, I was greeted with the sweetness of fruit and chocolate. Then, layers over layers of fragrances of cinnamon, cloves and cardamom followed.
This experience reminds me of the French Nobel Prize winner, Camus. He was an existential philosopher, a dramatist, and a novelist. He was also from a special time.
His ability to integrate his life experiences and thoughts into his works made reading his novels enjoyable. Each time I read his novels, I follow the changes of the plots. The more I read, the more enjoyable I become.
Therefore, I created this "Burning Camus" painting to honor this special Hennessy Cognac.
In this uncertain time, commemorate the human destiny; commemorate the courage that we have to face our fate; commemorate our rebirth. This is what I feel in regards to my experience with "Hennessy X.O 2021 Chinese New Year Special Edition".
收到了全球領導干邑品牌-軒尼詩,農曆春節推出的「軒尼詩 X.O 2021年春節特別版 」請我談談對於它的感受。
去年到今年對人類而言如此的特別,然而,對於我而言,待在工作室的時間更長了,相較於工作室外的天翻地覆流動與改變,我仍然細細感受著著每個創作中遭遇順利與不順利的「Good day」與「Bad day」。
作為一位藝術家,一位畫家,我更擅長使用畫面來表達我對軒尼詩干邑的感受。
來自法國的軒尼詩干邑使用特定的白葡萄與雙重蒸餾,置於法國橡木桶中薰陶過後的酒體,入口後迎來的是水果與巧克力的香甜,緊接著肉桂、丁香與小豆蔻的氣味層層堆疊。
立刻讓我想到了同樣來自特殊年代的法國諾貝爾獎得主,一位存在主義哲學家、戲劇家、亦是小說家的卡繆Camus。
將自己的生命歷程及思想巧妙地融入於作品之中,每每閱讀他的小說,隨著情節變化越讀越有滋味。
所以我為這款酒創作了這幅「燃燒的卡繆」以此作為紀念。
在這個不容易的年代,
紀念人類的命運。
紀念人類面對命運的勇氣。
紀念人類的重生。
這就是我對「軒尼詩 X.O 2021 年春節特別版 」的感受。
#Hennessy #軒尼詩XO #軒尼詩XO2021年春節特別版
作品圖說:
油彩 畫布/燃燒的卡繆/50X50cm
Oil on canvas/Burnin
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【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
double bad studio 在 Rainie Yang's Official Channel楊丞琳官方專屬頻道 Youtube 的精選貼文
🎧 數位收聽▶https://umg.lnk.to/LIKEASTAR
💌 專輯收藏▶https://umg.lnk.to/RYLIKEASTAR20
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回憶過去的星夢淚痕 珍惜現在的星願感恩
因為有你 我才像是一顆星星
〈像是一顆星星〉 是丞琳紀念出道20週年的全新世界巡演「LIKE A STAR」演唱會主題曲,除了歌詞裡的重要意義,MV更耗資千萬製作,由亞洲知名鬼才導演陳奕仁量身打造,一首歌回顧一齣人生舞台劇!
