Studio

Slipstream started in 2016 with a stolen afternoon: two of us, a rented Ronin, and a friend who’d agreed to hit a jump line at Kirkwood if we promised not to put his face in it. The edit got forwarded around enough that a boot brand called asking who shot it. We’ve been doing this instead of real jobs since.

We are a five-person crew — two shooters, one editor, one drone pilot, one person who answers the phone and makes sure everyone has a return flight. We don’t have a house style so much as a house rule: shoot until the light or the athlete gives out, whichever comes first, and never ask someone to repeat something that could break a leg the first time.

What we actually do

Season edits for athletes building a reel. Sponsor films for the brands who back them. The occasional stills set when a magazine wants something a phone camera can’t get. We turn most requests down that involve a script written before anyone has seen the conditions — the good footage is never the planned shot.

Kit

Two cinema bodies, a drone with more duct tape on it than paint, and whatever the terrain demands to carry it — skins, a packraft, once a horse. We cut on-site when we can; a rough edit by the campfire has saved more than one trip from being wasted.