Midwest / United States | Active: 2015-present public video record | Known for: Trollhaugen, ATCH CORP, Master Shredder, park filming and rope-tow rail edits | Current: ATCH CORP-linked park skier and filmer
The rope tow at Trollhaugen pulls riders back uphill before the last landing has fully settled. Jack Kaiser’s skiing belongs to that rhythm: fast laps, close cameras, short rail sections, blue-and-yellow steel, cold Wisconsin nights and friends waiting at the next feature. His public record does not point toward World Cup slopestyle or an Olympic pathway. It points toward Midwest park culture, where a small hill can become a full creative system if the park crew, riders and filmers keep building.
One of Kaiser’s clearest early public markers is his “Jack Kaiser // Season edit 2019-20” on Newschoolers, published in March 2020. The description thanks Trollhaugen and the park crew for making the season happen, while the tags place the edit in Midwest park and rail skiing. That detail matters because it anchors his profile to a specific place rather than a generic freestyle label. Kaiser’s skiing grew through repeat laps, rail control, small transitions and the kind of terrain where style has to appear quickly.
Trollhaugen’s Human Being series gives more context around the scene. In the 2020-21 Offline episode, Kaiser appears in the skier list, while another Human Being episode credits him for additional filming. That dual role is important. Kaiser is not only a rider who appears in clips; he also helps create them. In the Midwest rope-tow world, that matters. Someone films, someone hikes, someone pulls out a phone, someone edits, and the final video carries the whole crew’s work.
Kaiser’s public Instagram links him directly with ATCH CORP, and the crew’s video language fits his terrain. ATCH CORP edits usually sit close to the skier: follow-cams through rail gardens, quick cuts, night sessions, road trips, parking-lot energy and dense feature use. Kaiser appears in that lane as a skier whose value comes from consistency inside a group. The skiing is not built around one massive trick. It is built around making rope-tow terrain feel alive for a full edit.
The short “IDK FREE HUGS - Dylan Patee @ Troll” gives Kaiser a clean filmer credit. The YouTube metadata lists the clip as filmed by Jack Kaiser and edited by Dylan Patee, with the session centered on Trollhaugen. That credit helps define his role inside the current grassroots scene. He is part of the camera chain around ATCH CORP, Vishnu-linked park skiing and Dylan Patee’s edits, where filming style, trick selection and friendship are tightly connected.
“Vahalla Dreaming” widens the terrain slightly. The skier list includes Paul Flottmyer, Dylan Patee, Colin Johnston, Jack Kaiser, Kian Barrett, Johnathan Lande, Bo Chedda and Josh Gates, with Dylan Patty credited for filming and cutting. The project moves away from pure rope-tow laps into deeper snow, natural hits and backcountry-flavored terrain. Kaiser’s inclusion there shows that his public archive is not limited to rail gardens, even if park skiing remains the clearest base of his identity.
“Group Therapy” places Kaiser in another Dylan Patee-cut project, alongside Patee, Paul Flottmyer, Kian Barrett, Josh Gates, Luke Neuman and Sam Lobinsky. The structure is classic modern crew skiing: no formal contest, no heavy narration, just skiers moving through park and urban-style features with quick visual pacing. Kaiser fits that format because his public profile is collective. He appears as one part of a network where the edit itself is the main stage.
Number1 Suspect’s “These Days” lists Kaiser second in the rider order, after Quinn Noyes, in a Hood 2025 edit that also includes Haaken Pearson, Oliver Dingman, Dylan Patee, Will Gee, Faelan Coldwater, Mike McGuire and Paul Flotner. Mt. Hood adds a summer layer to his Midwest record. Soft glacier snow, camp rails, late-season slush and changing speed force a skier to adapt. For a Trollhaugen-based park rider, Hood is a wider meeting point where small-hill technique gets tested beside riders from other regions.
Kaiser appears in the rider orders for Master Shredder 2025 and Master Shredder 2026. The 2025 event was presented by brands and shops including Armada, Pinewski’s, Crasheur, Joystick, Arsenic Anywhere, Colab and Wells Lamont, while the 2026 listing describes the fifteenth year of the event and includes Trollhaugen, ATCH CORP and other Midwest sponsors. Master Shredder matters because it is not a standard slopestyle contest. It is a rail-heavy community event where riders are measured by creativity, timing and how they react to the setup.
FREESKIER’s coverage of B-Dog Off the Leash at Wild Mountain gives Kaiser another useful outside reference. The article captions him representing ATCH CORP on a down-flat-down feature with John Robinson in JahFlow. The same event brought Phil Casabon’s style-driven ski culture into Minnesota, with a session atmosphere built around rails, cash prizes, raffles, young skiers and shared influence. Kaiser’s presence there places him inside the same Midwest movement that connects local riders with broader freeski figures.
Kaiser’s skiing is best read through terrain choice rather than medals. The verified archive points toward rails, boxes, rope-tow laps, night park sessions, Mt. Hood summer features, small drops, natural side hits, filming credits and ATCH CORP crew edits. Technically, that suggests a skier comfortable with low-speed approaches, switch direction changes, rail balance, quick redirects, nose and tail pressure, compact landings and follow-cam timing. His value comes from making modest terrain feel busy without overloading it.
Jack Kaiser’s public profile is narrow but coherent: Trollhaugen roots, Newschoolers season edits, Human Being appearances, ATCH CORP identity, filming work, Master Shredder entries, B-Dog Off the Leash, Vahalla Dreaming, Group Therapy and Mt. Hood clips. There is not enough verified material to frame him as a major international competitor. There is enough to profile him as a Midwest park skier and filmer whose archive documents the current grassroots freeski scene: rope-tow repetition, rail creativity, tight cameras and crews that turn small hills into full video worlds.