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

#葉郎每日讀報 #娛樂新知揀三條

1.暑假檔不可能的任務7將再延一年出任務
2.美國電視台批評尼爾森低估收視率數據
3.Taylor Swift用重錄舊歌對抗舊歌的新東家
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▼ 1.Paramount Postponements Show Studio Can’t Afford to Lose on Tom Cruise（https://flip.it/.CCuEO）
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Paramount 發佈了一系列檔期調度，除了讓大家知道原來真的有一部新的 Star Trek 星艦電影在檔期表之外，最值得注意的還是大量撤走了今年預計發行的大片，尤其是 Tom Cruise 的《Mission Impossible 不可能的任務》河《Top Gun 捍衛戰士》續集。這個動作最不尋常之處是上週《Godzilla vs. Kong 哥吉拉大戰金剛》已經創下疫情以來最佳票房，Sony 和 Universal 也都在陸續將原本延後的檔期再往前提。Paramount 已經是今年目前為止唯一還沒有在電影院發行任何電影的好萊塢大片廠，如今又再度騰空暑假檔，使該公司幾乎快要從今年的檔期表上消失。Paramount 的理由大概是不想得罪 Tom Cruise 也不想要讓 Tom Cruise 這些IP價值很高的系列電影受到損傷。但他們這個決策也有很高的財務壓力：選擇不賣給串流也不在今年上映，將使他們的資金成本（利息）一直堆高；另一方面這些 Tom Cruise 大片上映日期延後，也會使這幾部電影上架到 Paramount+ 的時間再度往後延，讓該串流服務的內容荒處境更為艱難。
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▼2. Networks, Distributors Blast Nielsen For COVID Response That Caused Plunge In TV Usage Numbers（https://flip.it/_Qykqy）
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代表美國各大電視網的 VBA 美國影音廣告協會發表聲明指控 Nielsen 尼爾森的收視率調查機制失靈，低估收視的狀況，使電視台和廣告主無法正確評估收視率受到疫情影響的真正災情。VBA 表示一年前美國疫情開始蔓延之後，尼爾森的電視收視率調查樣本數就開始下滑，而尼爾森未能前往調查用戶的家中檢視統計設備使用狀況。這個技術問題使得各電視台節目的收視率被低估。許多電視台在去年夏天就開始注意到收視統計的異狀，然後迄今尼爾森都無法提出真正改善的方法。雖然電視業原本就有預期觀眾正在逐年轉移到串流平台上，但如今欠缺精確數據使他們難以真正掌握下滑的嚴重程度。尼爾森則發表聲明指出他們對自己的統計數據非常有信心，並持續專注改善統計設備的狀態。
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▼ 3. How Taylor Swift’s ‘Fearless (Taylor’s Version)’ Fared on Streaming Platforms Its First Day Out（https://flip.it/g0-lfm）
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Kanye West 的經紀人Scooter Braun 先前以 3～3.5億左右的價格買下歌手 Tyler Swift 先前所屬的唱片公司Big MachineDisney ，緊接著又以4億美元將 Swift 2018年之前所有的錄音著作權（含母帶）脫手給家族成員 Roy E. Disney（Walt Disney 的侄子）的私募基金 Shamrock Capital 。氣憤的 Taylor Swift 當時揚言自己將在短期內重錄被買走的歌曲，藉以破壞那些在別人手上的錄音著作價值。結果她果然說到做到，在本週發行第一張重錄的舊歌曲專輯《Fearless (Taylor’s Version)》，並且隨即登上各串流排行榜冠軍。Swift 的目的是引導喜歡她舊作的樂迷來聽新錄音的版本，確保那些覬覦串流收益而以高價搶走就舊作版權的投資客收不到太多版稅。Swift 同時確保這些新錄製的歌曲的錄音著作權歸屬於自己，再也不會變成投資客炒作交易的對象。

