An old friend’s brother made this clip. Using a point-and-shoot camera CAN produce some nice shots. With a little bit of lighting, and thinking outside the box of how a photoshoot must go down, you can come up with something to be proud of… And a bit of Photoshop knowledge doesn’t hurt either…

…is what my grandfather used to say.  He was the son of a Russian Marxist immigrant, a football coach, and history teacher at Hollywood High School. Despite his radically left-wing ideals, when the mid 60’s rolled around he hated the whole hippy movement.  This always confused me, but now tend to agree with him.

Disclaimer: I do yoga, I meditate, a veggie garden is in my backyard, I surf, I add green powders to my food, I’m the son of two college professors, one of whom teaches fiber art, I’ve taken a mushroom vision quest in Sedona, and my friends include people in the surfing world who’s picture should be next to the word “hippy” in the dictionary… I am (gulp) a hippy.

The counter culture movement began with German immigrants, who themselves had a “back to basics” revolution at the turn of the 20th century in reaction to the industrial revolution. Their movement spread state-side after some of them came to California, opening health food stores and nudist colonies. After influencing the Beat generation of the Fifties, the whole thing got blown up and commodified in the sixties and has been a joke ever since.

Here’s my beef: we live in a world that’s completely absurd (gourmet dog food boutiques, breast implants, 100 dollar boardshorts) and to take anything seriously, especially yourself, is ridiculous.  Banging a drum on your farm isn’t going to change anything. Don’t get me wrong, I’d love to live on an organic farm. But someday when I’m out there in a drum circle with my cosmic brothers and sisters, I’ll be smiling, not because I’m sending healing vibrations to the world but because I escaped the rat race and can do trippy shit like sit in a circle and bang on things!

Searching for the perfect superfood, yoga routine, and massage oil is awesome but is only possible because we live in a society built on the backs of generations of indigenous people. Saying “no” to bacon isn’t going to change that. We’ve all got blood on our hands! Rather than trying to scrub off the blood, lets all laugh at our situation. Humor kills fear and makes room for change. Saving the whales or some other cute species is great, but we’ve got to start with other humans first. You can’t save other humans when you think the majority of them are toxic, zombie, meat murderers!  Food preference and carbon footprints are not grounds for judging other people…honesty, integrity and compassion are. We’re already a wounded society fractured by cultures, generations and divorce. Deep down we long for a return to tribal existence where love was unconditional and time was abundant, but we’re here… a fact that is both tragic and hilarious at the same time.

None of this is going to change over night but if we can look at each other and laugh, we can strip away the pain that’s got everybody so feeling alone. In the end all want the same shit.  So wipe that “holier than thou” smirk off your face and smile. We are believers not knowers.  Everyday we judge each other on what clothes we wear, what car we drive, etc, but if how “green” you are, or how much organic food you buy becomes more another reason for judgement, then we are part of the problem. Eat real food and grow as much of it as you can. What you put in your body is just fuel to love, create and make. Share a massage, meditate, lay in the sun, go for a surf. Love yourself first, then you’ll have plenty to give. Let’s empower ourselves. Let’s reclaim the hippie movement from the hipsters.

-Mr. Stu Pedasol

Get Radical on the Below Link

http://surfermag.com/battle-of-the-blogs/semi-finals/marine_layer_productions_vs_korduroy/

As advocates of the handplane, we got a little giddy after checking out some of the serious sliding in this video of the 2009 REDWINGS Memorial World Championships of Handboarding…

Vote for Korduroy in the SurferMag Battle of the Blogs: http://surfermag.com/battle-of-the-blogs/semi-finals/marine_layer_productions_vs_korduroy/

A Korduroy TV photographic collection curated by Ryan Tatar.

Part 11:  Rich Corbin x Greg Eavey

Words & Photos Rich Corbin

So we have been getting a bunch of emails and Facebook posts from Korduroy fans who have been inspired to get out there and build or create their own stuff. We couldn’t be more stoked! And we want to see what you are up to out there. So if you do have something that you have made, we want to see it. Email us at info@korduroy.tv or drop us a post on facebook at http://www.facebook.com/korduroyTV

Here’s are a couple of them:

With every company giving out free reuseable grocery bags, it seems like those are piling up rather than the old plastic or paper bags. So Greg decided to make some “El Cheapo Seat Covers!”