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十大金曲獎星級音樂人聯手 年度歌壇最閃耀的製作陣容
ØZI/剃刀蔣RAZOR/米奇林MCKY/李榮浩/陳君豪
陳星翰/小安/許哲珮/KARENCICI/嚴云農
✨《LIKE A STAR》簽唱會 ✨
11/22(日) 13:00 台北西門町屈臣氏前廣場
11/29(日) 14:00 高雄夢時代(夢想廣場) 、18:30台中廣三SOGO
#楊丞琳 #LIKEASTAR #像是一顆星星
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Chief Executive Producer:楊丞琳 Rainie Yang
Artist Management:林麗娟 Dana Lin
Assistant Artist Manager:楊于慧 Charlotte Yang/詹佳玲 Erin Chan
Creative & Marketing Director:周啟民 Jimi Chou
OA:李榮浩 Ronghao Li
OC/OA:Jackson Lee/Jay Hong
Starring:楊丞琳 Rainie Yang
Image Director:周啟民 Jimi Chou
Make Up:陳佳惠 (妝顏造型工作室) Carlin Chen
Make Up Assistant:梁安妘 An Yun Liang
Hair Stylist:劉珈妘 Sydni Liu_ZOOM Hairstyling
Stylists: 方綺倫 Chi Lun Fang/宋上慈 Shang Tzu Sung/June Wan/Alfred Hun/Herman Sin
Stylist Assistant:楊孟築 Meng Chu Yang
Costume Made:陳泓普 Hope Hungpu Chen
Haute Couture:Stephane Rolland
Guest Aappearance:
Co-Starring:吳宗憲 Jacky Wu
Management Company:容易文創有限公司
Make up:呂苡甄 (集體創作有限公司) Ivy
Hair Stylist:唐威 @ Flux 微風南山 Louis
Co-Starring:柳翰雅 Aya Liu
Management Company:孫潔/正點聯盟(北京)文化傳媒有限公司
Make up:Sting Hsieh/有意思有限公司
Hair Stylist:Scott Lee/Four Hair Concept
Co-Starring:冷嘉琳 Claudia Leng / 張棋惠 Windie Chang
Make up:邱馨瑩 Stella Chiu / 陳詩晴 Shih Ching Chen
Hair Stylist:謝子豪 Jacobs Hsieh_ZOOM Hairstyling
Hair Assistant:徐佩玉 Winnie Xu_ZOOM Hairstyling
Co-Starring:黃小柔 Sunnie Huang
Management Company:黃筠晴/哈賀工作室
Make up:陳詩晴 Shih Ching Chen
Hair Stylist:謝子豪 Jacobs Hsieh_ZOOM Hairstyling
Hair Assistant:徐佩玉 Winnie Xu_ZOOM Hairstyling
特別演出:楊媽媽 Angel
Make Up:陳佳惠 (妝顏造型工作室) Carlin Chen
Make Up Assistant:梁安妘 An Yun Liang
Hair Stylist:劉珈妘 Sydni Liu_ZOOM Hairstyling
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BTS Photographer:黃義文 Evan Huang
BTS Photographer:梅澤 Jimmy Mei
Production DEPT.:
Production House:仙草影像 Grass Jelly Studio
Director:陳奕仁 Muh Chen
Assistant Director:林曉娸 Xiao Chi Lin
Director’s Assistant:蔡馨慧 Vege Tsai
Producer:王漢聲 @ Wang’s Studio 聲意旺影音工作室 Hanson Wang
Line Producer:梁紋綾 Karen Liang/林宜岑 Yi Cen Lin/王璽皓 Hsi Hao Wang
Producer’s Assistant:廖玥茹 Charlie Liao
D.P.:金鑫 Hsin Chin
1st Asst. Camera:劉于豪 Yu Hao Liu
Camera Assistant:黃信龍 Hsin Lung Huang/陳聰敏 Tsung Min Chen/郭國堯Kuo Yao Kuo/楊尚儒 Shang Ju Yang/張哲銘 Che Ming Chang/顏君翰 Chun Han Yen/林錦隆 Chin Lung Lin/林禹哲 Yu Che Lin/郭曜宇 Yao Yu Kuo
Gaffer:馬銘財 Pony Ma
Best Boy Electrician:高煜盛 Yu Sheng Gao
