The Ballad of Flint Hannaway / Hasselblad CFV II 50C Commercial by clint hanaway



Their is no Flint Hannaway*

For those of you that follow high end camera technology it may come as no surprise that Hasselblad has been cranking out some stellar digital medium format cameras in recent years. What may surprise you is that my marketing team at DJI Creative Studio sometimes lends them a hand. It’s fun getting to work with a company like HB, I mean- they have 12 cameras on the moon.

Recently, we finished some videos for the CFV II 50C that featured a modified Ford Mustang as well as music from an artist that isn’t… completely real.

Sorry to disappoint, but Flint Hannaway is actually just a freelance composer, my name, and a stock image of a very handsome guy blended into one. We’ve got a habit of putting easter eggs in our spots, and sometimes they’re me.

Check out the commercial below!

Hasselblad proudly announces the development of the modernized CFV II 50C digital back and the brand new 907X camera body, which together will connect Hasselblad's photographic history into one system.

Students Matter / Voices Of Vergara by clint hanaway

“We owe it to the six million students in California’s public education system to be thoughtful and deliberate, and to put their needs first as we move forward.”
— Congressman George Miller


Shooting these videos for Students Matter across the state of California with the wonderful Samara Rosenbaum was one of the more touching experiences I've had in recent filmmaking. The people fighting for California student's constitutional right to educational equality moved me. Please explore how Vergara v. California is effecting children and teachers across the state.

Click Here for an interactive experience of the following videos.

Community organizer Shirley Ford of Los Angeles supports the student plaintiffs in the education equality lawsuit Vergara v. California.
Bishop Dr. Robert T. Douglas of Jacob's Ladder Community Fellowship Church in Inglewood supports the student plaintiffs in the education equality lawsuit, Vergara v. California.
Elementary school principal Leo Fuchs of Oakland supports the student plaintiffs in the education equality lawsuit, Vergara v. California.
“Vergara vs. California is built on the simple and undeniable premise that every child — regardless of background — deserves a quality education.”
— Former Los Angeles Mayor Antonio Villaraigosa
Los Angeles parent Omar Cavillo supports the student plaintiffs in the education equality lawsuit Vergara v. California.
Former teacher and principal Darryl Walker of Sacramento supports the student plaintiffs in the education equality lawsuit, Vergara v. California.
Los Angeles teacher Grace Young supports the student plaintiffs in the education equality lawsuit Vergara v. California.
“Californians have been generous in supporting our schools and they have been patient about their expectations. But Vergara has made it clear that their patience is at an end and they are waiting for us to act.”
— Asm. Shirley Weber
Carmichael parent Damaris Canton supports the student plaintiffs in the education equality lawsuit, Vergara v. California.
Parent, school administrator and former teacher Shelli Kurth of San Diego supports the student plaintiffs in the education equality lawsuit, Vergara v. California.
2015 Sacramento County Teacher of the Year Jennifer Walker supports the student plaintiffs in the education equality lawsuit, Vergara v. California.

The Radar Creation / As Earth Is Below by clint hanaway

The Radar Creation
"As Earth Is Below"

Written by Sean Gadd.
Performed by Sean Gadd (guitar, vocals), Julia McAlee (guitar, vocals), Matt Lucich (drums), and Scott Barber (bass).
Track mixed by Scott Barber.
Shot and directed by Clint Hanaway.

Sean is a UK-born musician and songwriter who is now based in Los Angeles. He is a founding member and the former bassist of GROUPLOVE. The Radar Creation is his new project. Follow him on Twitter and Instagram: @SeanGrouplove

Julia is an LA-based singer-songwriter. Twitter: @juliamcalee

Matt Lucich is a studio & touring drummer. Instagram: @mjldrums

Scott is a producer & sound engineer. Instagram: @helloscottbarber

Clint is an LA-based filmmaker. Instagram: @pizzarules

Shot at The Barbershop Recording Studio on a rainy night in LA.

NASA Social / Orbital ATK Cygnus Launch by clint hanaway

On the launchpad pre-rollout

On the launchpad pre-rollout

I was recently chosen to be given credentials to tour the restricted facilities at NASA's Kennedy Space Center and attend the Dec. 6 launch of the Orbital ATK Cygnus spacecraft on a United Launch Alliance Atlas V rocket from Space Launch Complex 41 of Cape Canaveral Air Force Station in Florida.

Needless to say I was ecstatic.

Needless to say I was ecstatic.

The devotion to technological innovation is nothing short of awe inspiring. We're preparing to Journey To Mars- it's sooner then you may think.

