It’s 4AM and before I start my weekend with another flurry of work and events, I wanted to post this up over my business page - the page that is open to friends , family as well as strangers alike - to read about not just my business or work related self … but snippets of my private life which I usually keep in a close journal as therapy for me when I need to pen down my musings.
This early morning post is about this decade old drum set.
This electronic drums was something I sought permission to buy from Azmi. I took drum lessons before marrying him, but never had the space to own a set.
But when we moved in together at our home we decided to buy 11 years ago, I coaxed him to agree to it and whilst he hesitated at first - he gave in and took charge looking for one that I could beat the sh*t out of, without causing lawsuits from neighbours (hence the decision to go electronic)
I could use it while I spun music from my DJ decks and it was snug enough to fit into the room which was meant for storage - not knowing God would bless us with more children and a pandemic that would lead us to pivot into creating a livestream studio to sustain our business.
He had told me to sell it off second hand - and I kept coming up with excuses that perhaps the boys would use it someday … or that it was too old and outdated “no one would buy it so best we just keep it”
Truth is?
Letting it go was like letting go of a dream in completing my music lessons which I had put a cork in the bottle upon finding out I was pregnant with Iman.
As time passed on, blessed with more children and different situations that made us have to change business strategies along the way, my music hobby was getting pushed lower down the priority list as more and more items on my “to do list” grew and climbed on top.
My children says I’m not fun anymore “you’re always working mama” and last night, as I went to put Ilon to sleep promising to sit with the older kids for our weekly Friday Family movie nights (a ritual we have started to keep the children’s sanity in check during this gloomy pandemic) , I am devastated as I ended up falling asleep halfway while working and breastfeeding Ilon.
They say you must find balance in life. Work, love and play.
I don’t know how to do that anymore.
How many of you feel that this pandemic has just made you become a work zombie?
Anyone up at this hour?
Shall take a cold shower now. I’ve got a show to run in 6 hours and I’ve not done a flow yet.
Hope everyone is doing ok.
同時也有3部Youtube影片,追蹤數超過848的網紅蜻蜓Valen,也在其Youtube影片中提到,Subscribe ➔ 【蜻蜓Valen】 Facebook:https://www.facebook.com/ValenQT/ 【蜻蜓Valen】 Instagram:https://www.instagram.com/valenng214/ 【林玟圻Ctwo】Facebook:https://w...
「halfway studio」的推薦目錄:
- 關於halfway studio 在 Facebook 的最佳貼文
- 關於halfway studio 在 半瓶醋 Facebook 的最讚貼文
- 關於halfway studio 在 Cổ Động Facebook 的精選貼文
- 關於halfway studio 在 蜻蜓Valen Youtube 的精選貼文
- 關於halfway studio 在 蔡健雅 Tanya Chua Youtube 的最讚貼文
- 關於halfway studio 在 harpsona Youtube 的最佳解答
- 關於halfway studio 在 Halfway Studio | Taipei - Facebook 的評價
- 關於halfway studio 在 Halfway Studio 全台跑Bar活動- 美食板 - Dcard 的評價
- 關於halfway studio 在 halfway studio的在哪裡,FACEBOOK、INSTAGRAM、DCARD 的評價
- 關於halfway studio 在 halfway studio的在哪裡,FACEBOOK、INSTAGRAM、DCARD 的評價
- 關於halfway studio 在 Carly Pearce - Halfway Home (The Studio Sessions) - YouTube 的評價
- 關於halfway studio 在 Looker Studio inconsistent in summing metrics? - Stack Overflow 的評價
- 關於halfway studio 在 How to delete a YouTube channel - Android Police 的評價
halfway studio 在 半瓶醋 Facebook 的最讚貼文
【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
halfway studio 在 Cổ Động Facebook 的精選貼文
CÒN 7 NGÀY NỮA LÀ TỚI BỜ HỒ FEST 2019 🤘🤘🤘
🗣 BỜ HỒ FEST 2019 - Tiệc âm nhạc đa sắc màu với 18 nghệ sĩ đến từ Hàn Quốc, Singapore, Thái Lan, Sài Gòn và Hà Nội!
