關於 studio five photography ，我們在網路上蒐集到這些相關的討論、資訊與評價

“傍晚好〜主人”

晚餐吃了吗？

2021年第一个月份的KoFi Reward主题是半透明女仆哟
由于一月是鱿鱼的生日月份，凡是这个月有支持我的KoFi五杯或以上的草莓酸奶，将额外得到我的自拍照〜不要错过了哦〜

还有，这来临的星期五我将回来我的脸书游戏直播，记得来看呀！（´｡•ω•｡`）♡

"Good evening~ Master"

Have you had dinner?

First month of 2021 KoFi Reward will come with Meido Concept.
January is Yuii’s birthday month, support five of more cups of strawberry yogurt on my KoFi will get some extra selfie from me ~ Don't miss the chance~

Also, this coming Friday I will come back to my Friday Night With Yuii gaming live, mark down your calender and come have fun! (´｡• ω •｡`) ♡

P.s. thank you Studio14 - Themed Photography Studio for letting me taking selfie here 😝

好想念外拍的日子啊，库存快没了啊( ´•̥̥̥ω•̥̥̥` )
好多cosplan都堆在家里没得拍也不敢买新的了！希望赶快回复正常让我去拍拍拍！
然后希望明年能够有event，我好想念去event的日子啊！
是说最近我一直更新Ko-Fi你们会不会觉得烦啊，不可以嫌弃我啊( ´•̥̥̥ω•̥̥̥` )

这里又有一个消息要告诉你，还有五天我的小恶魔图组Ko-Fi就截止了
只要在15号之前购买五杯Ko-Fi或另加三杯Top up CP图，并留言说是要小恶魔图组就可以了~
如果15号过后你才想买回我的恶魔图组，就要去Ko-Fi shop找了，不过相对的价位会比较贵一点点><

好啦，这里丢两张cp图来吸引眼光一下(✧v✧)

I really miss the days of photoshooting, my photo stock is almost empty (´•̥̥̥ω•̥̥̥`)
A lot of cosplans are piled up at home and I don’t dare to buy new ones if I din shoot them! Hope to get back to normal soon and let me go photoshooting!
Then I hope there will be an event next year. I miss the day when I go to the event!
By the way,I have been updating Ko-Fi recently, will you feel annoying? Don’t dislike me (´•̥̥̥ω•̥̥̥`)

Here is another news to tell you that my little devil photo set in Ko-Fi will expire in five days
Just buy five cups of Ko-Fi or top up another three cups of Ko-Fi for CP pictures before the 15th November, and leave a message saying that you want the little devil photoset~
If you want to buy my little demon photoset after the 15th November, you have to go to the Ko-Fi shop to find it, but the price will be a little more expensive><

Alright, here are some cp picture to attract your attention (✧v✧)

Devil cp Eevon貓草 - Cosplay
photo by ZON Photography
Studio at Sotplugs Studio
----------------------------
Instagram
❤https://www.instagram.com/yuicchi_0x0/
Ko-FI
❤https://ko-fi.com/yuuweeyuicchi
E-mail
❤[email protected]
Others:
❤https://linktr.ee/yuicchi_0x0

【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

Our BIG (Massive) DAY with Tea Ceremony in the morning, Bridal Party activities following this, Wedding Photoshoots prior to and after the Wedding Ceremony and a Reception of drunken dancing and fun!!!

What was originally planned as a 10hrs wedding photo & video package turned into a 14hrs wedding day.

Thoughout the day, my bridemaids and I had five dress changes, John had three and the groomsmen had two dress changes...each time we looked just as beautiful as before~~!!

It's our choice how to live the rest of our life.
STAY STUNNING & LOVE TO BE CONTINUED!!

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THIS VIDEO IS DIRECTED BY IRENE SHUM & EDITED BY J'adore Wedding Videos & Photography Gold Coast

PLEASE SUBSCRIBE FOR WEEKLY VIDEOS
如果喜歡，請即訂閱我的頻道，謝謝支持！！

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W E D D I N G D E T A I L

Wedding venue? InterContinental Sanctuary Cove Resort
Photographer & Videographer?? Jadore Wedding @ Gold Coast
Pre-wedding photo shoots? Tinted Photography @ New Zealand
Makeup & Hair Artist?Tu Li @ Sydney Heyday Studio
Florist?Shelia Chan @ Brisbane
Wedding cake? Nancy Ho @ Brisbane
Venue decoration?Style on Q @ Brisbane (not suggested, extremely disappointed)
DJ & photobooth? Gold Coast DJ Entertainment
Entrance transportation? Drayhorse Shires Carriages @ Gold Coast
Wedding Dress??ISA衣紗婚紗禮服深圳 @ China
Chinese Transitional Dress @ Alibaba-Taobao
Reception Dress (White) @ Alibaba-Taobao
Toast Dress (Red) @ Alibaba-Taobao

