A year ago we published Sahtel’s video issue along with an interview with three great BMX videographers of today: Joe Simon, Will Stroud and Chad Shackelford. Among other things we talked about their latest projects at the time, about getting started, what makes a good videographer, where BMX films are heading these days, what gear they use on daily basis and what would their dream set-up look like. The magazine was published in Estonian language and we printed it in 1500 copies. So apart from a few overseas friends not many English speaking persons have seen it and I’m sure those few who have, haven’t been able to read it. I finally had some time to edit the English version and put it online for you. The interview was made in June 2008. Enjoy.

Illustration: Natali Bad

Name, age and residency?

Joe: Joe Simon, 30, Austin, Texas.
Will: Will Stroud, 27, residing in Greensboro, North Carolina, USA.
Chad: Chad Shackelford, I’m 24. I currently reside wherever production for the Sunday Bikes DVD takes me, at the moment all of my belongings are in Austin TX, but I will be in Guadalajara, Mexico for the next month.

When and how did you picked up videography?

J: I bought my first camera in 1999. This is when I got onto the Mutiny team and needed a camera to film myself for the “American Scream” video. Once I started filming I fell in love with it.
W: I picked up videography back in the mid to late 90’s. I was always riding at the 401 trails (RIP) in Raleigh NC with my brother, Chris Doyle, Ryan Barrett, Cory Muth, and some other friends and I just randomly started enjoying to film when I wasn’t riding. Then one day Doyle found out he needed to start filming for the first DK video “Damn Kids” and asked me if I could help film for his part. I had no idea what I was really doing at the time. Just pointing the camera, pressing record, and learning how to frame shots, basic camera moves, etc. It was a really fun way to start off filming with Chris and my other good friends. It’s so funny looking back at footage from those days now. It seems like a lifetime ago now.
C: I picked it up through riding BMX and wanting to film my friends. It evolved from there.

Joe Simon / Photo: Walter Pieringer

What are you working on at the moment?

J: Lots of things. We are working on a new web film for Mutiny that will be coming out this summer. I’m also working on a few independent films and some wedding videos.
W: This year I am handling all of the web and DVD production for Levi’s.  It’s a huge workload but I love it.  The Levi’s team is great and I feel lucky to have the opportunity to work with such a respected brand.
C: At the moment, I am working full speed on the Sunday Bikes team DVD. I am also working with Odyssey, providing web content, following our most recent release of “Electronical”. I am also a content provider for a new BMX community site called YAUW, alongside Adam Grandmaisson from the Come Up and Harrison Boyce, Macneil art director and Defgrip creator. The site hasn’t launched yet, but will in the next couple of weeks.

Will, can you talk more about working with Levi’s?

W: Working with Levi’s is great. They are one of those larger companies that have given a lot back to BMX in the past two years and given us a lot of opportunities to do many cool filming trips. I am currently producing a full length team DVD that will premiere at Nora Cup this year. I am also producing the Levi’s “Clip of the Week” series. The weekly videos are tons of work. I have around 40 web videos to produce for Levi’s this year and it’s really hard to do considering the amount of traveling I’m doing at the same time. I love it though and I’m grateful for the opportunity to work with great people and a respected brand.

How many months a year do you spend on the road?

W: Probably around 7 – 8 months. But this is going to change soon as I will become a father this year and I will need to be home more for my family.

Will Stroud / Photo: Corey Martinez

What videos have you made?

J: Trend video in 2001, Mutiny “Subversion” in 2002, video for the the Shadow Conspiracy in 2006, Mutiny road trip DVD in 2006, Mutiny “SOBP” in 2007 and Mutiny Spring 2008 (kind of a video, not DVD but we put lots of time into it.)
W: Stock, UGP Roots Jam 2001 & 2002, Useless “Filler”, Props “How-To”, Robbie Miranda’s “How-To Race BMX”, System video, Local Exposure Tour 1 – 3, Hoffman Bikes “Broke Off”, and Odyssey “Electronical” are the full length videos that I have done. I have also done other video work for MirraCo, Red Bull, Target, Ride BMX, and most recently Levi’s.
C: Well in 2001 some friends and I started a series called Shine, we put out four of those. In 2003 I released the first Shook, I have continued to put those out over the last five years, we are on number 12 now. I have worked on numerous other videos including Manmade, Animal, Vice Versa (Sunday skate team), Hoffman Bikes, and Transcend. I put out the Failure bikes DVD, Local Exposure 3 DVD, Red Bull “Backyard Build Off” and just recently the Odyssey “Electronical” DVD. So I’ve worked on about five dvd’s and produced 19 of them.

