We recently hosted a premiere of Jude Harrison’s excellent DAYRATE video in collaboration with Vague, aware of the videos impending release we connected with Jude to learn some more about some specific tricks he captured out in the field, and the reason he selected them for us…
Words and interview by Jacob Sawyer. Click above to watch Jude Harrison’s “DAYRATE” video
You can check out an audio version of this article on our Listen In podcast. This is available on Apple Podcasts, Spotify, YouTube, and all other major platforms.
We were first made aware of Jude Harrison’s work via his early videos that focused on the healthy Tunbridge Wells scene he proudly played a part in, a scene he was immersed in, and whose folklore he absorbed from his first exposure to it via the Red Brick Rascals video, which sparked his obsession. His trajectory as a filmer began with an early Canon XM-1 gift that broke on day one but remained in use as a prop as he imagined the filming process with his friend. The seed was sown, and by the time the Palace Palasonic video hit screens, Jude was reverse-engineering any second angles that hit his feed and exploring the varying merits of old VHS cameras. By the time he got a VX-1000, filming was already of paramount importance, and his quest to master wielding one was underway. Tying this origin story with a bow would be Jude’s video Constant Seeker from 2023, a VX masterpiece that is a love letter to the Tunbridge Wells scene that birthed him, one we recommend taking in after his new video if you haven’t already.
Having released Constant Seeker, Jude relocated to London for university, unaware that his studies were destined to be short-lived. As opportunities to shoot within the music industry arose, practice quickly outweighed theory. While shooting commercially, his free time was still largely earmarked for capturing his friends in our capital and beyond, missions that would become the DAYRATE video talked about below, a project that has evolved and been approached from different angles over the last three years. Jude is a renaissance man, juggling the polished images his day job requires while exploring the fruits of older technology, when not on the clock. He skates when he’s not capturing others, plays in bands, prints zines, documents live music, and it’s impossible for all of these different lenses not to inform each other positively. While the new video doesn’t have a concept like the last one, DAYRATE is the complete package, a powerful visual imbued with an authentic DIY aesthetic that comes from living for those clips for a long time.
We are pleased that we were able to pick apart some moments from the new video that Jude wanted to expand upon. He opens by telling the backstory behind a Dillon Catney line, a situation he was capturing for someone else, but an opportunity for Dillon to be part of this project that he knew he needed to jump on. It’s also a moment where the stars aligned from a filming perspective. He tells the story of a Bermondsey mission with long-time collaborator and adviser Al Hodgson, a poignant full circle moment that went down well at the premiere, and marks minimal months before fatherhood. There are two flawless Evan Johnson ledge moves that he snagged the night before our conversation. These were added post-premiere, and also literally cut off any further filming. Jude also talks about an effortless line of Evan’s at Southbank that makes up a trio of tricks down the beam. Slam team rider Pat Coghlan is next in line with a quick-footed two-piece he worked for in the rain, complete with some unrivalled back pocket flair. The convo closed out by discussing the intricacies of a Dan Fisher-Eustance line in Leeds, punctuated by an unprecedented consecutive heelflip. You will learn that this absolute hammer of an ender was almost an intro, and much more…
Dillon Catney – Fakie Manual Fakie Flip
I chose this clip because it’s simply the clip I’ve always wanted to film; I don’t know how else to describe it. Not the trick specifically, but in regard to filming, it is exactly how I’ve wanted to film a clip for a long time. It’s perfect, he nailed it, and I feel like I nailed it. We both landed our tricks, you know, in a way. And it’s arguably my favourite clip in the entire video just because of how I filmed it, and also because Dylan’s like one of my favourite skaters and I love him, he’s great.
I was actually filming a clip with Dillon at that spot for LP Skateboarding, as he has now been welcomed onto that company. He landed something really dope for that, really good. I was like, “Do you reckon you could do one more thing at this spot?” because I really wanted Dillon to be in the video, and I just wasn’t sure if we were going to actually have time to get a clip. So I basically got him to do a slightly less good, but still really good clip, and that’s what made it into DAYRATE. It meant that I had that extra time to really nail how I wanted to film it. That spot is so hard to skate in terms of the front 180 up that tight, horrible corner. He looks seamless doing it; there’s no tic tac after the 180, and the sky is perfect as well.
