so we're in new york right now, and we look about to go and shoot to create an emotion of tension and like paranoia. and there's something is going to happen, even in like a spontaneous a situation, we can still create an interesting piece by just walking to the coffee shop. and i'll be doing like a few of my techniques to show that we're looking through the eyes of the person, what i'll be looking for is elements that create an emotion that some scary is gonna have just what is happening like around you is actually really fun, like exercise to do you. you don't need some high end equipment and stuff to like shoe anything. i actually don't know what settings are you. i just cannot turn it on, and it is what it is. i have no interesting, like your technical aspects. actually, i don't even know what lens this is, or what, like your specific stuff it does. it's all like emotional. i can do it if and so like that when i know that it's important for a lot of aspects. but i thought i counted on my style a lot, so i don't have to worry about news, technical cells so much. i went to the main things that i do if i want to trip somewhere, and i am shooting on south africa, find that sort of like emotion, usually stop shooting. and then i just kind of good of a copy shop or a park, or whatever, just hang out and kind of just feel the place out and not focus so much on shooting. and then, like experiencing it, thrillings, i think that can be one of the biggest problems of looking for yellow inspiration is by staying behind your hands of all times. i think putting it down and kind of feeling stuff out, and the u c shots in a men, i should have got that. and then i wouldn't call you in that, and then you start to feel out a lot of different things. the reason i do a lot of that like, like blowing on the camera with the plastic bag, my fingers. so i got is because it was in having less that actually gave me more of a creative mind on to how to play with it more and experiment, and do more than what other people were doing because they were all comfortable. and i think having that, there is a restraints actually better because you can experiment if i don't have tending to the bag out, then you should put some potatoes. and then, as the shock goes on, it all slowly coming to focus literally in organic disorders and the back, i like the bag. and this is that there are such a better texture than my filters and landfills that everyone does online. everyone knows how they all look. you don't mean. and the reason i put my theories in front of the lens a lot of times, just a kind of have that kind of the stalls, equally like a victim of memory in a very quick, easy way. you know, i just like layers, like lots of everything happening at once. so with the chain link fencing and the tree and the statue and stuff, it has a kind of a cool effect to it, just like everything is constantly revolving in turning is something it's not really quick because the suggestions. so with this, paul, here, i can kind of move into another shot. there's like tension in the air, you know, wanted to be too smooth. and so usually i like a sort of smooth. and then as it gets on, and there's more like layers, it becomes more and more on state by the simple movements of making it feel like it is a mistake. and then if i do one, i guess what is short. i just used to look like an extra pattern, even have like a regular anything that is. i pushed it really hard, and with my legs, and i like everything with my legs, and i just kind of like what like this. i, what do you like? a really smooth shot that like news, we smooth for just the feeling of it using afterwards. i like, usually foot the camera or drop it, or do some things, and it would like thrust in another shot. but just to have that kind of option that it can go different places. and then if i get more bold or like move this as well with my leg, so it has this unusual movement. so it's like turning as it's going, so it is still smooth. and i think if you tried to get it until work right, based on how the next trappers and where it is. and so i do, because it's such a quick moving piece that you just need as many moving short as possible, especially if you just look like experimenting and not knowing how about how the puzzle we will be put together. so just kind of messing around so. and plus a small camera, you can like flying around, and you know, do a lot of interesting things with the world in around this stuff that you, you will be too scared to do with the bigger, expensive. can i know, i want to get different options if i am able to, i mean, just because if it's a person moving around, i don't want to impose on them. but if it's something like this painting on the wall, just to get different angles of them. so because i don't know how i mean, you use it, usually when i see, like a painting or image or something, or even like a lighthouse, or something that big. and i want to capture and get like a movement with it that i can't really get if i am filming like a lighthouse. i just do not like a stop motion thing into it around for this. i just take like one or two steps and one or two steps, and i just have a little marker on my screen. and i just lined her face up with where it is just like crop it a better impose. i think one of the main things that like attraction to look at potatoes. shock is most because i don't like clean shots, like very start, clean shots most of the time. and so like a potato is just another textured way of shooting it to this. so many like dirty elements. rough edges is so like that, and there's always the ocean, and like clipping it. so it looks like it. so i set up also the way the water is moving. it was winning. it can step in the puddle and create like a transition with it. so it kind of ripples away. everything. can i have those like organic, white each way that it is really eight hours of footage like a week trip, and now it's done with three hours, because i feel like i am more honed in on the kind of stuff i like. and but i usually take like a couple days to get a feel of the place, and then just let the inspiration kind of build base off with that. basically, my current project was actually like ten hours of footage like almost a minute. and then you actually feel bad because there is so much footage that like newspaper left out, that doesn't work. that is like shots that are so beautiful, and they don't work in the piece. and there's other shots that works really well that we don't like that much, but it makes the whole piece as a whole, like, you know better. it's kind of weird mixture of.