What project have you done that you’ve been the most proud of?

J: Mutiny “Stoked On Being Pumped”. This was the first project I was 100% on the filming. I was out there just to film and not ride. It gave me a chance to focus on every shot and really plan through everything.
W: Probably the System video in 2004. It just felt like it was the project that I got to focus on 100% and everything came together naturally without many problems.
C: Odyssey’s “Electronical” was by far the best experience I’ve ever had. I’m very proud of our work on that one.

Chad Shackelford / Photo: Harrison Boyce

Have you studied anything cinematography related or are you completely self-thought?

J: I have not been to school so I guess I’m self taught. I’m constantly reading lots of books about cinematography, editing and motion graphics and anything film related I can get my hands on. You can never learn too much.
W: I did go to college and finished with a degree in film and video production. School was great and I did learn some of the basics of filmmaking, but I feel like I learned the most by trial and error. Just learning from my mistakes was probably the best learning tool for me when starting off.
C: No, I’m self taught. I’m not against school, I just like to work and get stuff done. Each project is a learning experience.

Do you think education is needed in order to become a successful videographer?
J: I don’t think so. Experience is the best thing you can have. You have to have an eye for it though. Some people are born with it and some have to work their asses off for it. But with education or not there is nothing better than practicing in the real world.

The quality of BMX videos seem to have boosted in recent time. Why do you think this has happened?

J: HD is the big thing right now and the prices of cameras are dropping so more people can afford them. It’s getting people excited about better looking footage and I think at the same time filmers are trying harder to create better videos. I think each time someone rises the production values of a video other BMX companies want their videos to look just as good, so they do the same and it just keeps rolling from video to video. I think it’s great that people are making the effort to put out better videos, it will just mean that over the next few years we will see some amazing stuff! I also think eventually videos will all be payed downloads of some sort. This is probably five years away or so but it will enable companies to put out great videos for less money since you won’t need a physical copy, it will be good for everyone.
W: I think people are tired of seeing and making the same videos over and over. I’m happy to see such a quality increase in BMX videos these days. I always feel like I can do better and am constantly trying to think of new ideas and ways to make videos. The internet has made so many more videos accessible on a daily basis that it’s kind of overwhelming now. It’s crazy to see how many new web videos come out every day now, but you really have to sift through them to find the quality ones. I think it’s great how Mutiny is putting out high quality HD videos on Blu-ray and the web. I’m happy that we are filming the new Levi’s DVD all in HD. I hope the quality of all BMX videos continues to improve.
C: Well, quality in equipment increases, cost comes down and production value continues to rise in all other industries. If we didn’t keep up with this, then our releases would look dated and not mirror the same progression our riders strive for. We owe it to them to make them look as good as possible.

Are there any guys you appreciate filming/directing/editing wise in BMX?

J: It’s hard with BMX cause I’m friends with everyone and I don’t want to make someone feel bad because I don’t mention them. But I’m going to be dead honest and say what videos I was real psyched on as far as filming and editing goes – Etnies “Grounded”, Lotek “Vancouver”, “Voices”, “Tomorrow We Work” and Ride BMX “Insight”.
W: I really respect the work of Joe Simon, Mike Manzoori, Chad Shackelford, Dave Jacobs, Ryan Navazio, and James Cox. It’s great to see videos from those guys because you know there is a lot of thought that goes into all aspects of production. From recent videos I’ve enjoyed Ride BMX “Insight”, United’s “Down Under”, Etnies “Grounded” and anything that Mutiny does.
C: From recent stuff I’ve been into “Stoked on being Pumped” and “Thats It”.

And outside BMX?

J: I love all kinds of movies. It just depends on the mood I’m in, but some of my favorites are – “The science of Sleep/ Eternal Sunshine of the Spotless Mind”, “Requiem for a Dream”, “Fight Club”, “The Professional” and “No Country for Old Men”.
W: I really enjoy films by Robert Rodriguez, Quentin Tarantino, and Alejandro Gonzalez Inarritu.

Besides all the BMX video projects you also have worked as a professional videographers. What kind of work do you do and has it influenced any way your bike related work?

