Patrick Ring
Salt Lake City / Wisconsin | Active Public Record: 2015-present | Known for: Daycare, Rendition, Skix4k, LINE Skis street films, skate filming, Midwest street skiing | Current: skier, filmer and director in the LINE street-skiing orbit
Wisconsin Snow Against A Wooden Rail
The run-in looked more like a sidewalk problem than a ski feature: thin snow, cold Midwest light, a wooden rail waiting at the end of a short approach. Patrick Ring’s street skiing comes from that kind of place, where the trick is only one part of the clip. The rest is scouting, timing, filming, and knowing when a strange feature has enough shape to become worth trying.
Ring is not publicly documented as a World Cup, X Games, or Olympic contest skier. His profile belongs to another lane: street skiing, filming, editing, skate-video influence, LINE projects, and crew-driven films. He is both skier and filmmaker, which makes his role in modern freeski culture wider than a normal athlete page.
From Wisconsin Streets To Salt Lake City
Ring’s older public ski record points back to Wisconsin, Colorado, and Mount Hood. His 2015 Newschoolers season edit lists Patrick Ring as the skier and credits Wisconsin, Colorado, and Mount Hood as locations. That early video already framed him around street skiing and park clips rather than a formal competition path.
Later, SLUG Magazine described Patrick Ring, also known as Pat or P Ring, as a local skier and filmmaker in Salt Lake City. That move matters. Salt Lake gives a street skier access to urban rails, a large skate scene, nearby mountains, and a dense group of riders and filmers. Ring’s later projects carry that mix clearly: skiing shaped by skate-video instincts.
Sláinte And The Wisconsin Injury Chapter
Sláinte gave Ring one of his stronger early street references. Newschoolers framed the project around Wisconsin streets and noted that he was coming back from injury, looking ahead to joining LINE Skis, going on Andy Parry’s Tell A Friend Tour, filming with Will Wesson and the crew, and stacking more street clips.
That context gives the edit more weight than a simple video drop. Street skiing is not a clean seasonal schedule. It depends on health, weather, security, snowpack, friends, and the ability to keep trying when a spot takes longer than expected. Sláinte places Ring inside that practical world before Daycare made his name more visible to a wider audience.
Skix4k And The Camera Identity
Ring’s identity is closely tied to filming. Newschoolers’ Two Planker Podcast listing connects him to Skix4k, his move from Vishnu to LINE, and the making of Daycare. That combination is useful because it shows how his public profile works: he is not only appearing in edits, he is helping shape how street skiing is seen.
Skix4k fits a modern ski-media language built from short clips, clean framing, skate influence, fast uploads, and a sense that the camera is part of the trick. A rider-filmer thinks differently at a spot. The angle, background, run-in, landing, body position, and timing all matter before the trick is even landed.
Daycare With Will Wesson
Daycare is the central Patrick Ring reference. LINE Skis presents it as a street skiing video by Will Wesson and Patrick Ring, with a cast including Wesson, Ring, Reagan Wallis, Kale Cimperman, Tucker Fitzsimons, Bennie Osnow, Andy Parry, Pete Koukov, Taylor Lundquist, Dasha Agafonova, Mitchell Brower, Ross Imburgia, Jed Waters, Liam Baxter, Kevin Merchant, Paddy Flanagan, Kevin Salonius, and Dickie Styza.
The crew tells the story. Daycare sits deep inside LINE’s creative street universe: riders who know how to make a rail, wallride, gap, stair set, or strange urban transition feel playful without making the process look easy. Ring’s role as co-creator matters because the film is not just a part. It is a full crew statement.
Why Daycare Felt Like A Street Ski Reset
LINE’s own Daycare page notes that the film was voted ski movie of the year by Newschoolers. Newschoolers also described Daycare as unofficially LINE’s first street movie and called it a spot-led street masterpiece before its release. That is rare language for a project built around rails and cities instead of powder, helicopters, or contest podiums.
Ring’s contribution should be read through that format. A good street film needs more than good skiing. It needs spot selection, pacing, cast balance, humor, restraint, and enough visual memory that viewers remember the features after the credits. Daycare gave Ring a directorial and skiing footprint inside one of freeskiing’s most respected street crews.
Rendition And The Tribute Film
Rendition extended the same world in 2025. LINE describes it as a one-year short street film made after Daycare, directed by Patrick Ring, and built as a homage to some of his favorite ski and skateboard films. iF3 also lists Rendition as a United States street skiing film with Ring as director and filmer.
The homage detail is important. Ring’s work does not treat skiing as isolated from skateboarding. It borrows the logic of skate videos: references hidden in the edit, street spots with personality, trick selection that fits the architecture, and filming choices that make a clip feel like part of a larger conversation.
How Ring Reads A Street Spot
Ring’s public skiing should be described through street mechanics rather than contest scoring. Watch for short approaches, fast commitment, stable rail contact, compact body position, and the way the trick fits the feature. In street skiing, a smaller trick on a better spot can carry more weight than a larger trick forced onto the wrong setup.
His filmer’s eye also changes how his skiing reads. A skier who shoots and edits understands what will survive on camera. The run-in has to make sense. The landing has to be visible. The feature needs a shape. The clip needs rhythm. Ring’s best-known work is built around that full equation, not only the movement on skis.
Skate Filming In The Background
SLUG Magazine adds an unusual layer to Ring’s ski profile by describing his work in skateboarding. The article says he has filmed projects for Krux Trucks, Almost Skateboards, Etnies, and other skate companies. That background helps explain the tone of his ski projects.
Street skiing and skateboarding share more than rails. Both depend on architecture, patience, camera position, timing, and a crew willing to return to the same spot until the clip works. Ring’s ski films carry that influence clearly. The result is not ski content trying to look polished. It is street media shaped by someone who understands how a spot should feel.
Where Patrick Ring Fits Now
Patrick Ring’s profile is strongest when framed as skier-filmmaker rather than athlete-only. The verified trail runs through Wisconsin street clips, Sláinte, Skix4k, Vishnu-to-LINE, Daycare, Rendition, and his Salt Lake City skate-film background. That is enough for a solid creative profile without inventing contest results or a national-team pathway.
His current place in freeskiing is tied to direction, editing, street taste, and crew building. Ring helps define how modern street skiing looks: fewer artificial hero shots, more spot personality, more skate influence, more attention to pacing, and a clear belief that a rail in the wrong place, filmed the right way, can say as much as a podium run.
