Inside | Jill Kintner’s Sound Of Speed

Jill Kintner only knows one speed — fully pinned.

Known for her speed, style and creativity, Jill Kintner has become a staple name on the global MTB scene. In this article, we look at the inspiration and production process behind Jill Kintner’s incredible Sound of Speed edit.

Mountain biker Jill Kintner in Washington Bellingham
Jill picked the fastest sections of her home trails in Bellingham, Washington for the edit.

What inspired the edit?

Inspiration always seems to strike when least anticipated. Creativity can spark from a song, a walk in the woods, or sometimes all it takes is the right bike. When Jill got her hands on a new trail bike, she immediately noticed a palpable difference with her riding. The bike seemed to amplify her speed and control. “I felt like I was on a new level with this bike, and I wanted to capture that,” she explains. Unable to shake the impression, she reached out to her good buddy and cinematographer Clay Porter to help her capture the feeling.

It helps to have a world-class action sports filmmaker in your phone’s contact list if you want to make an edit on the fly. Clay’s directed and produced films with the bike industry’s top athletes for the last 17 years. The two first connected back in 2002, while Jill was in art school in San Francisco. This was before Jill was an Olympian, World Cup racer, and star performer on the Crankworx World Tour. At the time, Clay was just another bright-eyed up and coming filmmaker obsessed with all things mountain biking, and they’d bump into each other at NORBA races. Eager to help her friend, she introduced Clay to a few of her sponsors, and Clay’s talent did the rest. Their careers paralleled each other, both finding success within the industry. “It’s been exciting to watch her evolution as an athlete and reflect how I’ve evolved as well but differently,” Clay explains. Aside from a small film project back when Clay was first starting, they hadn’t properly filmed something together. It felt long overdue to collaborate and make something incredible.

Mountain biker Jill Kintner in Washington Bellingham
The five time Queen of Crankworx says she feels ‘on point’ on her new trail bike.

Clay didn’t need much convincing to get on board. “With these projects, we’re all there to do work and make something we’re proud of, but at the end of the day, it’s also an excuse to spend time with people you like,” he emphasizes. He still has to pinch himself every once in a while because projects like this one with Jill keep work feeling like a dream job. With Clay into the project, Jill Kintner assembled the rest of her dream team. She recruited her husband Bryn Atkinson—who’s also a ripping mountain biker—to shoot the stills, and that was it. Bryn said, “I think it’s fair to say that any spouse would want to be there for support, but to have the opportunity to put a new skill into practice and contribute to a Red Bull project, all while watching your wife tear it up on the bike seems so ridiculous! Jill has worked tirelessly to perfect her skills, and it’s been reflected over and over in a dominating race career, so it’s nice to see her push the boundaries and create something special with Clay.”


The production

The production crew was spartan compared to most shoots she’s been on, which worked in their favor. They filmed it entirely on her local trails in Bellingham Washington, featuring the area’s rich forests and glorious singletrack. Jill did her homework about where to ride, prioritizing singletrack where she could put the throttle down. “They’re my favorite trails, and some of the fastest you can find in Bellingham,” Jill explains, and not only are these sections fast, but they’re super fun and challenging too.

Mountain biker Jill Kintner in Washington Bellingham
“Jill’s riding is so precise that a lot of things get missed from a glance. The slow-motion lets the audience take it all in,” Clay says.

While it’s sometimes helpful to have all the bells and whistles of a full-blown production team, it can get cumbersome. Too many moving parts can be inefficient, whereas their small team stealthy executed the filming in just two and a half days. Talk about a swift turnaround. For Clay, it was a refreshing change from the circus show of huge film crews. “The project felt like I was getting back to my roots, you know. Just being in the woods with an athlete,” Clay says. While operating with all the toys—drones, cable cams, and gimbals—can be appealing, it can also complicate things more than it needs to be. Sometimes you need to trim the fat and focus on the goal at hand. “I think the beauty of this project was the simplicity of it, and that’s why we’re so happy with it,” he says. Jill equally appreciated the streamlined approach. “As an athlete, you rarely get to have a major say in the production, and since it was just Clay, Bryn, and I, the vibe was lowkey, relaxed, and approachable,” she says.