👉 https://www.facebook.com/events/1300087526816061/
🗓 Chủ Nhật 23.06.2019
⏱ 2pm - 11pm
🏠Venue: Hanoi Rock City
-
🗣 DANH SÁCH NGHỆ SĨ 🗣
▪️7UPPERCUTS - Pop Punk Sài Gòn
▪️Vũ Thanh Vân - Indie Hà Nội
▪️ Phác họa Xanh/ Sketch of BluE - Indie Rock Hà Nội
▪️Đét - Indie Hà Nội
▪️Limebócx - Electrùnic Hà Nội
▪️TWOFIVE - 투파이브 - Indie Rock/Pop Punk Hàn Quốc
▪️Day Of Mourning - Metalcore Hàn Quốc
▪️Halfway Point - Metalcore Singapore
▪️Whispers - Hardcore Thái Lan
▪️WINDRUNNER - Metalcore Hà Nội
▪️CÚT LỘN - Crossover Thrash Hà Nội
▪️Pale Amber - Emo Pop Punk Hà Nội
▪️Pick Supplier - Hardcore Punk Sài Gòn
▪️ĐxMxM+ ĐBB = ĐĐMMBB Grind Jam + Metal kỳ cục Sài Gòn
▪️Bongwakers - Stoner Rock Hà Nội
▪️渋い Shibui - Punk Rock Hà Nội
▪️Mèow Lạc - Pop Rock Hà Nội
▪️Chú Cá Lơ - Rock n Roll Hà Nội
-
💸 THÔNG TIN VÉ: 💸
▪️Vé ADVANCE: 250k
▪️COMBO 4 vé: 900k
▪️Mua vé tại cửa: 350k
📧 Mua Online: https://bit.ly/2M9QUlC
🏪 Điểm bán vé trực tiếp:
1. Bụi Store: P107, E5, khu tập thể Trung Tự, đường Đặng Văn Ngữ, Đống Đa, HN - 0973378605 (9am-9pm)
2. LP Club: Số 34 xóm Hạ Hồi, HN (11am-5:30pm)
3. Gråtoner Studio & Giải khát: 273 Âu Cơ, HN (11am-11pm)
__
BỜ HỒ FEST 2019
🗓: 14:00 - 23:00; Chủ nhật, 23 tháng 6, 2019
📍: Hanoi Rock City, 27/52 Tô Ngọc Vân, Quảng An, Tây Hồ, Hà Nội
🗣 BỜ HỒ FEST 2019 - Tiệc âm nhạc đa sắc màu với 18 nghệ sĩ đến từ Hàn Quốc, Singapore, Thái Lan, Sài Gòn và Hà Nội!
👉Event: https://www.facebook.com/events/1300087526816061/
🗓 Chủ Nhật 23.06.2019
⏱ 2pm - 11pm
🏠Venue: Hanoi Rock City
-
🗣 DANH SÁCH NGHỆ SĨ 🗣
▪️7UPPERCUTS - Pop Punk Sài Gòn
▪️Vũ Thanh Vân - Indie Hà Nội
▪️ Phác họa Xanh/ Sketch of BluE - Indie Rock Hà Nội
▪️Đét - Indie Hà Nội
▪️Limebócx - Electrùnic Hà Nội
▪️TWOFIVE - 투파이브 - Indie Rock/Pop Punk Hàn Quốc
▪️Day Of Mourning - Metalcore Hàn Quốc
▪️Halfway Point - Metalcore Singapore
▪️Whispers - Hardcore Thái Lan
▪️WINDRUNNER - Metalcore Hà Nội
▪️CÚT LỘN - Crossover Thrash Hà Nội
▪️Pale Amber - Emo Pop Punk Hà Nội
▪️Pick Supplier - Hardcore Punk Sài Gòn
▪️ĐxMxM+ ĐBB = ĐĐMMBB Grind Jam + Metal kỳ cục Sài Gòn
▪️Bongwakers - Stoner Rock Hà Nội
▪️渋い Shibui - Punk Rock Hà Nội
▪️Mèow Lạc - Pop Rock Hà Nội
▪️Chú Cá Lơ - Rock n Roll Hà Nội
-
💸 THÔNG TIN VÉ: 💸
▪️Vé ADVANCE: 250k
▪️COMBO 4 vé: 900k
▪️Mua vé tại cửa: 350k
📧 Mua Online: https://bit.ly/2M9QUlC
🏪 Điểm bán vé trực tiếp:
1. Bụi Store: P107, E5, khu tập thể Trung Tự, đường Đặng Văn Ngữ, Đống Đa, HN - 0973378605 (9am-9pm)
2. LP Club: Số 34 xóm Hạ Hồi, HN (11am-5:30pm)
3. Gråtoner Studio & Giải khát: 273 Âu Cơ, HN (11am-11pm)
__
BỜ HỒ FEST 2019
🗓: 14:00 - 23:00; Chủ nhật, 23 tháng 6, 2019
📍: Hanoi Rock City, 27/52 Tô Ngọc Vân, Quảng An, Tây Hồ, Hà Nội
#bohofest #diy #musicfestival
halfway studio 在 蜻蜓Valen Youtube 的精選貼文
Subscribe ➔
【蜻蜓Valen】 Facebook:https://www.facebook.com/ValenQT/
【蜻蜓Valen】 Instagram:https://www.instagram.com/valenng214/
【林玟圻Ctwo】Facebook:https://www.facebook.com/ctwolin/
【林玟圻Ctwo】Instagram:https://www.instagram.com/ctwo_lin/
--------------------
【蜻唱時間】
每個階段都能看見不同的自己
今天的我又是屬於什麼樣的靈魂?
