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By Eric Matyas · Posted
Greetings Fellow Creatives! My quest continues to make every looping track on my site available in higher-quality Ogg format, so this week we have: "THE ITALIAN HEIST" You can listen to it here: https://soundimage.org/wp-content/uploads/2026/06/The-Italian-Heist.ogg And freely download it here: https://soundimage.org/world/ "CHUGGIN' THROUGH COLOMBIA" You can listen to it here: https://soundimage.org/wp-content/uploads/2026/06/Chuggin-Through-Columbia.ogg And freely download it here: https://soundimage.org/world/ As always, all of my music and sounds are 100% free to use in your projects with attribution. PLEASE CONSIDER SUPPORTING MY EFFORTS Here are some cool ways you can help: https://soundimage.org/ogg-game-music-mega-pack/ https://soundimage.org/ogg-music-packs-2/ https://soundimage.org/donate/ See you in July! 🙂 -
What happens after you release the "film" for public consumption ? Could a city come after you legally ? Since we are talking guerilla style, you know your being a little bit naughty 😳 I personally dont see an issue with two friends talking on the side of a street with another filming unless of course you start closing down streets. Then i can understand the need for permits and counsel approval. Half or three quarters of youtube must be filming outside. I watched a youtuber shoot a timelapse in Italy a week ago. Set up a tripod right in front of some famous place, plonked a dlsr on top and away he went . Mind you he did set up close to a large rock to stop people tripping over it. He also moved around did some behind the scenes stuff. So he was there for awhile, it was very touristy, nobody bothered him. No idea how car parking works in your area. If you could access a minivan, throw a couple of magnetic signs on it, saying such and such tours. When a bunch of loud tourists jump out of it and proceed to wander round willy nilly taking photos, if three of those people are of to the side, it wont alarm any one. You could also do make up and have cold drinks and snacks in the van. Heck have some people tossing a football or baseball around, nothing can be more American than that. I live in an agricultural area, we rely on backpackers to help pick the seasons fruit. I'm always seeing backpackers hanging out in the main street using the free wifi from the banks i think. Seeing phones and tablets is pretty much accepted. -
I'm once again reminded of Noam Kroll, who has gone a long way into this rabbit hole. My recollection of his method was a balanced approach, where you make a plan and then improvise and adapt within a limited range. My impression was that he would storyboard things as a way of mentally rehearsing the shoot, and would end up with a clear idea of the logistics of the shoot, the equipment required, etc. Location scouting and anticipating the light etc as you normally would. I believe he also gained a clear idea of which shots were required, and which had some flexibility. Then when he was shooting he could make sure that he got enough for a functional edit, but was also clear enough in his thinking that he could adapt the plan to compensate for any challenges that arose and also to take advantage of any serendipity or inspiration that occurred. I suspect that this is a very deep skill, to plan and then improvise a shoot with an understanding of how the choices being made will go together in the edit. I know enough about editing to know that it's a jigsaw puzzle where you can have two small sequences that work well but don't cut together directly, so unless you can find a way to get from one sequence to the other then you have to change one of them so they're compatible. To do this for a whole scene, or whole film, in your head while you're still shooting it is beyond what I could even imagine, but I'm sure that the talented cinematographers are easily up to the challenge. Noam actually went further, describing a process where he worked with two actors and where he 'designed' what would be shot ahead of time, with the major plot points and story beats, but didn't fully script it. On each day of shooting the three would have breakfast and discuss the motives of the characters and how the scenes should go. Then they'd shoot while improvise the scenes, filming as they went and exploring ideas. It was freedom within a planned structure. I believe he was shooting one or two days a week, and so after shooting he'd review the footage and do rough edits, seeing what worked and what didn't. Then he'd 'design' the next shoot day accordingly, sometimes keeping on with his overall plan for the story but other times seeing something in the footage that made him adapt the narrative. I suspect that the skill is in knowing how much you can stray from the plan and knowing in which ways to adapt to make the end result better than if you just shot it as planned without any adapting to the situation. Certainly if you make a plan and then prioritise which shots are the most to least important then you'll have a good chance of coming back with a functional edit. My impression of great travel content is that most shots are good-but-not-great, and the art is in the edit and how they're combined. EOS-M and primes and a Fujinon-TV 14-70 f/2 will do a lot of the heavy