Adding cinematic flair

Advancing into the project, Jill had a clear vision for the creative. It was going to be a no-frills edit entirely focused on one crucial factor: speed. “Overall, the goal wasn’t anything fancy, but to showcase pure riding, which is what I hoped to do,” she reflects. Clay brainstormed various ways to add cinematic flair without overdoing it. “I had this idea that after pressing play, it would immediately flash a montage of imagery to build suspense and hook the audience visually,” he explains. Clay also experimented with elements like hyper slow-mo and spinning the camera as Jill flew past the frame. “He nailed it. The tension builds throughout the piece, and the spinning effect gives the viewer a chance to breathe and transition into a new moment.” While slow-motion capture is used intermittently throughout the video, it’s applied tactfully. “Jill’s riding is so precise that a lot of things get missed from a glance. The slow-motion lets the audience take it all in,” Clay says.

Mountain biker Jill Kintner in Washington Bellingham
“Shooting aimlessly is a recipe for mediocracy. Know what you want the finished product to look like before you start shooting,” Clay Porter

The real icing on the cake for the piece came from the post-production process. “Shooting aimlessly is a recipe for mediocracy. Know what you want the finished product to look like before you start shooting,” Clay emphasizes and how he approached this edit. Then with RAW edits, there’s the added challenge of audio; it’s more than just capturing native sound. The audio needs to encapsulate all the nuances of her riding to pull the viewer into the moment. Clay closely worked with sound designer Keith White to nail the little sounds—the bike in motion, tires impacting with loose dirt, and the subtle whoosh of Jill flying through ferns—to communicate this idea of velocity viscerally. “The sound is so critical for driving emotion and the story, especially when you have a piece like this that is relying on natural audio,” he says. What he didn’t expect from the post-production process, however, was to collaborate with Jill through each step. “It was cool to see how much she put herself into the edit. She was dialed and did her research when it came to the shoot. When it came to the post process, out of any athlete I’ve worked with, she was the most critical of her riding, which was cool to see her level of detail,” Clay explains. Given Jill’s drive as an athlete, this kind of work ethic is nothing different from preparing for a race. “It was a dream project. I got to work with a good friend who also happens to be a phenomenal athlete, and the concept artistically challenged me. These are the kinds of projects that drive my creative energy moving forward,” Clay says.

With the pandemic altogether canceling most events last year, Jill relished the opportunity to dive into a project of this nature. “Race results come and go, but videos have a lasting impact. I wanted to create something that would be permanent to inspire people,” she explains. Part of the reason she pursued this project was to convey the sense of control and power she felt riding. While the industry has progressed significantly for women in the last decade, filmmaking still has room to grow. Jill hopes that athletes like herself can proactively fill the void by creating inspiring content for the next generation of young girls. “I personally get really excited and inspired watching other ladies ride at a high level, and just want to see more of it!”

Mountain biker Jill Kintner in Washington Bellingham
“I love to train and work hard for myself—but this period has taught me how important giving back is.” – Jill

Like most athletes during the pandemic, Jill found herself adapting to the challenges. Typically her career has three main pillars: racing, community, media. But in 2020, the racing pillar virtually collapsed. Turning adversity into opportunity, Jill found herself asking what she could be doing with this newfound independence. “Through COVID, I’ve felt the need to help people more than ever. Small acts of positivity felt like the best way to take on big problems. Races are amazing—and I love to train and work hard for myself—but this period has taught me how important giving back is,” she says, and it’s driving her to become more involved with her local community, specifically through coaching and her artwork. Moving forward, expect to see big things on and off the bike from the mountain biker.

| IMAGES: Bryn Atkinson |


Jill Kintner | Sound Of Speed


Credit: Red Bull


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