Electrician:田峻榮 Jun Rong Tian/郭耿華 Keng Hua Kuo/賴振盛 Zhen Sheng Lai/李文宗 Wen Tsung Li/林宏緯 Hung Wei Lin/林嘉其 Chia Chi Lin/陳癸皇 Kuei Huang Chen/劉炤宏 Chao Hung Liu
Grip:邱宏宇 Hung Yu Chiu
Art Director:王閔可 Mingko Wang
Art Assistant:陳韻如 Yun Ju Chen/風的孩子 Peggy Huang/趙苔軒 Tai Hsuan Chao/李丹宇 Dan Yeu Lee/陳家蓁 Chia Chen Chen
Best Boy Grip:蕭郡英 Jyun Ying Siao/陳育民 Yu Min Chen/江鈺翔 Yu Hsiang Chiang/ 李恒頤 Heng Yi Li/黃辰煒 Chen Wei Huang/陳唯浩 Wei Hao Chen/Yu Kai Lu 呂佑凱/吳明龍 Ming Lung Wu/張世旻 Shih Min Chang/黃宥誠 You Cheng Huang/曹子浩 Zih Hao Tsao/呂鴻昌 Hung Chang Lu/張武雄 Wu Syong Chang/勁和人力派遣
Scenic:阿榮道具制作室
簡進榮 Chin Jung Chien/簡建民 Chien Min Chien/簡建松 Chien Sung Chien
Special Props:弘展工作室
吳京虔 Jing Qian Wu/黃雅鴻 Ya Hung Huang/余家寶 Ku Pao Yu
Stylist:郁萍 @ Mii2styling 米兔皇造型工作室 Yu Ping
Makeup & Hairstyle:陳靜怡 Ching Yi Chen
Makeup & Hairstyle Assistant:李圓嘉 Li yuan jia/邱楨皓 Atrys Chiu
Casting:柯博仁 Bo Jen Ke
Talent List:
賴雨霏 Yu Fei Lai/劉守祥(閃特) Shou Hsiang Liu/陳建雄ROBIN/張雅晴(主播) Ya Ching Chang/王漢聲 Hanson Wang/曾子俊 Jun Tseng/陳映之 Jude Chen/林曉娸 Xiao Chi Lin/梁紋綾 Karen Liang/林宜岑 Yi Cen Lin/王璽皓 Hsi Hao Wang/邱楨皓Atrys Chiu/王閔可 Mingko Wang/李懿格 Yiko Lee/劉于豪 Yu Hao Liu/黃宥誠 You Cheng Huang/廖玥茹 Charlie Liao/陳唯浩 Wei Hao Chen
Body Double:李懿格 Yiko Lee/廖宥鈞 Yu Chun Liao/吳海寧 Hai Ning Wu/蔡馨慧 Vege Tsai/郭憲鴻(小冬瓜) DK.jr
Extra:林米騏經紀工作室 Miki Lin
Support Equipment:懿生影業有限公司 GRIP TRIX-Taiwan Taipei/力榮影業有限公司 LEE RONG FILM & TV EQUIPMENT CO.
Camera Rental:利達數位影音科技股份有限公司 Leader Asia Pacific Creativity Center
Studio & Lighting Rental:鴻臣實業有限公司 Hong Chen Film Studio
Post-Production House:仙草影像 Grass Jelly Studio
Executive Producer:賴奕如 Ekijo Lai/陳佩珊 Kelly Chen
Project Manager:洪凡柔 Roddy Hung
Financial Manager:陳奕如 Lulu Chen
CG & Compositing Lead:陳家和Jaho Chen
Story:
陳奕仁 Muh Chen/林曉娸 Xiao Chi Lin/蔡馨慧 Vege Tasi/歐聰瑩 Castor Ou/梁育碩 Yu Shuo Leung/連又潔 QB Lian/陳美齡 Meiling Chen
Storyboard:
梁育碩 Yu Shuo Leung/蔡馨慧 Vege Tasi
Concept Designer:
梁育碩 Yu Shuo Leung/連又潔 QB Lian/陳美齡 Meiling Chen
3D Animator:
陳慈仁Skip Chen/王玨凝 Janet Wang/蘇袖惠 Youzi Su/黃勗 Nigel Huang/陳家和 Eason Chen/黃于瑄 Yu Hsuan Huang
3D Animator Assistant:
陳家榆 Jia Yu Chen/呂庭儀 Ting Yi Lu/羅啟恩 Ian Lo/盧振誠 Makoto Lu
Compositing:
苗天雨 Greg Miao/李文婷 Wen Ting Li/陳家和 Eason Chen/冀擎 Ching Chi
Compositor’s Assistant:
周祐諆 Yuki Chou/劉至弘 Jerry Liu/陳家榆 Jia Yu Chen/呂庭儀 Ting Yi Lu/盧振誠 Makoto Lu
Grading:李文婷 Wen Ting Li /苗天雨 Greg Miao
Special Thanks:
台灣索尼音樂 Sony Music
導演 陳映之 Jude Chen
陳柏惟 3Q Tan
張媛婷 Yuan Ting