And with summer here (although it seems like the sun doesn’t like us these day) and the water warming up (I wore a fullsuit yesterday…ugg), Austin decided to take it upon himself to make his own wetsuit top. Rather than go out and spend $75-$100 on some new neoprene, he took an old suit that was laying around down to Swell Stuff in Leucadia and had Lisa convert it into this wetsuit top. Austin said he was shocked to hear that they had only done this for one other person. Saved him a ton of cash!

Thanks for sharing guys!!!

Our good friend, Erik, turned us onto this website that he has been working on and we thought it was great tool for surfers. There is not really any great methods to charting and saving data from each surf session that you have…Until now. TheWaveJournal.com allows you to record your daily surfing experiences so that you know more about your favorite sport. It will keep track where you surf, what board you were riding, how much fun you had, and it will also grab the buoy readings for that session so that you can go back and look to find out where YOU had the most fun when the next swell hits!

TheWaveJournal.com was founded in Encinitas, California, in 2008 as a Local Artist Network focused on San Diego Culture, and the Southern California Lifestyle. Based on Art & Simplicity, our original videos, events, and articles invite others to experience the “Stoke” and creativity that each contributor lives by.

We wanted to remember the best times of our lives.

When we surf, we are drawing lines on temporary canvases where the only object created is a memory.  We wanted to remember these personal events to study and progress our creativeness in an easy to use, trustworthy, accurate surf journal.  Thus, TheWaveJournal.com’s online Surf Journal was created in 2009.

Write a Surf Journal to Remember and Learn about Your Surfing.

Whether you want to know where you’ve been, or find where you’re going, recording your surf experiences will help you understand your “Art” more clearly……-what are my favorite conditions? – how much do I surf? -where do I surf the most? what board is the most fun?

The Wave Journal Online Surf Journal

Our free surf journal allows you to privately record everything about your surf sessions by doing most of the data collecting for you.  You tell your Journal where, what, and when you surfed, and the Journal instantly grabs the applicable oceanic data from the closest available buoys.  Review and edit your sessions from any computer, forever, using our secure, private, simple, and accurate online surf journal.

TheWaveJournal.com’s Surf Forecasting Model

TheWaveJournal.com is dedicated to creating value for all it’s Users, and so creating a surf forecasting model based on a User’s Surf Journal entries was our next step.

Numerical Questionnaire

When you use your Surf Journal to document a personal surf experience, TheWaveJournal.com’s Surf Forecasting Model applies the numerical questionnaire within each journal entree to that entree’s corresponding historic oceanic data.  The Forecasting Model then monitors future data, and determines where and when you should expect the best conditions, every hour, for every surf spot documented in your Journal.

The Numerical Questionnaire Asks “How Much Fun You Had”

When you write a journal entry, the Forecasting Model asks you “How Much Fun?” you had during the session, on a scale from 1(meaning i didn’t even paddle out) to 10(meaning It was ALL-TIME).  Our Model then monitors available forecasted oceanic data, and determines where and when you should expect the best conditions every hour, for each of your surf spots.  The more Journal entries with Numerical Questionnaires you submit in your Journal, the more accurate the Forecasting Model becomes.

TWJ will help any wave rider consistently find better waves for their own personal abilities, making the user’s surf experience as enjoyable as possible.

How did you get into cinematography?

Growing up my dad always had a Super 8 camera around, so introduction was through that. As I got into surfing, skating and motocross my brother, friends, and I would dabble with shooting footage of each other and doing stop frame clay-mation shorts. I still have a few epic rolls of ektachrome of a WSA District 5a surf contest at the San Clemente Pier circa 1980 with David Beauchamp (then US Boys Division Champ) ripping on his Local Motion single-fin!

WSA District 5a Contest at the San Clemente Pier. Super 8mm 1980

Did you have any formal education in it/how did you learn?