I was just so hyped on this clip. It’s just everything I ever wanted. He never leaves the frame as well. Even when he rolls out, he’s still in frame the whole way, which is something that I really like. Also, the spot is just really sick. I remember stumbling across it when I went up to London when I was sixteen or seventeen. Then my friend Cass showed it to me again when I was about nineteen, and suggested we go there. I never went there until about 2025. All I can say about the clip we filmed for LP is that it was quite a similar clip; the video isn’t out yet though, so I can’t say, but I filmed it in the exact same way. I just knew while I was filming it that I basically wanted that clip in my video, so I asked him to do something similar, which I knew he could do, just so I could film it the same way.
“I chose this clip because it’s simply the clip I’ve always wanted to film…he nailed it, and I feel like I nailed it. We both landed our tricks”
I love filming him so much that I was just down to go out and contribute to my mate’s video just to be able to film him because he’s really, really special. We were in Valencia together on a trip, and I remember just literally coming up with these ideas. Telling him, I want to film a clip like this, can you do something in this order at this spot? He would say “yeah man, and that was it. He’s such a legend. There was a clip we filmed together at that famous plaza in Valencia with the banks and the manny pad, the one with the pillars. I told him I wanted him to do a trick on one spot so I could throw down my board, and then a trick on the manny pad into the bank, so I could pick up my board, throw it down, and go down the bank into the road. I needed him to do something like that, which was facing me. He did a front 180 switch manny, fakie manual in. Boom, he did it, just banged it out real quick. I was like “Oh my god, this guy is like my favourite skater, he’s amazing, and he’s really lovely as well”. Big up Dillon Catney!
I would actually love to film a section with Dylan, but he lives in Jersey, and I’m a busy freelancer, so it’s hard to actually get something done. This trick was probably filmed in October. I’d say I filmed most of the video in October, November, and December, to be honest. But getting this clip was when I knew I was making a video again.
Al Hodgson – Fakie Hardflip
Al Hodgson’s wife used to call me his intern. I’ve spent so much time filming with Al, and he’s been the biggest help in general. Advice-wise, in and out of skating, and just being there for me as a good friend. He’s a great guy, I love him. I used to go and film Al in Brighton when I was like seventeen. I used to get the two-hour 29 bus to Brighton from Tunbridge Wells, stay at his house, smoke a suspicious zoot in his garden, go to bed, wake up, film a clip for however many hours it would take, and repeat. They were great times, I love that shit, I love him.
Let me give you some context around this fake hardflip. Harrison Woolgar and I filmed a part with Al [Hodgson] called Gradient. After that part came out, he was filming loads of footage with Tom Pickard, and he got some more clips for Harrison [Woolgar]. I really wanted to get a clip of Al for my video, but he was just about to become a dad. We were aware that this might be the last chance for us to get a clip. I really wanted a clip of him in my video because, as I said, I had filmed him for all of these other projects, but he had never gotten a proper clip in one of my edits before. They have appeared but have been contributed by someone else, or it has been a throwaway.
So, we set out to get this clip, and Henry Kingsford was there shooting the photos. Al was struggling to be honest. I think he nearly passed out at one point. It was August, it wasn’t that hot, but he was struggling; he was saying that his body just wasn’t working. I went to the shop and got him some coconut water and a pack of salted crisps to re-up his salt and hydration, and then he just went and banged it out. He took the gnarliest slam a few tries beforehand. It’s so jokes though, bless him. He was throwing down switch to get to it, so he threw down, and then you have to swerve around in the middle of a brick wall and a planter. There’s a little gutter there, or a little crack. Obviously, you’re throwing down switch on not the best terrain, swerving these things, and you’re having to set up for a fakie hardflip, tearing at it because it’s quite a big hip. It took a while, but it’s expected because it’s a fucking hard trick.
“I really wanted to get a clip of Al for my video, but he was just about to become a dad. We were aware that this might be the last chance for us to get a clip”
I was filming it a lot closer originally. I was really up in there on the fakie hard, and then for whatever reason, it might have been because I wanted to just give way for the trick to speak for itself a bit more and be less intrusive. I started to actually pull out a little bit and not be as close, which is pretty rare for me. But it’s nice, because you don’t actually cut his wheel at all, which can happen sometimes on tricks on hips like this. He’s fully in frame on the one we got, and I’m happy with the framing. Al did it kind of weird, but I love it. I’ve grown to actually love the way that he did it. He does this weird pivot, and I think he was maybe kind of concerned about the way he did the fakie hard. But I reassured him that it was banging. Do you know what I mean? I slow-mo’d it in the edit as well, just to be like, what the fuck is this? And then at the premiere, people seemed pretty hyped on that trick. The imperfection is so sick, I’d rather see this than a fakie Muska, you know what I mean? Not a Muska, but the fakie hards that’s a shuvit, it’s a proper hardflip. Then he focused his board afterwards, which is pretty jokes as well, I don’t think I’ve ever seen him do that before. It was a long day, though, so fair play.