不好的事不要放太久就好~
--------------------
原唱:梁靜茹 Fish Leong
翻唱:蜻蜓Valen
編曲:愛莉鵝(李芷柔)
影片剪輯:Ctwo Studio
#今天半永久 #梁靜茹 #cover #蜻唱時間 #蜻蜓Valen #林玟圻Ctwo #愛莉鵝 #翻唱 #療癒女聲 #FishLeong #singer #harmony #piano #love #music #life #friends
#聽完記得留言報到
#喜歡的話歡迎分享
halfway studio 在 蔡健雅 Tanya Chua Youtube 的最讚貼文
當走到半途,是前進?還是結束?我們都在曾愛裡迷途,有些愛是不顧一切的橫衝直撞,走到單方面的終止時才大夢初醒,原來自己認知的半途是他人的結束。雖說一段開始就等於在倒數結束,那何時才算半途?是否擁有知足比細數缺憾更值得珍惜,回首半途的過往回憶才是紀念曾經眷顧的最好方式,徒傷憑弔已不是自舐殊途的安慰方式,而是清楚的認知彼此都在愛裡曾經同路。
=========================================
加入蔡健雅Tanya臉書粉絲團:http://goo.gl/FO5Gd
訂閱蔡健雅YouTube官方頻道:https://goo.gl/XhaU7T
關注蔡健雅Tanya官方微博:http://goo.gl/mPx3Qq
=========================================
半途 / Halfway
每一種開始 都會有結束
是否這麼說 反而 專注
每個當下的感觸
擁抱的瞬間 時間已倒數
也許預知了 終將 孤獨
更想付出
有些愛 有些人 最後走進回憶 留在半途
剩缺憾 抵缺憾 彌補 一些知足
消逝的 留下的 殊途但卻依然 在愛裡同路
找回歸屬
從學愛開始 到愛著結束
我們都還在 試著 體悟
一句再見的溫度
離開從不是 願望的項目
卻在生命中 一再 反覆
成為複數
有些愛 有些人 最後走進回憶 留在半途
剩缺憾 抵缺憾 彌補 一些知足
消逝的 留下的 殊途但卻依然 在愛裡同路
找回歸屬
終於 你能 我能 清楚
Woo…有一種呵護 Woo…是雖然獨處
Woo…還被你眷顧 Woo…Woo…
有些愛 有些人 最後走進回憶 留在半途
剩缺憾 抵缺憾 彌補 一些知足
消逝的 留下的 殊途但卻依然 在愛裡同路
找回歸屬
重新 你的 我的 開始 不是結束
那些 你的 我的 最初
沒有結束
作曲 Composer:蔡健雅
作詞 Lyricist:陳學聖
編曲 Arrangement:宋陽
吉他 Guitars:牛子健
弦樂錄音 String Recording:李昕達 @北京唱片廠錄音棚
弦樂樂隊 Strings : 國際首席愛樂樂團 International Master Philharmonic Orchestra
製作人 Producer:蔡健雅、安棟
錄音 Vocal Recording Engineer:蔡健雅
錄音室 Recording Studio:Tangy Music Studio
混音工程師 Mixing Engineer:周天澈
母帶後期處理工程師 Mastering Engineer:Randy Merrill
母帶後期處理錄音室 Mastering Studio:Sterling Sound NY
halfway studio 在 harpsona Youtube 的最佳解答
Howl's Moving Castle is actually one of the few major Ghibli movies I have not seen yet, but the music is amazing (as with any other Hisaishi song)!
My patrons voted for Merry-Go-Round of Life in June so I tried my best to get this done in less than two weeks. Sorry I missed June by a few days D:
This is hands-down the most difficult and longest cover I have done, which made recording a bit of a challenge. Despite a few flubs, I'm fairly happy with this! (I did do a perfect run once but my audio equipment stopped working halfway through that recording)
Here, I am referring to piano sheet music from here, but unfortunately it doesn't say who arranged it... if anyone knows, please let comment so I can give the arranger proper credit
http://sheets-piano.ru/wp-content/uploads/2013/07/Merry-go-around-of-life.pdf
If you would like to support me, don't forget to subscribe and check out my Patreon! Even $1 pledges are super appreciated!
https://www.patreon.com/harpsona
Tumblr
http://harpsona.tumblr.com
Twitter
https://twitter.com/harpsonaTweets
Instagram
https://www.instagram.com/harpsona
Facebook
https://www.facebook.com/harpsona
Patreon
https://www.patreon.com/harpsona
halfway studio 在 Halfway Studio 全台跑Bar活動- 美食板 - Dcard 的推薦與評價
Halfway Studio 全台跑Bar活動. 美食. 2022年7月19日22:52. 嗨大家好我是Rain 今天不是分享食記而是一個跑BAR活動先發在美食版,因不確定是否有更好的板塊這個跑BAR ... ... <看更多>
halfway studio 在 Carly Pearce - Halfway Home (The Studio Sessions) - YouTube 的推薦與評價
Music video by Carly Pearce performing Halfway Home (The Studio Sessions). © 2020 Big Machine Label Group, LLChttp://vevo.ly/srkwKE. ... <看更多>
halfway studio 在 Halfway Studio | Taipei - Facebook 的推薦與評價
Halfway Studio, Taipei, Taiwan. 427 likes · 2 talking about this. 由一群年輕人組成,希望可以將酒精路跑活動帶到更高層次,以系統化、多. ... <看更多>