Kuala Lumpur: “Cabaran paling susah buat konten video ini apabila saya perlu pastikan kedudukan dan gerakan sentiasa sama daripada baju pertama hingga terakhir untuk menghasilkan video lebih kemas,” demikian kata Noor Suhaili Mohamed Amin.
Noor Suhaili, 43, menghasilkan video trend tukar-tukar pakaian sekelip mata hingga meraih lebih setengah juta tontonan di aplikasi TikTok.
Menariknya, pencahayaan dinding yang menjadi latar belakang video terbabit turut bertukar seiring dengan warna tema pakaian dipakai wanita itu.
Ibu kepada tiga cahaya mata itu berkata, dia menggunakan sembilan pasang busana kurung moden dan kebaya songket dalam pelbagai warna.
“Saya mula membuat persiapan sejak empat hari lalu termasuk memilih dan menggosok baju serta tudung.
“Dalam video itu, saya menggayakan sembilan pasang baju kurung moden, kebaya songket dalam warna merah, biru, kuning, ungu, hijau, merah jambu, hitam dan putih.
“Pada minit-minit terakhir, saya sempat selitkan momen meniup lilin kek sempena hari jadi saya ke-43 tahun semalam untuk dijadikan kenangan,” katanya ketika dihubungi Harian Metro.
Menurutnya, dia mengambil masa empat jam bagi menyiapkan rakaman serta menyunting video sebelum memuat naik di platform TikTok, malam tadi.
“Rakaman itu saya buat petang semalam dengan dibantu anak sulung sebagai pengarah sebelum saya sunting sendiri menggunakan aplikasi CapCut.
“Lampu latar bertukar mengikut tema warna baju itu pula saya gunakan ‘spotlight’ pelamin,” katanya yang mengusahakan butik pengantin Sanggar DF Astarina milik keluarganya di Gombak.
Noor Suhaili berkata, dia tidak menyangka idea kreatifnya itu diterima dan menceriakan 82,000 pengikutnya di TikTok.
Menurutnya, dia digelar pengikutnya sebagai auntie tukar-tukar baju kerana sejak Mei lalu, dia rajin membuat konten trend tukar-tukar baju.
“Saya menggunakan cara itu untuk menghiburkan hati sendiri dan menghilangkan tekanan kerana tidak dapat membuka operasi perniagaan akibat Covid-19.
“Tidak sangka, usaha kecil saya itu membuatkan orang lain pun terhibur,” katanya.
Dwayne Johnson shared on social media Saturday the first trailer for his upcoming NBC sitcom, Young Rock.
“I wish my dad was around to see. Maaaaan he would’ve been proud. Yes, I kicked puberty’s ass at 15 and turned tequila tycoon by 10. Cant wait to make ya laugh and share some life lessons I’ve learned along the way,” Johnson tweeted along with the preview.
The show is an “origins story” based on the real childhood of Johnson, who grew up to become one of the most famous pro wrestlers and film stars in the world.
Adrian Groulx, Bradley Constant and Uli Latukefu will play Johnson at ages 10, 15 and 18 in the comedy and Johnson is expected to appear in each episode to set up that night’s story.
The network ordered 11 episodes for Season 1.
Johnson’s father Rocky, who is a character in the series, was also a wrestler. He died a year ago at the age of 75.
Popular online game PlayerUnknown’s Battlegrounds, also known as PUBG, got a real-life twist. In a video posted by Smilo, an online game streaming page on Facebook, three men are seen playing the game, albeit in real life.
From collecting ammunition to tackling enemies, the men have recreated some of the game’s iconic moments in the video, which comes complete with sound effects and background score.
Since being posted on Facebook, the video has garnered over 13, 000 likes. Take a look at some of the reactions here:
The game has been banned as part of the Government’s crackdown against apps linked to China. However, South Korean company Bluehole owns the rights to the game. The company snapped ties Chinese company Tencent, which distributed the mobile version of the game. Bluehole had later announced they are preparing to launch PUBG Mobile India, a new game specially designed for the Indian market.
The in-game content will be tailored to reflect local needs, specially customised for Indian gamers, the company had said.
A Canadian YouTuber earned a Guinness World Record by taking his engineering skills to a galaxy far, far away, and building the world’s first retractable proto-lightsaber.
James Hobson said he and his team at Hacksmith Industries were inspired by the Star Wars films to create their own version of a retractable plasma lightsaber.
