1. Tate's gutterball slider through the tunnel.
This to me is the best spot/trick/filming match-up in the entire video, and it was no walk in the park to accomplish either. First of all we caked the entire tunnel with wax so Tate could slide his front wheel sideways through the entire thing with greater ease. Secondly, as you can see in the clip, the tunnel is less than a handlebar's width, and all downhill. The combination of the wax all over the ground, the downhill, the tight walls, and me attempting to be in front of Tate on the board proved to be a very dangerous filming situation. Because of the wax on the ground and no side room for a foot drag, I could neither slow down or speed up without instantly slipping out and getting run over. The tight quarters not only made staying straight on the wax and keeping a consistent speed difficult, but it also prevented me from looking back at Tate during the trick whatsoever. The entire thing was just one educated guess push in the beginning, followed by completely blind audio based judgement from there on out. So, as if all that wasn't difficult enough, we decided to go back and film the trick a second time due to conflicting lighting situations of inside/outside the tunnel the first time around. Even with the auto exposure settings on the camera, the contrast between the darkness inside the tunnel and mid-day sun was just too much for it to handle and left us with a washed out white screen as soon as I exited the tunnel. Not quite happy yet, we returned at dusk and managed to come away with a much more balanced fish shot. We then re-filmed the long lens angle just so everything would match up nicely. Tate must have done this over 60 times between both filming sessions to get it just right.
2. Broc's Ender.
As filming was coming to a close we were sort of weighing our options as to what exactly we were after for the icing on Broc's video part cake. Devin Feil ended up coming thru with a ton of large but also very unique setups that helped us out a ton. After a few long driving days of spot research & development, we finally arrived at the ultimate setup with the ultimate filming opportunity built right in. Although I already had the song picked out and perhaps even most of Broc's section edited at that point, it still didn't really dawn on me while filming the roof angle that it would match so well with the song. I simply thought it was the best way to compliment that particular setup, & the camera motion was something I had never really attempted before, so I went for it. As soon as I got home and imported the footage, I knew we had a match made in editing heaven.
3. Drew's Sunset feeble 180 over the chain from dock to dock:
This one has quite the story behind it. This spot is not only very unique on its own (wooden ground, wooden bench, perfect chain placement) but the entire thing is on a dock in which the landing rises and falls with the tide. Drew noticed this setup on one of his first filming trips out here to Long Beach, but it seemed like the next 4 or 5 times he came back, the high tide required for the trick was at midnight, or 6am, or there was some stupid event going on which prohibited us from getting it done. I remember on the last two trips out here Drew was checking the tide charts daily in hopes of lining up the perfect time to get the clip. Finally on Drew's last visit out here we made it back to Long Beach just in time for the peak of high tide, and mother nature even granted us a beautiful bonus sunset as well for all out patience. After we got the clip, Drew also did the over-smith going the other direction because fuck it, who doesn't want another sunset clip?
4. Jason's Tunnel Line.
This is one of my favorite clips in Jason's part from a spot/trick/filming perspective and also because you can tell Jason is just completely in his element here. For anyone who follows Jason on Instagram you know that he lives for finding pools, full pipes, tunnels, or really just any discoverable transition not intended for riding. Working on this line with Jason was like watching a big kid in a candy store as he went to town making dams, cleaning up puddles, and sweeping the entire tunnel of debris. Also, fun fact: The gap to wall from the square tunnel into the round tunnel followed by carves to wallride 180 are actually at two completely different spots about a mile away from each other. With a little filming/editing trickery, nobody would ever be the wiser. For all you nerds reading this, keep that a secret.
5. Raban's Crook to Smith in San Antonio.
This was on one of the first big team trips we took for the DVD, and for me it was also a repeat of a Demolition trip we had done to San Antonio only a month or two before. On the Demolition trip I already knew we'd be coming back for Volume so I was sending photos of every good setup we found to the team back home in hopes of making our trip a little more productive. On the Volume trip we actually ended in the exact same vacation rental and everything, so a lot of the spots I found pedalling around were close by and easy to light up…this was one of them. When I first sent Raban that photo, he was like "dude!!!…what the fuck!?" The spot is just too perfect with the angle iron on the ledge and everything. However, things are always a little different when you're actually trying it of course, and Raban ended up struggling with the close proximity of his bar end to a vertical pole at the top of the rail, and also just how steep/short the rail was in general. After taking some pretty crazy slams, he ended up pulling it perfectly. I totally freaked out and screamed in excitement as he rolled away…which you can hear in the video. I guess there's just something very rewarding about finding the perfect setup months or years ago, having the perfect man for the job, then finally getting to go back there to execute. When that kinda shit works out, there's no better feeling in the world.