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Each superimposed film leader stripe represents a musical instrument playing in the film's soundtrack. The Super 8 leader's from my last supply of Kodachrome film stock, which is now discontinued, so it's a dead medium. I filmed with it for 25 years and I miss it.

I drained the stripes of colour to make them look like funeral arm bands. But they're presented in the spirit of a wake, as they visually mix with the brilliantly coloured waves shot with a still camera, with my dad's voice (that became more-and-more Irish as he remembered), and with song.

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Conn recorded his dad, Martin, while they sat in the car looking at the ocean. They'd talked like that before while watching what his father called trashing waves.

Conn asked his dad to tell him about about his two big loves: the sea, and music. These were private for him. He was an old school man, so he never talked about himself. But that day he chose to, while staring at the sea, and his accent appeared and thickened as he remembered his past.

The next step was some cross-Atlantic talking with Oscar, about how they'd make the film, and soundtrack, and about visual music and utopianism.

Then Oscar traveled to the Dutch coast to record the North Sea, and also to France to record some mountain streams. He created the music around Conn's father's voice, and those water sounds.

And Conn drove up and down the coast of Vancouver Island filming seascapes and especially waves. He re-traced the highways they drove when he was a boy, when his dad took him on business trips and they'd go salmon fishing. The miles of dark, moody forest, steep mountains and little, angry logging towns. And the patches of sea where they trolled back and forth in their tiny boats.

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2 Cameras @ Sea is part of U BEND.