關於 state of mind studios ，我們在網路上蒐集到這些相關的討論、資訊與評價

[News] ทีมงาน Cyberpunk 2077 ส่วนใหญ่สมัครใจทำงานล่วงเวลาเพื่อทำให้เกมเสร็จสมบูรณ์ แทนที่จะเลื่อนวางจำหน่ายอีกครั้ง
.
หลายคนอาจจะทราบกันมาแล้วว่า Cyberpunk 2077 ในตอนนี้ได้เข้าสู่สถานะเสร็จสิ้นการพัฒนาและเข้าสู่กระบวนการผลิตแล้ว แต่ตัวเกมก็ยังต้องได้รับการขัดเกลา ที่ทาง CD Projekt Red ได้สั่งให้ทีมพัฒนาต้องทำงานล่วงเวลา 6 วันต่อสัปดาห์ในช่วงโค้งสุดท้ายก่อนที่เกมจะวางจำหน่าย
.
แต่จริงๆ แล้วทาง CD Projekt Red เคยพิจารณาที่จะเลื่อนการวางจำหน่ายเกมอีกครั้ง เพื่อหลีกเลี่ยงปัญหาที...
Continue Reading[News News Most Cyberpunk 2077 crews voluntarily work overtime to complete the game instead of re-postpone.
.
Many of you are already aware that Cyberpunk 2077 is now in a state of completion, development and production process. But the game has to be purified at CD Projekt Red has ordered the development team to work 6 days a week. In the last curve before the game is on sale
.
CD Projekt Red has actually considered re-re-reduction to avoid issues that require the development team to work overtime to finish the work or in the game called Crunch.
.
In the latest GameInformer Show, CD Projekt Red has been discussed inside to find possible options to finish the game in time. Release including the Cyberpunk 2077 re-scrolling. However, most developers of CD Projektt. Red voluntary and encouraged to work increases in the last 6 weeks before a release they didn't think it was Crunch with a different perspective on this story in Poland and with crunch stories published by various media. Overrated and negative trends. Despite the development team being proud of this work, it's up to 1 in the game development team. Afraid to celebrate the game at once in a gold status.
.
This is also consistent with the previous report with CD Projekt Red Developer, who expressed disappointment in Bloomberg's latest report and other media trying to hit news that studios are using Crunch to rush to work and think they're having a paint egg for them. Hopeful, want CD Projekt Red to look like a bad company.
.
By Adrian Chmielarz, the Founder of People Can Fly made a statement on Facebook that argues that Crunch is not an evil way and a situation that needs to be Crunch is not white or black. As many people look, the Łukasz Szcepankowski of CD Projekt Red. Says game studio managers don't count money smoking cigars and take advantage of teamwork Crunch on one side
.
Meanwhile, Jason Schreier, Bloomberg's journalist, who reports CD Projekt Red, orders the Cyberpunk 2077 development team to work overtime or Crunch, argues that GameInformer argues that his news is incorrectly reported, comes out on Twitter that GameInformer doesn't care about him. I have interviewed dozens of developers from CD Projekt Red and they are ready to reveal emails at Adam Badowski Spearhead studio CD Projekt Red. Sending to apologies to all the developers who had to work overtime in June. Y. In the past, with the following mind.
.
′′ Hey
.
I think there's no much gourmet for this.
.
We delayed the re-release to 19 Feb. Y. And I know this is a bittersweet thing for all of you. In one way, we also congratulate each of you because of the extra time needed for the game to make it glowing. On the other hand, we're sorry because that means we have to work hard for longer and longer. We're all running to the end, but still running... I want to offer a solution that solves everything but I can't find it. We need to finish the game and we can't finish it in July. Y. That's the truth that is.
.
What I can offer is to tell you about this. Each day we use to purify the game. It's worthwhile. We just started sending the preview to the media and the first impression (from PietSmiet and Game Informer). It's what they are very excited about and they are. It's all from the utmost devotion every day, every week. I hope when we submit a preview to the media on 25 June. Y. We will gain more confidence.
.
If I wish for anything, I would like to request you to ' patiently try ' to deliver the game. Then I apologize to the family of all team members and support from them. To the family of my team, I realize that I'm hard working in love. It's often that they can't be together at home, but I promise that this is the last time and the finish line is just around reach.
.
All this hard work will bring to Cyberpunk 2077 if not make it the most memorable game. At least 1 of the most memorable games in Generation. I'm sure.
.
Thank you,
Adam"
.
Jason says more about companies with culture, Crunch or Rubbing. It doesn't mean they are evil, dangerous, or the villain of the game industry. But he himself has just seen many people jumping into the band reject reality to try to try. To protect CD Projekt Red and Cyberpunk 2077 this much. And if many people read this email at Spearhead Studio CD Projekt Red, apologize to the company's family and still think his report on the CD Projekt Red, there's a Crunch ′′ It's overrated ′′ He has nothing to say either.
.
Jason's such tweet is commenting on the game. I agree and disagree.
.
′′ They don't want to believe that CDPR is making any mistake. These gamers are just bias and bias against some companies. As we know, it's disappointing to see those game people who stomped on Naughty Dog and drowned in the dirt, but defended CDPR. But at least it makes me feel like [if it's a game company like or hate kelīyd these gamers don't care at all
The gameman of daylaum says.
.
′′ Thank you for making the development team unhappy with the development of the game and the production process. And fear to show pride in all the hard work because you khuṇ Jason Schreier Schreier brought the Crunch news to paint the egg again in the colors. The same day that the game is in Gold. I hope you don't play this game from what you have done
The gameman named Jazzy Boo says.
.
′′ CDPR needs to be scolded for what the whole game industry does. Crunch will always exist. No matter how big the project is or how much time the game developers are, CDPR Crunch pays compensation. Beautiful and the teamwork is done with their own decisions ′′
The nrenfuk people say.
.
Cyberpunk 2077 is scheduled to be available on PS4, XB1, PC and Stadia on 19 November. Y. This is it.
.
Source: https://www.playstationlifestyle.net/2020/10/08/cdpr-cyberpunk-2077-crunch-reports/
https://wccftech.com/cyberpunk-2077-delayed-again-extra-work/
https://www.playstationlifestyle.net/2020/10/09/cyberpunk-2077-crunch-exaggerated
https://twitter.com/jasonschreier/status/1314577749114314753
-------------------------------
Just top up Steam Wallet Wallet GetSteamWallet.com
-------------------------------
Command and Conquer: The Ultimate Collection Reduced to 166.19 baht (Origin). See here-https://bit.ly/2N3PkzlTranslated