J: I also shoot some independent films and commercial related work. As well as wedding videos. I find that shooting different types of things keeps me fresh and motivated to learn.
W: I have done some wedding videos and some other non BMX video work around my local area in the past. I think it’s been a good experience for me working outside of BMX, but honestly I don’t enjoy it as much. I have had several non BMX job opportunities that might have taken off and paid me really well that I have turned down to continue working in the BMX video industry. I don’t know if I want to make BMX videos forever but I do feel like it’s my place for now. I’m sure I’ll venture back off into some other video industries someday though.
C: For me it’s kind of the other way around. BMX has taught me everything I know and I wouldn’t be able to do any other project without that background. I honestly don’t really do much work outside of the industry. I have in the past, but I’m very partial to working in BMX, at least for the time being. In the past, I would just do side projects in my free time, which these days is non-existent.

Joe, how do you divide your time between your other film work and BMX-related projects and which pays your bills? And Will and Chad – are you able to live off just by making bike films?

J: I do a lot more non BMX projects then BMX projects. Right now the only BMX-related filming I’m doing is with Mutiny Bikes. It’s very hard to make a living by filming BMX so I do it more for fun and to take a break from the other video work. There is no way I could have all the filming equipment I have by just shooting BMX. And I also think by making BMX filming more of a fun break, it’s really showing in a good way in the final product.
W: As for now BMX videos are 100% of my workload. It is crazy to say this, but yes, I make my living off making videos of grown men riding little kids bikes.
C: It’s all BMX for me. It definitely doesn’t have me rolling in a Benzo, sipping moet. It does pay my bills and is my full time job. Despite what people think, it takes a lot of work just to get by working in this industry, especially considering you have to stay on top of the equipment game, so I definitely have gone into debt for the cause.

What kind of camera and other filming/production equipment do you use?

J: I shoot with the Panasonic HVX-200 as my main camera and use the Canon XHA1 for second/third angle and statics. Here is a list of other equipment I use during production – Century fisheye, Glidecam 2000 Pro, Brevis 35 adapter with Nikon lenses, Kessler 8′ jib arm, Indie dolly, a skateboard, Audio Technica AT-4073 shotgun mic, 3000 watt Honda gererator with 2 – 1k lights and 2- 650 watt Arri’s. I edit on a Mac on Final Cut Pro.
W: I use the Panasonic HVX-200 HD camera, one 32 GB and one 8 GB P2 cards, Dave Jacobs Lens Bastard fisheye (www.lensbastard.com), Glidecam Pro 400, Arri Lighting kit, Ogio Camera Bags, and a Mac PowerBook G4 laptop. I use Final Cut Studio 2.0 and some Adobe After Effects CS3 for all my post production.
C: I shoot with the Panasonic HVX-200 and edit with Apple computers. I use Final Cut Studio for editing and create motion graphics with the Adobe Production suite. It’s a pretty standard set up. I could go on forever about specs and details.

How important do you think is to have a good relationship between a rider and a filmer? Have you ever stopped filming with someone because of your vision or characters don’t match?

J: Important! You have to have a good chemistry and you can get stuff done and have fun at the same time.
W: Very important. Having a good relationship with riders go a long way when filming. If I have good communication with the riders and they trust me to capture their riding with the right shots then typically everything becomes more productive. I am pretty good friends with most people that I film with now so it helps making filming go smoother and more productive 99% of the time. I’ve never had to stop filming because of personal differences and hopefully that never has to happen.
C: It’s essential for the production for the filmer and the rider to have somewhat of a relationship for the moment, you feed off each others energy. It’s really frustrating if a guy is wearing headphones because it throws up a wall and blocks that exchange. I try to relate to the riders in the best possible way. Each rider is different and you have to feel them out and try to create a rapport, so you both succeed.

What are the pros and cons of HD in your opinion?

J: Pros – looks amazing, huge screen size. Cons – bad in low light, takes up more hard drive space.

How do you choose the music for your videos? Is it entirely your decision or riders have input as well?

J: I normally ask everyone on the team, our graphic designers and Gaz to submit music they would like in the video. Then I go through everything and pull out what will fit best for each section/mood. Music is really important, the soundtrack has to be good.

Do you remember a trick that took the longest to get on film?