CST-100 Starliner crew capsule is a spacecraft design under construction by Boeing, and it's not planning on hanging out in this hanger much longer.

CST-100 Starliner crew capsule is a spacecraft design under construction by Boeing, and it's not planning on hanging out in this hanger much longer.

KPCC / Critics say overhaul of LA jails not enough by clint hanaway

I recently shot the video in this article with documentary filmmaker Samara Rosenbaum in downtown Los Angeles. This Article originally appeared on KPCC Crime & Justice / HERE

Former inmates take legal action to stop discriminatory jail practices of discharging mentally disabled homeless in the middle of the night with no resources or support.

As Los Angeles County promises major changes inside its sprawling and troubled jail system, advocates for the mentally ill say leaders are leaving out a key component for successful reform.

Under federally imposed orders approved by a judge this summer, the L.A. County Sheriff’s Department must improve mental health treatment inside the jails. In addition, the department must devise discharge plans for inmates that could include a referral to a social worker or prescription for medications.

But advocates say that's where many former inmates fall off their treatment plan and end up back in crisis, and often, back in jail.

“We ought to be allowing them to exit jail with at least a reasonable chance that they won’t be back any time soon," said UCLA Law Professor Gary Blasi, an attorney with Public Counsel, which is suing to have a say in the court-imposed reforms. 

He said inmates need a “warm hand-off” from jailer to social worker because they often lack the capacity to navigate a complicated web of county mental health facilities and services.

“That means that you have a human being in one system who connects with another human being in another system,” Blasi said.  “They assume responsibility for seeing that the person doesn’t get dropped in the gap between the bureaucracies.”

Thousands of mentally ill inmates are released from L.A. County jails every year. The population of inmates with serious mental health conditions has continued to grow. 

In August, after years of monitoring conditions, the U.S. Department of Justice reached an agreement with the sheriff's department to massively overhaul how such inmates are treated while in jail. 

Now, Public Counsel, representing a group of former inmates, is going to court to "intervene" in the case and alter the settlement agreement.

The current agreement “creates practices that will continue to cycle the mentally ill between Skid Row and the County Jails, depriving them of necessary medical and psychiatric services,” according to a Public Counsel statement. 

County officials were not immediately available for comment. When they announced reforms last month, county and federal officials called them “historic.”

The provisions in the settlement agreement will “usher in a new era” for treatment of mentally ill inmates in the county’s jail system, said U.S. Attorney Eileen Decker.

Blasi acknowledged the improvements in care for inmates could be significant. But he called the plan for inmates on their way out “ill-conceived” and in violation of the American with Disabilities Act because it fails to provide adequate care to mentally ill people.

Public counsel also argues the reforms fail to cover key mental health disorders like dementia and personality disorders, even though they can be more disabling than schizophrenia, said Blasi.

Many of the mentally ill inmates inside L.A. County jails committed minor crimes and never should have been arrested in the first – or at least should have gone to a hospital instead of jail, said Blasi.

That’s a view shared by District Attorney Jackie Lacey, who released a plan in July to divert more people from jail.

Lacey recommended mental health training for all law enforcement officers in the county, as well as steps for building up a network of treatment options for lower level offenders who don't necessarily belong in jail.


I'm truly honored to get recognition from Harley Davidson on this last build! Nothing's quite like a Harley, they're fantastic machines. Thanks to all the hundreds of people who have shared these posts and sent their encouragement!

Bike EXIF gives the lowdown on Clint Hanaway's 883 Dirt Tracker build. "Once it was stripped down to the engine and...

Posted by Harley-Davidson on Tuesday, September 8, 2015


This Article originally appeared on BIKEEXIF / HERE

The list of manufacturers putting out scramblers seems to grow daily. But the memo hasn’t reached Milwaukee: Harley-Davidson have yet to jump on the mud-flinging bandwagon.

If they do—not that it’s likely—the Sportster would be the obvious candidate. It’s the lightest of an otherwise porky bunch, has a punchy motor, and responds well to fettling. So it’s becoming increasingly popular with custom shops building dirt-worthy Harleys.

This brawny yet elegant 883 Sportster comes from Clint Hanaway at Thunder Road Customs, and makes for an excellent blueprint. Sunset Strip regulars will recognize the name: Thunder Road originally opened in West Hollywood in 1989, and was co-owned by Peter Fonda and Dennis Hopper.

When shop owner Max Hushahn and Clint decided that a Harley-based dirt-tracker was in order, a 2001 883 XL was quickly put on the bench. And Clint was left to his own devices.

