Awesome, good find rooftop. That’s the best perspective I have seen of the joint. Scary sections with those boils.

Thanks for the comment — I do read them, even if I don’t jump in very often.

From a filming point of view, most of what you’re seeing here is shot on cinematic cameras, and that dictates the way the footage is captured and ultimately presented. Real-time shooting at 25fps does allow for usable audio, but the moment you move into the world of true slow motion — which is where these cameras really come alive — sound largely disappears.

Historically, when I was shooting on RED, a lot of the water footage was captured at around 160fps in 6K. These days, after losing my camera in Spain last year, I’ve downsized to the Sony FX6, which I used on this Mullaghmore edit (and on all ocean-angle edits over the past year). The FX6 shoots 100fps, and at that frame rate there’s no usable sound anyway — even if there were, the camera is sealed inside a Dave Kelly water housing, so audio simply isn’t part of the equation.

The only time I capture natural sound in the lineup is on a GoPro, and more often than not that audio is dominated by wind and spray. It can work in certain situations, but it’s a very different style of film.

There’s no doubt that real-time, no-music YouTube edits can be powerful — and they often perform very well. They’re also relatively quick to put together and give a raw sense of how things unfold. But when you work with cinematic cameras, you naturally lean into slow motion, texture, and timing — that’s the language those tools speak best.

My process is always the same: build the visual story first, then layer music that complements the energy and movement of the ocean. At 100fps, pushing footage back to real time means speeding it up 4× — with no sound. Quite often I’ll settle at 50fps instead, which still gives weight and control to the motion and works with the kind of music I’m drawn to — cinematic scores, electronica, even classical. Fast rock or punk would suit a very different approach, but that’s not where I sit creatively these days.

At the end of the day, this is simply how I see the ocean and how I choose to document it. After more than five decades of doing this, I’m comfortable with that. I’m not trying to be everything to everyone — just honest to the way I work.

Appreciate you watching and taking the time to comment.

Hey Roady, winter starting to finally hit the straps.