#谷Live新歌速遞
吳浩康 Deep Ng feat. FAMA 農夫 -《農民Remake》
https://youtu.be/pz1SLHEKV-E

「農夫當然要唱《農民》啦!」Deep與農夫笑道。但說到促成三人今次合作的真正原因，是因爲Deep想做一首關於友情的歌，但幾個男人聊友情又覺得太肉麻，因為男人的友情並不是用口說出來的，大家關係好的話根本用不著說出來。Deep想形容朋友之間見面的狀況和不能見面的掛念，而《農民》中的歌詞意境就很適合。「見面再喝到了薰醉」，大家見面先來乾一杯，「是與非過眼似煙吹 笑淚滲進了老井裡」 甚麼是是非非、傷心的事情也不用多講，就已經心照不宣。

對於Beyond的《農民》相信大家都不會陌生，而新歌《農民Remake (feat.農夫)》加入了農夫創作的Rap詞，跟Deep對唱，正正與原有的歌詞互相呼應，一起歌頌男人真摯的友誼。

今次除了是三人首次合作外，更是C君第一次以個人身份為其他歌手監製。C君形容：「這首歌對我很重要，整個製作滿足了我三個願望。自己本來有一個監製團隊，而今次終於可以獨立為人監製歌曲，有一種畢業的感覺。另外其實一直很喜歡這首歌的旋律和意境，很想翻唱，但無奈自己和陸永都不擅長唱歌，多得有Deep才能成就這第二個願望。而第三個願望就要多謝英皇的資金支持，容許我用專業的studio，有全世界其中一枝最貴的咪，連天王巨星也是用它來錄音。可以一嚐使用頂級器材的滋味，真是回味無窮。」

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唱片公司：Universal Music
作曲：黃家駒
填詞：劉卓輝 (Rap lyrics:農夫)
編曲：C君/咖啡因公園
監製：C君

#吳浩康 #DeepNg #農夫 #FAMA #農民Remake
#香港製造 #MadeInHongKong #香港人撐香港音樂
#2020新歌 #新歌 #廣東歌 #2020廣東歌
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【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

Đông Nhi - Khóc | Liveshow Ten On Ten
#dongnhi #liveshow #tenonten

Dong Nhi Official YouTube Channel
Starring: Đông Nhi
Executive Producer: 6th Sense Entertainment JSC

General Director: Hồ Hoài Anh
Production Manager: Đông Nhi
Music Director: Đỗ Hiếu
Bpm band
1. Thành Chu - Playback/Midi Tech
2. Em Fatb - violin
3. Tuấn Chess - Keys
4. Tùng Phan - Piano & Keyboard
5. Hoà ất - Guitar
6. Kenz - Bass Guitar & Synthesizer
7. Hùng Cường : Drums - Band Leader

Composer: Đỗ Hiếu, Đông Nhi, Huỳnh Hiền Năng, Only C, Nguyễn Hoàng Tôn, Toof.P, Lục Huy
Arrangers: Đỗ Hiếu, Huỳnh Hiền Năng, Lê Anh Dũng, Addy Trần, Nghị Martin, LAB team, Trần Lê Quang, Đoàn Minh Vũ, Mickey, Nguyễn Anh Vũ
Mix & Master: Đỗ Hiếu, Huỳnh Hiền Năng, Văn Thiên Hạnh
Recording: MaxPro Studio
Guitarist: Trịnh Vũ
Liveshow Editor: Tôn Ngộ Độc
Backstage Editor: Huy Hoang Huynh

Art Director: Trí Nghĩa
Fashion Director: Alex Fox
Choreographers: Lan Nhi - Dương Anh Mỹ
Dance Crews: Bước Nhảy, Oh Dance Team, Game On Crew, S4 Crew
Dancers: 60 people
Photographers: Kieng Can Studio, Kim Bánh Trôi Nước
Designer: Tôn Ngộ Độc
STYLIST: Nhật Thiện
Stylist Assistants: Gia Kỳ, Võ Ngọc, Linh Linh, Hoàng Tuyết,Usagi Nguyễn
Costume: Lê Thanh Hoà, Chung Thanh Phong, Nguyễn Tiến Truyển, Đắc Thắng, lý giám Tiền
M.U.A: team Minh Lộc
Printing: Trần Hân

