Brains
In a world where adventure sports and social media merge seamlessly, snowboard videography has become an art form, blending athletic skill, visually appealing aesthetics, and boundary-pushing action. But how did it get here, to a place where a few minutes of filmed adrenaline can captivate millions and create the sport’s next superstar?
The First Snowboard Films: Capturing a New Culture
Those who were around to see “Apocalypse Snow” in 1983, were probably blown away.
It was French, a little weird, and only half about snowboarding, but it captured the early essence of the sport. French snowboarder Régis Rolland rode down massive powder-covered mountains, showing people a different way to connect with the snow. It wasn’t skiing, and it wasn’t the same old alpine vibe; it was fresh, creative, and just a little edgy.
The 1980s and early 1990s were full of these experimental snowboard films, raw and unpolished. Mike McEntire, or “Mack Dawg,” was one of the first to shape snowboard videography into something bigger. His early films, like “The Hard, the Hungry, and the Homeless,” had this gritty, underground, punky feel. Mack Dawg wasn’t just filming riders; he was capturing an entire lifestyle that spoke to every snowboarder who felt like an outsider on the mountain.
Snowboard films became a way for riders to define themselves, to say, “We’re here, we’re different, and this is our mountain too.”
Fast-forward to the late ‘90s. Snowboarding had grown up a little, and so had the films. This was when snowboarders were no longer just fringe athletes; they became household names, heroes to the kids hitting the slopes in baggy pants and goggles. Jeremy Jones, JP Walker, Craig Kelly, and Devun Walsh were shaping the style of snowboarding of the early influencers. And snowboarding films were their stage.
The films themselves were evolving, too. Production companies like Standard Films and Mack Dawg Productions started pushing out videos that looked more polished, and the riders were throwing down mind-blowing tricks on massive jumps. Every film that came out went bigger, with larger jumps, steeper lines, nuttier tricks, and huge wipeouts.
The Travis Rice and Torstein Horgmo Era
It’s hard to think back to the 2000s without remembering how snowboard films suddenly felt bigger and wilder, like they’d leveled up in a way no one saw coming. The credit? It goes to two riders who, in their unique ways, changed the way we all experience snowboarding on screen: Travis Rice and Torstein Horgmo.
When Travis Rice teamed up with filmmaker Curtis Morgan in the early 2000s, snowboarding movies hit a new level.
People that have ever watched “The Art of Flight” (2011), know the feeling of that jaw-drop moment when they realize snowboarding has never looked this smooth. Travis Rice and Brain Farm, the production company, changed the game with 4K cameras, helicopters, and some of the most epic landscapes you can imagine. It wasn’t just a snowboard film; it was an adventure film, a nature film, and a celebration of snowboarding all in one.
Across the snowboarding universe, another character was gaining fame in a different way. Torstein Horgmo wasn’t just slaying tricks—he was making us laugh while doing it. If “The Art of Flight” felt like a dramatic blockbuster, Torstein’s “Horgasm: A Love Story,” was the buddy comedy that snowboarding benefited from. Horgasm wasn’t just another film of polished tricks and jaw-dropping jumps. It was raw, it was funny, and it was genuine. Torstein didn’t shy away from showing the real side of snowboarding, complete with slams, pranks, and behind-the-scenes laughs. He’d poke fun at himself, at the crazy situations riders find themselves in, and even at the high-stakes nature of the sport.
Travis made us gasp, while Torstein made us laugh, and between the two, snowboarding films became something you didn’t just watch. You felt like you were part of it. And that era, that feeling they both sparked, is still pulsing through snowboarding culture, on-screen and off, to this day.
Modern Day Media
Here in a new age of superstar riders, accompanied by YouTube, social media, and films that can launch these riders into stardom. Cullen McHale is one of those videographers who has a way of creating masterpieces. He has been filming for Monster Army and X-Games, and linking up with riders all over the world to get content for them.
McHale grew up in Connecticut and started by filming his little brothers hitting flips and cliff jumping. “Eventually, my little brothers started throwing flips in, and I just was like, ‘Dude, there’s no way I’m doing that, but that was super cool,’ And I just wanted to film it,” McHale said.
The process of taking videography from a passion to a profession is tough in this industry because it takes an all-in mentality, and in the beginning, the skepticism runs high.
“Torstein Horgmo was the guy growing up, watching him do what he did was crazy…I would wonder who’s filming these guys and making it all happen,” McHale said. “I always was skeptical, How is this somebody’s job to film this? How is it a profitable thing? How does this work? So I just went to school for math and business, hoping to get a business job, and said I would go back to it later.”
McHale realized pretty quickly an office and desk weren’t fit for his lifestyle; he transferred to the University of Colorado-Boulder when he was 20 and has been doing ski and snowboarding filming since then. McHale is now 29-years-old finally doing what he’s always dreamed of.
It’s a dance between the rider and the filmer, each trusting the other to bring their shared vision to life. There’s something almost magical about that connection. Picture it: a rider is about to drop into an intimidating line, and their filmer is right there, ready to capture every moment. They move with the rider, feeling the rhythm and understanding why this can be a special run.