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W A T C H M O R E

Our Pre-Wedding Video 婚禮開場 | 成長片段
https://www.youtube.com/watch?v=fzJ5gtHj1g4

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F O L L O W M E

♥ youtube: http://www.youtube.com/irenebblui
♥ instagram: http://www.Instagram.com/ireneshumny
♥ 微博：http://www.weibo.com/ireneshum?is_all=1
♥ 小红书：Irene沈雅欣

Yuna – “Amy” (Studio Performance)

Yuna’s smoldering vocals have powered her through nine projects across her career, including her impressive new album, ‘Rouge.' More collaborative than her past works, ‘Rouge’ features a handful of guest artists. Tyler, The Creator makes his presence known on the opener “Castaway” and Jay Park brings an international flare to “Does She.” The breakout hit, “Blank Marquee,” pulls in G-Eazy. The Malaysian singer/songwriter with the dreamy voice brings some romantic soul to "Amy," another key cut from 'Rouge.' She recently visited the Vevo studios and glided through a shimmering version of the song. Share it with a pal.

Watch music videos by Yuna: https://bit.ly/2kk5Kci

Executive Producer: Micah Bickham
Director: Blaine Dunkley
Producer: Maddy Schmidt
Director of Photography: Blaine Dunkley
Editor: Ramy Elsokary
Music & Talent: Parul Chokshi, David McTiernan

Vevo
http://www.facebook.com/Vevo
http://www.twitter.com/Vevo
http://instagram.com/Vevo

Yuna
http://www.facebook.com/yunamusic
http://twitter.com/yunamusic
http://instagram.com/yuna

#Yuna #YunaLive #YunaAmy

http://vevo.ly/bACQHN

【I Dare U To】the leading song for this album, is also the commercial theme song for the latest range of products, Töush, inspired by the well-established electrical brand, Pensonic. The song was written especially for Natalia by renowned music producer Percy Phang inspired by the Western Pop genre that was made to suit her style and personality.

The MV is lively, visually rich and fashion forward with hints of futurism, which set designs and themes were largely inspired by the epic science fiction film, 2001: A Space Odyssey, Directed by Stanley Kubrick. This MV’s aim was to take a playful twist on how the advance Töush technology is as good as 5 strong men completing household chores, every housewife’s dream. The cast that boasts international allurement introduces five talented and stunningly good looking models including Andy Oshima (ex-national volleyball player turned model of Belgian and Japanese descent), Henrique Fukuoka (supermodel of Japanese and Brazilian descent), Mason Roberts (Australian model turned artistic painter), Benjamin Hori (supermodel of Japanese and Canadian descent), and Sampei Okuno (Japanese model and musician). The cast flew in from cities across the globe; Shanghai, Australia, Taiwan, Canada, and Japan, for the filming of this music video.

On a deeper lyrical note, Percy and Natalia wrote this song with the idea that due to Natalia’s ambitious and confident demeanor, she tends to appear intimidating. The song was to encourage future prospects to dare to step up to the plate, break down her walls and fight for her, because behind all that strong exterior, she’s really just an easy-going goofball.

【I Dare U To】 是一首由知名音乐人彭学斌根据Natalia的风格量身打造的Western Pop 风格歌曲，是本次专辑的主打歌，也是Pensonic主推的新系列产品Töush的代言歌曲。

【I Dare U To】 MV可说是充满着满满的视觉享受，时尚感及未来感，因为场景及服装设计的主要灵感就是来自电影大师Stanley Cubrick的作品《太空漫游》。MV中一共五名壮男，以展示在Töush科技下的家电就如壮男般帅气且智能地完成家务，实现每一位家庭主妇的梦想。这无名壮男分别由五名名模所扮演，其中包括Andy Oshima（前排球选手，现为模特，日本比利时混血）；Henrique Fukuoka （名模，日本巴西混血）；Mason Roberts （澳洲名模，现为艺术画家）；Benjamin Hori（日本加拿大混血名模）；Sampei Okuno（日本模特，音乐家）。他们分别从上海、澳洲、台湾、加拿大及日本到来进行本次拍摄。在这强大的演员卡司下，可是大大提升了本MV的视觉享受。