I went to Pepperdine University and majored in TV production, so studying cinematography was a part of that. Shortly after graduation I was walking through a camera store and saw an old Bell and Howell Super 8 camera, so I bought it for nostalgic reasons. I started using it again and actually got really into super 8, ultimately incorporating it into some of the music video and promo work I was doing around that time. After that it was just sort of a natural progression to 16mm and 35mm, and definitely a learning experience every step of the way. You can learn the principals or theory in a classroom, but learning how to apply them takes trial and error, so you need to just go out and do it.

Mark gets his surf on

What attracted you to 16mm film?

I think first and foremost it was the look. To me 16mm is a very intimate format; the same way Super 8 has that “home movie” vibe.

Secondly, 16mm can still be a very portable format, making it good for run and gun type documentary work. If you go the Bolex route, the equipment is also relatively affordable.

For my taste, it is just a great balance between look and usability. Factor in the history of 16mm film as the tool of choice in documentary filmmaking, and it is hard not to have adopted that format. Of course that is all changing now…

Mark with his Bolex rig

Are you still shooting 16mm or have you adopted digital technology?

Given the advances made in the digital realm and the changes to the “action sports” industry as a whole, it is getting harder and harder to justify shooting film, and so I too have adopted digital technology and it is more and more becoming the tool of choice.

I’d like to think that the possibility to shoot 16mm still exists, but I am more and more beginning to realize that One California Day might very well have been the last project I shoot with 16mm film.

That being said I am threatening to do an all Super 8mm film sometime in the future.

What are the pros and cons of each?

In the documentary world, the new digital technology has become the norm. On the plus side, it’s inexpensive, highly portable, works great in low light situations, and the footage is instantly reviewable. Those are all huge pluses.

Through the introduction of DSLR cameras and 35mm adaptors for video cameras, the depth of field issues associated with small sensor video cameras that accentuated the “video look”, are no longer an issue, and it is possible to get rich, textured, shallow depth of field images that are more “filmic” in quality. Mind you it is never going to be film, but these cameras are capable of producing images that to my eye, convey the same emotion as film. It is it’s own unique look.

I think the biggest drawback to the digital technology is the lack of “latitude” that video offers. You really need to pay attention to exposure to make sure that the information in the images is not lost, especially in the whites. Once the whites are blown out, it is hard to get that information back and you are left with that “white hole” on your screen. Obviously this presents a big challenge for surf cinematography where the exposure difference between the whitewater and a surfer in black wetsuit can easily be 4 or more stops.

The pros of film are the latitude, the organic look, and for me the surprises that film offers. In the documentary world you are usually shooting without any sort of video feed, so you have no idea what you are actually getting until you process and telecine. There have been numerous times when I was sure something would be terrible and it came out great. Even little imperfections, like malfunctions in the camera can sometimes create great unexpected results.

It’s actually pretty amazing to think of how blindly some of the 16mm work is done. When I shot the original DRIVE skateboarding documentary, I don’t think I saw a single frame actually processed until 80 percent of the film was shot. With the digital technology available today, that seems hard to imagine.

You really need to weigh which is the best tool for the job at hand, and yes when you self finance your own projects, cost is definitely a factor. At the end of the day, they are all just tools, if you don’t have a good story to tell or good composition in your shots it really doesn’t matter what you use. A tricked out 35mm or RED camera does not guarantee a great film.

Mike Vallely visits the Cayman Islands in DRIVE

What kind of equipment are you using?

Well, I still have a Regular 16mm, Super16mm, Super 8mm, in my collection, but in the past couple of years I have been shooting digitally.

For me that means primarily the Panasonic HVX 200 and Canon 7D. I have shot the Sony 900 HD cameras extensively, but found lugging over 100 pounds of camera gear around cumbersome and prohibitive. In many cases missing opportunities because the equipment, so I switched to the smaller formats and tapeless workflow.

For the type of stuff that I like to do, I am having good results with the HVX and 7D. I am experimenting a lot with filtering and camera settings to get a look I like, and to get the maximum latitude out of the video.

How did you get inspired to make surf films?

As I mention earlier I have been surfing my whole life, so it has always been apart of who I am. My path into surf filmmaking is sort of an untraditional one. I started out in LA and had a production company, doing more mainstream work – music video and commercials, and utilizing emerging technology in post-production. This was during the infancy of desktop video, so getting a computer to spit out any type of moving video was like giving birth, but it was definitely the beginning of the DIY style of filmmaking.

Through that I was able to combine my love for filmmaking, surfing and skating. That ultimately led to me being given the opportunity to get involved in Bluetorch, for which I was the creative director and executive producer. At that time Bluetorch owned the rights to the WCT contest in Tahiti, and the WCT and WQS contests in Huntington, so I was heavily involved with those and really wanting to find a way to portray contest surfing in a new way.  After 120 episodes of the show, I left Bluetorch because I really wanted to get back to “just the filmmaking” and the basic idea of making story driven films in action sports that empower and inspire.

Tyler Warren sunset session

You are getting some really nice framegrabs – has that become your version of photography or do you also shoot stills?

I think it’s always best to have a dedicated photographer. That being said, with the new DSLR technology it is possible to shoot hi-res stills and video with the same camera, so it offers a lot of flexibility in being able to get production stills without too much hassle. Since most of this stuff is run and gun or “in the moment” it is definitely hard to think about doing both, so sometimes you have to rely solely on frame grabs, which fortunately have become better and better with the increased resolution of HD.

What challenges do you face as an independent filmmaker?

I think the biggest challenge is on the business end of things – the change in the distribution model, and the fact that content is so readily available for free. Lets face it, as an independent filmmaker, You Tube and Vimeo are not necessarily your best friends. Sure they allow your work to be seen and are a great tool for creating interest and marketing a project, but in the end there is only so much time in the day, and if people have access to free content to watch, why bother paying for something. The skateboard video is a perfect example of falling victim to that. It seems that we are all still searching for a way to monetize that.

I am constantly blown away to see what pops up for free – lets face it, there are always going to be people that are more talented than you are, locked up in some basement, just churning out the craziest stuff and posting it for the world to see.

From a distribution standpoint  – the day of the DVD is on the outs being replaced by digital platforms. This isn’t necessarily a bad thing, because ultimately it will allow for distribution to a ton of new markets, but in the meantime, you have to deal with the fact that we are in the infancy stages of this – and people need time to warm up to new technology.

So, what is the biggest problem facing independent filmmakers? It’s money, and having the certainty that you can recoup your money.

Lastly, free DVD’s shrink-wrapped in magazines don’t help either!

Skip Frye shaping

How do you overcome them/what keeps you motivated?

What keeps me motivated is having a point of view and something to say… so for me story is always going to the main thing. And at the end of the day that is what filmmaking is all about, having a point of view and sharing it with people.

I also think that these days it’s not just about the making of the actual film. In order to stand out and rise to the surface you really need to create a bigger experience that the film is a part of.  I really view it as building a brand, and as a filmmaker being involved in how that story is disseminated through all the various channels from marketing, theatrical screenings, DVD, merchandise, etc…

The goal is always to make something stand the test of time.

What advice do you have for the aspiring surf filmmaker?

The most important advice that I would have for aspiring filmmakers is to be original and have something to say. Develop your own style and remember that all the new technology is just tools, at the end of the day it still comes down to the fundamentals of storytelling and composition.

Trouble In Paradise" - A surfing and motocross claymation adventure. Super 8mm 1980

What are your favorite projects that you have worked on in the past?

It takes so much energy to bring these projects to life that they sort of take over your life for that period of time, so each one is memorable and special. In the case of One California Day, it took Jason (Baffa) and me 4 years to complete. That is a good chunk of your life, so it was definitely a labor of love, but one that left a lasting impression on us both.

However, if I had to pick just one experience that sticks with me the most, it would be my travels through Israel for Drive. Being amongst all of that history was just an inspiring experience.

Al Knost in One California Day

What can we expect to see from you in the near future?

