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在heavy metal magazine這個產品中，有6篇Facebook貼文，粉絲數超過4萬的網紅goodforit，也在其Facebook貼文中提到， 源自澳洲的元老級造型品牌Uppercut Deluxe為致敬充滿奇幻能量的70年代，日前預計本週三(08/18)推出Vantasy Edition Deluxe Pomade「奇幻七零」限量款髮油， 當時不僅滑板文化剛剛萌芽，充滿各式彩繪的麵包車更是大行其道，此次包裝以美國奇幻畫派先驅Frank F...
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heavy metal magazine 在 goodforit Facebook 的最讚貼文

goodforit By goodforit

2021-08-18 12:10:47 有 2 人按讚
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heavy metal magazine 在 Cổ Động Facebook 的最佳貼文

Cổ Động By Cổ Động

2021-05-11 09:30:00 有 331 人按讚
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8 FANPAGE VỀ ROCK VỚI NỘI DUNG UY TÍN VÀ CHẤT LƯỢNG CỦA VIỆT NAM (PHẦN 1)

Các tín đồ của Rock thường cập nhật thông tin qua nhiều kênh, có thể là website hoặc fanpage. Đặc biệt là ở Việt Nam, nếu muốn tìm đến những trang thông tin uy tín, đặc biệt là về nhạc Rock, hãy cùng điểm qua 8 cái tên dưới đây.

1. VNROCK

Lý do chào đời

VnRock ra đời từ khá lâu, vào năm 2007 - ở thời điểm anh Trần Anh Tuấn (Tuấn Jacob) và anh Bạch Hưng Phú còn là những thanh niên trẻ với niềm đam mê bất tận với nhạc Rock. Tuấn Jacob và Bạch Phú đã dựng nên website vnrock.com, và đó là trang tin về nhạc Rock đầu tiên được cấp giấy phép hoạt động như 1 tờ báo điện tử chính thống. Năm 2010, nhóm VnRock bổ sung thêm Hoàng Ngọc Duy (Duy Joseph), anh là quản trị viên của page VnRock và founder của cộng đồng (group) VnRock Community cho đến nay.

Hành trình trèo đèo vượt rock

Ban đầu VnRock đặt ra mục tiêu rất rõ ràng là trở thành website và fanpage có lượng truy cập đông đảo, lớn mạnh và uy tín nhất trong cộng đồng nhạc Rock với những thông tin và bài viết chất lượng. Vì một số lý do, sau này nhóm định hướng lại hướng các mục tiêu trên về group, để tập trung phát triển VnRock Community trở thành cộng đồng nghe nhạc Rock văn minh và có thẩm mỹ âm nhạc cao.

"Dù đang phát triển rất mạnh về lượng member trên group song mục tiêu trên của chúng tôi vẫn là tối thượng, chúng tôi không còn tập trung vào con số thay vào đó tập trung vào việc nâng tầm chất lượng của group để có thể phát triển 1 cộng đồng ‘chất’ thực sự." - Hoàng Ngọc Duy, đại diện VnRock Community chia sẻ.

Trong 1 thời gian dài, VnRock là nơi truyền tải những nội dung mà đội ngũ ban quản trị/biên tập viên sưu tầm, hoặc các nội dung DIY (tự sản xuất) như: phỏng vấn, review show, review album... Nhưng với định hướng group-orientation sau này, VnRock đã có cho mình 1 khối lượng nội dung khổng lồ chất lượng cao từ chính cộng đồng của mình, cộng với những nội dung tiếp tục tự sản xuất (có thể kể đến mini-project 20 Album Of The Decade gần đây). Các nội dung chủ yếu có thể thấy được trên fanpage VnRock là các thông tin liên quan đến đời sống của Rock Việt và Rock thế giới, các sự kiện nhạc Rock lớn bé ở Việt Nam, review về show và album nhạc.

