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Mavro hard at work filming Nyquist for Fuel. Scroll down to see some of Dave's work.

Dave Mavro has one of the best filming jobs in BMX, since he gets to hit up all of the big BMX events and film for Fuel TV. Don’t think Mavro is just a fimer, though. He’s been riding forever. Read this interview to see what his job is really like. 

What is your background in BMX? How long have you been riding?
I began attempting stunts riding a bmx bike around 1986 in a Manassas, Virginia. I started with flatland and then got into ramps.

When did you first start filming?
I started filming with a Sony 8mm video camera purchased at Circuit City in 1991. Before that I was heavily into photography.

At what point did you decide that you wanted to try to make a living filming BMX?
Uh... well, kind of recently, within the last three years. I always thought it would be cool to get paid to go shoot something I thought would be interesting and then bring it back and make a story out of it. It just so happens that I get to do that very same thing with what I grew up doing in the first place. I don't take that for granted.

Speaking of jobs, how hard is it to make a living filming BMX? Do you do other things as well?
Yeah, BMX is not the most lucrative of things to in the first place. I'm very fortunate to be working for an amazing company that keeps me very busy. I'm an independent contractor and always up for new things. I keep my mind open and try not to turn anything down. It’s all experience.

What projects are you currently involved in that takes the most of your time?
Most of my time is spent working at Fuel TV for "The Weekly Update with Boost Mobile." It's a half-hour weekly news show that covers what's happening in action sports every week. I shoot, produce, write, and edit most of the BMX content for the show. The travel alone takes up the most time. And I love it.
P.S. Check out Fuel TV's schedule. “Joe Kid on a Stingray” is in the programming this year, which is amazing! The history of BMX on TV—who would have thought? Awesome.

What's the hardest part of what you do?
Any kind of commute at the wrong time of day in Los Angeles, which is basically all the time. So instead of complaining, I've learned to get into work early (6-7am) so I can get out early. And take a nap.

What's the most fun part?
The fact that it’s still fun for me to be working in BMX while traveling and meeting new friends. And I love filming, so I am a giddy guy.

Which is more creative to you, filming or editing?
Filming, especially with the quality of cameras lately.

Where do you get inspiration from for your projects?
Most of it comes from documentaries, just trying to get the riders point of view out to the general public. When I was a kid, I wanted to be a war correspondent. I always thought it would be ideal to see war from the point of view of the soldier. This way I get to do that, without the violent aspect. Well, at least my mortality rate is lower. Also, go buy "The Work of Spike Jonze" DVD. That's inspiration.

Who are some of your favorite riders to work with and why?
In this field it’s important to have the subject be at ease in front of the camera and to trust me with their image. It's not all about the riding, because what I do is heavy on the interviews. Jamie Bestwick is probably the best example out there. He makes everybody’s job easier.

What equipment do you use to film and edit?
Panasonic HVX-200 and a Panasonic DVX100A. I use Final Cut Pro at home, while at work we use Avid. I dabble with the Avid, but I prefer Final Cut, 'cause Avid makes my feeble little eggshell mind hurt.

With equipment constantly getting better and cheaper, and with everything getting bootlegged online, where do you see BMX videos heading?
Uhm...online? I'm guessing as BMX videos aren't usually profitable, their investment should be looked at as an advertisement, first and foremost. Look at the Internet ad campaign BMW had a couple years ago; a series of short films by highly respected directors, based around BMW's getting sideways, all while being incredibly creative, stylish, and engaging. That's a good start. Look 'em up. Sure the budget is a bit above BMX, but its all relative. Creativity.

Any advice to up and coming filmers?
I use photography for inspiration. It's all in the angle. Don't worry about the quality of your camera at first, just learn the basics. Use two hands. Use the eyepiece. Learn your camera's limits and work around them. Think about composition and then make it better. Take off the Death Lens once in a while. Manual zoom. Manual exposure. Manual focus. Turn the “auto” off. Be courteous to other filmers and photographers, and stay out of other riders way. Do not push the rider to do it again—get the shot the first time. With that said, keep the camera on and rolling; tapes are cheap. Or, soon, hard drives.

P.S. Thanks to... Everybody at Fuel TV, Scotty Bradfield, Derek Adams, Glenn PP Milligan, Mark Eaton, Jim Bauer, Adam Booth, John Povah, Matt Coplon, Allan Cooke, Woodward, Jeff Zielinski, Walter Pieringer, Kyle Carlson, Ryan Fudger, Eddie Roman, NBC, Mark Scurto, ESPN, Kip Williamson, and Mark Losey... and anybody who's helped me out through the years.

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