In some respects, CAPiTA video man Mark Dangler may have had the easiest job at Superpark, and I mean that in the most sincere way. You see, what Dangler does so well is capture real snowboarding by snowboarders who clearly love it. Cruising with the CAPiTA camp, Dangler seems to be surrounded by this mentality at all times. The video that Dangler and crew produced is a raw yet polished look into CAPiTA’s experience at Bachelor for Superpark 16. It’s lazy style while at the same time super tech. From super 8 to HD, the video gives a look at snowboarding from all types of views and this coupled with CAPiTA’s insanely loyal fan base is ultimately what made so many snowboarders relate to it. In short, much like the brand itself, there was no bullshit in this video. The CAPiTA crew came to Superpark, they shredded everything, and their video shows that. Dangler is a refreshing throwback to a style of filming that puts the snowboarding first and foremost: use great cameras, use good technique, but don’t let it get in the way of the snowboarding. It’s a no brainer why Videograss jumped on Dangler He does this style of filming well and personally I’d like to see more people like him making shred films these days. -John Cavan
Mark’s winning submission for the 2012 Battle Of The Brands
Name: Mark Dangler
Home Mountain: Bristol Mountain, NY
Brand Worked On: CAPiTA
Gear: Panasonic HVX, Century lens, Bell & Howell Super 8, Letus 35mm adapter
Video Resume: Videograss’s The Darkside, CAPiTA’s Defenders of Awesome, former HCSC session video producer, Variety Pack’s The Leak and have contributed footage to past Videograss, Transworld, Think Thank, and Absinthe movies.
Cavan: Congrats on the win. What will be the first drink you order from the beach in Cabo?
Dangler: I’ll probably start with a Pacifico.
C: Who do you think will be your biggest liability down there?
D: That’s a tough one. I’m not sure; maybe Brendan Gerard or Brendon Rego?
C: What influenced you in how you went about approaching your Battle Of The Brands video?
D: I didn’t really go in with a great plan or anything. I had a plan for some of the stuff I wanted to shoot with the Super 8. Beyond that I mostly just wanted to go to spend some time filming with the CAPiTA guys again. I really enjoyed the experience of filming DOA with those guys so I didn’t want to miss this opportunity. I also didn’t want to stress or worry too much about the contest. I knew we had a good crew to work with so long as we were staying productive we would be okay.
C: CAPiTA is a company where it looks like everyone at the brand is very “all hands on deck.” How much interaction was there between everyone at the brand and you editing? Were there ever any differences in opinions?
D: Yeah, you could say that for sure. Everyone was really motivated to try and produce something memorable from Superpark. Afterwards when it came to editing Blue [Montgomery], [Sean] Tedore, and I would bounce ideas, rough cuts, and a short list of songs back and forth. I don’t know if there were many differences of opinions because I think we value each other’s opinions.
C: The Super 8 footage was just awesome and it really pushed the video over the top for me. Whose idea was this? Was it tough mixing the different types of footage in the edit?
D: I just had a few rolls left over from shooting this winter so I brought them with me. I actually think it makes piecing together the edit easier. Most of the time I shoot it thinking of how it can cut into the HD shot.
C: Who chose the music and what went into making that decision? How important is music to you in editing?
D: The song we ran was the last one standing from a short list Blue and I had put together. We liked the little intro part for some of the Super 8, the energy of the song, the breakdown to build into Worm’s ender shots and the general time of the track fit well with our final footage. For me, finding the right song is probably the hardest part of editing. It’s hard for me to do much without having a song on repeat in my head for a day or two and then I can just begin thinking of how I would lay out the clips. Music can make or break an edit.
C: Was it difficult keeping track of everyone throughout the days up on the hill? Did you have to chase anyone around or did you guys roll in a pack?
D: We were spread out and everyone really did their own thing. We just tried to keep in touch on phones or radio about who was going to hit what and where everyone was. Skylar Brent was helping me film as well and he killed it! He rolled around mostly with the younger guys and came back with a ton of footage everyday. Plus I had some help from Dyke Boy and Ross Phillips with some shots of Jess and Scott. Things just kind of worked out I guess.
C: Talk about Jess Kimura. Not only was she one of the only girls at Superpark, she holds her own in the edit and doesn’t stick out at all. How was it working with her?
D: Jess is one of the best to work with. When she is on her snowboard she personally has a high standard of what will cut it as a shot and when she is not riding she is always down to do whatever she can to help out whoever is trying to get a shot. It kind of goes back to that whole team “all hands on deck” thing.
C: How many tries did it take Scott Stevens to do that front foot one foot?
D: I’m not sure. We just bumped into each other at the end of the day and shot that. I don’t think it took that long but we shot it a few times and a few different ways.
C: What other videos from the contest were you stoked on?
D: I thought the Nike and ThirtyTwo edits were good. I was sweating during those rounds a bit. I liked Quiksilver’s, and Volcom’s was so raw it was awesome.
C: What videos have you been stoked on recently both shred and non-shred?
D: I really like watching the stuff that Tanner Pendleton has been putting together. Joe Carlino, Justin Meyer, Jake Price. I have always liked watching things they have made.
C: Ok deep question here, In this current “immediate media world,” do you think there is still a future for snowboard films and what kinds of changes can be made to how things are done?
D: Personally, I think there can be and should be a future for snowboard films. I think they are important to the industry. Video parts within a full-length video are an important aspect in how the whole story lines of careers are developed. Web parts are nice but do they have the same effect as a rider potentially having one of the bookends or a strong full part in a video with a whole list of other noteable names? I am not so sure. In my opinion, a lot of things on the web are easily forgotten the next day. People want that instant gratification though so it’s important to support the video with strong web content but at the end of the day I just don’t think web-only is the way to go. Hopefully, people out there see it in a similar way.
C: Don’t you think it would be a great time to start working on the new CAPiTA video as soon as you get back from Cabo?
D: I’ll just say I know everyone at CAPiTA is looking forward to when the time is right to start working on the next one.