Hoạt động chính của VnRock

- Nhận review các sản phẩm âm nhạc chất lượng cao trong năm 2021, không chỉ giới hạn trong phạm vi nhạc Rock
- Giới thiệu các ban nhạc trong giới underground ra với cộng đồng
- Hỗ trợ truyền thông cho các sự kiện về nhạc Rock
- Triển khai kênh YouTube (trong tương lai gần)

2. HEHEMETAL

Lý do chào đời

HEHEMETAL.com ra đời vào năm 2005 với tiêu chí ban đầu là Diễn đàn dành các tín đồ yêu nhạc Rock trao đổi, chia sẻ thông tin. Sau đó website chuyển hướng thành 1 trang web streaming nhạc - và cũng là địa chỉ duy nhất thời bấy giờ giới thiệu các sản phẩm âm nhạc (demo, single, music video…) của các ban nhạc Rock Việt Nam đến các fan. Kế đó là bước chuyển mình thành một website tin tức nhạc Rock, bên cạnh VnRock, RockPassion - đội ngũ phóng viên của HEHEMETAL đồng hành, khai thác, sản xuất nội dung cho các sự kiện lớn trong nước như Đêm Saigon Rock 1, 2, 3; Mobifone Rockstorm; Tiger Translate…

Page HEHEMETAL hoạt động song song cùng website - là đơn vị truyền thông cho các Rock show khắp 3 miền. Website hiện tại đang tạm ngưng cập nhật nội dung để chỉnh sửa và nâng cấp mới nhưng vẫn là nơi lưu trữ nhiều tư liệu về nhạc Rock để các fan mới vào tìm hiểu.

Tiêu chí từ đầu lúc thành lập HEHEMETAL là sân chơi dành cho những fan yêu nhạc rock Việt Nam, nơi kết nối giữa các ban nhạc và Rock fan, bên cạnh đó là nơi giữ lửa cho các fan yêu thích nhạc Rock/Metal ở Việt Nam.

Hành trình trèo đèo vượt rock

So với các pages khác thì cái tên có vẻ hơi quái quái của HEHEMETAL sẽ khó lòng đến gần với đại chúng, tuy nhiên HEHEMETAL có lẽ là website "sống dai nhất từ xưa đến nay". Thành quả sau gần 16 năm hoạt động là được lời mời từ Lãnh sự quán Đức tham gia chương trình "Tìm hiểu 30 năm nhạc Rock và metal ở Đức (30 Years Of Wacken - Rock And Heavy Metal In Germany)" vào tháng 7/2019. HEHEMETAL là đại diện duy nhất Việt Nam và là 1 trong 13 nước được đài thọ tham gia vào chương trình đặc biệt này - diễn ra trong suốt 1 tuần lễ ở Berlin, Hamburg và Wacken - Liên bang Đức.

Sau nhiều các show diễn đồng tổ chức với các tên tuổi nước ngoài thì vào 2019 HEHEMETAL bắt đầu tự mình tổ chức các sự kiện âm nhạc với tiêu chí chất lượng đặt lên hàng đầu. Cụ thể đã tổ chức các show diễn gây tiếng vang cho các Rock fan/metalhead như Cryptopsy (Canada), Bumblefoot (Mỹ), Slaughter of Prevail (Nga) và mới đây nhất là chương trình Mortal Komeback tại Việt Nam (6 ban nhạc địa phương).

Hoạt động chính của HEHEMETAL

- Đưa tin tức âm nhạc trong và ngoài nước, cập nhật thông tin các chương trình biểu diễn trong nước và khu vực
- Truyền thông, sản xuất nội dung hình ảnh cho các chương trình nhạc Rock
- Tổ chức sự kiện âm nhạc
- Xây dựng lại website với những nội dung mới mẻ, chuyên sâu hơn, đa dạng về hình ảnh, video... mang một hơi hướng e-magazine hơn

3. HARDCORE VIETNAM

Lý do chào đời

Hardcore Vietnam (HCVN) được ra đời vào năm 2013 bởi Huy, Khương và Trần Vinh cùng những người yêu thích dòng nhạc Hardcore, Metalcore hay Punk Rock và Pop Punk. Mục tiêu chính thời điểm bấy giờ của HCVN chỉ đơn thuần là muốn tạo sân chơi cho các ban nhạc thuộc các dòng nhạc kể trên và cùng lúc mời những ban nhạc có tên tuổi trên thế giới đến Việt Nam. HCVN đã thành công trong việc kết nối với các promoter trong khu vực châu á. Thành công đầu tiên là họ đã mời được ban nhạc hardcore tên tuổi The Ghost inside đến Việt Nam, tiếp theo đó là Obey The Brave và Chelsea Grin trong cùng năm 2013.

Hành trình trèo đèo vượt rock

Mọi người trong team nhận ra được rằng nếu muốn cộng đồng nhạc nặng thật sự đi lên thì cách đúng đắn nhất là phải tập trung vào phát triển "local scene" bằng những cách như hỗ trợ các ban nhạc địa phương hay giúp người nghe nhạc ở nước nhà hiểu được cách đúng đắn về việc mua merchandise, không tải nhạc lậu, đi show.

