BUCKET CLIPS 4
Bucket Clips 4 just wrapped its world tour – a raw, DIY, FLINTA-powered project that’s been around the globe and back – now gearing up for its worldwide online drop on November 27 via Newschoolers YouTube. We checked in with Rosina Friedel about building the fourth film.
How does it feel to see Bucket Clips 4 come to life, and what’s different this time around?
Honestly, it feels unreal every time we wrap one of these. The editor and me are basically busy the whole year bringing this video to life, and there are moments where I’m like, why are we doing this to ourselves? It’s a ton of organizing next to our “real” jobs. But then we get to the premieres, see the movie on a big screen, talk to people afterwards, and suddenly it all makes sense again. I get so stoked to create it all over and build a project where we can be strong together.
What’s really special this year is that we went to Brighton, Utah for the TBL Session and filmed a full Bucket Trip Park part. One week of just FLINTA skiing in a private park. That event was truly something special. We invited 10 riders via Insta video submission. They skied together with 15 Pro Skiers and are now part of the Park Part.
You’ve filmed across Street, Pow, and TBL Session Park this season — how is it to bring those three worlds together in one edit?
It’s super refreshing, honestly. Each environment brings out a totally different side of our skiing and of our styles. Putting them together in one film feels like showing the full picture of who we are.
The film has that raw, DIY energy while still feeling global. With riders filming everywhere — how do all those clips find their way into one film?
Through submissions, trips we organize, and by asking riders I’m hyped on if they have clips. That also creates the mixed-media look of the video. My goal is to open a space for everyone who is motivated to be in a ski movie and to break down the borders that exist sometimes in the ski industry. So we also try to include phone clips if they’re filmed horizontally and the quality is still good.
All summer we’re editing, working with a FLINTA graphic designer — this year with Lynn Birrer — and trying to find good music for the parts. It’s definitely a long process, but I’m always learning a lot.