臺安醫院 王巍穆牙醫師 Wei Mu Wang
無限映像 林家緯 Infinity Multimedia Production Chia-Wei Lin
double bad studio 在 ROOFTOPMOB Youtube 的最讚貼文
LICKONE - BAD DREAMS
Out now, link on ma bio
🔗🔗🔗🔗🔗🔗🔗
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出品 Presented by | Rooftopmob
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Artist | LICKONE
Composer & Lyricist | LICKONE
Cover photo | Ivy Shi
Graphic design | Jinglickers
Beat by| Jaake
Recording |ZacRao
Mixing | Zac Rao
Recording Studio:金剛門大樹林工作室
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#rooftopmob #rtm #lickone #asiahiphop
Lyrics:
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Intro:
I just bout to pop some pills and [ take a train ]
Leave all the fucking shit stuff [ under my bed ]
Keep all my dark secrets deep [ inside my pain ]
But now I realized how I run [ they never fade ]
Verse 1:
I bought a lot of tic tac they come from oversea
they thought I popping pills before I fall asleep
once upon a time I drop a loaded gun on a tree
they saw a naked body and my dick they call nasty Lick
Oh My Geez, where’s my grandpa Rick?
let me put you thru the cyberpunk before the apocalypse
I told my friends and family about my creepy little dreams
they don’t even care about it and treat me with a Krispy Kreme
man fuck them what they think I gave them double tick
they called me Yung Lil lick pull out pipe of gasoline
drinking 100 plus milo divide to a double team
Imma hit the road sign off act I’m the beast
bitch please be for real remember pay your bills
I told myself 手上總是需要準備手裡劍
一不小心出了意外就會花光所有錢
我不在意那麼多是因為夢想會實現
Bish
Outro:
I got a lot of voices to stay inside my head
Imaginary friends keep fucked up of my brain
They don't even wanna get outside my head
Just tell me whatchu wanna do inside my brain
I just bout to have some pills and [ take a train ] 🚂
Leave all the fucking shit stuff [ under my bed ]
Keep all my dark secrets deep [ inside my pain ]
But now I realized how I run [ they never fade ]
double bad studio 在 光良官方專屬頻道 Michael Wong's Official Channel Youtube 的最佳貼文
由新銳導演姚國禎所執導的爛天氣
導演透過與歌詞相反的鏡頭來襯托出
越多不幸他們越緊密的調性
MV中光良扮演著詛咒者
一路看著男女主角的嬉戲
一邊在背後吟唱著黑特的弦律
沒有劇情只有生活的堆砌
他們沒有對⼿
他們只能彼此
嬌⼩的正嵐活潑任性
凡事表現絕對強勢與積極
外星邏輯 ⽤的東西都是粉紅⾊
⾼⼤的昊森害怕沒事
冷戰寫字是他最討厭的事
⻝量很⼩
他們越吵便越愛
⾯對⾯⻤吼⻤叫
越激烈就越好玩
百無聊賴的男⼥
成為絕配的怪咖
當爛天氣降臨
這一切都將成為黑特者的好心情
演唱:光良 Michael Wong
詞曲:HUSH