Với sự thay đổi định hướng đó, HCVN đã tổ chức được rất nhiều sự kiện từ lớn đến nhỏ trong suốt 7 năm qua, có thể kể đến như Hardcore United 1, 2 và 3 trong các năm 2014, 2015 & 2016 hay Hoạ Nộ vào năm 2018. Theo thời gian HCVN đã dần dần tạo dựng được tệp khán giả riêng của mình, nhắm đến những người trẻ đam mê dòng nhạc này. Không chỉ dừng lại ở đó team còn chú trọng và xem việc kết nối với các cộng đồng khác như Hip-Hop, Rap…. là điều hết sức quan trọng. Vì chỉ như vậy thì người chơi nhạc underground mới có được sự tự do trong sáng tạo mà không bị áp lực hay can thiệp quá nhiều về truyền thông đại chính hay nhãn hàng.

Hoạt động chính của Hardcore Vietnam

- Tổ chức sự kiện
- Support và giúp đỡ các ban nhạc Metal, Hardcore, Pop Punk trẻ

4. DỐC N' DÔN

Lý do chào đời

Dốc n' Dôn được thành lập bởi Khóa "Khùng" và Trang "Pan" vào một ngày đẹp giời năm 2018, còn hiện tại đang được quản lý và vận hành cực mạnh bởi phóng viên Lê Minh (Minh Dâu). Khi mà một loạt các fanpage đưa tin về nhạc rock dần đi vào thoái trào, Dốc n’ Dôn được lập ra với một phương châm duy nhất, chọc cười giới rock. Phần dịch vụ của page được mô tả như sau: 1) nhạc rock đỉnh cao nhằm đăng tin bài hóm hỉnh, tản mạn chuyện vui của các ban nhạc, tạo drama câu like; 2) vẽ bậy Dốc n’ Dôn thông qua các tranh biếm họa để đăng tin thời sự, kể cả những thứ chẳng liên quan gì đến dốc; và 3) tâm sự tuổi mới nhú, tập trung chia sẻ những cảm nhận của anh em về một show diễn hay một album vừa ra.

Hành trình trèo đèo vượt rock

Sau một thời gian Rock Việt hoạt động rất mạnh mẽ với sự xuất hiện của rất nhiều ban nhạc lớn nhỏ; các sân chơi, cuộc thi, website về Rock như HEHEMETAL, VnRock, RockPassion, Rock Epic... thì rock thực sự trầm lắng, số lượng các nhà tổ chức đếm trên đầu ngón tay và việc truyền thông show cũng như đưa tin là khá hạn chế, tới một ngày anh em trong giới than thở rằng... đi show về chẳng có gì lưu lại cả.

Thế là Dốc n’ Dôn cùng phóng viên Lê Minh bắt đầu theo chân những show nhạc quanh Hà Thành để ghi lại những khoảnh khắc mà anh em cháy hết mình trên sân khấu, rồi dần dà được lôi kéo vào con đường... làm show cũng như chơi show. Hiện Lê Minh đang là thành viên của 2 ban nhạc khét tiếng Hà Thành là Atula và CÚT LỘN..

Dốc n’ Dôn vẫn hướng tới một hình mẫu là không có hình mẫu nào cả, lúc nghiêm túc, lúc trào phúng, lúc thì lại trầm lắng không ngờ. Mua vui cho rock là như vậy, nhưng Dốc n’ Dôn luôn làm hết sức mình để chung tay giúp anh em quảng bá show, chúc tụng sinh nhật những huyền thoại âm nhạc, hỗ trợ làm show và thi thoảng thì tự làm show của chính mình với mục đích từ thiện góp chút ít gửi cho trẻ em khó khăn.

Trong gần 3 năm hoạt động, Dốc n' Dôn cùng anh em trong cộng đồng đã tổ chức được những sự kiện nổi bật như: The 6IX Party, series Fight Back To School & series Không Lom Dom.

Hoạt động chính của Dốc n' Dôn

- Tổ chức sự kiện
- Truyền thông
- Support và giúp đỡ các ban nhạc Metal, Hardcore, Pop Punk trẻ

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heavy metal magazine 在 喜劇演員 Facebook 的精選貼文

喜劇演員 By 喜劇演員

2020-01-04 19:52:58 有 18 人按讚
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The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris

Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.

According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.

According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.

When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.

Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.

Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.

‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.

This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article

Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.

During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”

Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.

In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.

In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.

"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."

The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.

At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.

The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.

Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.

The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened

From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.

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