Al Hodgson’s labour pays off with a fakie hardflip premiere highlight. PH: Henry Kingsford
Al has always had my back, it’s just nice knowing that there’s somebody… I mean, there’s not just one person, it’s not like I’m all alone or anything. But it’s nice that there’s somebody who I really respect, and there’s mutual respect, who has got my back. He’s known me for such a long time, from those early years of your life where you change a lot. I used to hit him up on Instagram at age sixteen, asking him questions about cameras, so he’s seen me progress and grow. It’s pretty dope that we’re still hanging out and filming now, both as adults. He’s a proper legend for sure.
Evan Johnson – Bigspin Frontside Noseslide Variations
I will say a quick word about the Spanish grind at Southbank and the tricks down the beam. We were actually going to try and get another one there the other day, but we went to the street spot instead and got the front nose clips we are going to talk about. He does a frontside noseslide 360 down the beam; he actually did that trick twice, and he preferred the second noseslide, but I was way more stoked on the filming of the first one. The two trick line with the Spanish grind was filmed back in December 2024, which adds context. I was filming the video over the course of about three years. It’s been between so many other projects, and this video was supposed to be something completely different at the start. It was originally going to be an HD/VX mix video with an animation narrative taking you through. I had stopped filming it at one point for ages, for just less than a year, because I was working on all sorts of different projects in skating for other people that I was hyped on and I was enjoying.
Then I was at Southbank, I’m guessing, to film my friend Eddie attempt this trick that we were trying to get. We have had a bit of a saga about trying to get it. We’re still going to go and do it. I’m not going to say what it is yet, but we will do it. Anyway, I’m guessing he just didn’t get it, and Evan [Johnson] was there, and we were chatting. He was doing this line, and he asked if I could film it on the iPhone. I was like, “That’s a clip, let’s film that. I’ve got my VX”. So we just filmed it in a few tries. Then I went back home and watched the footage, and I was so hyped on the footage. I was like, okay, this is it! This is perfect, this is exactly what I want. I’m making a video again. The way Evan rides a skateboard is so unique. It doesn’t look possible that he should be able to land his tricks with the way he skates because his feet don’t do anything. He skates on a nine-inch board, which looks like a fingerboard. He’s got the most insane natural talent, and I was hyped to film clips of him for the video.
The clips we filmed last night that I want to talk about are two tricks at a ledge spot, a spot I found with Jeremy Jones, or rather, he showed me. It’s a ledge between a tree, and we went there on a last-minute decision last night. It barely skated at first, like it didn’t grind at all; it barely slid. It looks like it should go perfectly, but it’s just a bit soft. But anyway, Evan’s amazing, and he very easily started doing big spin front noses, like first try. I don’t really remember why I filmed it from in front. With front noses, the way you pop out for a 270 is you do this dip at the very end, there’s that little tiny dip before you pop. I really wanted to be in there for that bit. Then I could follow the 360 and swoop around. So I filmed it kind of exactly how I wanted to film it, so I was hyped on that one. He did it three times or something, and he did it perfectly, no tic tac, just banging.
“Then it was the last try, the security guard was coming back, and he did it. He just banged it out with this ghost bigspin”
After he did that, I asked what else he thought he had. I asked if he could do a bigspin front nose 270 but add a heelflip in there. He thought it was a sick idea, he tried it, and he got kind of close. You could see that he could do it. I decided to film this the other way, from the other side of the tree, to change it up so there are two different vibes going on, and it doesn’t look too repetitive. Then, literally three tries in, I just shove my camera down into his feet, whack his foot, and the microphone rips off as he’s trying it. I was like “for fuck’s sake! This has happened so many times to me. Haven’t I learned from my mistakes?” So yeah, we carried on, no audio, just keep trying. We got kicked out, hung around the spot, and went back. Then he stuck one with the heelflip, not fully rotated, but we knew it was there. Then it was the last try, the security guard was coming back, and he did it. He just banged it out with this ghost bigspin. If you watch the clip, his foot does a heelflip motion; it does the heel, but it makes it bigspin. Evan was hyped, and I was hyped too. Maybe I didn’t film it exactly how I wanted to. I filmed it a little bit like I was eighteen because I’m not following the trick the whole way, and not following the shapes of the trick. I’m more like a viewer letting him pass by, but it’s fine because you actually can see his feet do that heel motion better that way. I’m hyped on it, and that’s the very last addition to the video because it was last night. I’ve cancelled all my plans for tomorrow now because I’m going to Milton Keynes to get my VX repaired. Evan is amazing, one day we’ll work on a part together.