【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

《大不了一代》Official MV

許多人都曾慨嘆青春逝去，熱血變淡，無奈地接受現實。
但，這一生就這樣地活下去嗎？
然而，心底那聲「青春不老」總是不經意地掙扎求存。
大不了，從頭開始；大不了，捉緊那拒絕妥協的童心；大不了，大不了。
Sometimes we lament our past, but vitality is a state of mind. No matter the way youth passes us, if we keep our fire, we have the rest of our lives to live out the dreams of our past. 

大不了 (Dai But Liu) is a double entendre for No Big Deal and Never Grow Old. It’s no big deal to start anew, and if you live with vitality, you’ll grow in age, but you won't grow old. 大不了，大不了。
-----------------------------------------------------

YouTube - https://youtu.be/f-e7SlvpZBk
Apple Music/iTunes - https://apple.co/2C43U5E
JOOX - https://goo.gl/bkuPJ6
KKBOX - https://bit.ly/2QAmy9a
MOOV - https://bit.ly/2zZReeB
Music One - https://bit.ly/2y7XEaa
Spotify - https://spoti.fi/2C4hm9v

-----------------------------------------------------

Frenzi Music X 寰亞唱片 Media Asia
導演：NG Production
小演員：趙啓嵐
Makeup by Joyce Wong
Hair Styling By Nasaki Chu

作曲：Van Chan
填詞：林寶 Lam Bo
編曲：Nowhere Boys
監製：謝國維 Victor Tse

億萬人前例 談著知書識禮
無知東西應一一放低
生活循常規 感動都給取替
營役是為換著止痛劑

隨著年紀須講增長的我
求安穩那睡床
誰料還說本質不改的我
那熱衷已陣亡

我所得到的 未算少 算實際需要
為能自立 願添了 煩擾
我所想要的 未退燒 卻又更緊要
大時代 當大人 那撮要
童真不可太少

他日談成就 回望不起荒廢
曾差一點把青春炸毀
今日能隨心所欲 好好消費
能哭出聲做幸福那位

隨著環境喘息子彈交錯
人心寫滿備忘
寧願回到統統不懂的我
快樂得更繁忙

我所得到的 未算少 算實際需要
為能自立 願添了 煩擾
我所想要的 未退燒 卻又更緊要
大時代 可令人 變細了

幾多張約 改動太少 兌換了支票
但猶幸願望 頑劣未了
幾多心血 得著太少 也沒大不了
大無畏 小事情 見識了
人生主管 我曉

Performed by Nowhere Boys
Backing vocals arranged and performed by 劉祖德 ＆ Van Chan
Recorded & mixed by Eric Tam @Frenzi Music Studio
Except drums and bass recorded by 利偉明 at Avon Studios
Mastered by 謝國維 @Frenzi Music Studio

O.P: Frenzi Music Limited / Shoot the Lyricist
SP: Sony/ATV Music Publishing HK / Universal Music Publishing Ltd

-----------------------------------------------------

#大不了一代 #大不了 #NeverGrowOld #NoBigDeal #寰亞音樂 #MediaAsia #FrenziMusic #NowhereBoysHK #NowhereBoys