在歌词方面，可看到Natalia希望未来的对方可勇敢地踏出那一步，打动她的心房并且为她战斗，因为在一切坚强的外表下，她也拥有一颗少女心。

【I Dare U To】 is available for stream or download 可在此下载:
1.iTunes / Apple Music: https://music.apple.com/my/album/i-dare-u-to-ep/1475467463
2.Spotify: https://open.spotify.com/album/5gcr43Mi3ABi3LTjax6ZiL?si=eju4QA4OSWikEyNXvssZPA
3.KKBOX : https://kkbox.fm/3U4TRz
4.JOOX: https://www.joox.com/my-zh_cn/album/pGVLequCylK0gWLYWsG29A==
5.MOOV: https://moov.hk/#/album/VATH00501125A
6.Friday音乐 : https://omusic.friday.tw/albumpage.php?album_id=1704880 (Taiwan platform)
7.QQ音乐：https://y.qq.com/n/yqq/album/002yCVIk1oWNPI.html#stat=y_new.singer.index.album_name (China platform)
8.千千音乐：http://music.taihe.com/album/664196818 (China platform)
9.网易云音乐：https://music.163.com/#/album?id=80831543 (China platform)
10. 酷我音乐：http://www.kuwo.cn/album_detail/10493891 (China platform)
11.微博音乐: https://weibo.com/p/10151501_65196845 (China platform)

更多Natalia Ng 黄彩菱相关资讯：
Connect further with Natalia 黄彩菱:
Website: http://www.nataliangofficial.com/
Facebook: https://www.facebook.com/nataliangoff...
Instagram: https://www.instagram.com/natalia__ng/
微博: https://weibo.com/u/5744128666
抖音: http://v.douyin.com/RFR5rS/


I Dare U To
词 : （中文词）彭学斌 / （英文词）Natalia
曲 / 制作：彭学斌 @ 口袋音乐 Percy Phang
编曲：帼航 Hanzz / 陈韦汐@口袋音乐

我不知道你的过去 是如何伤害你
我只知道你的现在 有我在陪伴你
想得太多 会变得 容易怀疑
难道你看不出 我眼神中的确定？

你不相信永远这事 到底有多可信
你不相信因为那些 不完美的结局
时间飞快 难道我那么用力
还无法动摇你

( I Dare U To ) Open Up Your Heart, Open Wide
( I Dare U To ) Say You’ll Fight For Me, Say You’ll Try
( I Dare U To ) Don’t Let Go, Don’t Let This Slip By
Break Down My Walls And Tell Me That You’ll Stay Through The Night

( I Dare U To ) 让爱再次为我澎湃
( I Dare U To ) 把你的真心掏出来
( I Dare U To ) 紧握了手就不放开
让我的等待一直在 幸福的路口徘徊

Presented by Pensonic and JN Entertainment
由Pensonic 及 JN Entertainment 呈现
Singer歌手 & English Lyrics 英文歌词: Natalia Ng 黄彩菱
Composed作曲 & Chinese Lyrics 华文歌词: Percy Phang 彭学斌
Director of Photography 摄影师: Carmen Lee
Creative Direction 创意指导: Leslie Kee
Line Producer制片人: TK Cheng
Executive Produced 执行制片人: Nelson Chew, Jamie Ng
Assistant Line Producer制片助理: Amber Ooi, Ariel Siow, Don
Art Director美术指导: Too Wen Huei
Gaffe灯光师r: Vincent Chai
Stylist造型师: Weechee
Wardrobe Stylist Assistant服装造型师: Jill
Natalia’s Makeup Artist Natalia’s化妆师: Kevin Lee
Natalia’s Hair Stylist Natalia’s发型师: Bibian Leong
Cyborg Makeup Artist特效化妆师: Kenji Sato
Cyborg Hair Stylist特效发型师: Tatsuya Suzuki
Editor剪辑: Carmen Lee
BTS Videographer幕后影片: Ryutaro Hori, View East Creative
BTS Photographer幕后照片: Carol Leong, Rinesh Timoga
Natalia’s Assistant Natalia’s 助理: Eunice Ng, Yuki Okuno
Music Arrangement 编曲 : Hanzz 陈韦汐
Harmony Singer/ Writter 和音编写/和音 : Irene Sow, Natalia Ng
Sound Engineer 录音师 : Hanzz 陈韦汐
Mixer 混音师: Billy Ong
Recording Studio 录音/混音室: Bosh Production Studio
Op: Pocket Music Production

#NataliaIDareUTo #NataliaxTöush #IDareUToMV