The lightsaber has a hilt designed to resemble those used by the Jedi Knights, but is attached to tanks of liquid propane gas and oxygen gas to create the high level of heat required to make the plasma beam. The “blade” can be extended and retracted with the push of a button.
The innovation earned Hobson a Guinness World Record for creating the world’s first retractable proto-lightsaber. The video shared by Guinness shows Hobson using the lightsaber to cut though objects including a Stormtrooper mannequin and various metals.
SEOUL: The wildly infectious and relentlessly repetitive children’s song “Baby Shark” became the most-watched YouTube video on Monday, with more than seven billion plays.
The bane of parents and teachers worldwide, the South Korea-produced song has gone from the realm of children’s YouTube to a global viral sensation, with a catchy and addictive melody buoyed by a hypnotically colourful video.
“Baby Shark Dance”, the English-language version of the song, clocked up over seven billion views on YouTube at around 0400 GMT on Monday, dethroning Luis Fonsi and Daddy Yankee’s “Despacito” as the most-watched video on the platform. The ubiquitous children’s song and earworm, first uploaded to YouTube in June 2016, is a remix of an American campfire song by the Seoul-based production company Pinkfong.
WHILE Donald Trump hopes to “Make America Great Again,” the actors Mark Ruffalo and Don Cheadle hope to make it more “green.” The Avengers: Endgame stars have a cameo in a new digital home makeover series called Go Green, helping people in the US to adopt more environmentally responsible lifestyles.
The web series, whose first episodes are already out on YouTube, was created by the production company Lucia Entertainment and co-produced by The Solution Project. The latter is a non-profit co-founded by Mark Ruffalo which aims to fight global warming by giving grants to organizations working to deliver “equitable access to healthy air, water, and soils” and “the transition to 100% clean energy.”
Variety reports that Go Green was initially intended to be a traveling show, taking in various locations in the US. However, the Covid-19 pandemic led Lucia Entertainment to adapt the show’s format to fit the restrictions in place. The series was therefore refocused on helping intergenerational families in Los Angeles find eco-friendly and energy-efficient solutions.
The first episode of Go Green follows Marcela, an educator seeking to make changes to her home and environment to improve her family’s quality of life. The next episode follows Sonja, who works for the SCOPE LA non-profit and is looking to install greener climate control in her home.
“Our hope is that Go Green can help every American, homeowners and renters from any walk of life, understand that they deserve – and can apply – clean energy solutions to their homes,” said Leif Lindhjem, creator of Go Green and co-founder of Lucia Entertainment.
A 2019 survey from the Pew Research Center thinktank found that most Americans were changing at least one of their everyday habits to help protect the environment.
At the time of the survey, the vast majority (80 percent) of Americans said they were reducing their food waste for environmental reasons, even if only 52 percent thought that doing so would make a big difference to the environment.
However, it seems that good intentions don’t always bear fruit. While Americans generated an average 0.6 of a pound (approx. 272 grams) of food waste per day in 2000, this rose to 0.69 of a pound (313 grams) in 2017, according to figures from the Pew Research Center.
Amid all the pandemic-related stories in the past few months, you’d be forgiven if you missed the announcement that local artist Erica Eng has become the first-ever Malaysian winner of an Eisner Award, the comics industry’s equivalent of the Oscars.
Eng, who is based in Batu Pahat, won the Eisner for her webcomic Fried Rice. The story is ostensibly one of a wistful young burgeoning artist named Min, who just happens to be from Batu Pahat too.
The protagonist of Fried Rice is an author surrogate, of course, and readers are immediately drawn into a series of mundane yet whimsical scenes of simple everyday life.
Eng says, “I loved writing little stories and illustrating them. I don’t think my drawings were any special, but I kept going at it when most of my friends had stopped. Mostly because I liked drawing a lot, and I can’t remember ever being sick of drawing.”
Family features greatly in Eng’s webcomic, which is no surprise as she recalls her family supporting her passion for drawing since she was only two years old.
She says, “Another childhood hobby that never died is my love of reading. I’d read everything as a kid: cereal boxes, milk cartons, signboards, encyclopaedias, restaurant menus, novels, etc.”
As Eng grew older, she became more serious about art and began following tutorials, joining online artist communities and dreaming of going to art college.
