"1500 DIAS" WITH GABRIEL MAFRA
"Right after the release of our last video, Cyberia 2000, we were always out on the streets, skateboarding and filming, but without a specific project in mind. It was when Daniel Crespo and Bento Peixoto joined the shop's team, followed by Luis Ceita and Rodrigo Moreira. We started to work harder and then, with the support of videomaker Rafael Semedo, who helped me with the filming, we came up with the idea of doing a new project for the shop. Initially, it was going to be something shorter, with the launch planned for the shop's 3-year anniversary in June 2024. However, as these things happen, the project was extended, the video ended up being longer than expected, and the release date was postponed about 10 times. But it's finally out! "
A TALK BETWEEN JOANA AND GABRIEL.
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The concept of this film was my attempt to mix the Cybercafé concept created by my partner in the shop and designer Lui Appratto, with the feeling and vibe I felt from this crew of younger riders in the shop, this new generation of skaters coming from Lisbon and the friendship between them. I also always try to explore different cameras in my videos, old cameras like VHS and in this film we used an Arri super 16mm film to make the B-rolls along with a Bauer super 8. I also always try to bring out different emotions in the videos, from melancholy to the feeling of ‘growing up’ to funny and shocking moments.
Who was involved in the production and how were the roles divided?
I started this project filming and editing with no real commitment, not knowing what it would turn into. But working at the shop eight hours a day, six days a week made it hard to find the time to film. As a result, the project would take twice as long to complete—until I met Rafa. We became close friends, and he fully embraced the project, ultimately filming the majority of this video.
This is my first project in the 16:9 format, and for skateboarding, the best fisheye lens for that aspect ratio is the Century Xtreme. I had been trying to get my hands on one for years, but since they’re no longer manufactured, the prices have skyrocketed—now going for over €10,000. I really wanted all the fisheye shots in the video to be filmed with this lens because of its unique aesthetic, but I never had the opportunity to own one.
That changed when I met French filmmaker Ethan Moriceau. He visited our shop one day, and after talking, we decided to go skate. I noticed he had the Xtreme fisheye, and we filmed a few clips together. When he later sent me the footage, I was blown away—I knew I wanted all the fisheye shots in our video to have that same look. Over time, Ethan and I became great friends, and that moment shaped the vision for the project.
After Ethan returned to Paris—he had only been in Lisbon for a week—I asked if he’d be interested in coming back to film our crew with the fisheye and stay at my place. He was down. He stayed for a week, and during that time, we focused entirely on filming fisheye clips and skating every single day. A lot of the footages in the video are his—he ended up being one of the main contributors.
At the same time, my friend from my hometown of Florianópolis, Felipe Humphreys, moved to Lisbon. He also had the same fisheye lens and was down to help out. So while Rafa and I handled the long-lens shots, Phelps took care of the fisheye missions. Everything came together naturally, and the project became a truly collaborative effort.
Leonardo Beazotto also filmed a lot for this video, while Pedro Brasil, Daniel Galli, and Telmo helped capture many of the clips, making it possible for the entire crew to be involved.
At Cyberia 2000, through a friend, I met Luis Nunes—a cinematographer who works in film and specializes in 16mm and 35mm cameras. I’ve always been fascinated by the look of film, and my dream was to shoot with a 16mm camera.
I've always been fascinated by the aesthetics of film cameras, and using a 16mm camera had been a dream of mine. Meeting Luis made it possible. At Cyberia 2000, we filmed with a Bolex, and later, we rented an Arri S16—an incredible camera. We spent a day driving around Lisbon and its surroundings, shooting b-roll with the help of our friend Manguinha, who drove us around the city. We had a few planned shots and locations in mind, but the process turned into a freestyle mission, which I really enjoy.
One of the highlights was discovering an abandoned water park, where we found some hidden trails that led to amazing views. We wrapped up the day by filming in the shop—some of those shots made it into the video, like the pizza scene.
Beyond the filming, my partner Lui played a big role in shaping the project. He was always present in different ways—helping with ideas and references—and took on the artistic direction for the video, handling the graphics and design. He also created the zine we released alongside the video, with the help of our friend Luana.
Another key contributor was our friend Maetus, who handled the animations and credits and helped me in countless ways throughout the process. So many people were involved in different capacities—it was a 100% collaborative project. I just directed it and made it happen.
Daniel Crespo was also instrumental in shaping the final cut. I trust his taste completely, and his feedback made a huge difference. He was one of the few people I felt comfortable showing the video to as it was coming together, and I valued his input every step of the way.
© Coolbybesser
How long did the shoot take and what were the biggest challenges?
The video includes footage dating back to around March/April 2023, after Cyberia 2000 was released. But when we made the decision to create this video for real, it was February 2024—that’s when we really started to focus and visualize the project.
