Why Your Filmmaking is Missing the Mark (And How You Can Fix It)

Filmmaking Techniques That Actually Work (Not Just Theory)

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How to Avoid Common Mistakes

We were three hours into shooting Blood Buddies when the director called cut and went silent. Not the good kind of silent—the kind where you know something’s deeply wrong.

The DP walked over, headphones still on. “We’ve got nothing,” he said. “The lav mic wasn’t recording. Three hours of dialogue—gone.”

I watched a seasoned 1st AD turn pale. I watched the producer do math on his phone about re-booking the location. And I watched every person on that set realize the same truth: you can fix bad lighting in post. You can color-grade mediocre footage. But you cannot fix audio that doesn’t exist.

That day burned a lesson into my brain that 15 years of filmmaking has only reinforced: the difference between amateur and professional work isn’t about having a RED camera or a million-dollar budget. It’s about mastering the fundamentals that actually matter.

Quick note: Some links in this article are affiliate links. If you buy something through them, I get a small commission at no extra cost to you. I only recommend tools I actually use or have tested on set. If something’s garbage, I’ll tell you—commission or not.

Common Filmmaking Mistakes: Avoid These Pitfalls

The Problem

Here’s what nobody tells you when you start making films: most filmmaking advice is wrong.

Not wrong in the “technically inaccurate” sense. Wrong in the “completely useless when you’re actually on set” sense.

You read articles that say “master cinematography” without explaining what that actually means. You watch YouTube tutorials that show you 47 camera angles but never tell you which one to use when. You buy courses that teach you to “find your voice” but give you zero actionable techniques to do it.

And then you show up on set—whether it’s your first short film or your tenth—and realize you have no idea how to:

  • Make dialogue sound professional instead of like it was recorded in a bathroom
  • Light a scene so it doesn’t look flat and amateur
  • Edit footage so the pacing doesn’t make people check their phones
  • Actually tell a story visually instead of just pointing a camera at people talking

I’ve seen talented filmmakers with great ideas make unwatchable films because they focused on the wrong things. They bought expensive cameras but didn’t know how to expose a shot properly. They obsessed over getting the perfect lens but ignored sound completely. They spent weeks on a script but never learned basic visual storytelling.

The result? Films that look and feel amateur, no matter how much passion went into them.

After working on everything from 48-hour film competitions (Noelle’s Package—yes, I wrote, shot, and edited a complete short film in two days) to Netflix productions (Maid, where I worked as a Set Dresser for 10 episodes), I can tell you exactly what separates films that work from films that don’t.

And it’s not what you think.

The Underlying Cause

The fundamental problem with most filmmaking education is that it teaches techniques in isolation.

You learn about the Rule of Thirds without understanding why it creates visual interest. You memorize camera movements without knowing when to use them. You study great directors without learning how to apply their methods to your own work.

This happens because most filmmaking advice comes from one of two places:

1. Academic theory that’s never been tested in real production conditions Film school professors who haven’t worked on an actual set in 20 years teaching “proper” techniques that fall apart the moment you’re shooting in a location with terrible acoustics and losing daylight.

2. Gear-obsessed content that confuses tools with skills YouTube channels sponsored by camera companies that convince you buying a $3,000 gimbal will somehow make you a better filmmaker, when the real issue is that you don’t know how to block a scene.

What you actually need is the ground-truth understanding of filmmaking that comes from working across multiple departments on real productions—from indie shorts to professional sets. The kind of knowledge you get from:

  • Being the guy who has to salvage a scene when the boom operator doesn’t show up
  • Watching a professional DP light an entire room with two practicals and a bounce board
  • Seeing how a great editor can save a performance by cutting around the weak moments
  • Understanding that a $50 lav mic properly placed beats a $500 shotgun mic poorly positioned

The techniques that actually matter are the ones that solve real problems you encounter during production. Everything else is just theory.

The Solution

The five filmmaking techniques that separate amateur from professional work are:

1. Clean Audio Capture (The Non-Negotiable)

Professional filmmakers obsess over audio because they’ve learned the hard way that audiences forgive bad lighting before they forgive bad sound.

Here’s the real technique: Get the microphone as close to the sound source as physics allows.

When we shot Doggoneit entirely on a smartphone, we didn’t have a fancy sound cart or a dedicated boom operator. What we had was a RØDE VideoMic Me plugged directly into the phone and lav mics for backup. The VideoMic got within 2 feet of our actors. The lav mics were clipped 6 inches from their mouths.