She says, “Webcomics sort of came later… I’ve always thought of my writing skills as sub-par at best, so comics were a good way to bridge the written word and the thing I knew better which was to draw.”
Publishing on the internet meant Eng was inspired by fellow online creatives such as other webcomic creators, vloggers, writers, filmmakers and musicians. Everyone of them is a storyteller.
She explains, “Usually, the stories that move me are honest, have a good sense of humour and are sincere and unafraid. A lot of the time, stories can become a mirror for where you’re at, what your values and priorities are. Heart posture is crucial when you’re learning from somebody else who is probably very different from you.”
The lack of a barrier to entry was also appealing. She says, “When it came time to make Fried Rice, I thought a webcomic was the way to go, especially since I didn’t know anyone in publishing, and because posting it online kept me accountable and forced me to be consistent.”
The Eisner win has made Eng busier than ever, to the extent she needed to overhaul her entire schedule last month. She says, “It has taught me how to say no and, more importantly, why to say no to certain things. Sometimes it’s better not to be available to certain folk, you feel me?”
On a lighter note, however, she shares: “The Eisner trophy itself is completely unassuming; it switches place about my bedroom, out of sight most of the time.”
What has become increasingly important for Eng is the need for meaningful connection: “I’ve just been thinking of what that means in storytelling, and how that applies in comics.”
Crafting a comic, from thumbnails to the final artwork, is a well-thought out process for Eng. She tries to put everything in their rightful place — such as the script in a document file, thumbnails in a sketchbook and her final drawings in a separate folder — so keeping track of what she requires at any time is a breeze.
Work is not limited to merely producing her webcomic, however. Eng has also experimented with fan support platforms both as a method of sharing and selling her artwork as well as gauging reader interest.
It took some adjusting though to find the right platform.
She says, “Patreon required me to fulfil and tick off goals every month for supporters. In the end, I didn’t want Patreon to be my job, I wanted the webcomic to be the actual job, and making paid-for posts was subtracting from the time I spent on the comic.”
Ultimately, Eng shifted to Ko-Fi, which she describes as “just an online tip jar for people who want to show their outright support for Fried Rice, a more time-friendly way of interacting with supporters. I’m thinking of expanding my shop on Ko-Fi when I have the time.”
Creating comics during the ongoing Covid-19 pandemic has been an experience like none other. Eng says, “It has taught me what things die in adversity, and what things stay vital. My relationships with close family and friends have mostly flourished, and social media in the way I used to view it has mostly died.”
Unsurprisingly, Eng’s schedule in the coming months is already packed. Besides speaking at the Georgetown Literary Festival, she will also participate — virtually, of course — in the “Sustained Creativity in Web/Digital Comics” discussion panel at the Singapore Writers Festival in early November.
She adds, “I’m always writing and I’m thinking of making a season-themed collection of short stories if I have the time. I’m looking for a literary agency to represent me at the moment. Hopefully that means Fried Rice gets published someday.”
Until then, Eng is helping to broaden the scope of what Malaysian comics can be, which is anything at all, limited only by one’s imagination. From fantastical warriors to gamers and giant geeks, the spirit of our country’s sequential art is absolutely “Malaysia Boleh!”
A line from Fried Rice — “Life is more than that” — reminds me of what Eng and her peers are creating. Malaysian comics are more than that, too, and can be much more in time to come.
LOS ANGELES, Oct 12 — It was a quest worthy of a superhero.
Animator Rajiv Chilaka spent years flogging his pitch about a superhuman Indian child to Western executives, to no avail.
But today Mighty Little Bheem is a global hit, as viewers seek alternatives to white-dominated storylines.
From his mother’s sari to his love of laddoos, everything about the star toddler is Indian.
His giant fan base stretches from Seattle to Sao Paulo, making it Netflix’s most popular show for preschoolers.
Since its launch last year, it has been seen by more than 27 million households. It was Netflix’s top international release of 2019 in the United States, and a third season is now under way.
But the nappy-wearing superhero’s journey from the southern Indian city of Hyderabad to Hollywood was not easy.
“I was thrown out of every office I went to,” said Chilaka, who originally approached US television channels with the hope of taking Chhota Bheem (Little Bheem) — his popular Indian show about a nine-year-old village boy with superhuman strength — global.
TV executives demurred, claiming children in the West would reject it because the setting was “too bright and colourful” and the protagonist was shirtless, Chilaka said.
