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

Deep VI Photographer #1
นัท สุมนเตมีย์
Nat Sumanatemeya
Nat Sumanatemeya Fanpage

หลายๆคนคงรู้จักพี่นัทมาก่อนแล้ว ด้วยประสบการณ์อย่างโชกโชนในบรรดาพวกเราทั้งหมด เลยขอแนะนำเป็นคนแรกเลย มาพบกับ 6 คำถามที่น่าจะทำให้รู้จักพี่นัทมากขึ้น รึเปล่านะ🤣

Q:ดำน้ำมากี่ไดฟ์แล้ว
A:ดำน้ำมาเกือบสามสิบปีแล้ว แต่เป็นนักดำน้ำที่นิสัยไม่ดีไม่ได้จด Log Book ไว้ตั้งแต่ไดฟ์ที่ 5 ถ่ายภาพมาตั้งแต่สมัยกล้องยังเป็นกล้องฟิล์ม ที่ยังต้องกะระยะโฟกัสแบบเดาๆเอา ครับ😮😮😮

Q:ชอบที่ไหนมากที่สุด?
A:ชอบสิมิลันเมื่อยี่สิบปีก่อน ตอนเจอภรรยาครับ ❤️😍

Q:ถ้าไปทริปช่วงนี้แล้วไม่เจอฉลามวาฬ คุณจะบอกเพื่อนนักดำน้ำว่าไง?
A:ผมเจอฉลามวาฬครั้งแรก หลังจากที่ดำน้ำมาเกือบ 5 ปีครับ 😜

Q:เทียบการดำน้ำของคุณกับเพลงคือเพลงอะไร?
A:ปลาวาฬเกยตื้นครับ... รักก็คือรัก หลงก็คือหลง ถามปลากะมงก็คงไม่เข้าใจ...🐳🐟🎶

Q:ประสบการณ์ดำน้ำที่เลวร้ายที่สุด?
A:ลงน้ำไปพร้อมกับกล้องตัวใหม่แล้วมีน้ำอยู่ในกล้อง 😭

Q:ที่สุดของประสบการณ์การทำงานถ่ายภาพใต้น้ำคืออะไร?
A:เอ่อ คือ...to be continued

ถ้าอยากรู้คำตอบข้อสุดท้าย ขอเชิญพบกับพวกเราทีมDeep VI กับหนังสือThe 8th Continent ได้บนเวทีในงานThailand Dive Expo(TDEX)2020 ที่Bitec Bangna Hall106 Thailand Dive Expo (TDEX)

หัวข้อ
"6 ที่สุดกับการทำงาน The 8th Continent"
วันเสาร์ที่ 3 ตุลาคม 2563 เวลา 12:00 - 12:45
เปิดจองPre-order หนังสือ The 8th Continent ได้ในงานTDEX

แล้วพบกันที่งานTDEX 1-4 ต.ค.2563 อาทิตย์หน้านี้แล้วครับ

#DeepVIPhoto #the8thcontinent
Deep VI Photographer #1
Natsumetemi
Nat Sumanatemeya
@[297623158447:274:Nat Sumanatemeya Fanpage]

Many of you know Sister Nut, with the extensive experience among all of us. Let me introduce you first. 6 questions that should make you know Nut more. 🤣

Q: How many dives have come?
A: diving for almost thirty years. But it's a bad diver. I haven't recorded Log Book since the 5th drive. I have taken photos since the camera. It's also a film camera that has to be with a guessing focus. 😮😮😮

Q: Where do you like most?
A: I like Milan, twenty years ago when I met my wife. ❤️😍

Q: If you go on a trip lately and you don't see a whale shark, what would you say to your fellow diver?
A: I met whale shark for the first time after diving for almost 5 years. 😜

Q: What song is your diving with music?
A: Whale is stranded.... Love is love. Love is love. If you ask for a fish, you won't understand... 🐳🐟🎶

Q: Worst diving experience?
A: Water with a new camera and water in the camera 😭

Q: What is the best of underwater photography experience?
A: well... to be continued

If you want to know the final answer, you can meet us, Team Deep VI and Book The 8th Content on stage in Thailand Dive Expo (TDEX) 2020 at Bitec Bangna Hall106 @[145305755532669:274:Thailand Dive Expo (TDEX)]

Topics
′′ The 6 best with working The 8th Continent ′′
Saturday, October 3, 2563 at 12:00-12:45
Open for pre-order book The 8th Content at TDEX event.

Let's meet at TDEX 1-4th. 2563 next week is this.

#DeepVIPhoto #the8thcontinentTranslated

【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

[Attractive Contest By Sony]

Many of you were asking me what's my secret weapon for taking the beautiful shots in Africa. Well, I believe it's time to unveil my "weapon". 💪😍

The Sony a7iii full frame mirrorless is my baby capturing all the beautiful photos in my recent trip to Africa! ❤👍🏻

Now you can learn more about Sony's mirrorless camera as the Sony Alpha Universe event was created to give visitors an opportunity to learn more about mirrorless camera technology and how it is revolutionising photography. 😎👍🏻

This event will be taking place from 30 October – 4 November 2018 at Plaza Singapura Atrium. It's educational and fun. You can interact with the exhibits and beef up your photography skills from the mini workshops, ultimately up your game on instagram! I had so much fun with my editor at the event! ❤👍🏻

What's more? You will get a chance to win a Sony A7 II kit worth $2,549 by publishing an Instagram post highlighting your event experience and a photo that best captures that experience.

