【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
同時也有131部Youtube影片,追蹤數超過10萬的網紅MONGABONG,也在其Youtube影片中提到,Sharing with you guys a simple makeup tutorial that is super simple and versatile, great for your casual dates or zoom meetings! Let me know what y...
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small makeup box 在 Ilko Allexandroff Photography Facebook 的最佳解答
Hey, last week I did a seminar at Hong Kong, thanks to everyone! By the way here are summarized some of the topics I have been talking about! It is a long list, so when you have time feel free to check it out!
先日香港行ったときの写真ですよ〜 久しぶりにいっぱい人の前に英語で話しました〜 やっぱり英語と日本語の伝わり方違いますね!
イェーイ!
Feel free to share and ask questions!
A big thanks to our Ambassador Ilko Allexandroff Photography for sharing his #OCF #lighting tips and creativity with us at past Monday's seminar!
Attendee Vming Yan was kind enough to summarize his takeaways for the evening.
很感謝 Cactus 攝影大師 Ilko Allexandroff 於週一晚上分享他的作品和心得! 另外也感謝參加者 Vming Yan 好有心記錄低當晚的領受. (有幾個要點 Ilko 作過修正)
__________
1. 外拍盡量輕便,攜帶越少器材越好,我多數只帶一機身 + 2支鏡(24/1.4+135/2) + 2-3支機頂閃燈 + 可摺疊柔光箱 + 輕巧燈架,絕少會帶影樓燈及腳架,因為太重了。
1. For outdoor shoots, the less I bring and light-weight the better. I usually only bring one camera body, 2 lenses (24/1.4+135/2), 2 to 3 portable flashes, foldable soft box, and small light stands. Very rarely would I use studio strobes and tripod because they are too heavy.
2. 開始拍攝首要設定快門/光圈及ISO.當拍夜間人像個人習慣用ISO800,有時會用 ISO1250 或更高,F4光圈,夜拍時高ISO會特顯背景層次。
2. Before shooting I first set shutter speed, aperture and ISO. For night portraits I am used to ISO800, sometimes ISO1250 or even higher, aperture at F4. Night portraits can highlight more depth with higher ISO.
3. 個人比較喜歡拍攝前期做好所有效果, 多於後期執相,比如一些特別拍攝時,化裝及準備的時間會最長,但當正式拍攝時很快,有時幾分鐘就完成,間中迫不得已會連燈架拍進畫面,而需用Photoshop 執走。
3. I prefer spending my time on location with my team, rather than editing at home alone after that! This is especially the case for some interesting hair and make projects it takes more time for the hair / makeup preparations, which takes up most of the time, and the actual shoot is very quick - all done in a few minutes. At
times when it can't be helped I would need to shoot with the light stands and soft box in the image and photoshop it afterwards.
4. 嫌一支燈不夠 power 時,我會把幾支燈綑綁一起使用,效果不比影樓燈差,或者在 soft box 下方再加多一支燈。
4. When one portalbe flash is underpowered, I will tie a few units together and use them as one unit - it is not far from a studio strobe. Or sometimes when I am using a soft box or other modifiers I would add another flash.
5. 個人喜歡使用softbox 多過柔光傘/反光傘,因 softbox 加上網格會令光線有方向性,這是我個人喜愛的,softbox亦可收納於攝影包包內。
5. I like to use soft box more than studio umbrella because when I add a grid to a soft box the light is more directional. This is what I like. Plus, the soft box can be easily packed into my camera bag.
6. 拍攝時多和model交流,令 model 清楚明白攝影師 idea,或可說說笑話,令氣氛緩和,絕對不要說負面說話,這樣會對 model 構成壓力,對拍攝毫無幫助的。 所以,不要因為你的錯誤而令到使模特兒不好受!
6. When you shoot spend more time communicating, this will let the model clearly understands photographer's ideas for the shoot. You may also jokes with the model which will create a calm atmosphere. Never say negative things as this will give your model pressure, which doesn't help with the photoshoot. So don't make the model feel bad for the mistakes you might be taking!
7. 應熟習你的器材,記得每一顆按制的位置,能夠不用看著器材而可以改變設定,從而令拍攝更流暢,可多點時間面向model 作溝通或構圖。
7. Familiarize with your gears and remember the placement of every knob. If you can make adjustments of your gear without looking it will streamline your shoot. You will also be able to spend more time facing the model for communication and work on framing your shot.
8. 細心觀察每一個可拍攝的位置,找到別人沒有的角度。
8. Observe carefully on any possible spots and agnles in a shoot. Find one that no one else has.
9. 利用單燈已經可以做到很多效果,即使用一支燈也不代表只得一個光源,還有太陽光或其他光源(街燈或者飲品售賣機)。
9. Using a single flash can create many lighting effects; one light does not mean only one light source. There is always the sun and other sources, such as street lamps and vending machines.
