ROGUE: A chat with Cal Hill and Jared Farley
Popular Stories
ROGUE isn’t built from a storyboarded plan. It’s the opposite; an experiment created by pulling up to spots with no script, structure, or pressure to follow the norms of ski films. Over the course of the season, ON3P skier Cal Hill and filmmaker/editor Jared Farley put together a project that leans into vibes rather than formula, trading quick cuts for breathing room, static shots, and moments that just feel good.
ROGUE reflects the creative DNA ON3P is known for: an excuse to get cool clips with your friends and nothing more. The result is a film that’s intentionally aimless, visually clean, and confidently personal.
We sat down with Cal and Jared to talk about their vision for ROGUE, the process behind the project, and what the film represents to each of them.
Jared Farley
ROGUE feels stripped-down in a way that stands apart from traditional ski edits. What was the original concept, and how did it take shape as Cal’s season unfolded?
Jared: We basically winged it. We didn’t have much of a vision; we’d roll up to a spot and Cal would do his thing and I’d frame up something that looked half way decent and that’s about it. Creating the project’s aesthetic came almost entirely from post. I did know from the get go that I wasn’t trying to make some cookie cutter ski edit, so I threw syntax and story out the window and just did whatever came naturally to me as a cinematographer.
ON3P has a distinct visual identity. How did they influence the project?
Jared: ON3P is definitely known for being lawless in a creative sense. They encouraged us to follow suit in that regard. It’s the essence of their company. The only requirements they gave us were to get out on the product, make cool sh*t, and ski with our friends. We couldn’t be more stoked to add to the ON3P body of work.
What were the biggest creative risks you took with ROGUE, either visually or structurally?
Jared: I didn’t put any reggae in the edit, so that was a big risk as far as I was concerned (all our dogs love jah tunes). I knew the edit I was cutting wasn’t going to perform well on social media or youtube or the likes. All I cared about was making something impactful for the theater. I’m still not entirely sure how people feel about it. I tried making something unique, and being unique doesn’t always mean good. But anyway, I enjoyed experimenting with that style as an editor and I learned a lot overall as a filmmaker. Next season, we’ll probably be making something that feels entirely different.
Modern ski films often rely on fast cuts, but ROGUE goes the opposite direction. What made you comfortable committing to a slower tempo, and how did you decide which clips deserved that breathing room?
Jared: Fast cuts aren’t my style. Half of the pace comes from the tunes I like: ambient and experimental stuff - $uicideboy$ being the exception in this case. But even they’ve been known to sample from ambient music staples like Boards of Canada. That was the kind of music I was listening to while I was filming, so it kind of bled over into post. Because I was the lone filmer, I didn’t have a ton of angles to choose from anyway. All the clips I used felt good and looked good, so I didn’t have a reason to make any extra cuts. Plus, Cal worked super hard on having flawless landings and runs and using full clips to do that kind of skiing more justice.
Looking back, what’s the one shot or sequence that defines ROGUE from your perspective?
Jared: By design, Rogue doesn’t have much form. The sequences are rather frivolous. A shot that was central for me, however, was the flat spin at Hood: we were right on the edge of the clouds so it was this huge void as a backdrop. That whole shoot made me feel like I was in purgatory or something, which is basically how the video ended up feeling.
If you had to describe ROGUE in one word, what would it be?
Jared: Aimless (in a good way, maybe).
Sign Up for the TGR Gravity Check Newsletter Now
Cal Hill
ROGUE documents a full season of skiing. What made you pick Jared to follow you this closely?
Cal: Jared and I are close friends, and working together came naturally because we already skied together. We’re part of a small crew out of Crested Butte, Colorado, that we call Moon Shed Studios. This season was a tough one for me—I broke my back in March and luckily it was not too bad, but I was off snow for 12 weeks. Our trip to Hood was basically a shot in the dark to finish the film, but it ended up being exactly what we needed. It was just Jared and I out there, putting in the work every day to bring the project together. We met some local homies who helped dig for a couple of days which helped a lot with such a short trip.
If younger skiers walk away with one thing from this film, what do you hope it is?
Cal: I want to inspire the next generation with the right way to go about skiing, which I believe is skiing with your friends. I coach freeride because I genuinely care about the kids and want them to have a local rider they can look up to and learn from. I grew up the same way, a super inspiring coach who showed me to have fun with skiing and not take it too seriously. My goal is to spread positivity and build a community that’s driven by stroke for skiing with your friends.
That’s why we premiere our film every year in Crested Butte; because that place is the heart of skiing for us. Showing the kids/community a full season of working hard toward our dreams, fully self-supported, highlights the dedication it takes to make this happen. And it shows them that even when the cameras aren’t rolling, we’re still out there skiing our hearts out simply because we love it.
The DEAN’S LIST is the reason we can have a premier. Cedar Palmer has created a nonprofit in order to support up and coming ski films. It’s a night full of community stoke and showcases amateur ski films to the public. This night is memorable beyond most and has been a staple of Crested Butte’s new ski film scene.
If you had to describe ROGUE in one word, what would you choose?
Cal: Rogue; that’s how our season went.
ROGUE isn’t built to chase algorithms; and that’s why it works. It’s a look into a season shaped by instinct, injury, friendship, and creative freedom.
In a ski world that often feels hyper-produced, ROGUE is a reminder that sometimes the most meaningful work comes from keeping it loose.
Check the film linked below for some heavy clips and chill vibes:
