Dressed in black and ducking in and out of the shadows are the lone few that are charged with the task or documenting the dance music scene. Whether it’s a sold out show or a festival weekend, these unsung heroes are hard at work creating memories that will be shared across the Internet. These hidden camera men are responsible for getting us hyped to return to our favorite events and remember those we’ve just returned from. One videographer in particular, has been behind the camera of some of our favorite event recap videos from the last few years, cue Rebel Cause Films.
Jim Vanderhorst, a lone filmmaker from Victoria and a rebel with a cause, is Rebel Cause Films. Since 2009, Jim has been traveling across British Columbia documenting the wonderful music scene it offers. Filming the likes of Griz, Opiuo, Excision, Datsik and more. As well as working his camera at Shambhala, Astral Harvest, Rifflandia and Bass Coast, where we decided to sit down and find out more about Rebel Cause Films.
Photo: Phi Vernon of Third Eye Arts www.ThirdEyeArts.com
DMNW: How has your Bass Coast been so far?
JV: It’s been amazing! I took on less responsibility this year because, if there’s any festival I would vacation at, this is the one. It’s gotten a little bit harder to find friends without phones, but that’s all! I am usually rushing around these things like a hummingbird drinking in all the bass nectar, but here I have taken the time to go hang out with friends in their camps, said yes to random adventures, checked out sets by artists I’d never heard of just because a friend was going or a beat caught my feet. I think I spent as much time chilling in the Coldwater River this weekend as I have in water at all other festivals combined! Who knew festivals could be relaxing!
DMNW: What’s on your plate for the weekend?
JV: I shot some material for Mat the Alien and Abstrakt Sonance, and the Night Vision showcase out of Edmonton. I also did quick drop-ins with a few friends I have done good business with, just little things here and there where I felt like it. After Pumpkin passed, it hit me that I didn’t really have a lot of footage of him. We got along really well and I just never felt like talking business with him. His sets would be the time I took off from the camera to be with my friends. So now at every festival I take some time to make sure that I chronicle a few things that just have to be documented somewhere, whether it’s for use now or twenty years from now when we’re all old as fuck and the true value of all this media is revealed, ha.
DMNW: Whats your approach to capturing video? Whats important for a good video…what not so much?
JV: Trial and error have definitely produced a series of touchstones that I keep in mind when filming. There are certain angles that you need to capture and show early in the edit to give a proper sense of space and geography. So I try and punch off my mental checklist very early in the headliner’s set. The first priority ultimately is protecting the scene and the people. The selling of the event is really on the technicians – the DJ, lighting and sound crew made it look good. My role is to use technique to translate and find moments that are unique about the event. Hugs, genuine smiles, great dance moves are all awesome. It’s key to avoid showing people that might be wasted, both for the integrity of the event and the respect of the person. And make sure people look good! Part of the secret to my happy shots of beautiful people is that they know me and trust me and they’re ready to smile and bust a move when I show up.
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