出品 / 監製 / 藝人經紀 Published by / Artist Management | 星娛音樂有限公司 XYmusic Ltd
出品人 Publisher | 孔勝民 Sam Kung
藝人經紀執行 Artist Management Executive | 陳柏軒 Paulsam Chen / 游欣翰 Hans Yu
企劃統籌 Marketing Executive I Whiteye
企劃執行 Marketing Executive | 陳立珊 Lishan Chen
髮型 Hair Styling | 張慈惠 Eva Chang @ O Plus Studio
化妝 Make Up | 平羽媜 Arial Ping
平面側拍 Photography | 陳柏軒 Paulsam Chen
動態側拍 Behind The Scenes | 游欣翰 Hans Yu
製作人 Producer | 李欣芸 Cin Cin Lee
編曲 Arrangement | 李欣芸 Cin Cin Lee
弦樂編曲 Strings Arrangement | 李欣芸 Cincin Lee
低音大提琴 Double Bass | 張為智 Wei Chih " DaTone" Chang
鼓 Drum | 高飛 Adriano Moreira
銅琴 & 鍵盤 Piano & Keyboard | 葉政廷 Cheng Ting Yeh
和聲 Backing Vocal | 艾青 Ai Ching
第一小提琴 First Violin | 李宜錦 I Ching Li / 李思慧 Elisa Lee
第二小提琴 Second Violin | 陳俐如 Li Ju Chen / 李亮萱 Liang Hsuan Li
中提琴 Viola | 李思琪 Szu chi li
大提琴 Cello | 連亦先 Yi Shien Lien
弦樂錄音師 Strings Recording Engineer | 楊敏奇 Micky Yang
錄音師 Recording Engineer | Andy Baker
錄音助理 Recording Assistant | 徐振程 Jason Hsu
錄音室 Recording Studio | 玉成戲院錄音室 YuCheng Cinema Studio
混音師 Mixing Engineer | Andy Baker / 程馗 Kuei Cheng
混音室 Mixing Studio | 玉成戲院錄音室 YuCheng Cinema Studio
製作助理 Production Assistant | 陳一涵 I Han Chen / 鄭慶萱 Shannon Cheng
演出 Starring Role | 嚴正嵐 Cheng Lan Yen / 陳昊森 Edward Chen
經紀人 Artist Manager | 張鳳美 Mei Chang / 楊鳳嬌 Patty Yang / 陳雅晴 Ching Chen
導演 Director | 姚國禎 Kuo Chen Yao
故事 Story | 張寶慧 Bao Huey Chang
製片 Producer | Amo
執行製片 Line Producer | 李光哲 Kuang Che Li
製片助理 Production Assistant | 陳裕文 Yu Wen Chen / 周昀楓 Yun Feng Chou
攝影指導 Director of Photography | 曾崴榆 Wei Yu Tseng
攝影助理 Assistant Camera | 林永森 Yung Sen Lin
燈光師 Gaffer | 魏琥璇 Hu Hsuan Wei
燈光組 Lighting Team | 許洺瑋 Ming Wei Hsu / 許富嘉 Fu Chia Hsu
場務 Grip | 張維展 Wei Chan Chang
美術設計 Art Designer | 蕭沛倫 Pei Lun Siao
美術助理 Art Assistant | 余芷芸 Chih Yun Yu / 褚庭勛 Ting Hsun Chu
造型師 Costume Designer | 羅宛怡 Wan Yi Lo
造型助理 Styling Assistant | 黃憶柔 Yi Jou Huang
妝髮師 Hair & Makeup | 曹崇英 Chung Ying Tsao
妝髮助理 Hair & Makeup Assistants | 顏琳軒 Lin Hsuan Yen
司機 Driver | 九巴聯盟 韓子翔 Tzu Hsiang Han / 趙宗耀 Tsung Yao Chao
製作 Production | 旺順制作企業社 WS / 看看原創 CanCan
攝影器材 Camera Equipment | 妄想機 Mirager Production House
剪輯指導 Editor | 黑光 Chen Kuang Lin
特效 VFX | 黑光 Chen Kuang Lin
調光師 Colorist | 姚良奇 Liang Chi Yao
Special Thanks 特別感謝
瞿友寧 Arthur Chu / 翁子庭 Wan Wan Weng / 顏卉婕 Danielle Yen
鄭令婕 Evangeline Cheng / 家景協力 胡佑親 Yoyo
三宏乾洗店 / 美國二手貨市集 / 西寧市場
#光良
#嚴正嵐
#陳昊森
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