關於 music production degree ，我們在網路上蒐集到這些相關的討論、資訊與評價

lilKrake小章章，章和穎，現居高雄的零花費全製作饒舌音樂人。主理個人工作室團體 Banana Kingdom 香蕉王國。​
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文藻外語大學翻譯系畢業，輔系日文系。畢業後做過平面設計及房地產文章翻譯。​
曾寫過五年小說並有實體出書機會，善於文辭及天馬行空的主題。致力發展有深度的全英歌詞及強烈的個人特色，偶爾還會嘗試寫一些日文歌詞。​
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從小學五年級開始愛上美國嘻哈，也跳過多年Breaking、練過電繪插畫、長期自學並鑽研音樂製作及影像後製。自製超過七十首個人及合作作品；混音超過百首歌曲，現今以音樂接案為收入來源之一。秉持0花費做音樂的精神。​
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近4年參與過團體及個人受邀等各種大小演出。​
曾與朋友草創文藻嘻研社。為正修科大 / 高雄中學 嘻研社指導老師，並在尼亞斯舞蹈教室開授饒舌教學過。​
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lilKrake, a rapper/producer based in Kaohsiung, Taiwan, producing and mixing his own tracks with 0 cost. He's also the founder/manager of Banana Kingdom, a private music workshop in Kaohsiung. ​
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Graduated from Wenzao University with a degree in Translation & Interpreting and a minor degree in Japanese. Had worked as a graphic designer and a document translator for a real estate firm. ​
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He has spent five years writing novels, and also had the opportunity to officially publish the books. He loves hip hop music since in fifth grade, and has spent many years break dancing, working on computer graphics, self-teaching music production and post production in both music and films. To date, he has produced over 70 songs, including the collabs; he has mixed over a hundred tracks for other artists. He stands by the idea of making music with self skills and 0 cost. ​
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lilKrake has participated in many performances over the past 4 years. He also created the Wenzao Hip Hop Club with friends, and teaching for the Hip Hop clubs at Cheng Shiu University and Kaohsiung Municipal Kaohsiung Senior High School, he also hosts rap lectures at Nias Dance Studio.​
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Toxik 同樣來自台灣高雄，能讓能饒，2020年後半年從美國回到台灣開始與小章章製作了一系列的 Emo 風格歌曲，非常高興能一起發布這張 Mixtape。他跟小章章對於這次不同往常的嘗試都非常興奮。​
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Toxik is a singer/rapper from Kaohsiung, Taiwan. He's been working with @lilkrake for quite some time and is very glad to release a mixtape with him. He and lilKrake are excited to try something different with this time.​
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.Asia Taiwan.​
#mixtape #BananaKingdom #lilkrake #toxik​
#hiphop #trap #rap #aisa #asian #taiwan #kaohsiung #song #musicvideo #music #officialrelease #stream #pop #melody #depression #emotions #emo #juicewrld #lilpeep #mood #88rising #visual #world #story #zerocost #producer

See u all soon
More Exciting News Coming ;)

#Repost @mbss2021
• • • • • •
Good day everyone!

Proudly introducing the moderator of our E-Commerce Conference, Dr. Soo Wincci!

From singer, recording artist, actress, composer, celebrity chef, host, model, PhD holder to entrepreneur, Dr. Soo is a Multi Hybrid Artist, Academia Researcher, Producer and Beauty Queen from Malaysia.

Dr. Soo is a law graduate from the University of Reading (UK), a MBA holder from the University of Sunshine Coast (Australia), and a PhD recipient in Business Administration from Open University Malaysia. In 2018, she graduated with a Master's degree in Music Production, Technology & Innovation, and a Post Master Degree Fellowship from Berklee College of Music (Spain) in 2019. Currently, she once again broke the ordinary perception by challenging herself by embarking on her second PhD in Artistic Production at the University of Polytechnic, Spain.