Artist Manager: Ngân Mai
Executive Supervisor : Vân Anh
Media Director: Vĩnh Duy - D Group Media
Marketing Director: Hiển Bùi
Artist Assistant: Micjoong
Backstage Managers: Phạm Beo, Mika Le, Hiệp Bo, Hermy Meo, Candy My, Nguyễn Trung Đức, Nguyễn Hoài Phương
Financial Staffs: Tuyền Virux, Hoài Nguyễn, Hà Phương Thảo, Ngọc Hạnh
Chefs: Trang Nguyễn, Truc Ly
Supporters: Quỳnh Nguyễn, Khang Nguyễn, Thư Ngô, Mai Hương, Lan Hương, Yo Nguyễn, Quy Luong
Fanclub Manager: Trần Hân

Liveshow Production
Executive Producer : Nguyễn Trí Tài
Executive Supervisor: Trần Sỹ
Producer: Vân Nguyễn
Stage Supervisors: Ngô Ngọc Tú, Huy Nguyễn
Backstge Supervisors: Nguyễn Thu Trang, Huyền Nguyễn
Production Assistants: Anh Kiệt, Văn Hùng, Jean Nguyễn, Trần Hưng
Sound: Nghĩa
Lighting: Bùi Quang Trọng
Screen: Thuý show
Stage Designer: Trần Sỹ
Graphic Designers: Sơn Đào, Minh Thương , Kiều Hương
Art Designers: Tùng monkey, ekip Motix, Vương Quốc Tuấn
Recording team: Zoom Media
Stage: Lữ Nhạc
Sound Engineers: Doãn Chí Nghĩa, Hoàng Lê Hải, Toàn Smith, Quốc Huy, Trần Bình
Sound Lighting Screen: Showtech
Supporters: Tường Duy, Mạnh Tuấn, Hoàng Sơn, Thanh Tâm, Hà Đình Công, AAB team
Production Company: AAB

Intro:
Music Producer: Huỳnh Hiền Năng
Director: Phan Lên
Producer: Sơn Hoàng
D.O.P: Phan Nguyễn
1st AD: Tùng Táo Tợn
Gaffer: Tâm ADN
Camera operator: Boy Nguyễn - Dương Nobido
Focus Puller: Tạ Toàn Thắng
Set Design: Phương Nguyễn
Producer Assistant: Thư Ngô
Editor: Tùng Táo Tợn
Color Grading: Phan Lên
Special VFX: Unn Thanh
Data: Huỳnh Hoàng Huy
Lighting & Camera Equipment: ADN - Hanoi Lens
Logistics: Thùy Nguyễn
M.U.A: Minh Lộc
Stylist: Như Nguyễn, Ti Mai

Audio Album Ten On Ten: https://open.spotify.com/album/7nKT6mGRVlK7P6JZEMIvgX
https://itunes.apple.com/us/album/ten-on-ten/1446686334

ĐÔNG NHI Official Fanpage https://web.facebook.com/dongnhi/
ĐÔNG NHI Official Instagram https://www.instagram.com/singerdongnhi/
ĐÔNG NHI Official Youtube Channel https://www.youtube.com/user/SingerDo...
6TH SENSE ENTERTAINMENT Ofiicial Fanpage https://web.facebook.com/6SEVN/
6TH SENSE Official Sale Fanpage https://www.facebook.com/shop6se/

Big Thanks to Sponsors and Media Supporters: Lazada, Pepsi, Sunsilk, Spotify, Universal, Yeah1, Kinglive, Newspaper Supporters

☞ Subscribe Kênh để ủng hộ Nhi nhé: http://yeah1.net/DongNhi
☞ Fanpage Dong Nhi : https://www.facebook.com/dongnhi
☞ Dong Nhi's G+: google.com/+SingerDongNhiOfficial

MV Official Mới Nhất của Nhi : https://goo.gl/7Otfpd
Đông Nhi Official Audio : https://goo.gl/DWR0sQ
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© Các video trên kênh " http://yeah1.net/DongNhi " đã được đăng ký bản quyền với Youtube. Vui lòng không sao chép, re-upload dưới mọi hình thức.
✖ Mọi hành vi sao chép, re-upload có thể dẫn đến việc tài khoản của bạn bị khóa vĩnh viễn.