lifting in making it look like cinema instead of video. In my mind you'll need to pay attention to how to keep the camera stable and then look at your references and study their coverage so you can design yours. By shooting on less than pristine equipment, you'll have to get things right in-camera as you won't be able to mess with it in post as much. Specifically, being able to zoom in a little in post can be useful if a random passer-by is staring. If you were shooting this with a modern mirrorless and sharp/neutral lens then I'd suggest using the highest resolution possible just so you have that flexibility. Your concern for getting stared at is legitimate, but the focus is to not get people staring while they're in the frame. As such I'd suggest getting more coverage using tighter framing and shallower DOFs, and for shots that are wider, simply getting more footage so you can edit around people staring. AI can potentially help if there are random people staring in shots you really want to use, but if you can edit around these moments (or prevent them from being in shot in the first place) then all the better. It's also worth considering that there are a number of things you can do that will lessen the changes of people noticing you and the camera, or lessen the people who are currently in frame noticing it. Another strategy is to investigate how much b-roll can be used in the edit without it taking away from the story. You may be able to get away with putting b-roll on top of a good audio edit, essentially having an L-cut followed by a J-cut where the audio goes from one character to the another but the visuals go via a b-roll shot from the location. I'm sure there's a deep art to doing this, but it's worth grabbing as much b-roll as you can while on location (especially if shooting has to wait for any reason but you're able to shoot). You can even return at a later time to get more footage, or better yet, take your kit and go shoot the location ahead of time so you can do a dry-run with the actual rig and also get a sense of what the location is like to shoot by actually shooting in it. -
By QuickHitRecord · Posted
So far, we have: The French Connection The Day Of The Jackal Escape From Tomorrowland Chubby Rain Woody Allen (Annie Hall, Hannah and Her Sisters, Deconstructing Harry) Lost in Translation I think this is a great list! I know that Sean Baker’s Tangerine was shot this way, but I’d rather not sit through another of his films. I've written a drama short. Two characters, 11 pages, lots of walking around town. I live in Portland and I’ve shot all over town before without ever once being hassled (except by some in a crisis of mental health). But I’m really more interested in seeing what kind of aesthetic choices might even be available to me when balancing that with coverage needs, moving quickly, and not attracting too much attention. I'm always so envious of New Yorkers for this very reason. You can fill the frame with sidewalk commuters and often no one will even bother to give you a second glance. I can’t think of any other US cities where this is true. Lovely screen grabs, Kye. If any of these were publicity stills for a film, I’d want to check it out. Especially the 68mm shots. Great mood and sense of place. I think that this quote sums up some of the decision-making that I am facing. I could totally go in there and “wing it”, just figuring out my shot as I went. But I want to rely on natural light, which means timing certain shots for certain times of day, and then that raises the question of how much planning I want to put into each scene, and ultimately how the visuals will compliment the story. I’d rather not lean too far into the documentary aesthetic. After shooting my last five shorts with my C70s, I’m actually thinking about shooting this film on a hacked EOS-M with c-mount lenses. I’ve been collecting them for a while and have three sets of primes, plus some great zooms. I’d personally put the aesthetic available with this (windowed) sensor and these lenses up against anything, I like it that much. I think the reason that no one really wants to do this is because it’s one of the most difficult digital cameras to work with, AND on top of that, the most difficult lenses to work with. But I’ve been tackling the challenges presented by these one by one, and I think I have them pretty well sorted. We shall see! Current plan is to hide a Deity PR-2 recorder with a lav on each actor and attach a timecode box to the audio input of the camera. Stabilize with a steadybag. Transmit the image wirelessly to a producer and make up artist in a car, along with refreshments for the actors. If I end up working with long zooms, I might give direction over a phone and provide a discrete earbud to each actor so that I could also monitor. -
No idea about you guys, but I am in love with this tool accessory... pretty useful in those much different configurations: Head tracker, finger tracker/tracking, etc.* ; ) *shoulder mode: More comparisons here and there or yet this one too from same Chinese tester BTW. And here, more for the new Osmo Pocket 4P/Pro with the sample(s) of the new add-ons introduced. Haven't you bought a gimbal-pocket-cam yet? This is for those who will buy one then : D ;- )
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