J: There have been a lot of times where we spent hours filming a trick. That’s just part of it.
W: There is a line in Odyssey’s “Electronical” that I was filming with Aaron Ross in New Zealand. We were trying to film the line for a solid four hours or so I think. Eventually, Aaron pulled it and it was totally worth it. It was the line where he barspins over a pole, 180 whips into a wedge, manuals across two benches and opposite 180’s up five stairs. I will never get impatient with a rider if they really want to film something. It seems that the lines that riders want to do nowadays are so difficult and tech that we typically spend more time at spots now even if it’s just to get one trick. Quality over quantity is what counts in the end.
C: Nothing has taken too long lately. When we were shooting Shook “Put in Werk” then we went back to this school two days in a row for Eric Cuiper to pull a line, but other than that, the guys I work with are really dialed.

Are you more in favour of trick-after-trick pure riding video or you prefer a video with a sort of script and concept?

J: It really depends on the project. I like to mix it up in each section, feel it out to see what’s going to flow the best in the end.
W: I enjoy a mixture of the two. Trick after trick can easily become boring even if the riding is top notch. I like a balance of concept/art direction mixed in with progressive riding, good filming, good soundtrack, and anything that has an original feel to it.
C: It depends on what the client wants, I like them both.

Do you adjust your editing to the needs of the company that hired you?

W: Yes. A lot of times the video that I want to make is not always what the company wants. I’m fine with this as long as I don’t have to cross any boundaries that makes me feel uncomfortable. Most of the times I just end up having to make minor changes that I can live with and don’t take away from the integrity of the video.

How do you think your filming and editing style has evolved from project to project into the current state? Has it changed?

J: I think as you learn new techniques, you apply them to how you film and edit. You will also figure out some stuff doesn’t work or look good and stop doing it. As people we change over time just as our filming style will change over time. I don’t think I will ever be set on one style as I’m always learning new things and giving up old things.
W: Over the years I learn new aspects of filming and editing or I am inspired by different people or friends that has naturally changed my style of videos. Also, when I made the switch to HD last year it makes filming a little different now when everything has to be framed in 16×9 widescreen instead of 4×3 with the Sony cameras. The fact that now with HD we have less vertical room to frame shots it makes me look at shots and filming slightly different. I sure am loving the quality of the HD camera though.
C: I’d like to think I progress from project to project. In most cases, I see some sort of progression, but sometimes I’m just so overworked that I can’t give each project the amount of attention I would like. It goes back to having to hustle and support yourself in this industry, one project can’t sustain you, it takes multiple ones at the same time.

How much raw footage did you take for your last big video project?

J: “SOBP” was shot straight to P2 card drives so there were no tapes involved, but we had around 300gigs of footage. It’s about 60 hours.
C: I shoot HD now, so there is no more tapes, which makes my life wonderful. I’d say we shot somewhere around 400-500gigs of footage for Odyssey’s “Electonical”. That’s about 80-100 hours.

What are your influences when making BMX videos, both inside and outside of BMX?

W: I’d say my biggest inspiration comes from a drive that I have inside of me to always do the best job that I’m capable of. I really enjoy BMX and I feel like it’s my job to make BMX look cool visually. Music has a big inspiration on me too. I’d say music can be one of the biggest aspects to the feel of a video. It can change the mood of the riding, the pace, and tone of the video. It’s just always been interesting to me to craft soundtracks for videos and figure out how to make everything flow together.
C: The riders really influence me to make it the best video as possible. They try hard to innovate and progress, which makes me want to do the same. Outside of that, just anything visual that I stumble upon, usually affects my current work – art, architechture, design, fashion, music, food. Anything that comes from a creative background.

Is there anything that frustrates you the in BMX?

J: Annoying kids shit talking all day online, go ride your bike instead. BMX is so negative, everyone hates this or that, it’s reached to a point where I just tune out of the BMX world bullshit and focus on what matters, having FUN on your bike.
W: Nothing really. Whenever I get frustrated I remind myself that it’s just BMX. It’s not worth getting stressed out over it.
C: At times it’s very uncontrolled and sporadic, which is also what I love about it.

Do you have a favorite rider to shoot with?