“I love the current dirt-tracker trend,” says Clint. “But most builds I’ve seen either look like they’re built for track use only, or are basically street bikes with some knobby tires on.”

“This bike was built to live in both worlds. The clearance is enough for you to drive up or down the biggest curbs you’ll find in the city. Or bound up a back country fire trail. But it still has a comfortable street ride.”

Once Clint had stripped the 883 down to just the engine and frame, he put on a set of Firestone ANS tires for reference and began fine-tuning the stance. The front forks were treated to blacked-out lowers, new fork gaitors and heavy duty progressive springs with the preload jacked up. The rear was then balanced out with 15-inch Burly Brand Stiletto shocks.

Clint trimmed the back of the frame, and installed a Lowbrow Customs Tsunami fender and a Biltwell Inc. Banana seat. A license plate mount was made for the right side of the bike, “in case you want to take some hard left loops around the track.”

Other Biltwell Inc. parts include a set of Moto handlebars and Mushman foot pegs. A small skid-plate from Bison Motorsports was fitted up front for good measure, and the air cleaner was replaced by a Bench Mark Slinky unit.

On the mechanical side, Clint ditched the belt for a chain drive, reshaping the sprocket cover and overhauling the brakes in the process. He then performed a general clean-up—removing any non-essential bits.

That included tossing the existing wiring harness, and replacing it with a simplified system with yellow cloth-wrapped leads. The coil now hides under the seat, and a flush-mounted button next to the battery box fires the Harley up.

Even the headlight’s been internally wired, with its own old school toggle switch—leaving the cockpit clutter free. “In my opinion, there should never be more then one wire going into a headlight,” says Clint.

For the exhaust, Clint wanted to build a high-slung system. But it had to be low profile, to avoid irritating the rider’s leg—or getting damaged if the bike falls down. With a box of pipe bends from Bison Motorsports and all of his patience, Clint welded up the ideal headers. He’s capped them off with Biltwell Inc. Stinger mini-mufflers.

All that was left to do was pick the right fuel tank—an aftermarket peanut unit that Clint modified to fit. “It took a minute to find a tank that had the right shape,” he says. “Something that looked like it could be stock, but without all the extra bulk.” Vintage AMF stickers were sourced, and handed over to the shop’s paint guy to seal in under a clear coat.

The rest of the bike is finished in raw, muted or black tones, with a tiny bit of chrome dispersed throughout. As a final touch, the points cover from a ’78 Shovelhead was added.

It all ties together beautifully—with a playful aesthetic that belies the well-considered mods lurking underneath.

Or, as Clint sums it up: “It’s a serious bike for people who don’t want to take bikes too seriously."

“I also owe a great deal of gratitude to Thunder Road Customs for funding this build and giving me the ability to create this bike at all. Their influence has allowed me to fine tune myself as a builder.”

Thunder Road Facebook | Clint Hanaway Instagram | Thanks to Scott Nathan for the tip.

Wonderful Comments / From Bikeexif users

Clint has gone back to the future and turned a Sportster back into what it was intended to be - a “Competition Hot” asphalt and dirt road terror. Now I am at peace with the world and everything is as it should be.
— Manxman
Sometimes the basic simple approach proves to be the best result. Nothing fancy just an eye for simple detail, making bits and bobs flow together in a uniform appeal.
— Bill Smith
This bike doesn’t look like any dirttracker ever. It would be interesting to have someone take it out on a 1/2 mile except that person would probably get hurt. Lame attempt to build a bike that looks like a flattracker by someone who demonstrates an obvious lack of knowledge on the subject. Could be another Roland Sands high priced overdone POS.
— Hugoct
It looks remarkably like Sportsters from before the current “superlow” craze. A Harley you can ride without having a chiropractor on retainer, imagine that!
— Clasqm

ARTSLANT / Crashing Projection LA by clint hanaway

The following article originally appeared on ArtSlant: HERE

A gaggle of young adults dressed to the nines on a street corner in Silver Lake, CA, is not an uncommon occurrence. It probably happens every day for some reason or another. It’s not so common, however, when the entire street corner itself is also dressed up. At the intersection of Bates and Sunset, you can see an entire block coated in white wash. The former Bates Motel and its surroundings, including fences, barbed wire, palm trees, and shrubbery, are all covered in an organic, lime-based white wash to create a sort of living black-and-white photograph. This is Projection, by Vincent Lamouroux and produced by Please Do Not Enter, a “one-of-a-kind” curated store in Downtown Los Angeles.

