Space, Depth, and Speed through Lateral Tracking in Quik
Usually skate videos are filmed from behind with a wide-angle depth lens from a low angle. This tends to make everything look a lot larger than life. But in Quik, Kennedy chose to film the action using lateral tracking shots. This creates a sense of space, depth, and speed within the short.
Throughout the short, Austyn Gillette (the skateboarder) is mostly shot in a way that captures his whole body. This works because we get to see the skater and his surroundings as well. The amount of space that surrounds him. It gives us a sense that he's definitely in a real place (Los Angeles). It adds a realistic quality to the film and it makes us feel like we're travelling with him.
There are moments throughout the short that have scenic and beautiful backdrops (as you can see above). If it weren't for the use of the lateral tracking shot, we wouldn't be able to see the world beyond the street, the skater, and his tricks. By doing this, the emphasis isn't on the skateboarding or the tricks; it's on the world the skater exists in. He's one part of a large city and the lateral tracking shot accentuates this feeling.
My favorite thing about this short is that it's constant movement. The camera never stops and neither does the action. At certain points throughout the film, it feels like we're lagging behind the skater as he glides down the street. Even though the film is a little over five minutes in length, the constant movement makes the film feel like it's a lot shorter than its actual run-time.
The speed of the film the main reason I love it so much. Growing up skateboarding one of the things I loved doing was speeding down streets and going up and down curbs. And even though I watched a lot of skate movies over the years, this is the only one that captures that freeing feeling of racing down the block on a piece of wood and four wheels.