Result? Clean, professional dialogue that didn’t need thousands of dollars in post-production cleanup.

The Keep-It-Real Take on Affordable Audio Gear: The RØDE VideoMic NTG is one of the best budget on-camera mics you can buy. USB-C compatibility means you can plug it straight into most modern smartphones. The directional pickup pattern means you get clear dialogue without picking up every car that drives by.

The annoying part? It’s plastic. Not “feels cheap” plastic—it’s well-built—but you’re always aware you’re not holding a Sennheiser MKH416. Also, if you’re shooting in high wind, you’ll want a deadcat (the furry windscreen), which doesn’t come included.

Who shouldn’t buy it? If you’re shooting in controlled environments (like a sound stage), rent a better mic. The NTG is for run-and-gun filmmakers who need reliable audio without a sound team.

The Actual Technique:

  1. Record room tone: Before anyone speaks, record 30 seconds of “silence” in every location. This ambient noise will save you in post when you need to mask edits.
  2. Monitor with headphones: Not earbuds. Closed-back headphones that let you hear exactly what the mic is recording.
  3. Get the mic closer: If your dialogue sounds distant or echoey, the mic is too far away. Move it closer until it sounds “too close,” then back off slightly.

2. Three-Point Lighting (The Visual Foundation)

Here’s what cinematography actually is: controlling where light is and isn’t.

Every professional film you’ve ever watched uses some variation of three-point lighting. Not because it’s the only way to light a scene, but because it’s the baseline that everything else builds on.

The technique breaks down into:

  • Key Light: Your main light source (usually the brightest)
  • Fill Light: Softens shadows created by the key (usually half the intensity)
  • Back Light: Separates your subject from the background (creates depth)

On Maid, I watched professional gaffers light entire rooms using this principle with practicals (lamps that appear in frame), bounce boards, and negative fill (blocking light to create shadow). The DP never said “add more light.” He said “take light away from here” or “flag that spill.”

The Keep-It-Real Take on Lighting Gear: The Neewer 660 Pro RGB LED Video Light Kit gives you RGB capability at an indie budget price point. The color temperature control means you can match existing light sources instead of fighting them.

The annoying part? The barn doors feel flimsy, and the included stands are only rated for studio use. If you’re taking these on location, budget for better light stands. Also, the RGB mode drains battery faster than bi-color mode—bring backups.

Who shouldn’t buy it? If you’re shooting outdoors in daylight, LED panels won’t overpower the sun. You need HMI lights or reflectors. This kit is for interior shooting or controlled outdoor conditions.

The Actual Technique:

  1. Start with one light: Place your key light at a 45-degree angle from your subject. Watch how shadows fall.
  2. Add fill selectively: Use a bounce board or a second light at half intensity to control shadow depth. Don’t eliminate shadows—shape them.
  3. Create separation: Your back light should be slightly behind and above your subject, aimed at their shoulders and hair. This creates a subtle edge that separates them from the background.

Practical lighting (lamps, windows, candles that appear in frame) is your secret weapon for making scenes feel real instead of “lit for film.”

3. Visual Storytelling Through Composition

Here’s the difference between pointing a camera at something and cinematography: composition creates meaning.

The Rule of Thirds isn’t arbitrary graphic design theory—it’s based on how human eyes naturally scan a frame. When you place important elements along the intersection points of those imaginary grid lines, you create visual tension that holds attention.

But the Rule of Thirds is just the beginning.

Leading Lines guide the viewer’s eye toward what matters. Roads, hallways, railings—anything with a strong directional element that points at your subject.

Depth Layering uses foreground, midground, and background elements to create three-dimensional space on a two-dimensional screen. A character framed through a doorway (foreground) standing in a room (midground) with windows showing the outside (background) creates visual depth that makes your frame feel cinematic instead of flat.

Negative Space is the empty area around your subject. More negative space creates isolation or contemplation. Less negative space creates claustrophobia or tension.

When I shot Going Home (selected for the 2024 Soho International Film Festival), every frame was composed to reinforce the emotional state of the character. Tight framing during moments of anxiety. Wide shots during moments of reflection. The composition told as much of the story as the dialogue.

The Actual Technique:

  1. Turn on your camera’s grid: Every camera has this. Use it.
  2. Place the horizon on the top or bottom third line: Never in the middle unless you’re deliberately creating symmetry for a specific reason.
  3. Position eyes on the top third line: For dialogue and close-ups, align the subject’s eyes with the top horizontal grid line.
  4. Leave looking space: If a character is looking frame-left, position them on the right side of the frame so there’s empty space in the direction they’re looking.

