+1 for Matt Glenn's answer. Build up a construction kit of sounds.

I think perhaps the most useful (or flexible) perspective is on board with the skater. The lavs on the skates might be too close though (unless there are some close-ups). I'd try shotgun just below waist level, held by the skater, angled diagonally down at the skates, perhaps on a short boom. This should be flexible enough to sit in the mix of most scenes. Just be careful!

Really intricate editing is the call for stuff like this. If you X-fade between sounds at points with sharp transients (impacts etc) this helps to cover up the edits. Carefully trimming and naming the recorded material also really helps - being able to grab the right sound quickly and easily really helps to keep the edits flowing smoothly.

+1 for Matt Glenn's answer. Build up a construction kit of sounds.

I think perhaps the most useful (or flexible) perspective is on board with the skater. The lavs on the skates might be too close though (unless there are some close-ups). I'd try shotgun just below waist level, held by the skater, angled diagonally down at the skates, perhaps on a short boom. This should be flexible enough to sit in the mix of most scenes. Just be careful!

Really intricate editing is the call for stuff like this. If you X-fade between sounds at points with sharp transients this helps to cover up the edits. Carefully trimming and naming the recorded material also really helps - being able to grab the right sound quickly and easily really helps to keep the edits flowing smoothly.