Cameron Markin Talks Remote Audit.
Words and interview by Shannon Farrugia
Photos by Luke Brown
Cameron Markin. It’s likely this guy has built at least one feature at your local DIY spot or favourite skatepark.
Pic: Brown
There’s a famous Modern Art retort to anyone who says, “Hey, I could’ve done that,” and it’s, “Yeah, but you didn’t”. This pretty much sums up how I feel about Cameron Markin’s recent video part drop, Remote Audit. I’m not entirely sure why I feel this way because, in reality, I couldn’t have done what Cameron has done, nor did I think to do it in the first place. However, the unique, creative, raw authenticity of Remote Audit somehow tapped into my soul and stirred up feelings and emotions…Just like a good art piece should right?
Cameron’s been holding it down for a long time, whether it’s skating, taking photos, filming, editing, working on skatepark building crews or creating DIY spots all up and down the east coast of Australia. He says it’s a pirate’s life, and if it actually is, I’d describe Cameron as one of those nice pirates - one that gives, not takes. Baffled to learn that Remote Audit was his first proper part, I shot him a few questions to learn more.
Shan
Is it true that Remote Audit is your first full part? If so, why has it taken you so long to put a part out?
Technically, yeah. I’ve been garnished within the odd homies videos and edits, but this is the first full ‘something’. I’ve filmed two other video parts in the past that didn’t come out. One was a shop video 15 years ago that never saw the light of day, and the other was cut down to a few tricks in an old Smoke Beer video.
I’ve finished another part with my friend Mitch since Remote Audit, dropping with Vague Skate Magazine before the year’s out and we’re halfway through filming a third one that’ll come out probably early next year.
How important was the overall aesthetic and general feel of the part to you? Is this something you were considering while stacking clips?
Uniformity in architecture and general aesthetic has always been a huge draw for what I watch. I love when something is filmed entirely within a (preferably historic) city or solely crusty ditches, etc. In saying that, I’ve rarely had the discipline to let it dictate if I will or won’t approach a spot. Usually, if the spot’s speaking to me, I’ll try to listen and if not, I’ll walk away.
Is it really a pirate’s life?
“It’s a pile of lies”
Going the distance on a slappy noseslide, as seen in Remote Audit. Belconnen ACT.
Pic: Brown
Tell me about the editing process? How involved were you?
This was largely on Fos. He picked the song, the order and selection of tricks. He was always fastidious with checking in to make sure I was happy and, other than a few minor alterations, I tried to just let him cook.
How did your relationship with Fos and Heroin come about originally?
The way you ‘meet’ anyone in this decade, on the internet. I was always a fan and I guess he noticed.
Cameron sweepers on one of his many DIY creations - The Courtside couch.
Pic: Brown
I noticed Brendan Gardoll filmed some clips for the part, are you scared he’ll kick your ass if you don’t get the clip, considering he’s a Muay Thai warrior these days?
Nah, back when he filmed those, he was still a soft boi, probably coulda rolled him over. (Don’t tell him that though, he could bench press me no worries now.)
Tricks like the pole jam tre’ flip at Belza, and the slappy crooks 270 out on the “up” curb at Courtside personally got me psyched. What's your process? Are you planning tricks? Or are the ideas generally coming to you in the moment?
Cheers, mate! Had a kind response to those tricks. It’s a bit of both. Sometimes I’ve had an idea that isn’t working, so I’ll switch it up. The polejam tre flip I was originally trying bs 360. After an unsuccessful 2-hour battle, I came back the next day and tried for another hour before switching to tre flip, which also took an hour. The crook 270 was similar. I had it in my head originally to try 270 out the other way, but it kept sending me the way you see in the video, so I just went with it.
Good vibes alert: The dynamic duo, Paige and Cameron. Belconnen ACT.
Pic: Brown
Watching your part back, absorbing the response to it, and reflecting on the process in general, what have you learnt?
I haven’t watched it back, but the feedback was kind of overwhelming, to be honest. I’ve never had so many lovely, thoughtful messages to respond to before. I hope I got back to everyone that took the time to watch it and say something nice.
Your photography background is rad and extensive, have you been getting back behind the lens much, or are those days over?
I still break out my 35mm Nikon FM2 from time to time, but don’t you DARE call it a comeback.
Frontside bluntslide. Truckstop, Ballina NSW.
Pic: Brown
Backside lipslide on the junk trunk. Truckstop, Ballina NSW.
Pic: Brown
How much are the unconventional Heroin board shapes dictating your trick and spot selection?
I never try to ride the same shape consecutively, so often the change will dictate what tricks might work better. Then when you start getting into the super wild realm of 12”+ boards, everything you thought you knew about skateboarding goes out the window and it’s a pretty unique experience.
Layback BSTS. Courtside DIY.
Pic: Brown
Is there a clip in Remote Audit that means more to you than people watching would probably realise?
The audio that plays in the background of the intro drop-in was my dear friend Shane’s dad, who left him that voicemail. We couldn’t stop laughing all day about his dad’s brilliant delivery and Shane was hyped to have it in the video. His dad passed away (RIP!) before the video came out, that’s a very special shared memory.
Is it really a pirates life?
It’s a pile of lies.
Shoutouts?
Mum, Paige. My sponsors Tony and Freddie at Truckstop Skate Store, Ralph at True East for adidas, Cheets at Trapdoor for Ace Trucks and Benny V at Project for Spitfire.
And last, but definately not least, Fos. I quit Heroin in a really abrupt way while going through a depression from losing my mum late last year. I didn’t realise that depression was making me feel like I didn’t deserve a place alongside Fos’s amazing brand. In the moment, I think I just said something really brash, like I didn’t feel connected to the brand. This all came as he had finished editing my part before the video came out, so I can only imagine his frustration at wasted hours. It’s something I regret and hopefully have learnt not to act so impulsively and be more in tune with my own emotions.
Remote Audit. Enjoy.
Facebook is still a thing. Talk shit there and follow Shan.
@terrible.happy scroll ya life away on Instagram and follow Shannon’s mediocre skate clips and podcast notifications.
@vagabondedit is Luke Brown and his rad photos. Follow.
@itsapirateslife follow Cameron Markin for radness.