Her other achievements and prestige awards highlights include Top 10 Most Outstanding Young Malaysian Ambassador (2020), Japan Tourism Board Ambassador (2017), Top 10 Most Outstanding Young Malaysian (2016), being invited for various intellectual variety shows in China as well as being selected as Cabloc, SK-II, Carnation, XES, Avon and Samsung brand ambassador. Besides, Dr. Soo holds 3 Malaysia Book of Records; became the first Miss World Malaysia to be awarded a PhD in 2016, and following that, she was crowned with two more titles - for the most number of academic degrees obtained by a beauty queen and a recording artist. In addition, Dr. Soo has been invited as a speaker for various events and conferences throughout the years.

We strongly believe that it will be a great success by having Dr. Soo as our E-Commerce Conference’s moderator!

Follow our Facebook page and Instagram to keep yourselves updated with the latest news.
Instagram:@mbss2021
Facebook page: Malaysian Business Student Summit (MBSS)

#MBSS2021
#UMBC
#INSPIRE
#INTEGRATE
#INITIATE
#breakthrough_innovation

【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

沙發裡有數位收聽：https://umg.lnk.to/OaeenRadio
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沙發裡有頻道訂閱：https://reurl.cc/W4eY2Z
沙發裡有Instagram：https://www.instagram.com/oaeen.ig/
沙發裡有官方網站：https://www.sodagreen.com/

音樂電波出動，什麼都變彩色，讓畫面填滿顏色五顏六色
厭世躁鬱來臨之前，沙發裡還有魚丁糸的神經腦波
是時候PO一則音樂新品限動！躺進沙發進入幻夢邊境

魚丁糸身為蘇打綠分身樂團，由日出（青峰）、香我（馨儀）、豕豆（家凱）、八女（小威）、金八（阿龔）、可田（阿福）組成，並且發展各自的專屬符號，為了搭配首場演出創作出一首夏日輕快新品—〈沙發裡有沙發Radio〉。除了推出限量首場紀念商品之外，特別搭配可愛的紀念徽章讓浮萍留作紀念。

〈沙發裡有沙發Radio〉來自魚丁糸實驗性玩鬧創作，全員腦汁一滴都沒少。新歌由政大學姊也是歌手前輩珊妮老師擔任製作人，聲音與樂器玩樂超展開，充滿幻想顆粒的歌詞，引領拍子運動的節奏bass、更可以發現跳脫音樂慣性的童趣樂器入歌，香我的玩具琴、豕豆的效果器還有拿起keytar的金八，創作興致回到小時候，輕飄飄的想像力就從〈沙發裡有沙發Radio〉流出來，越簡單越洗腦，無壓力可愛曲風，聽完一遍腦袋大概還會重播十遍（依幻想中毒程度…）。

MV本身也很鬧，特別找了分飾6人小時候的6位小朋友，6大6小相互比可愛，突顯出創作興致像是回到小時候，想像力大爆發，如同有任意門般恣意穿梭過去與現在，輕飄飄的想像力就從〈沙發裡有沙發Radio〉流出來！