Pat Coghlan – Hippy Jump – Kickflip
I really fuck with Pat; he’s a friend of mine, he’s a bit of a legend, and he has a very unique way of skating. I’m pretty sure we went to the spot thinking it was still the ledge gap to the stairs. Then, when we went there, we saw that they had put the railing there, which was when he realised he could do something there. This trick was one of the longest filming sessions I did for this video in one sitting; it took four hours, and it was in the rain. I’m not sure how obvious it is that it’s raining in the clip, but it’s raining, it’s literally soaking wet, and he’s rinsed through because he’s been slipping over in the rain. It was the most intense session. He must have slipped out of about thirty of them; it’s insane that he kept going.
This could have been as far back as 2023, it was when I was still filming for the HD and VX combination because I have HD footage of him cleaning the spot and then doing a hippy jump and ollie. I had only just met Pat through filming a play at the Grove DIY. They hosted a Shakespeare play collaboration with skating, and he was in it. That was when I realised he was really good but not conventionally. After the play he was skating, and I saw him do this really long crooked grind, and I was like “what the fuck!”, he’s really good, it’s just not immediately obvious.
“It was the most intense session. He must have slipped out of about thirty of them; it’s insane that he kept going”
A while after we had filmed the hippy jump and ollie, we saw footage of Tom Knox doing the same thing, which was when we knew he had to drop the hippy jump kickflip. The clip is nuts, it’s a really big hippy jump, there’s so little time to set up your feet, and if you look at the board he’s skating, it’s just the worst setup. It’s this old, soggy, no pop, no griptape, piece of shit that’s been in the rain for three or four hours. You’ll notice he’s wearing a plastic bag in his back pocket as well. I don’t know what was going on, you know? There are just a lot of questions in this clip. I’m pretty surprised. It’s a very packed clip, and it’s him all over. I’m hyped that we got it. We went on a night out together, not too long ago, for our friend’s birthday, and he was asking me when the footage would finally be coming out. It was a long time ago, so I’m glad that it’s finally coming out now.
In terms of the filming, it’s nothing special. I just wanted to show what he did, and I tried my best to show how difficult it was. It’s very hard to actually perceive without going there. It’s a pretty insane spot; you have to go there to see it for yourself. It’s pretty gnarly, especially when it’s raining. It’s on the river somewhere, and the ground is that sort of central London shiny marble, it’s so slippy. I have some attempts of him where he’s doing a good kickflip, but he’s just completely slipping back and nearly hitting his head; it’s really dangerous. So big up Pat Cog because he’s one of the UK’s best assets for me right now, in terms of my generation. He’s unique, he does some really wacky shit that happens to still be good, and he’s a really lovely guy as well with his head screwed on. My favourite skater of all time is Ali Boulala, and there are definitely elements of Ali in there, so I’m hyped about that.
Dan Fisher-Eustance – Leeds line ender
Big up Dan for filming a full part, I’m stoked with how it came out and how it works with the full video. I had an autocorrect spelling mistake that came out for the best name for Dan, it was “Switch Idealist”. I spoke to him to get his perspective on this line, and he said that he was just messing around with bad heelflips beforehand, which is an interesting take. He was trying to do bad heelflips on purpose, fair play. Then we tried the line a couple of times with one good heelflip. He was just doing one banging heelflip. Then we figured out we needed another trick because it’s a long line. That was when he decided to do the double heelflip.
So he started doing a shit heelflip, then redoing it with a good one. There was a fine line between how shit it could be because there were some where the bad one was just too shit, we couldn’t actually use it. It needed to be an aesthetically shit heelflip, so he actually nailed the one that we filmed. We went to the spot on two separate occasions. I was filming the line terribly the first time we went there, and then it started raining, so thank God. Then the second time we went back, there was this big sort of structure, a plastic structure by the stairs. So I had to sort of go around that, which is why I had to run around, and land, and end the line at the bottom of the stairs. It actually looks way better like that now. My only qualm with the clip is that the way I did my white balance on the VX is quite sandy, his board is pretty sandy, his shorts are pretty sandy, and the spot is sandy. So, if you don’t slow-mo the fisheye clip, you can’t really see what trick he’s doing down the stairs. That’s why I had to slow-mo it.