4. Editing for Pacing (The Invisible Technique)

Great editing is invisible. You don’t notice it—you just feel like the film moves perfectly.

Bad editing is extremely visible. Every cut feels wrong. Scenes drag. Momentum dies.

The core principle of editing: Cut on action, stay for emotion.

When someone reaches for a doorknob, you cut during the movement—not before or after. The motion carries the viewer across the edit, making it feel seamless. But when someone reacts to news, you hold on their face long enough to register the emotion—cutting too early robs the moment of impact.

Mad Max: Fury Road is a masterclass in action editing—every cut propels energy forward. The Social Network is a masterclass in dialogue editing—rapid-fire conversation that never feels rushed because the cuts serve the rhythm of speech.

The Actual Technique:

  1. Cut during movement: Any time a character moves, cut in the middle of the motion—not at the start or end.
  2. Watch breathing: In close-ups, people blink and breathe. Don’t cut mid-blink. Wait for a natural pause in breathing.
  3. Use J-cuts and L-cuts: Audio from the next scene starts before the visual (J-cut) or continues after the visual ends (L-cut). This smooths transitions and maintains flow.
  4. Test your pacing: Export the scene and watch it without touching the keyboard. If you instinctively want to skip forward, it’s too slow. If you feel lost, it’s too fast.

The Keep-It-Real Take on Editing Software: DaVinci Resolve is free and genuinely Hollywood-standard. I’ve used it for color grading on professional commercials and edited entire shorts on it.

The annoying part? The learning curve is steep if you’re coming from iMovie or basic software. The fusion page (VFX compositing) is wildly powerful but feels like learning a completely different program. Also, it’s resource-heavy—don’t try running it on a laptop from 2015.

Who shouldn’t use it? If you just need to cut a quick social media video, DaVinci is overkill. Use something simpler. But if you’re serious about post-production, invest the time to learn it properly.

5. Intentional Camera Movement (When and Why)

Beginners think camera movement makes things cinematic. Professionals know camera movement creates specific emotional effects—and that stillness is often more powerful.

Every camera movement has a purpose:

Push-in (Dolly or Zoom): Intensifies emotion or draws attention to a revelation.
Pull-out: Creates distance, isolation, or perspective shift.
Pan: Reveals new information or follows action horizontally.
Tilt: Shows scale (tilt up a building) or emphasizes power dynamics (looking up at a character).
Tracking shot: Follows a character through space, creating immersion.
Handheld: Creates urgency, documentary realism, or subjective POV.
Locked-off (static) shot: Creates formality, stillness, or allows the subject to dominate the frame.

The worst amateur mistake is constant, unmotivated camera movement. Panning randomly. Drifting on a gimbal. Moving because you can, not because you should.

When you watch a Scorsese film, every camera movement is motivated by story. When Travis Bickle walks through the street in Taxi Driver, the tracking shot makes you follow his perspective. When the camera pushes in on his face, you feel his isolation intensifying.

The Actual Technique:

  1. Start with static shots: Lock the camera down. If the scene works without movement, leave it static.
  2. Motivate every move: Ask “why am I moving the camera?” If the answer isn’t “to reveal information” or “to create a specific emotion,” don’t move it.
  3. Rehearse movement: Walk through the move before you shoot. Mark your start and end points. Know what you’re framing at every moment.

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Implementing the Solution

Here’s how these techniques work together in a real production scenario.

Let’s say you’re shooting a dialogue scene between two characters having a tense conversation in a kitchen. One character is standing by the sink. The other is sitting at the table.

Audio Setup:

  • Boom mic positioned above and between them, pointed slightly toward whoever’s speaking
  • Lav mics on both actors as backup
  • Headphones on to monitor levels in real-time
  • 30 seconds of room tone recorded before the first take

Lighting Setup:

  • Key light coming through the window (natural light) on the standing character
  • Practical lamp on the counter providing fill and adding realism
  • Back light created by a bounce board reflecting window light onto the seated character’s shoulders

Composition:

  • Standing character positioned on the right third of frame with looking space toward the seated character
  • Seated character on the left third of frame
  • Foreground element (coffee mug, bowl) in the lower corner creates depth
  • Negative space above the seated character emphasizes their lower power position

Camera Movement:

  • Scene opens with a static wide establishing the geography
  • Push in slowly on standing character as tension builds
  • Cut to static close-up on seated character for their response
  • Pull out to wide two-shot as the argument escalates, showing both characters in conflict

Editing Approach:

  • Cut from wide to close-up during the standing character’s gesture (motion carries the cut)
  • Hold on the reaction shot long enough to register the seated character’s emotional response (3-4 seconds)
  • Use an L-cut so we hear the standing character’s next line before we cut back to them visually
  • Test the pacing—if the scene drags, trim the pauses between lines by 1-2 seconds

This is how professional filmmaking works: every technique serves the story.