(How to do it?)

Visit the pop-up at Plaza Singapura Atrium, and take a snapshot of the exhibition that brings your event experience to life.

Upload the photo on Instagram along with a description of your event experience and include #SonyAlphaSG, @SonySingapore and @travelinspiration360 in the caption. .
5 followers with the most creative photo will receive a goodie bag containing exclusive Sony merchandise upon your selection.

Sony will announce the winners by mid November 2018.

What are you waiting for? Also check out my instastory for my experience! 😍👍🏻

Keith Yuen

#contestsg #sgcontest #giveawaysg #sggiveaway #sonysingapore #a7iii #giveaway #contest @ Plaza Singapura

My first impression on using the brand new Zhiyun Weebill-S compact tiny gimbal that can handle heavy loads, have quite a lot of improvements over the original Weebill Lab, making its more user friendly with its AUTO TUNE setting to improve stability, but also advanced setting to change control and follow rate improving the handling of the gimbal.

Purchase Weebill-s on Amazon - https://amzn.to/33Bk9lg

Check more info and camera compatibility on here:
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This episode is filmed with:
Panasonic G7 - https://amzn.to/35no6f0
Laowa 7.5mm f2 - https://amzn.to/2M4DaGJ
25mm f1.8 - https://amzn.to/2ODA26v
Nikon Z6 - https://amzn.to/2B25dAl
Nikon 24-70mm f2.8 - https://amzn.to/329bC8C
Manfrotto Befree live - https://amzn.to/2MAQ7qX
Yongnuo YN360 - https://amzn.to/316u6W3
Zeapon - https://amzn.to/33nLRSg

Edited with Adobe Premiere Pro - http://goo.gl/k2EagF

If you appreciate what I do, you can support me by donating any amount here on paypal:
http://paypal.me/ChungDha

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Chung Dha © 2019 Tsuen Wan, Hong Kong

今年春末，緩緩將在小教堂場域嘗試搖滾樂演出，並加入電子/合成器新編制，共有十餘首未曝光創作，三種氛圍演出橋段設計，請聽眾感受視覺與聽覺上如夢境般的幻密感，邀請您一起來參與！

售票網址：https://www.accupass.com/event/1903210858271350509212

➯ 日期｜2019／05／24（五）
➯ 時間｜19:00進場／ 19:30 開演
➯ 地點｜臺大雅頌坊 (臺北市羅斯福路四段一號)
➯ 票價｜四人預售套票 1600 單人預售 450


凡報名本活動，
即可免費參加緩緩精巧策劃的【4/20不插電暖身活動】
限額30名！欲購從速！

◤ 緩 緩 𝙃𝙪𝙖𝙣 𝙃𝙪𝙖𝙣 - 𝙄𝙣𝙙𝙞𝙚𝙥𝙤𝙥 ◢
　
　　『 那畫面快得倏忽而過
　
　　　但已足夠慢到我忘不了 』
　
　　送給在追求路上跌跌撞撞的我們。
———————————————————————
Indiepop


I stand alone
On the top of hill
There I see my vision crossed

Too fast to catch
Too slow to forget
Since then I’ve gotta find what’s glossed

Radiohead
Sings all time favorite
Like a punch hit in my face

Mercury Rev
Spins the wrong way all day
Just like me
I’m always late

So it drives you crazy makes you bleeding in your art
Is it gonna be exactly what you want?
So you turn around and cross your fingers in your heart
Did you see the roses in your tongue?

So sad you make a lot of money but no one tells you what you really gonna do
So sad you know what to do but no one gives a shit and no one wanna pay you cash
Hold on, which side do you stand for?
Yourself or for those dump people
Hold on, which way do you wanna go?
Left or right to some place belong to you

It drives you crazy makes you bleeding in your art
Is it gonna be exactly what you want
So you turn around and cross your fingers in your heart
Did you see the roses in your tongue?