J: The whole Mutiny team!
W: I really enjoy shooting with riders who give it 100% of their effort while filming and just have a positive attitude in general.  There are too many to list here but here are a few that I really enjoy working with:  Chris Doyle, Corey Martinez, Morgan Wade, Jamie Bestwick, Biz, Nathan Williams, Dakota Roche, Gary Young, Aaron Ross, Jim C, Taj, Josh Harrington, Colin Winkelmann (RIP)…the list goes on and on.
C: I don’t have a favorite rider, it’s more about working with friends that makes me happy. I love working with Chase Hawk, Mike Aitken, Sean Sexton, Aaron Ross, Jim Cielencki, Ian Schwartz, and anyone I’m friends with for that matter. Usually after working with a rider on a project, we form a good long standing relationship.

How much do you get to ride these days?

J: Not really, maybe one or two days a week. It’s sucks to have to work all the time, I work about 70 hours a week.
W: Not as much as I should. I just got back from Barcelona with the Levi’s team and I got to do some riding on that trip which was cool. I really just enjoy nibbling around more than anything now. I definitely get to ride more on trips than when I’m home. I need to make more time to ride!
C: Pretty much not at all. It bums me out. I had to make the choice to dedicate myself to this lifestyle. I can’t justify riding when I’m on a trip, because that’s not what I’m there for and I’m hardly ever at home, so there’s really no time. I really miss it so much.

It seems to be becoming more and more common place to only go out to ride with a camera – what do you think of that?

J: I think it’s becoming part of riding. But there’s also time for the camera and time to just chill and ride with friends. I think you need to have a good balance to make sure you are doing it for the right reasons.
W: It seem like riders want to document riding more now than in the past years. I think it’s a good thing. I think filming helps some riders push themselves to ride harder and learn new tricks.
C: I love it, makes my job all the more productive. For me though, it kills any chance of me riding. Because if I leave the camera at home and ride, I feel like I’m neglecting my responsibilities.

What are the most important qualities needed to have to be a good BMX videographer?

J: Patience, steady hands, a good eye for composition and quick on your feet/bike, haha.
W: Patience, creativeness, hard work ethic, good business sense and a yearn to travel a lot.
C: A good understanding of your equipment and how to use it. It’s also very essential for the videographer to be with a BMX background, it helps with the shots and relation to the rider.

Do you have any tricks for getting the best out of riders while in the filming session?

J: Nope, just have fun. If it ain’t going to happen don’t force it.
W: It really just depends on the rider and the situation. I never want to push anyone beyond what they’re capable of. Sometimes I will joke with riders that have been trying the same trick for a while like “if you pull it this try I’ll buy you dinner”. It’s more of a joke than a bribe, but it’s cool when it works and we get the clip.
C: Just try to learn their personality and figure out how to motivate that individual. Every rider is different and it takes different methods to motivate each person, you need to be an observer.

Do you ever worry that a rider doesn’t like the angle or something else of a banger trick you just shot of him or you are always confident in your filming skills and judgement?

J: I pretty much shoot everything with at least two cameras so I’m pretty confident that the footage will look good.
W: If a rider is setting up for a banger then I would always prefer to ask them what angle they envision the trick being filmed from. I’ll always take their opinion into account and do my best to capture their riding as best as I can. If I mess up a shot by accident then I’ll always let the rider know and apologize. I just do my best to pay attention and get the clip filmed properly on the first take if possible. All I can do is use my best judgement on how to film it with only one take. It’s a great feeling when the rider pulls the trick first go and I get the shot perfectly how I wanted and the rider likes it.
C: Definitely, but I encourage the rider to be open and honest with me. I like it to be a collaborative process, I’m not some egomanical director type, they’re my friends.

Favorite things to film?

W: Trails or street.
C: I like filming just about everything but I guess trails and street would be my favorite.

On trips or contests there’s usually more than just one photographer and videographer documenting the scene. Has there ever been any conflict when choosing the angle etc?

J: I don’t shoot contests so I’m not sure about that, I would probably freak out and want to kill everyone in my way, haha. Sometimes it’s hard on trips because there’s a really good angle and the photographer is in the way or the flashes are in the way, but normally we can work around it. It can be stressful sometimes though.
W: Sometimes, but you just have to be willing to compromise. Some photographers won’t compromise but I haven’t ever run into a problem on the road that couldn’t be resolved.
C: Sometimes with certain people, but it’s really laid back for the most part. I usually have lots of angle options for shots, so it’s easy for me to compromise.

Favorite spots for filming?

J: Austin Tx.
W: Anywhere in Barcelona or New Zealand!
C: Barcelona, Spain.