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Directing actors on set - Director and actor talking about the next scene for the film "going home"
Trent Peek (Director) and actor talking about the next scene for the film "Going Home"

The Verdict

After 15+ years of working on sets—from $7,000 indie shorts to Netflix productions—here’s what I know for certain:

Great filmmaking isn’t about having the best gear. It’s about mastering the fundamentals that actually matter.

You need clean audio because bad sound destroys immersion instantly.

You need controlled lighting because it’s the difference between “this looks like someone’s home video” and “this looks like a real film.”

You need intentional composition because random framing feels random, and intentional framing creates meaning.

You need deliberate editing because pacing controls how your audience experiences every moment.

You need motivated camera movement because unmotivated movement just makes viewers queasy.

None of this requires a massive budget. Robert Rodriguez made El Mariachi for $7,000 by focusing on storytelling fundamentals instead of expensive equipment. We shot Doggoneit entirely on a smartphone because we prioritized technique over gear.

The tools don’t matter nearly as much as understanding how to use them.

Wrap-up

That scene from Blood Buddies—the one where we lost three hours of audio?

We came back the next day and re-shot everything. But this time, we had two backup recording systems running simultaneously. We checked levels after every take. We didn’t leave set until we confirmed we had clean audio.

It cost an extra day of production. It was frustrating. But we delivered a film with professional sound that audiences could actually watch.

That’s filmmaking: learning the hard lessons, internalizing the fundamentals, and showing up prepared the next time.

The difference between amateur and professional work isn’t talent—it’s technique.

Now go make something that doesn’t suck.

Frequently Asked Questions About Filmmaking

Q: What are the 5 stages of filmmaking?

The filmmaking process breaks down into five phases:

  1. Development: Writing the script, securing initial funding or green-light
  2. Pre-production: Planning, casting, location scouting, shot lists, and storyboarding
  3. Production: The actual shoot where footage is captured
  4. Post-production: Editing, sound design, color grading, and VFX
  5. Distribution: Getting the film to audiences via festivals, streaming, or theatrical release

Most amateur mistakes happen because filmmakers skip or rush pre-production. On Maid, we spent weeks in pre-production for scenes that took hours to shoot—that planning is what made a 10-episode Netflix series possible on a television schedule.

Clean audio capture. Not because sound is more important than visuals, but because bad audio is immediately, viscerally noticeable in a way that mediocre cinematography isn’t.

Audiences will forgive slightly soft focus or imperfect lighting. They won’t forgive dialogue that sounds like it was recorded in a tin can. After seeing what happened on Blood Buddies when we lost three hours of audio, I will always prioritize sound over any other technical element.

The specific technique: get the microphone as close to the sound source as physically possible, monitor with closed-back headphones during recording, and always record room tone for post-production flexibility.

You don’t need a crew to improve your craft:

Recreate Scenes: Take a 30-second clip from a film you admire and try to match the lighting, framing, and camera movement exactly using whatever you have available. This teaches you to see like a cinematographer.

Smartphone Shorts: Give yourself constraints. Make a 60-second film with no dialogue. This forces you to tell a story visually. When we shot Married & Isolated during the pandemic, isolation wasn’t just a theme—it was a production necessity. We used Zoom coordination and self-filming techniques that taught me more about visual storytelling than any crew shoot.

Edit Found Footage: Download stock footage or use your own random clips and practice pacing by re-editing them into a different genre. Turn comedy into horror. Make a drama feel like an action film. Editing teaches you story structure.

Three practical techniques that cost nothing:

1. Get the mic closer: Even a cheap microphone 6 inches from someone’s mouth sounds professional. An expensive microphone 6 feet away sounds amateur. When we shot Doggoneit on a smartphone, we got clean dialogue by keeping the RØDE VideoMic Me within 2 feet of our actors at all times.