出道就任性，音樂沒有規則，管他生活還是沙發，是沙發還是Radio，是過去也現在同時存在的未來。

#魚丁糸 #分身樂團 #沙發裡有沙發Radio

▂▂

〈沙發裡有沙發Radio〉
詞：八女／日出
曲：香我／日出
製作人：陳珊妮
編曲：魚丁糸
Additional programming：陳珊妮

沙發裡有沙發radio
沙發裡有沙發radio
沙發裡有沙發radio
Oh～～～～

床邊喝著冰啤酒 黃色 金黃色 泡沫 泡沫
我要乾脆做個夢 紅色 粉紅色（睡吧 睡吧）

花邊新聞小動作 黑色 深黑色 幽默 幽默
一雙躲在鍵盤後 虹色 彩虹色（手 手）

繞著房間檯燈跳 跟著 跟著我 shadow shadow
荒唐水逆請不要 纏著 纏著我（oh no oh no）

旋 轉漫遊 不經意 地散播
復 古潮流 水藍色 的電波

沙發裡有沙發radio
沙發裡有沙發radio
沙發裡有沙發radio
Oh～～～～

沙發裡有沙發radio
沙發裡有沙發radio
沙發裡有沙發radio
Oh～～～～

通體膨脹請不要 纏著 纏著我
膠原蛋白拜託你 跟著 跟著我
厭世神經請不要 纏著 纏著我
靈感放縱就是要 跟著 跟著我

旋 轉漫遊 不經意 地散播
復 古潮流 水藍色 的電波

沙發裡有沙發radio
沙發裡有沙發radio
沙發裡有沙發radio
Oh～～～～

沙發裡有沙發radio
沙發裡有沙發radio
沙發裡有沙發radio
Oh～～～～

沙發裡我回到小時候
沙發裡的幻想radio
幻想就是我發的限動
Oh oh oh……未來一直po

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演唱｜魚丁糸 Oaeen
作詞｜八女、日出
作曲｜香我、日出
音樂製作人｜陳珊妮 Sandee Chan
錄音 & 混音 Recording & Mixing｜陳文駿 (強力錄音室 Mega Force Studio)
母帶後期處理 Mastering｜王秉皇 (洋活音樂SeaSide Mastering)

製作公司 Production｜其它映像工作室 Other Films.
監製 Executive Producer｜陳珊妮Sandee Chan
導演 Director｜ 曾崴榆Tseng Wei Yu

製片 Producer｜石芳綺 Kiki Shih
執行製片Line Producer｜洪家翎Charlene Hung
生活製片Catering & Craft Service｜許桓溱Amber Hsu
選角Casting｜島嶼人映畫製作所 Islander Production
選角指導Casting Diretor｜童筠婷 ABBA Tong
選角執行Casting Executive｜羅英瑄 Herolo

美術指導 Art Director｜葉子瑋Tzu Wei Yeh
執行美術Production Executive｜姚爰盼 Yuan Pen Yao
陳設助理Set Assistant｜陳冠霓 Guan Ni Chen、郭本婷Ben Ting Kuo、林旻誼Min Yi Lin、黃新仁 Huang Sin Ren

梳化 Makeup Artist & Hairstyle｜湯淑琳Wawa Tang
梳化助理Assistant Makeup Artist & Hairstyle｜董晏孜Yen Tzu Tung

攝影師Director of Photography｜曾崴榆Tseng Wei Yu
攝影大助 Focus Puller｜林永森Yung Sen Lin
攝影二助 2st Assistant Camera｜江睿哲Alston Jiang、賴建榮Chien Jung Lai
攝影實習員Interns｜鍾喬程 Chiao Cheng Chung
360攝影師Photographer of 360 Degree Camera｜李金勳 Joseph Lee
360攝影助理 Assistant of 360 Degree Camera｜溫崇涵Anthony Wen
燈光師 Gaffer｜林宏洋 Yang
燈光組 Lighting Crews｜許原毓 Hsu Yuan Yu、鄭智遠Cheng Chih Yuan、陳采妤
攝影燈光器材Camera Lighting Equipment｜和寬攝影器材有限公司 HeKuan Equipment Co.,Ltd.
移動攝影Grip｜永祥影視有限公司Yung-Siang Video & Film Co.,Ltd.
操作技師Operator｜蔡松翰Sung Han Tsai
操作助理Technician｜許家儒Chia Ju Hsu

剪接師 Editor｜黃柏勳 Bo Syun Huang
後期製作D1｜歐兔數位映像有限公司 Oxygen 2 Visual Effect Studio
標準字設計Front Design｜林欣靜 Daoah Lin
調光室 Color Grading｜時間軸影像製作有限公司 Timeline Studio
調光師 Colorist｜馮鈞稜 Justin Feng
專案管理 Post-production PM｜陳映芳 Ying Fang Chen