“I spoke to him to get his perspective on this line, and he said that he was just messing around with bad heelflips beforehand, which is an interesting take. He was trying to do bad heelflips on purpose”
When I went to edit the footage and was starting to put a timeline together, I knew that this clip was its own entity, and I wanted it to have its own song. I toyed around originally with this saxophone tune, but a couple of my mates, Quentin [Guthrie] and Al [Hodgson], said it was maybe a bit too crazy. We changed the song, and I’m hyped on how it looks now. I’m pretty stoked with the filming on the switch salad grind because it’s quite a scary one to film. At the time, I was taking off and putting on my Tadashi filter depending on the clip, but it’s always better not to use that Tadashi filter because you can see it in the footage. I think this try might have been one of the first tries where I took the filter off, and then he happened to just do the line. So I was filming with this Tadashi filter, which is basically a condom for your fisheye, a plastic cover. I was using it because the switch salad is a sketchy trick to film from the front, but I’m hyped on it.
The opening and closing tricks from Dan Fisher-Eustance’s epic line at the Henry Moore Institute. An in-your-face ride-on switch frontside salad grind & the post duck down frontside nollie heelflip. PH: Reece Leung
I think he nailed it, and it’s a good representation of his skating; it’s really thought about but also chilling. It’s considered, but it manages to make the heelflip-heelflip look like a heelflip redo, but it’s actually quite a clever line idea. It’s a bit of a statement on that spot, as well as there have been a lot of great tricks done at that spot. He did the nollie frontside heelflip twice as well, which is pretty mad. He went back for a photo, I’m guessing, but I was gassed because I knew that the fisheye clip would need a long lens clip to go alongside to help. I wanted that to be the intro clip originally, but we were fucking around for an ender and didn’t manage to get anything else. I knew how it would work, where it would work, and that it would have its own song.
Dan and I knew that he wanted to film a long line in Leeds at that spot. We had done a really good trip to Leeds and got a bunch of footage. It was on the very last day before my trip back to London that he just did it. I think it’s my favourite line at the spot that I’ve seen, and it’s one that I filmed, so I’m stoked about that. The part just went out, and people seem hyped on it; it’s got a thumbs up on SLAP, and I’ve had some lovely comments about filming, which is always really nice. People are hyped on Dan’s skating always, you know, he is the Rotating Asset. There’s a good comment somewhere where it just says, “fucking hell mate, pick a stance,” which was pretty good.
“One little sidenote about the video is that all of the black and white B-Roll is from me on an evening out with my housemates, with a Digicam I got for £3, and binoculars I stole from Mrs. Doubtfire the musical”
One little sidenote about the video is that all of the black and white B-Roll is from me on an evening out with my housemates, with a Digicam I got for £3, and binoculars I stole from Mrs. Doubtfire the musical. I’m holding the binoculars in front of the camera. We went to the London Dungeon, and all the footage is from around Waterloo. All of the footage is from one evening, just fucking around with these binoculars from a musical. I found out that it looked sick, and then I went to Bordeaux and to Marseille with Dan, and brought that same setup as a bit of a joke, and then it actually ended up making it into the part.
I have to shout out Harrison Woolgar and Quentin Guthrie for contributing to Dan’s part because it literally wouldn’t have been possible to put together without them helping out. Harrison’s a great friend, an amazing skater, and also happens to be a dope filmer. Quentin is possibly my biggest inspiration with filming skating, him and Zach Sayles are the best. Also, shout out to Chris Komodromos, and Al Hodgson for helping to film for the full video as well. They contributed a couple of clips, so big up.
Jude Harrison putting in work behind the lens. PH: Reece Leung
DAYRATE – Film / Edit By Jude Harrison. Additional Filming: Harrison Woolgar, Quentin Guthrie, Chris Komodromos, Al Hodgson.
We want to thank Jude for his time doing this interview and for all of the footage he continues to bless us with. Take a look at his YouTube channel to see more of his work and be sure to follow him on Instagram. We also want to thank Henry Kingsford and Reece Leung for the photos. See Reece’s photos and more shot during the filming of Dan Fisher-Eustance’s part in Dan’s Top 3’s from Issue 48. Read another interview with Jude by Al Hodgson over at Vague Skate Mag.
Previous “Backstory” Articles: Nick Jensen & Mike Arnold , Neil Smith , Conor Charleson , Josh Stewart , Quentin Guthrie , Toby Shuall , Cafe “Allegro” Rich Smith.