L.A. PAT in Portland, OR [2016] ~ PHOTO: Steve Collis

The act of filmmaking has been synonymous with skating for decades, with most skaters now being accustomed to the process of filming or being filmed—when and how did you make the transition from skater to skater/filmer?

I would like to say it was when I first got my HVX but I filmed every now and then in the past with random cameras. I really got into it when my friend Peter Bender (former blade filmmaker) focused on his job so I decided to get the HVX, which was like around 4-5 years ago. Even in the past I had my own ideas/visions as to how I wanna have an edit look but I'm still learning and still not getting my ideas 1:1 to the screen.

Your style as a blading videographer is immediately recognisable. How did your aesthetic evolve into what I would describe as a more emotive and cinematic experience? If you don’t mind, please discuss your influences and how your aesthetic has evolved over time?

So my personal interest in blading in general is the aesthetic of our bodies while doing tricks. Colin Kelso explained it once very clearly "skateboarders move a skateboard; bikers move a bike; and we move our whole body”. In short term "style" is very important for me and even as a filmer I like to catch or put focus on the style or that one little move which looks beautiful. I also love creating a vibe. One of my main influences is William Strobeck (Supreme filmer/editor). He creates a very special vibe—it makes you wanna be there; with them. He made me think differently about videos—like what do you see as an outsider or a kid when you watch a regular blade flick or skateboarding or whatever? You see trick, trick, trick. Some look hard; some look tech; some got style. Strobeck adds personality to it and creates a vibe or a mood which makes you connect more to the skater in my opinion—or at least makes the person in front of the lens more interesting. Andrew Nemiroski got that in blading—he's definitely a inspiration and of course Sean Kelso. Just to name my favorite two.

Whilst all of your films of the recent years have embodied a considered aesthetic, I believe that UNTEN in particular is a crowning moment for you in respect to art direction and an overall milestone for your filmmaking practice. Could you describe the process from inception to completion and now upon reflection how you feel about the project?

I still think UNTEN could've been done better. I watch it now and see a lot of things I would try different. But at the end it was really like, “Yo the weather sucks! Let's skate down there and make an edit”. I had some pictures and ideas in my head but couldn't get everything how I wanted to. I'm happy how it came out, no doubt! Also the sessions we had were priceless but I'm really looking forward to doing UNTEN 2.

Pat and Dominik Stransky reviewing a "clip" during an UNTEN filming session. [2016]

In both scenarios of being the skater and the filmer, how do you determine whether a “trick” is worthwhile of being filmed?

As soon the skater tells me they got something. And if I don't feel like it's worth it, I always help them or at least I try to help develop the trick. Usually I know my people. Haha.

Being both a skater and a filmer, could you discuss your feelings towards what I am going to describe as “clip ownership” and whether you believe the authorship of a “clip” lies with the skater or the filmer? Is it less of a dichotomy and more of a contextual agreement between the two parties involved? If any examples come to mind please feel free to share.

Usually I have a project so the skater knows for what we're filming for and there would never be an argument. But if there's nothing really planned I'm easy to share my clips with people I like working with. I've never actually thought about who owns the clip because the people I film with are all easy and trust me.

With the rise of social media and cameras becoming more accessible and affordable, what are your feelings towards video becoming more available to the average person?

It's great because that's what's important. I personally still have so much passion about rollerblading that I would love to see it grow and social media could help with that. I always say that maybe a kid will stumble across our edit and get hyped to buy some blades. That's actually more important to me than any other feedback or thumbs up from another rollerblader. I literally don't care about opinions which are just related to blade world politics. I'm outside of that bubble and just do my thing because it just feels like the right thing for me.

How do you determine which media platform (YouTube; VOD; Vimeo; Instagram; DVD) is appropriate for the “clips” you are filming and/or editing with?

Like I said before I focus on sharing my edits to the world—not only the blade world—for that was the main reason I switched to YouTube because kids on the streets ask you, "what's your YouTube or Instagram?" and not "what's your Vimeo" or “where can I find your VOD”.

What is your opinion of the VOD platform? Do you see validity in the format and if so how do you intend to utilize it for future projects? Are there downsides to a purely digital product?

VOD works only in the blade scene. It works to make a quick buck but that's it. I loved the fact that DEAD did a DVD plus a magazine for 25 bucks. That brought me back and it’s definitely higher appreciated. I would say VOD’s are helping the skater for the moment but I’d rather prove my passion and invest time and money for free shit so that maybe it pays off one day. But I have to say that I had moments of checking my bank account and saying to myself “no more!" I wanna speak openly and say that over the last 3-4 years I spent over €15K on traveling/blade edits. I came back last year from a 2.5 month trip and couldn't pay my rent. But as you can see I'm still doing free shit. I basically have my full-time job just to pay off all the clips you see of me or filmed from my camera. But this time I’m giving the option to the blade world to buy the file for whatever price you're willing to pay. So if you like what I'm doing and if you want me to stay motivated... go ahead! Keep me in the streets. Haha.

As our media is consumed more increasingly on the move, how do you find yourself making a long-lasting impact amongst an era characterized by having a short attention span?

