Sam Putnam

East Coast, USA | Active: 2022-present verified video record | Known for: Keep Standing, Hypertunnel, Stand Corrected, Take A Seat, Ski The East Lappin’ | Current: street skier, filmer and editor in the East Coast scene

Sugarbush Rails In Midwinter Speed

The Sugarbush park ran cold and fast, metal scraped clean by repeated laps while the Vermont light stayed flat above the rail line. Sam Putnam appeared in that Lappin’ 3.1 session with Matt Stackhouse, Andy Hoblitzelle, Chris Bechtold, Sawyer Sellingham, Rory Walsh, Linus Nygard, Will Deschenes and Chase Mohrman. The setting fits his public ski identity: East Coast parks, street crews, close cameras, and projects where the person skiing often also helps make the film. Putnam’s profile is not built from FIS points or major contest rankings. It lives in crew videos, rail work, filming credits and edits that document a small but active corner of modern street freeskiing.

Lappin’ At Sugarbush And Loon

Ski The East gives Putnam two clean resort markers from 2022. Lappin’ 3.1 placed him at Sugarbush, Vermont, in a midwinter park session filmed and edited by Pat Sheils. Lappin’ 3.3 moved the group to Loon Mountain, New Hampshire, with Putnam skiing alongside Daniel Hatheway, Kieffer Bradley, Sawyer Sellingham and Andy Hoblitzelle. Those episodes are not solo parts, but they establish the terrain that frames him: East Coast rails, spring slush, mogul straightlines, fast park laps and a regional crew built around repetition rather than polished contest runs.

Hypertunnel And The Keep Standing Role

Hypertunnel, released by Keep Standing with support from Arsenic, Tall Truck, Tall T Productions and Anytides, gave Putnam a stronger creative marker. The confirmed skier list included Jackson Doremus, Chase Mohrman, Sawyer Sellingham, Sam Putnam, Chris Bechtold, Matt Stackhouse, Andy Hoblitzelle and Daniel Hatheway. The production credits matter as much as the riding list: Putnam was credited for filming and editing. That places him inside the working core of the project, not only in front of the lens. Street skiing depends on that shared labor: building spots, testing speed, filming attempts, cutting the movie and keeping the crew’s rhythm intact.

Car-Park Drops And Station Stairs

The public descriptions of Hypertunnel point to a specific kind of street skiing: car-park drops, train-station stairs, giant features and technical rail work. That environment demands more than a clean trick list. A skier has to manage concrete, ice, short in-runs, stair gaps, urban landings, speed checks and the pressure of trying again when a spot took hours to build. Putnam’s presence in the film links him to a crew willing to mix rough, heavy setups with technical skiing. The project’s energy is not neat. It is raw, fast, and clearly made by riders who know that the edit has to carry the whole mission.

Stand Corrected And The 2024 Street Archive

Stand Corrected became the next major Keep Standing marker. FREESKIER described the 2024 short as a street skiing film from an underrepresented crew, with every shot earning its place. The rider list included Daniel Hatheway, Chase Mohrman, Jackson Doremus, Sam Putnam, Matt Stackhouse, Max Gingras, Chris Bechtold, Sawyer Sellingham, Will Deschenes, Kamil Obaid and Andy Hoblitzelle. Prime Skiing and Newschoolers also list Putnam as the editor. That continuity is important. It shows that his role remained stable across projects: skier, crew member and editor shaping how the footage is seen.

Arsenic, Vishnu, Icelantic And The Support Network

The Keep Standing films also show the small-brand ecosystem around Putnam’s scene. Stand Corrected was released with support from Arsenic Anywhere, Foam Brewers, Vishnu Skis, Icelantic Skis, Anytides and Tall Truck. Hypertunnel had Arsenic, Tall Truck, Tall T Productions and Anytides behind it. Those names matter because this is not a federation-funded contest pathway. It is a street-skiing network where apparel labels, ski brands, local sponsors, filmers and friends make the project possible. Putnam’s profile belongs to that economy: limited budgets, strong crews, heavy rails, shared credits and video releases that travel through core ski outlets.

Take A Seat And The Current Line

Take A Seat, released in 2025 under the Keep Standing / Arsenic Anywhere lane, keeps Putnam’s archive current. Prime Skiing lists the project with Sawyer Sellingham, Matt Stackhouse, Andy Hoblitzelle, Max Gingras, Daniel Hatheway, Connor Starr, Will Deschenes, Sam Putnam, Chris Bechtold, Jackson Doremus and Mathieu Dufresne. The edit credit again goes to Sam Putnam. That matters because it turns him from a one-project name into a recurring creative worker in the same scene. He is not only appearing in street films; he is helping define their pace, music, structure and final visual language.

Rails, Run-Ins And Editing Rhythm

Putnam’s verified footage context points toward a skier shaped by rails and small-feature problem solving. Sugarbush, Loon, Hypertunnel, Stand Corrected and Take A Seat all place him near handrails, wallrides, park rails, urban stairs, technical slides, switch entries, low-speed approaches and hard landings. His editing role also affects how his skiing should be read. A skier-editor understands which tricks hold attention, which attempts break rhythm and which shots need space. In that sense, his style is partly physical and partly editorial: line choice, filming angle, landing, cut, music and crew order all work together.

The Sam Putnam Lane Now

Sam Putnam’s verified profile remains underground, but it is coherent. He is an East Coast street and park skier connected to Ski The East, Keep Standing, Arsenic Anywhere, Hypertunnel, Stand Corrected and Take A Seat, with repeated credits as both skier and editor. There is not enough reliable public information to build a sponsor-by-sponsor career history, full biography or major competition narrative. There is enough to place him clearly in the current East Coast street archive: a rider and filmmaker whose value comes from rails, crews, difficult spots and the work of turning a winter’s worth of attempts into a finished film.