2. Record room tone: Before anyone speaks, record 30 seconds of “silence” in every location. This ambient sound is essential for masking audio edits in post-production. Without it, your cuts will sound jarring.

3. Use blankets as sound dampening: Recording in a room with echo? Hang moving blankets or towels just outside the frame. They absorb reflections and deaden the space acoustically. This works better than most affordable acoustic treatment.

Every camera movement creates a specific emotional effect:

Push-in (Dolly/Zoom): Intensifies emotion or draws focus to a revelation
Pull-out: Creates distance, shows isolation or perspective shift
Pan: Reveals new information horizontally or follows action
Tilt: Shows vertical scale or emphasizes power dynamics
Tracking shot: Follows subjects through space, creates immersion
Handheld: Urgency, documentary realism, subjective POV
Static (locked-off): Formality, stillness, lets subject dominate frame

The amateur mistake is moving the camera because you can. The professional choice is moving it because the story requires it. On Going Home, every camera movement was motivated by the character’s emotional state—we weren’t just adding motion for visual interest.

Three practical on-set techniques:

1. Take continuity photos: Before every take, snap a photo of the actors and set on your phone. Shows exact positioning, props placement, wardrobe, hair. Reference these between takes and after breaks.

2. Respect the 180-degree line: In dialogue scenes, draw an imaginary line between characters. Keep your camera on one side of that line for the entire scene. Crossing it makes characters appear to flip sides of the screen, which is disorienting.

3. Designate a script supervisor: Even on a tiny indie set, have one person whose only job is watching for continuity. They track which hand held the coffee mug, how full the glass was, where the actor’s hair was parted. These details are impossible to remember when you’re directing.

For learning basics: Start with iMovie (Mac) or Windows Video Editor. They teach fundamental concepts like cutting on action, basic transitions, and timeline workflow without overwhelming you.

For serious filmmaking: DaVinci Resolve has a completely free version that’s genuinely Hollywood-standard. I’ve used it for color grading on professional commercials and edited entire shorts with it. The learning curve is steep, but you’re learning software that professional colorists use on feature films.

Skip Adobe Premiere Pro initially—the subscription cost isn’t worth it until you’re working professionally and need seamless integration with After Effects and Photoshop.

Lighting is the difference between “this looks like someone’s home video” and “this looks like a real film.”

But here’s what most people get wrong: lighting isn’t about adding more light—it’s about controlling where light is and where it isn’t.

On Maid, I watched professional gaffers create stunning scenes using practicals (lamps that appear in frame), bounce boards, and negative fill (blocking light to create shadow). The DP would say “take light away from here” more often than “add more light.”

The baseline technique every filmmaker needs: three-point lighting (key, fill, back). Once you understand that foundation, you can break the rules intentionally. But you need to master the fundamentals first.

It can be—or it can cost almost nothing. Robert Rodriguez made El Mariachi for $7,000. We shot Doggoneit entirely on a smartphone with a $70 microphone.

The expensive part isn’t gear—it’s time. A weekend short film might be free if you’re using borrowed equipment and volunteer actors. But if you’re paying location fees, feeding a crew, and renting proper lights and sound gear, costs add up fast.

The smartest approach: master technique on cheap gear first. Don’t buy a $3,000 camera until you’ve proven you can make something compelling with your smartphone. Gear doesn’t make you a better filmmaker—technique does.

Resources for Aspiring Filmmakers

Filmmaker's Resource Hub · curated tools & books

🎬 Filmmaker's resource hub

Looking to take your filmmaking skills to the next level? These highly recommended resources — books, software, tools, courses, and communities — will help you implement the techniques outlined in this article.

📚 Books

💻 Software

  • iMovie (Mac)
    Best for beginners learning how to edit videos, with easy-to-use features for cutting, trimming, and adding effects.
  • Adobe Premiere Pro
    A professional-grade editing software with advanced features, ideal for filmmakers serious about post-production.
  • DaVinci Resolve
    Powerful color correction, grading, and editing tools make this software a staple for pros and indie filmmakers alike.
  • Final Draft
    Screenwriting software that helps you organize your scripts with proper formatting and structure, used by industry professionals.
  • Shot Lister
    A must-have app for organizing your shots during production. It helps you plan, schedule, and adjust shot lists on the go.