One of the biggest challenges, aside from balancing a full-time job at the shop with these projects, was actually being satisfied enough to release the video. For me, a video is never truly finished—I can edit for months, constantly tweaking things. I have to set a deadline and commit to it.
When we set the premiere date, the video wasn’t even 50% done. I finished it on the morning of the premiere but didn’t have time to complete the credits—I had to do them later. Some skaters even sent clips just hours before the screening. The weeks leading up to the premiere are always chaotic. There’s the anxiety of making sure everything comes together, and a lot of skaters wait until the last minute to film. Some of them managed to stack more clips in the final week than in the entire two years we spent filming—it's crazy!
Pulling all-nighters editing before a premiere has kind of become part of the process at this point. But in the end, the hardest part is knowing when to stop and being satisfied with the final result.
Were there any tricks or spots that were particularly difficult to get right?
Yeah, there were quite a few. One that stands out is Camila’s slappy 50-50 down the street. The first time she tried it, she couldn’t land it. Then she gave it another go and nailed it—she was super stoked. It wasn’t at the very end of the ledge, but we were still really happy with the clip, even though it was filmed at night.
Unfortunately, Rafa’s external hard drive had an issue, and that clip got lost. So Camila had to do it again—haha. The second time around, she tried a few times but couldn’t get it. Then, on her third successful attempt, she locked in perfectly and rode it all the way to the end. The timing worked out because this time, we filmed it during the day, so the footage was much cleaner, and the trick looked even better. That’s why her reaction at the end is so genuine—I left the clip running longer in the edit to highlight how difficult it was and how much it meant to land it.
That spot was huge. You can’t really tell from the video just how much bigger it looks in real life—and on top of that, she rolled straight into traffic. Camila is incredible. In the end, losing that first clip was almost fate—some setbacks happen for a reason.
Another one of her battles was the board shuvit. She tried five times and got super close every time. I had already given up, but she didn’t. Less than a day before the premiere, no videomaker was available to film, so she borrowed my camera while I was editing. She called Sarreira, who went with her to the spot—which is really far away—and just before dusk, after more than 100 attempts, she finally landed it. You can see her reaction in the credits—it says everything.
And that’s just two stories of Camila’s battles. If I were to tell them all, we’d be here until tomorrow. Honestly, I could make a whole film just about those behind-the-scenes moments. Sometimes, five seconds of footage take five months of trying.
Shoutout to Luis, too—he really pushes himself for the clips, spending hours until he gets them. And Moreira, whose tricks often took multiple trips to the spot before he finally locked them in. These guys put in the work, and it shows.
How did you choose the locations to film? Do any of them have a special significance for the local scene?
For this video, I really wanted to focus on filming exclusively in Portugal, unlike previous projects like Cyberia, which included trips and footage from outside the country. I wanted to highlight the local spots and scene, showcasing the unique aesthetic of Portugal’s skate spots.
What I love about filming here is the variety and character of the spots—the pavement, the cobblestones, the rough ground, the banks, the marble. I’m particularly drawn to neighborhoods like Chelas and Bela Vista, which are full of spots and have a vibe that you won’t find anywhere else in the world. These areas offer so much to explore, and there’s a real rawness to them that feels authentic.
We did venture on a few trips to film—places like Porto, Évora, and the Algarve—but my main focus was to keep most of the footage in Lisbon. There’s still so much to discover here, and the city offers endless opportunities for filming.
Are there any behind-the-scenes stories you'd like to share?
Many, each clip has a story behind it, but in October last year, our shop was robbed three times, the glass was broken and things were stolen during the night.
After the two times, we didn't have the money to put up a grille, so we slept in the shop for more than 30 days until we managed to put a grille on the windows. It was a bit scary being there on my own, so I would call people to sleep with me.
Luis and Moreira would always go and they were very supportive, Rafa would also go there, he wouldn't go to sleep but he would stay up late with us, we would order a pizza and start editing, that's when we started editing the video, and it turned a bad moment into something sad and happy.
Another fun story is the one about the soundtrack of this video. I had the idea of it on the week of the premiere.
We had a jam session, Def, Leo and Wesley, and I kept sending them musical references while they were creating and testing. Then, at one point, the full song got done right there!
The soundtrack on the beginning of this video is us creating the sound, and then, when the skateboarding part starts, the real song starts.
This song was an attempt to explore other elements besides skateboarding itself. The shop is also involved, and the idea was not to associate us 100 per cent just with skateboarding, but with everything that skateboarding involves - music, art, and that universe.
Any advice for those who want to start filming their own parts?
I think the most important thing is to get out there and do it, whether you're using a mobile phone or a camera, the most important thing is to get together with your friends and go skateboarding in the street and capture those moments!