What’s the best filming trip you’ve been on and why?

W: I can’t think of one specific trip, but any trip that I come home with some good footage and good memories is always a great accomplishment.
C: I just went to Barcelona and it was very productive and fun. We didn’t stress on spots or footage, it all came naturally. It was a completely new culture to me and everyday was a challenge to speak and live, very stimulating.

Has anything scary ever happened when you were filming?

W: Nothing too scary that I can think of. I really hate when riders get hurt while filming. I’ve been fortunate enough not to have any too serious injuries happening while filming. Knock on wood…
C: Jimmy Levans accident was probably the most intense thing I’ve ever had to deal with.

Have you ever been arrested filming on some spot?

W: Never been arrested but got tickets a few times.
C: Thankfully no. I’ve had a few close calls with homeland security and very pissed off police officers, but I’m pretty good about playing dumb and defusing the situation. It’s usually egos that get you in trouble.

I can imagine the more the better but can you say what’s a good budget for a highly professional full-length BMX video?

J: As much as you can afford. It’s different with each video. How many people you need to fly and to where? How many trips need to be done? Food money? etc. So it’s really hard to come up with a number for that.
W: It really just depends on what the needs of a project are. I know people who have made videos for under $1,000 and videos that have spent over $50,000. I would love to do a video with a huge budget one day just to see what’s possible.
C: Well, I do projects on all ranges of budgets from non-existent to the equivalent of a modest yearly salary for a working professional. I cannot say a certain number but the more the better.

If money weren’t an issue what would you use for making a video?

J: I would love to shoot an all Super 16 BMX film.
W: Probably a combination of 35mm film using high end lenses with tons of additional lighting and an experienced crew.
C: RED cameras.

So, you would shoot your next movie on film if you could?

J: Yes, but the budget would never recover, haha.
W: Yes, in a heartbeat. If I had the budget and a company wanted to shoot film, I would be all for it.  Even HD can’t replicate the same feeling as film.

What’s a piece of video equipment you’d really like to own?

J: A RED camera, they just look amazing!
W: Aaton A-Minima 16mm film camera.
C: Just one? I can’t say, I have a wish list days long and I’m waiting for the budget that will let me fulfill that. If I had to say one, it would probably be….. there’s too much on my head right now, sorry.

But never want to own or use?

W: A PC! Macintosh all the way!
C: Probably a beta camera.

What magazines do you subscribe to or read and what videos do you watch?

W: I don’t really subscribe to magazines anymore. I get most of my info from various websites and forums. I do watch videos from time to time though. I just recently saw the new Ride video “Insight” and was blown away. Such a great bike video!
C: I don’t have a steady home right now, so I don’t have magazine subscriptions, but I enjoy Dwell, Vice UK, Nylon, URB, the BMX magazines, etc. Regarding videos – I honestly don’t watch too much TV or videos, I don’t have time, I’m usually working.

Some people say that skate or surf videos are so much better. Is it because of the money in it or what do you think?

C: I think that it has something to do with budgets, but it also has a lot to do with vision and forethought i.e. good amount of pre-production time. But BMX videos are changing to the better too. I would like to keep this steady pace of increased production value we have in BMX now.

In your eyes what makes a good video part or whole video?

W: Creativeness, concept, time/patience, effort by rider, filmer and editor. And hard work from everyone involved.
C: One that you can tell the rider put in work, but it doesnt look like he put in work, if that makes sense. As for a whole video, one that is well thought out ahead of time.

Do you have any recommendations to people who want to get into filming and editing?

J: If you want to start filming just get out there and do it. If you enjoy it then keep at it. It’s a great art form and the joy I have gotten out of making BMX films is unreal. I wish you guys all the best.
W: Watch as many videos as you can, pick up a video camera, go try for yourself, learn from your mistakes, work hard and enjoy BMX!
C: Read and educate yourself. Watch, learn and ask questions from the people you admire.

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Videos:

Will Stroud’s cinematography reel. More of Will’s work here.

Mutiny Bikes “SOBP” part II Mix Section (by Joe Simon). More of Joe’s work here and here.

Odyssey “Electronical” trailer (by Will Stroud and Chad Shack). More of Chad’s work here.

postitas: risto | 9. juuni 2009 | Teema: BMX, Bike, English, Featured, Intervjuu |