Easy answer. Stay motivated and keep producing stuff. There is no long lasting attention anymore if you don't keep feeding the people with new stuff.

Throughout conversations I’ve shared with blading videographers, many have expressed that their relationship to acquiring a “good clip” is much like performing a “good trick” on skates— Is this relatable to your own experience as a filmer?

I’d honestly rather be skating than filming but sometimes I wish I could film myself. Hope that doesn't sound too selfish but imagining me filming me seems like it would be very stressless… maybe? Haha. But I love filming too—especially filming with all the guys in A C T I V A T E D. It was very interesting and fun.

Being a rollerblader who grew up skating in 90’s when physical blade media was ever-present and the only distribution platform available, how do you feel about the decline in physical media as online takes precedence and offers itself as a highly accessible, user-friendly equal platform?

Thinking as an old guy—yeah it sucks but the world keeps on spinning so times changed. There are two options: complaining or going with it. I have no time to complain ‘cause I'm busy skating ;)

THE MINUTE with JON JULIO. [2017] ~ PHOTO: Malcolm Heard

---> Click here to view THE MINUTE <---

Much like other paralleling art forms of the time, video experienced a critical loss in regards to Cover Art as it transitioned to online—rendering packaging unnecessary and purposeless. It could be argued that as a byproduct of this transition a part of the video format’s character has since been lost. Do you think it’s necessary to combat this lack of identity within online filmmaking and if so, do you employee strategies to fill the Cover Art void?

Never really thought about that but yes, that's something great which definitely got lost. But we can still fill this hole with artwork relating to our videos through websites/blogs, clothes, zines, etc, etc.

In light of the previous question, do you have any favorite covers from any rollerblading videos of the past?

Hmm… I don't know. I loved the very old ones like My Daily Routine or Quest for the Holy Rail with crazy graffiti artwork on it—maybe because I’ve always been into the hip-hop cultures. I also remember that I was always excited to see who’s on the next VG cover.

Could you list what camera equipment and video editing software you utilize throughout your filmmaking process?

The Panasonic HVX200 and a Century MK2 modded fisheye. Software-wise: Final Cut Pro 7 and sometimes I use Adobe AE.

You certainly have become an ambassador of the Panasonic HVX and MK2 setup, why do you believe this setup works best for your approach to filmmaking? And do you have any desire to experiment with other camera equipment or image-making processes?

I'm actually trying to get a HPX170 in the future and maybe the Xtreme fisheye or the new MK2 for the HPX. Every now and then I would love to get my hands on a VX1000 with a MK1 because I think the vibe the camera gives you fits better to the way me and my friends skate. But I probably would get annoyed with the whole capturing process.

Do you have a methodology when approaching filming? If so, could you describe the process you go through when presented with a “clip” to film.

Hmm… I don't know. Of course I try to find the best angle and get in position. I really try to stay focused with what's going on and of course, I have an idea how it should look. Sometimes the idea develops during filming.

Despite being from Mannheim (Germany), A C T I V A T E D was all filmed during your recent visit to Los Angeles. How did the project develop and what is your relationship with all of the featured skaters?

It was not planned at all. I talked with Alex (Broskow) weeks before my trip and we planned on filming something before and after Forecast. It just developed naturally and Malcolm gave me a lot of clips we filmed from the previous weeks before Alex arrived. We didn't really force ourselves to stack clips till Alex, Luda and KC came to town but as soon as the whole posse got together—we all got A C T I V A T E D.

Pat filming Alex Broskow on a Left-Spin Switch Fakie Toe Roll Revert in L.A. [2017] ~ PHOTO: Spencer Eckl

Being highly adept with the filming process yourself, how much involvement do you like to have when working with other videographers as the blader in action?

Sometimes or most of the time I trust the person behind the lens but if I re-watch the footage and have an opinion of a way to make it look better, I'll let the filmer very gently know. It's not like “Hey, this sucks. Do it like that.” I think we're all not professional skate filmmakers so we can always learn from each other.

What are your plans for the future in regards to blading and filmmaking? Do you have any upcoming projects for the immediate future?

No specific plan but I'll keep on filming with the FTS fam here in Frankfurt and see where it goes. Probably doing UNTEN Part 2 around fall. I'll definitely make my way to Philadelphia again to work with the bacemint fam and a full-length Chinatown video is planned. Also talked to Harry Abel a couple days ago about meeting up again so I'll definitely stay busy. And most importantly try to get better with filming and editing. Like I said earlier I'm still learning a lot and still don't think I'm super good at editing/filming—but I'm getting there.

For those who are unfamiliar with FTS, could you please provide some context to its origins and what it represents?

So FTS started with Dominik Stransky, Sandro Gruenheid and me—now it's pretty much everyone you've seen in UNTEN. Back then we were looking for a name to put under our YouTube/Vimeo channel and FTS are the letters on Dominik’s car’s license plate—the car we always get around in and always have a full crate of Club Mate in the trunk. Haha. But nowadays FTS is not only us in Frankfurt—it’s developed to be a big family or a collective of friends/same-minded rollerbladers from all over the world.

Pat at his work station ~ Club Mate is critical to the late night editing sesh. [2017]