Up next is another surf film, as I have partnered up with John Smart to make The Tyler Warren Experiments. John had already been shooting for the film the last couple of years, and as we got to know each other and discussing ideas, we kind of came to the realization that we should combine them to make one film. We are shooting for another 6 months or so and will complete the film in 2011.

Besides that, I am attached to direct a surfing based environmental documentary called “The End of Summer”.

For more of marks work go to: http://www.buildworldwide.com

So the guys at Blu are back at it with an extra long animated time-lapse of paintings, drawings, images, and more. It is amazing that this group hits such a massive scale time-lapse with art. Incredible attention to detail. And fun to watch…Over a million views in less than two weeks! That smells like good work!

They describe the video as…”BIG BANG BIG BOOM: an unscientific point of view on the beginning and evolution of life … and how it could probably end.”

If you’ve ever been to Europe on a surf trip, you will know that the Basque region is full of waves, great food, and tons of culture. We got tuned into this film, Modernist Basque Surfing, by Xabi (one of the filmmakers), after the Surfilm Festibal in San Sebastian last month. The short film intertwines the rich culture of the region with some nice longboarding  in Biarritz. Below are some words about the short from Xabier Zirikiain:

“This is my first movie, I am actually a graphic artist. I did it together with Iker Treviño, who is the one who knows about making films. Since surfing started in Europe (in the late 50’s), we have been always been followers when it comes to surf culture. We haven’t had the personality to develop our own thing (not like Australians). So when we thought about making a film we had it clear that we wanted to give it a local twist. We might not have as good of spots or surfers as in the USA, so we had to compensate for this with creativity and roots”

“Our influences come from surfing (Falzon,Kidman) but also from underground European filmakers like Sergei Parajanov or Jean-Luc Godard. We wanted to make the point in the roots for this movie so we shot the dance in Guethary (a beautifull Basque, French small town) and the surfing in Cote des Basques (Biarritz), the first beach to be surfed in Europe. The film is going to be showed in the NY Surf Film Festival next September.”

To learn more about Xabi and Iker, check out:

http://debolex.com/
http://www.loreakmendian.com/

Thought this was pretty cool. One Day On Earth asks anyone and everyone to document their day on October 10, 2010 through video and send in their footage. Everything will be compiled and made into one amazing film that will be shown in theaters across the world. So if you had only one day left on this planet, what would you document??

“Join us on 10.10.10 for an unprecedented event. Every Nation, 24 hours and You.
Across the planet, documentary filmmakers, students, and inspired citizens will record the human experience over a 24-hour period. By participating in this historic event, you will help capture the diversity of life and culture on this planet. Together we will create a document that is a gift to the world.”

“One Day on Earth is a documentary and new media project about the amazing diversity, conflict, tragedy, and triumph that occurs in one 24-hour period on Earth. More than a film, One Day on Earth is a multi-platform participatory media project. The flagship of this project is a 120-minute documentary to be released theatrically. Through the One Day on Earth platform we will establish a community that not only watches, but participates.”

To be a part of this one day worldwide time-capsule, check out http://www.onedayonearth.org/

How did you get into photography?

I started my study of photography in high school, and I did quite a bit of it, I shot for the school newspaper and the annual yearbook.

Then I went to Hawaii and just focused on surfing for a while. In ‘68 I stayed with George Greenough at Lennox Head in Australia, and he was making INNERMOST LIMITS OF PURE FUN. That’s what really motivated me to get into cinematography.

I met Spyder Wills in ‘69 at Hanalei Bay on Kauai. I would ask him everything and he would show me, we had a flow, and we’ve been working together ever since. Our first movie was THE FORGOTTEN ISLAND OF SANTOSHA, which the Yates brothers produced. We shot 16mm cameras at the then undiscovered island of Mauritius. After SANTOSHA I converted to Super 8, which was more affordable and I could shoot Kodachrome – the finest grain film ever made by mankind.

Did you have any formal education in cinematography/how did you learn?

The school of hardknocks… the school of off-exposure. We used to have overnight processing on the North Shore. It was a daily deal – it would cost me $75 to shoot a half hour – that’s how I learned. Spyder showed me camera technique – tracking and follow focus – no autofocus in those days. You had to be able to handle long lenses on tripods.