Cảm ơn cả nhà đã và đang ủng hộ Nhi nhé. Cảm ơn FC Đông Nhi luôn đồng hành với Nhi từ trước đến nay. Chân thành cảm ơn!

Read futher info at;
https://livelifelah.com/2020/01/06/visit-8-major-attractions-in-singapore-for-less-then-rm200/

Let’s Travel to Singapore with ONLY RM135/ person from KL & RM99 from JB with Nourah Travel Daily Affordble Budget Trip. #visitSingapore

Got another RM10 off by using my code: EizzadJeffry10, what a great deal right?

And you can enjoy all day long at Singapore as u seen in my video.

The package includes;
1) Transportation KL-SG-KL / JB-SG-KL
2) Light breakfast at R&R Gelang Patah, JB
3) 1 Full day visit to Singapore’s 8 Most popular sights
4) Tour Guide which will brief you about the history & every interesting story about every each venue
5) and a travel assistant from Nourah Travel ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

Code: EIZZADJEFFRY10

So yeah, let’s book your seats now travel to Singapore with @nourahtravel happily ever after!

Next travel periods are as below; 24-25 Jan 2020
28-29 Feb 2020
27-28 Mac 2020
#NOURAHtravel
#NOURAHtravelXSingapore
@nourahtravel #EJshares

My IG:
https://instagram.com/eizzadjeffrytwenty2/

#therainvortex #jewelchangi #marinabaysands #sentosaisland #EizzadJeffry

訂閱頻道，打開小鈴鐺🔔 https://goo.gl/PFKb3d
Email ▸▸▸ courage0024@hotmail.com.tw (For business inquiries)
Facebook ▸▸▸ @gracechang602 https://goo.gl/djfMrE
Instagram ▸▸▸ @gracechang602 https://goo.gl/Edmcj4

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📍Universal Studio 環球影城
我心目中好玩設施前5名
- Studio Tour
- Harry Potter and the Forbidden Journey
- Jurassic World
- WaterWorld
- Special effects show
KKDAY 票這裡買 https://www.kkday.com/zh-tw/product/3971?cid=9178

📍Ontaril Mills
最靠近市區的outlet！地很大、品牌很多，我們花了整整一天在這裡
有購物需求可以把它列入行程喔！

📍Blue Bottles Coffee
來美國必喝的咖啡！也是目前為止在美西我喝到最好喝的～
濃醇香！大推一波

📍Angeles Flight Railway
這個景點超級小，就長在路邊！
車廂是可以上去的！每次車票一塊美金～
因為車道旁有樓梯設置～搭車上去、步行下來我覺得很剛好！

📍Eddsult
在天使鐵路對面有一個美食市集
尤其eggslut超多人推薦來美必吃的漢堡
我覺得口味上還說比較單純，但卻爽口
會想回訪！！

📍China Town
這個地方我認真覺得如果是第一次來旅行一定要結伴
因為繁華的地方相對也比較混亂！！
尤其白天會比較安全～但畢竟是知名景點
來這邊走馬看花也是蠻不錯的


#洛杉磯旅遊 #洛杉磯攻略 #美國自駕 #自駕旅遊
#洛杉磯 #環球影城 #美西自駕 #LosAngeles


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✨Grace專屬折扣碼✨

Vecs Gardenia嘉丹妮爾
折扣碼 【grace】 下單任一件商品可享85折優惠
https://bit.ly/1T4TXUX

Sudio 瑞典時尚耳機品牌
https://www.sudio.com/tw/
搭配折扣碼【gracee】全館85折！

Sigma 折扣碼 【GRACE10】
下單任一件商品可享9折優惠
https://www.sigmabeauty.com

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‣ 頻道必看大片
唇膏用完不要丟掉 https://goo.gl/mUicBe
2018十款推薦唇膏 https://youtu.be/zvFSC2z6zTY
開架回購十款好物 https://youtu.be/GcL1Nrfgy7o
32個關於我的問題 https://youtu.be/KcrONEY7LPs
超性格染髮推薦！ https://youtu.be/wFLZDLBQYHY

Hope you enjoy this video! xoxo

‣ 相機 Canon 800D
‣ 剪輯軟體 Adobe Premiere

This video is NOT sponsored.