10. 光圈和 ISO 主要影響閃光燈,快門對環境光影響。
10. Aperture and ISO affects on artifical light while shutter speed on ambient light.
11. 利用不同顏色 colour gel,從而改變使用閃燈拍攝時背景的色溫,而又不影響主體的顏色。
11. Use various colour gels to change colour temperature in the background without affecting the colour of the subject.
12. 很多作品利用長曝慢快門 + 後簾閃光營造特別效果,特別是帶星空的夜景或棉化的流水。
12. Many of my works use long exposures with rear curtain flash to create a special effect, especially for night portraits with stars or a flowing stream.
13. 正側光或從後側打光線,戲劇性效果通常很高。
13. Lighting directly from the side or slightly from behind usually adds drama to the picture.
14. 通常自己一個人外影,沒有助手的情況下燈架容易被風吹倒,自己會選用平腳的燈架,這樣可以放上攝影包包固定,或者去家品店購買有彈性的單車固定帶,把攝影包掛在燈架上,從而令重心改變,令燈架不易被吹倒。
14. I usually shoot alone for outdoor shoots, and as you can image without assistants light stands fall easily by the wind, so I select a flat feet light stand so I can place bags over them to stabilize the stand. Or sometimes I would use an elastic rope from local home hardware store and use it to hang my bag as a stabilizer. It is a great tool as it changes the centre of gravity and it can withstand wind much better.
15. 個人對光分5個 layer
15. My personal understanding of lights in 5 layers
Layer0: 光源在相機正上方(機頂燈)
Layer0: Light from right above the camera (on-camera flash)
Layer1: 離機燈~光源在 model 前方近距離位置
Layer1: Off-camera flash in front of model
Layer2: 離機燈~光源在 model 後方近距離位置
Layer2: Off-camera flash behind the model
Layer3: 離機燈~光源在 model 正後方位置
Layer3: Off-camera flash directly behind the model
Layer4: 利用背景不同色塊或其他光線混合營造的效果
Layer4: Use of different colours and tones in the background to create a mix of lighting effects
Layer1 和 Layer2 的組合: Cross Lighting (天然或人為光然相對效果)
Combination of Layer1 and Layer2: Cross Lighting (mix of natural and artifical lighting)
__________
再次多謝各位攝影愛好者的參與. 盼望再次同大家見面!
Thank you again to all the photography enthusiasts for participating and we look forward to meeting with you again!
購買Cactus無線引閃器,閃光燈和禮品店獨家商品請到:
Shop Cactus wireless flash triggers, portable flashes and exclusive store items at:
http://store.cactus-image.com/
small makeup box 在 MONGABONG Youtube 的最佳貼文
Sharing with you guys a simple makeup tutorial that is super simple and versatile, great for your casual dates or zoom meetings!
Let me know what you think of this look in the comments box down below! Hope you guys like it! ❤️
Products mentioned:
SKINCARE
✨Est.Lab Optimalist A+ Eye Contour Mask: https://bit.ly/3z0P3DW
HAIR
✨Dyson Corrale Hair Straightener: https://shp.ee/q8srd34
MAKEUP
?Clea De Pea Foundation (shade o20): https://bit.ly/3wTiaHD
?Marc Jacob Extra Shot (shade 180): https://bit.ly/3cfxZQV
?Charlotte Tilbury Airbrush finish setting powder (fair): https://bit.ly/3cbWLRY
?Excel Brow Pencil: https://shp.ee/i5h32hu
?Etude House Brow Volumnizer (reddish brown): https://bit.ly/3z0PRss
?Rom&nd Secret Garden Palette: https://shp.ee/ni5psdg
?Peri Para Ink V-Shading: https://shp.ee/a6yqgku
?Nars Blush (Behave): https://bit.ly/3fKYVdJ
?Shu Umera Sadaharu Aoki Paris Rouge (Ume Mousse): https://bit.ly/3pmVe0P
?Heroine Make Long & Curl Mascara: https://shp.ee/s9jm7q4
?Flowfushi Uzu Eye Opening Liquid Eyeliner (brown-black): https://shp.ee/e26t2yk
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FOLLOW ME
► Instagram: http://instagram.com/mongabong
► TikTok: www.tiktok.com/@mongabong
► Blog: www.mongabong.com
► Email: hello@mongabong.com
FAQ
Hello! My name is Mong Chin and I'm from sunny Singapore. I am 1.63m and I am Singaporean Chinese. I speak English, Mandarin and am currently learning Korean in my free time. I love all things beauty and fashion, and I also like to share my life here. I hope you guys enjoy watching my videos!