Are you still shooting 8mm or have you adopted digital technology?

I shoot with and old VHS camera now and digitize that – not real professional but it has a long lens. To me power is everything, I’m not so much into resolution. If you’ve got a good shot, you’ve got a good shot. The new DSLR stuff is leveling the playing field though

Early days at Hanalei, 1969

How did you get inspired to make surf films?

Well I love surfing – that’s all I’ve ever done with my life. I guess I’ve been a pioneer, in terms of surfing new places, shooting surfing, and the equipment I’ve used.

What challenges do you face as an independent filmmaker?

The biggest challenge is finding a grantor, an angel, and a producer. Every good cinematographer needs a good producer.

How do you overcome the challenges/what keeps you motivated?

Going surfing. Collect my beach insurance – most people work their whole life and hope to spend time at the beach when they retire. I don’t work so much and spend my life at the beach. Life is short. Time is the most valuable thing there is

What advice do you have for the aspiring surf filmmaker?

If you love your work, you never work a day in your life. Only do it if you love it. There are so many video cameras out there and everybody has a unique story – but you have to figure out how to tell your story. Learn good technique and try to develop your own style. The creative people will stand out. And editing – when in the doubt throw it out. That’s how I like to make my movies – I make a reel, I keep swapping shots, but the reel never gets bigger. In the end it’s got to be all killer, no filler.

What are your favorite projects that you have worked on in the past?

SANTOSHA was wonderful, and I loved making STYLEMASTERS, being in Hawaii for 5 years. I’ve pretty much loved every project I’ve worked on, working with wonderful people.

You are also into painting – what are you working on there and how does it relate to your filmmaking?

Filmmaking and painting are very inter-related, painting teaches you how to compose a subject, and film is all about composition. Figure out what you are trying to say and say it in its simplest terms. In films there are many moving compositions, and then the whole thing ends up being one composition. Lighting is a voice of the mood, just like lenses and angles are. I consider myself an artist. I make films in an artistic manner

France, 1970s

What are your other pursuits?

I love my garden, and I love surfing. I’m a simpleton. I want to grow my own food, eat and stay healthy so I can surf more.

What can we expect to see from you in the near future?

Right now I am mostly licensing my material for other productions. The history of Pavones is coming up, and there’s a skateboarding movie called SIGNAL HILL in the works. Myself? I will be surfing places that are much cheaper than California.

A Korduroy TV photographic collection curated by Ryan Tatar.

Part 10:  Ed Cornell

Words & Photos Ed Cornell.

For the next edition of Autarkic….  this one is left best in the words of the photographer.

“I live in Washington D.C., home of the never-ending snowstorm…One shot is from a summer I spend in Indonesia, the spot I won’t name. The other surf shots are from a swell in November in Rockaway Beach New York, I took the bus to New York and took the subway out to Rockaway from Manhattan, one of the best swells of the fall. The other two are of me and my friend Jake doing some board shaping at his house in Alexandria, VA. This was our first attempt at shaping and the board has been out a few times this winter already. All shot on film and scanned digitally.”

July 12th, 2010 San Diego, CA. KorduroyTV is pleased to announce its strategic partnership with POS Clothing. While exact the details cannot be disclosed quite yet, this long term deal includes photo incentive, stock options and the rights for a flagship store. Cyrus has also been named brand ambassador and will have his own signature line.

“Many people have wondered how Korduroy.tv has been funded. A few months back I was approached by POS Clothing CEO Johnny Fascash. His desire to take POS into the core surf demographic and our goals for expanding our website created a partnership that we’re pleased to unveil today. POS is a great brand because it combines eclectic design with active lifestyle sensibilities.”

Johnny Fascash of POS said “Korduroy is the S#$%! It’s my favorite blog for sure!”

Check out the below clip to learn more about POS.

Video made by… http://www.funnyordie.com/themidnightshow

If you haven’t heard, Parko sliced his foot pretty nicely and will miss the next ‘CT event at Jeffrey’s Bay.  Parko, we’ll miss your silky smooth style at an event that was made for YOU!