“It didn’t really make sense to me. I mean, kids are drawn to colour and Disney made Jungle Book — a whole movie about a boy in his underwear — years ago,” he said.
Although US studios regularly approach Indian animators to create English-language content at a lower price, the industry had never won acclaim for original productions.
Then Netflix came calling.
The streaming giant wanted to crack India’s massive entertainment market, and hoped a Bheem spin-off based on a baby version of Chilaka’s beloved superhero would help to do just that.
No translation needed
“We really wanted to have a character that resonated for, first and foremost, our Indian members,” Dominique Bazay, director of original animation for Netflix, told AFP.
There was no question of Westernising the content, she said.
Bheem wears a traditional bindi — a dot on the forehead — and lives in a village where everyone is dressed in Indian clothing.
Raised by a single mother, he crawls his way into every kind of mischief, occasionally including a cheeky monkey and baby elephant in his escapades.
The company was not worried about how the show — which has no dialogue — would translate among overseas viewers, Bazay said.
“Kids are really willing to discover (new things) and their curiosity is boundless,” she said.
Nevertheless, few expected the adventures of Bheem and his furry friends to attract such a huge global audience, as it snapped up fans in the age of Black Panther and the growing demand for more diversity in entertainment.
New Yorker Lisa-Michelle Houck told AFP her children, aged four and two, were fast fans of the show.
Bheem’s fondness for laddoos — a yellow Indian sweet — was self-evident to them, she said. “It’s just candy.”
Laughter and lessons
Bheem’s antics — from banging his toy drum non-stop to making a mess at home — are instantly hilarious to young viewers.
And for parents seeking a break from traditional kids’ programming and its parade of pink-wearing princesses and white protagonists, the show is an easy way to introduce children to a more multicultural worldview.
Bheem’s single-parent household offers important lessons on how “there is no one right way to have a family”, said Houck.
She and her wife also wanted their mixed-race children to see that “you don’t have to be white to be a superhero”.
For Bheem’s creator Chilaka, the success has been both stunning and sobering.
“When we started work, I was very conscious that this was the first animated show from India to find such a large platform,” the 46-year-old said.
“It was a big load on my shoulders, because I knew it could open doors for others.”
Bheem’s journey from underdog to global phenomenon could prove a game changer for India’s animation industry, he added.
It has already transformed the fortunes of Chilaka’s studio, Green Gold Animation, which has seen its staff numbers shoot up from 25 to around 1,200 people based in India, the US, Singapore and the Philippines.
“We are still pinching ourselves,” Chilaka said, adding that he hopes to produce a movie about the toddler at some point.
It seems like other than being a reliable figure on issues concerning national health, Tan Sri Dr Noor Hisham Abdullah has a secret talent for singing too
A video showing Health director-general Dr Noor Hisham singing Shanghai Beach onstage is going viral on social media.
In the one-minute-and-32-second video, he can be seen singing the classic song in Cantonese along with someone who seems to be Dr Margaret Chan, the former World Health Organization (WHO) director-general.
The duo is believed to have performed during the 67th session of the World Health Organization Regional Committee for the Western Pacific, which took place in Manila, the Philippines four years ago.
During a break between choruses, Dr Chan says Dr Noor Hisham dedicated the song to her because the song “actually talks about pretty much what I did in 10 years”
The song, originally sung by Frances Yip, is about the emotional impact of the drastic change of an era on people, using the tides at the Shanghai’s Bund as a metaphor.
A verse in the song goes, “Washed away the worldly affairs, torrential mixing of the tidal currents. Is it happiness? Is it sorrow? Hard to differentiate between happiness and sorrow in the waves.”
It seems like Dr Noor Hisham dedicated the song to Dr Chan as an acknowledgment of her efforts in serving the top post in WHO, a position that oversees the policy of the organisation’s international health work while acting as its chief technical and administrative officer.
Dr Chan can be seen referring to a piece of paper while singing the song. As for Dr Noor Hisham, it is a breeze for him as he seems to know the lyrics by heart.
The video was also posted on the Lowyat.NET forum and it has amused netizens online.
One person even started singing along with Dr Noor Hisham.
“Long ban… Deng deng deng… Long lau… Deng deng deng,” a netizen typed out the transliteration of the lyrics.
Another forum member said Shanghai Beach is the best song if one wants to spark a connection with the older folks, while another netizen commended Dr Noor Hisham for his singing talent.