DISCLAIMER:
This video is in collaboration with Est.Lab. Some of the above links are affiliate links, which means I may earn a small fee if a sale goes through them. It does not cost you any extra and it helps to supports my lil’ channel so I can continue creating content for you all ?
small makeup box 在 木村なつみ / Natsumi Kimura Youtube 的精選貼文
やっほう
小さいバッグって本当に可愛いけどなにも入らないよね
お財布
https://www.klassica.jp/misty
メッシュポーチ
https://www.marksandweb.com/store/g/gGOAD001/
マックリップ
https://www.maccosmetics.jp/product/13854/52597/makeup/satin-lipstick
&wolfリップ
https://n-organic.com/products/S9OWZsN8QydlsEnf
マックリップ
https://www.maccosmetics.jp/product/14766/968/makeup/prep-prime-lip/prep-prime-lip
スティックファンデ
https://www.24h-cosme.jp/c/10/101/101011/P0000800
香水15ミリのやつ
https://latelierdesparfums.jp/products/bon-parfumeur-201-edp-spray
香水長細いやつ
https://www.jillstuart-floranotisjillstuart.com/site/jillstuart/g/gSJFA/
https://www.jillstuart-floranotisjillstuart.com/site/jillstuart/g/gSTFW/
レイヤードフレグランスchampagne
https://ec.layeredfragrance.com/?pid=128344359
イヤホン
https://product.rakuten.co.jp/product/-/b7c1b66230966a01d35ca743ba943169/
バッグ
https://www.ssense.com/ja-jp/women/product/sacai/black-small-pillow-box-bag/5886521?utm_campaign=SHARE&utm_medium=APP&utm_source=SSENSE&utm_term=PDP
iphone12mini
https://www.apple.com/jp/shop/buy-iphone/iphone-12
yslはめちゃ前のノベルティです
■Instagram
https://www.instagram.com/natsumi__kimura
■Twitter
https://twitter.com/natsumi__kimura
For you 所属 お仕事のお問い合わせはこちら
http://foru.co.jp/
#whatinmybag
small makeup box 在 KIM THAI Youtube 的最佳貼文
Hi friends! I hope you're having a GREAT weekend. Happy Sunday! Today's vlog is honestly SO MUCH FUN. My best friend, Michelle, and I tried NEW MAKEUP that I just bought last week. We got a chance to test our the NEW KVD Beauty GOOD APPLE FOUNDATION... wow! Let me tell you, it is FULL COVERAGE. I actually look forward to wearing it soon when I do a full face of makeup. Another product that I LOVED this weekend was from NYX Cosmetics, I cannot believe the lip gloss DID NOT come off... I had to scrub it off so hard with makeup remover that was oil based. But, how cool, right?! A lip gloss that doesn't budge! We tested out a lot more items and it was fun to do a mini makeup review with you guys! We also opened up a package from one of our subscribers, make sure you check out my PO Box address down below. I also gave up a small update on my new house and some new home decor items I just added! The rest of the weekend are all about our precious dogs and we had a SUPER FUN girl's weekend! We hope you enjoyed hanging out with us!
? MY ADDRESS:
Attn: Kim Thai Nguyen
PO Box 1160
Huntington Beach, CA 92647
⚡️ SHOP MY MERCH: https://shopkimthai.com ⚡️
⚡️ SHOP MY MERCH: https://shopkimthai.com ⚡️
⚡️ SHOP MY MERCH: https://shopkimthai.com ⚡️
Target 26x26 Pillows: https://www.target.com/p/26-x-26-euro-pillow-hearth-hand-with-magnolia/-/A-79834725?preselect=53700511#lnk=sametab
Silk Flowers: https://www.afloral.com
Etsy Dog Woven Basket Bed: https://www.etsy.com/listing/954782326/dog-bed-handmade-dog-bed-dog-bed-dog?ref=yr_purchases
? Partnerships and Sponsorships: nikki@expandentertainment.co
? Instagram: https://www.instagram.com/kkimthai
? Subscribe to my Food Channel: https://www.youtube.com/channel/UC5zak5tqTE3JJFtiIpXyOnA
? H I F R I E N D S
Welcome to my channel, where we do things all beauty, fashion and lifestyle! Here, you'll find makeup tutorials, lookbooks, my favorite beauty products and also a glimpse into my life! I love sharing as much as I can with all my wonderful subscribers. My online family and I like to keep this platform positive and uplifting. We hope you'll join us!
Federal Trade Commission: This video is not sponsored.
? Music by Zachary Friederich - Loddy Da (Instrumental) - https://thmatc.co/?l=69F49CC4
? Music by Zachary Friederich - Loddy Da (Instrumental) via @hellothematic
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