演員Cast｜葉泓毅、陳澤旭、朱宥丞、謝涵羽、梁祐祥、楊岷淙
特別感謝Special Thanks｜Vanco Studio、陽明山國家公園管理處

藝人彩妝 Make Up／張婉婷 Wan-Ting Chang、陳詩晴 Chen,shih-Ching、郭翰威Ted Kuo
藝人髮型 Hair Stylist／Edmund Lin、Spud Tan from ZOOM Hairstyling
藝人服裝造型 Stylist／施筱柔 Lore Shih
服裝造型助理 Stylist assistant / 蔡盈穎 Ying Ying Tsai

平面記錄 Photographer／陳顗文 Kevin im
影像記錄 Videographer／游皓隆 HaoLong Yo

↓ゆきりぬのチャンネル
https://www.youtube.com/channel/UCMsuwHzQPFMDtHaoR7_HDxg

ゆきりぬ 1st フォトブック ピースの角度は30°
https://www.amazon.co.jp/o/ASIN/4074311488/kazuch09240a-22


↓今回紹介したモノ
【モバイルバッテリー】AUKEY USB充電器 ACアダプター 46W
https://www.amazon.co.jp/o/ASIN/B077DMJTG2/kazuch09240a-22
【モバイルバッテリー】Anker PowerPort Speed 1 PD30
https://www.amazon.co.jp/o/ASIN/B071R6ZF41/kazuch09240a-22
【モバイルバッテリー】Power Delivery 45W 対応 モバイルバッテリー cheero Power Deluxe 20100mAh
https://www.amazon.co.jp/o/ASIN/B078GZRBVH/kazuch09240a-22
【輪ゴム】アックス N's Band
https://www.amazon.co.jp/o/ASIN/B00LGAUBRU/kazuch09240a-22
【drikinさんオススメ】GoPole GPSL-16 Scenelapse 360-Degree Time-Lapse Device for GoPro HERO Cameras (Black)
https://www.amazon.co.jp/o/ASIN/B019SZ3TSW/kazuch09240a-22
【Goproパチもんケース】Deyard フレームケース スポーツカメラアクセサリー ゴープロ 映像撮影アクセサリー
https://www.amazon.co.jp/o/ASIN/B01M3SG1ZE/kazuch09240a-22
【ミニ三脚一眼用】Manfrotto ミニ三脚 POCKET L ブラック MP3-BK
https://www.amazon.co.jp/o/ASIN/B00GTLFHT8/kazuch09240a-22
【ミニ三脚コンデジ用】Manfrotto ミニ三脚 POCKET L ブラック MP3-BK
https://www.amazon.co.jp/o/ASIN/B00GTLFHH0/kazuch09240a-22
【三脚】Manfrotto コンパクト三脚 Befree カーボンファイバー
https://www.amazon.co.jp/o/ASIN/B00M8RQKS4/kazuch09240a-22
【三脚】Manfrotto コンパクト三脚 Befree one
https://www.amazon.co.jp/o/ASIN/B017UG6D6Q/kazuch09240a-22


↓使用機材
GH5s http://amzn.to/2BJzI07
GH5 http://amzn.to/2qUiFDh
レンズズーム http://amzn.to/2pWbd6z
レンズ単焦点 http://amzn.to/2qvsw1s
マイク大 http://amzn.to/2qyT53Q
マイク小 http://amzn.to/2rhB10L
GoPro5 http://amzn.to/2qUj1Kh
RX100M5 http://amzn.to/2pZ1WK8
FDR-X3000 http://amzn.to/2pZ4gRo
クイックシュー http://amzn.to/2qyRyL6
GC550 http://amzn.to/2qyRRFE
三脚旅用 http://amzn.to/2qUmW9U
三脚部屋用 http://amzn.to/2rtDe6s
DRONE http://amzn.to/2pYQNsN


◆カズさんのTwitter
https://twitter.com/kazuch0924

◆カズさんのインスタ
https://www.instagram.com/kazuch0924/

◆カズ嫁のTwitter
https://twitter.com/8jizeninsyugo

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楽曲提供：Production Music by http://www.epidemicsound.com
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どれもボチボチ動画更新中！
◆カズチャンネル登録↓
http://bit.ly/kazuch-T
◆カズ飯チャンネル登録↓
http://bit.ly/kazumeshi-T
◆カズゲームズチャンネル登録↓
http://bit.ly/kazugames-T


