TWS Vault Ep 56: Jason Hernandez Filming Left-Handed In Barcelona w Stefan Janoski and Omar Salazar

This is the “First day“ in Barcelona. I remember wanting the audio from the stewardess saying “Welcome to Barcelona,“ I thought It could be used in an intro. It’s easy to see Omar is pure energy, once he gets a clip he can usually do it again. It’s the exact opposite of most skaters, he asks “Do you wanna film that again?“ EVERY FILMER’S DREAM :) At the end of the first day (after Stefan’s switch heel) I dislocated my right elbow. I knew I had to stay, I was too excited to be there, but I was worried about filming lines left-handed, which I’d never done before. So I started practicing right away—using the cast as a faux tripod worked pretty well, and learning to shoot rolling long lens. Omar’s line (nollie heel then Smith 180 out ledge) was my first line left-handed. It felt pretty good, figuring out where to point the camera was the hardest thing. I was worried about being super shaky or just not being able to do it, but I had no choice, I needed to learn how to shoot that way. Side note: My first trip to Europe was with Foundation. Some of the guys would make fun of me (in a good way), they’d ask “What’s the psych factor?“ ’Cause I was so excited for the dumbest stuff. Like “Look at that building, look at that wall, check out that cool lake!“ etc... I knew I was in love with Barcelona right when I saw that cemetery off the freeway. I just love seeing different culture and how they do their thing. Featuring Shiloh Greathouse, Omar Salazar, Alex Klein, Stefan Janoski, Kyle Leeper and Oliver Barton. I start each video the same way, I pick two to five DV tapes (in order) from my TransWorld DV drawer. I read my log book and find out what’s in store for the next video. I line the deck up with the time code that coincides with what I have written down, and the memories start flowing. I’ll fiddle with the order depending on just how gnarly the tricks are, BUT these videos are chronological in the sense that I do not skip around to different tapes just to find “gnarlier” tricks to make the edits better. These edits play very closely to how the footage got recorded on each tape and what time frame I filmed each trick.