The opening, held on April 26th, was anti-climactic for those in the area who had driven by the piece in the few days prior. One Los Feliz native, KD Stapleton, described it as "underwhelming." It’s a public art piece, so you can’t really avoid seeing it. This might be my favorite part of it, but there was still a slight air of “is this it?” at the opening. Until, of course, it got crashed.

“Crashed” is not the perfect word, but it’s really the only way to describe the activities of Julia McAlee and Clint Hanaway. Donned in all white with skin painted to match, McAlee arrived at the opening of Projection and traipsed about while Hanaway filmed and bystanders took pictures. Everyone, including myself, was unsure weather or not this was a part of the piece, so I talked to the culprits themselves. 

Sarah Doyel Davis: What made you decide to do it?

Julia McAlee: We live right down the street from the installation, and when it appeared on Sunset a few days before the opening, it really struck me. You're driving and driving and seeing the normal landscape of LA, and then this little section is ghost-white. It looked so odd and beautiful. I briefly performed in Santa Monica on the promenade as an all-white musical human statue a couple years ago, so my first thought was - I should dress up in my old get-up and come hang out. But then as Clint and I talked about it and conceived exactly what we were going to do, our idea expanded beyond just the aesthetic similarity of a painted white person interacting with a painted white landscape. I started thinking about the painted lady as a character; she's lonely and doesn't feel like she fits in anywhere, except for this one place that's exactly where she wants to be, but the gate is locked.

Clint Hanaway: We wanted to create a performance art piece that was actively interacting with an already established installation art piece. Art crashing art. We titled our piece "Dwelling," because that word has several shades of meaning that capture our concept. Dwelling can mean “lingering,” or a place where a person lives, but the word has this implicit impermanence because “to dwell" somewhere carries the idea that you will eventually leave. I intended the video as a loop, art that could come and go. I think that ties in with the fact that the building used to be a hotel where lots of people would stay for a time then leave, but also with people’s emotional connection to places they’ve been.

SDD: What was the artist's response?

CH: I don't actually know. We met some other people that were involved in the project before the opening, and they were talking about how all these people were doing interesting things with the piece already, photo shoots and some fashion shoots. They seemed very enthusiastic and excited about that. I think a French artist would appreciate mime-artistry captured in a Cinéma vérité style. 

JM: It's a public art piece, so how people interact with it is huge. So I'm guessing he'd be into it. I wasn't speaking to anyone when I was painted though, so I didn't get to speak with him about it.

SDD: How did the crowd at the opening react?

CH: It was an interesting spectacle because the crowd didn’t know weather or not Julia was an official part of the event. Some people immediately accepted it as part of the experience, while others chatted about weather or not they thought she was officially involved. But either way, everyone wanted a picture. 

JM: Mostly people wanted to take photos of me or with me. Sometimes I interacted with people but sometimes I chose to ignore them.

SDD: Were there any memorable interactions?

JM: The most memorable interaction was actually after we drove home. This middle-aged woman was staring at me, shaking her head and making noises, so I waved and smiled trying to be friendly, and then she hissed at me and turned her back on me. 

CH: At one point in my film you can see a man ask her if she’s the artist, that really struck me.

SDD: You seemed to become a part of the art via osmosis, have you done anything like this in the past?

CH: I do a lot of documentary-style, behind the scenes videos for commercials and music videos, and often my pieces end up being released as part of the primary project. I think art is about human interaction. I’m a human, so I can only interact with art from the perspective of a human, but if I can convey my personal reaction with an art piece through my own medium then it’s supplementary to the art. It becomes part of the experience of the original. Often my medium is film, but other times I build custom motorcycles. Creating a machine as art is a fairly intimate process. You have to connect to your experience of an object, personify it, and try to understand what it would want to become. Then you create, you help things become what they dream of.

JM: The musical human statue [in Santa Monica] is the most similar, and I've also played music on the street while traveling in Europe and Australia. I think all street performing is kind of similar to this performance piece because when you're on the street you become part of the landscape, you're not separated from your audience like a performer usually is when they're on a stage, or even further removed via the filming process. When you're right down in the middle of the audience, standing next to them, breathing on them - it can get scary, it can get weird. It can get ugly and real sometimes in a way that just doesn't happen otherwise. But I also think that when art in any medium is really affective and affecting, there's a kind of merging between the audience and the art piece. Clint and I both work in a variety of mediums, so I suppose that sort of merging is always the highest goal. I'm a singer-songwriter, and a lot of my songs also explore themes of belonging, home, and death.

Watch “Dwelling” hereProjection will run through May 10th.

--Sarah Doyel Davis