【プロフィール】
福井在住のカズです。
小学校時代は遊ぶ友達があまりいなかったので
練り消し作り・一人学校探検で休み時間を過ごしてました。
えぇ、ごくごく普通の人です。

とりあえず一度きりの人生、後悔しないよう
いろんな事やってみてる所なう。

↓ファンレターの宛先はコチラ
〒106-6137
東京都港区六本木 6-10-1
六本木ヒルズ森タワー 37階
カズさん宛

↓お仕事のご依頼はこちらから
http://www.uuum.co.jp/inquiry_promotion

a Kyle Le vlog. Please write me on http://www.facebook.com/KyleLe.net
What my mother thinks: 2:27
Skip to the Viet Part: 8:00
First of all, never ever would I have thought I'd be back this soon, but yes, I was back in Vietnam the past month and filmed some great content for you guys that will be released in the weeks and months to come. Secondly, I will have a viewer meet, greet, and eat in Fullerton on the 19th. Details at FB.com/KyleLe.net
Please RSVP. Lastly, I'm going against my mother's wishes for now and will continue to make as many videos of Vietnamese people abroad as possible because of many reasons. First, this is my passion right now. Meeting and hearing people's stories of struggles and success gives me a lot of pride in being Vietnamese and how resilient we are. Secondly, I have a degree in history and I understand the importance of recording history. If we don't save or document history, it will be lost forever. The younger generations or the current ones unaware should at least know some history. They'll have a better understanding and respect for where they came from. Perhaps then, hearing experiences and stories from others will also motivate and inspire them. It certainly influenced me. And lastly, I hope to continue to fine tune and learn from this short documentary production art. It's a form of expression that I've been doing for years and always want to improve and make better videos. Certain opportunities have arisen from the past, and hopefully more might happen in the future. The only way I'll know is if I keep creating content that I am passionate about

However, I can't do this alone. I need your help in finding stories and sharing experiences. I'm a one person operation without a team or crew or partner. I am on my own, but I'm not truly alone. Your support in the past and recently has been highly noted and appreciated. It also motivated me to continue. If anyone can offer help in any way or stories, feel free to write me on http://www.fb.com/KyleLe.net
As much as I would love to meet all of you, please give me specifics and not just a come to (insert city here). I'm looking for specific stories of Vietnamese people or any people. It doesn't have to just be Vietnamese. It just has to be the right story and the right timing. Again, thank you for joining me on this journey. And mom, I'm sorry, just give me some more time.

Subscribe Now for MORE Videos: https://goo.gl/tMnTmX
New T Shirts are here: http://www.kyleledotnet.zibbet.com
Help me make more videos: http://www.patreon.com/kylele

Sign Up for Exclusive Content and to Keep in touch with me! https://madmimi.com/signups/172747/join

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About Me: I'm Kyle Le and I used to live, travel, and eat in Vietnam and many Asian countries. I'm passionate about making videos and sharing modern Asia to the world. I've traveled everywhere in Vietnam, from Hanoi to Saigon - Far North, Central Highlands, Islands, and Deep Mekong Delta - I've visited there. In addition to 15+ countries from Indonesia to Thailand to Singapore, you'll find all of my food, tourist attractions, and daily life experiences discovering my roots in the motherland on this amazing journey right on this channel. So be sure to subscribe- there's new videos all the time and connect with me on social media below so you don't miss any adventures.
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More Info: http://www.KyleLe.net
Like: Facebook: http://www.fb.com/KyleLe.net
Follow: Instagram and Snapchat @KyleLeDotNet

Help me make more videos:
Buy a T shirt: http://www.kyleledotnet.zibbet.com

Original Music by Antti Luode.
Filmed with a Panasonic G7 14-140mm. 15mm
Audio from a Shure VP38F