To understand and foster this connection, a lot of research has to go in prior to filming a shoot about the rider you are working with. Understanding the style and tricks that they are looking to capture, some riders are more technical while others go for a ‘wow’ factor.
“The main guy I film with, Luca Harrington—he hates planning shit. He just wants to ski, and whatever happens, happens, and he’s done the craziest shit I’ve ever filmed by so far,” McHale said. “And with other riders, you are expected to take a more methodical and creative role. You just have to learn what’s going to make it the most fun for you and the rider. I love that my job is just so different every day.”
U.S. Snowboard Team Rider Chase Josey has been riding and competing for years on the biggest stages: he’s a two-time Olympian X-Games medalist and has numerous World Cup Podiums. From the other side of this industry, it is the rider’s relationship with their filmer as well.
The symbiotic relationship with a writer and filmmaker is huge. Filmers need riders to film and riders need people to film their best moments.
“Growing up riding, you are always looking for a technician that can come in and advocate for the group or the individual. Someone to connect you from the inside world of snowboarding,” Josey said.
A personal relationship helps more than just a business relationship in this industry as well. “Knowing how to frame your friends and like set them up for success is huge,” Josey said. “I think for a lot of people it’s so hard to like just go meet up with a team manager who’s like, ‘Yeah he’s a good filmer but like that mutual energy and spirit is not there and that clip’s not gonna go anywhere’.”
In this era of riding, the field of talent is other-worldly, so sometimes it takes more than just being an incredible rider who fears nothing. There has been an increase in videos and movies showing riders off the snow just being themselves and having fun. Media and videographers are being called upon to help riders get that more personal connection. Josey has accumulated a massive fan base for his on-the-board accolades and builds an even stronger community through the use of filmers and videographers to keep fans engaged.
“With the amount of talent in the industry, it’s what you’re doing off the board that can help you stand out too and make it easier for companies to want to support you,” Josey said. He and riders alike have begun to realize the importance of the social media side of their craft. Most fans will never be able to land a triple-cork 1440 so to be able to connect on a more personal side of riding soicals are a great channel. “Everybody is so fucking good, but to stand out to the public, it’s about staying genuine and showing love to all who support you,” Josey said.
The foundation of social media for smaller riders and filmers is essential to build a name for yourself, and frankly, the movies and big production crews require a lot of resources, time, and money. So to be able to build a brand for little to no dollars is an advantage that everyone should be taking. “A lot of the guys I look up to are making these big ski movies and bigger videos and projects,” McHale said. “But this world of social media is growing so crazy, and that’s where I come in. People looking to make a name for themselves need these small 2-4 minute videos in this industry where going unknown is not uncommon.”
Instagram has become a hub for two-to-three minute reels of anything snowboarding, park clips, backcountry tree lines, and visually appealing smooth powder bowl clips. McHale has used the power of Instagram to connect with many riders and filmers alike to get as much outreach as possible.
McHale believes opening up as many doors as possible for a filmer is key. With so many opportunities out there and people wanting clips, it’s about taking as many jobs as possible. The snowboarding and skiing community being so open and helpful is a big plus.
Cullen McHale got his first credits in a Warren Miller ski film from the recommendation of another filmmaker named Luis Madeiras, also known as Cuban Lu. “Shout out to Lu. He was in this Warren Miller movie and knew of me from his friends,” McHale said. “Warren needed another filmer and had me just go out there and film a day with them. So I technically got my first ever ski movie credits because of Lu. So it’s like I wasn’t even part of this group; he’s all about building the community and making it better while giving people a platform to be great.”
At the end of the day, the beauty of filming is it helps riders further their career and passions while doing the same for the videographer. Chances are, if a video clip or film does well, it benefits riders and videographers alike.
“My end goal is to have these riders be stoked on what we make that day,” McHale said. “Even on days where their riding is not that great. Obviously, weather can be a factor, the park might just suck that day. I just set the expectation for myself to leave the day with my riders being stoked and proud of what they did.”
The Future
Cracking into this industry is never going to be easy. Who wouldn’t want to make money while recording and filming some of the top riders in the world in the most beautiful mountains and resorts in the world? “Have a million different small jobs, especially in the winter, and find fun shit,” McHale said.
McHale’s grind is a great lesson to the passion for creativity and craft. But it is also a lesson to how demanding this industry is, and how important years of experience and connections will be to your future success.
“I stayed passionate throughout the process and now I get to film for some of the biggest events in the world,” McHale said. “I’m grateful to be in a career where there is no prime or decline; you just keep getting better with age and finding ways to be your best.”
The evolution of ski and snowboard videography is a testament to the power of passion, creativity, and community. From the raw, rebellious roots of early films like “Apocalypse Snow,” to the polished productions of Travis Rice, the journey has been nothing short of extraordinary. Today, this art form bridges riders and audiences, capturing not just tricks and terrain but also the heart and soul of the snowboarding culture.
As technology continues to advance and platforms like social media provide new opportunities, the role of videographers and Cullen McHale becomes even more critical. They don’t just document the sport—they amplify its essence, pushing boundaries and creating connections between athletes and fans worldwide. With the next generation of riders and filmers finding their voices and visions, the future of snowsports on screen is bound to be as exhilarating as the mountains themselves.