製作人 Producer | 林易祺 LNiCH、蕭戎雯 Coco Hsiao
詞／曲 Songwriter | 蕭戎雯 Coco Hsiao
編曲 Music Arranger | 緩緩 Huan Huan

主唱 Vocal | 蕭戎雯 Coco Hsiao
電吉他 Electric Guitar | 徐聖瑋 Sheng Wei Hsu
電吉他 Electric Guitar | 蕭戎雯 Coco Hsiao
電貝斯 Electric Bass | 黃柏豪 Christopher Huang
爵士鼓 Drums | 彭一珍 Yi Jen Peng
和聲 Background Vocals | 蕭戎雯 Coco Hsiao
和聲 Background Vocals | 黃元懋 Yuan Mao Huang
和聲 Background Vocals | 徐聖瑋 Sheng Wei Hsu

錄音師 Recording Engineer | 徐振揚 Jason Hsu
錄音師 Recording Engineer | 陳以霖 Yi Lin Chen
錄音協力 Recording Assistant | 莊鈞智 Thomas Chuang
錄音協力 Recording Assistant | 林易祺 LNiCH
混音師 Mixing Engineer | 莊鈞智 Thomas Chuang
母帶後製 Mastering Engineer | Matt Colton @ Alchemy Mastering

——————————————————————————

演員 Actor | 楊哲維 Peter Yang
演員 Actress | 何諭函 Ivon Ho

製片 Producer | 陳品佳 Cookie Chen
製片 Producer | 陳詠雙 Chen Yung Shuang
製片助理 Production Assistant | 陳祐民 Chen You Min
製片助理 Production Assistant | 溫肇鈺 Wen Zhao You
製片助理 Production Assistant | 郭毅賢 Kuo Yi Hsien

導演 Director | 黃元懋 Huang Yuan Ｍao

攝影指導 Director Of Photography | 張荷澤 Hogan Chang
攝影大助 1st Assistant Camera | 江勁毅 Chin Yi Chiang
攝影大助 1st Assistant Camera | 楊皓程 Vito Yang
攝影助理 Assistant Camera | 胡晉瑋 Chin We Hu
攝影助理 Assistant Camera | 黃雨柔 Yu Rou Huang
攝影器材 Photographic Equipment | 妄想機影音製作 Mirager Production House

燈光指導 Gaffer | 林余璠 Yu Fan Lin
燈光大助 Best Boy | 羅巧珺 Qiao Jun Loh (Marilyn)
燈光助理 Lighting Technician | 黃尊暉 Munez Huang
燈光助理 Lighting Technician | 江秉彰 Jiang Bing Jhang
燈光器材 Light Equipment | 妄想機影音製作 Mirager Production House
燈光器材 Light Equipment | 靠北影像工作室Cowbell Film Studio

服裝造型 Costumer | 王禎旎 Aura Wang
妝髮 Makeup/Hairstyle | 王芷婷 Zhi-Ting Wang
妝髮 Makeup/Hairstyle | 王茜茜 Chien-chien Wang

動作指導 Action Director | 黃泰維 Teddy Ray Huang

剪接 Editor | 黃元懋 Huang Yuan Ｍao
調光 Colorist | 姚良奇 Yao

臨時演員 Extra |
王耀璘、余信東、黃裕閔、曾上杰
趙子翔、郭鈞涵、范詠琪、楊惇安

特別感謝 Special Thanks |
傅聖銘、傅崑閔、林嘉葦、余得如、鄭翔鴻
傳統檳榔、宏典當鋪、湖濱大飯店＆一樓小吃部
桃園協拍、草口未影像工作室、早雨早晴影像工作室

In this video I am going to explain why a photographer often count "3,2,1... cheese" and then take a photo instead of just directly taking a picture and not wast time, as most people can strike a pose directly without needing 3 seconds to do so. The reason is often affordable camera flashes have a slow refresh rate and often take up to 3-4 seconds to recharge. They often use the count down to mostly give their flash enough time to recharge and not having to explain to the clients that they were waiting for the flash to charge each time they took a picture.

Profoto A1 - http://amzn.to/2tnU4ZJ
Yongnuo YN685 - http://amzn.to/2tkQpvA

This video filmed with:
Panasonic GH5 - http://amzn.to/2FIkQ01
Panasonic 7-14mm f4 - http://amzn.to/2FHbgL6
Sandisk Extreme Pro 256gb SDXC - http://amzn.to/2BYUW5U
Rode Smartlav - http://amzn.to/2E2R5uM
Manfrotto compact action - http://amzn.to/2GKPjfg
Yongnuo YN608 Ringlight 5500k - http://amzn.to/2EBAZFb

Edited with Adobe Premiere Pro - http://goo.gl/k2EagF

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Video Schedule:
#MusicMonday - Is all about audio, review / test audio equipement or showcase music that I like.
#TimelineTuesday - Video Editing tutorials
#WisdomWednesday - Review, Tips or Tutorials about filmmaking
#ThrowbackThursday / #TBT - Talking about old camera gear
#FeatureFriday - I will feature a professional, who I will interview or ask about techniques and development in the world of filmmaking. Or I will showcase products I find useful at the moment.

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Hi! My name is Chung Dha, if you ever meet me IRL you can also say Jona. I am a Photographer, Awards winning Filmmaker and Graphic Designer from Rotterdam,The Netherlands. This channel is all about information, tutorials and more to help filmmakers and I personally like to checkout new tech and even make my own. Other things you will find on this channel are a lot of editing tutorials, travel vlogs and DIY tutorials. If you want to know what I am doing or be posted of the next video, subscribe to my channel or follow me on my other social media.

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