🛠️ Tools

  • Blackmagic Pocket Cinema Camera 6K G2
    This updated version of the popular 4K model offers even more resolution and dynamic range, making it a top choice for indie filmmakers who want cinema-quality footage at a reasonable price. Its improved battery life and ergonomics add to its versatility on set.
  • RØDE VideoMic NTG
    A powerful directional microphone designed for both smartphones and cameras, the NTG version offers better audio quality, flexibility, and USB-C compatibility. Perfect for improving audio in mobile filmmaking or DSLR shoots.
  • Zoom H8 Handy Recorder
    The Zoom H8 is the latest model in this line of versatile audio recorders. With improved preamps and a touchscreen interface, it's ideal for capturing professional-grade audio, whether on set or in the field for documentaries or interviews.
  • Neewer 660 Pro RGB LED Video Light Kit
    The Neewer 660 Pro now comes with RGB capabilities, allowing filmmakers to experiment with a wider range of lighting effects. Its adjustable brightness and color temperature remain industry staples, offering professional lighting at an affordable price.
  • Manfrotto 645 Fast Twin Tripod with Nitrotech N12 Fluid Head
    This tripod offers superior stability and smooth movement, perfect for professional-grade shots. The updated Nitrotech fluid head ensures seamless panning and tilting, which is essential for both indie and big-budget productions.

🎓 Online Courses

📱 Apps

  • Filmic Pro
    A powerful app for turning your smartphone into a professional video camera, offering full manual controls, including focus, exposure, and white balance.
  • Artemis Pro
    A director’s viewfinder app that allows you to visualize your shots and camera angles before you film. Useful for both planning and on-set adjustments.
  • Celtx
    An all-in-one tool for scriptwriting, storyboarding, and production scheduling, great for pre-production planning.
  • Sun Seeker
    A must-have app for filmmakers shooting outdoors. It tracks the sun’s path, helping you plan your shots for optimal lighting.

🌐 Communities & Resources

  • CineFix (YouTube Channel)
    A fantastic channel filled with insightful breakdowns of classic films and filmmaking techniques.
  • No Film School (Website)
    A popular online resource offering tips, gear reviews, tutorials, and podcasts aimed at indie filmmakers.
  • IndieWire (Filmmaking Section)
    A great place for staying up to date on the latest in independent filmmaking, including behind-the-scenes insights and interviews.
  • Filmmakers Academy
    An online platform offering courses and mentorship in directing, cinematography, editing, and screenwriting. Tailored for both beginners and professionals.
  • r/Filmmakers (Reddit)
    A helpful online community where filmmakers share experiences, ask questions, and discuss gear, techniques, and challenges in filmmaking.
By expanding your toolkit with these resources, you can continue honing your skills and pushing your creativity in filmmaking. Whether you're diving into post-production software, learning from experts, or engaging with the indie filmmaking community, these tools will give you an edge in your craft.
📽️ Affiliate links: I may earn a commission if you purchase through these links. I only recommend resources I genuinely use.
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Join the Conversation!

Filmmaking is a journey full of unique challenges and creative victories, and I’d love to hear from you! Have you encountered any roadblocks on your own filmmaking path? Or maybe you’ve found a technique that transformed your process?

Drop a comment below to share your experiences, ask questions, or offer advice to fellow filmmakers. Let’s create a space where we can learn from each other’s successes and challenges!

The “PeekatThis” Bio & Closing

The Fine Print: Peekatthis.com is part of the Amazon Services LLC Associates Program, which means we get a small commission when you click our links and buy stuff. It’s a way of saying “Thanks for supporting the site!” We also team up with B&H, Adorama, Clickbank, and other folks we trust. If you found this helpful, share it with a friend, drop a comment, or bookmark this page before you head into your next shoot.

About the Author:

Trent Peek is a director, producer, and actor who spends way too much time staring at monitors. While he’s comfortable with high-end glass from RED and ARRI, he still has a soft spot for the Blackmagic Pocket and the “duct tape and a dream” style of indie filmmaking.

His recent short film, “Going Home,” was a selection for the 2024 Soho International Film Festival, proving that sometimes the “lessons from the trenches” actually pay off.

When he isn’t on set, Trent is likely traveling (usually forgetting at least one essential pair of shoes), falling asleep two pages into a book, or brainstorming film ideas that—let’s be honest—will probably never see the light of day. It’s a mess, but it’s his mess.

P.S. Writing this in the third person felt incredibly weird.

Connect with Trent:

Business Inquiries: trentalor@peekatthis.com

Why Your Filmmaking is Missing the Mark (And How You Can Fix It)

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