How to Film Yourself Vlogging: A Filmmaker’s 2026 Guide

March 19, 2026 by Trent Peek

Contents show

The Tripod Incident and What It Taught Me About Solo Filming

The tripod hit the ground at exactly the wrong moment—mid-sentence during what should’ve been a clean establishing shot on a ridge outside Squamish. I was alone, twenty minutes from the trailhead, watching my rented A7 IV cartwheel down granite. The camera survived. My shooting schedule didn’t.

That rig now has a 15-pound sandbag velcroed to the center column, and I carry 50 feet of paracord to tether cameras on exposed locations. Here’s what I learned from that disaster and a decade of solo production work: filming yourself isn’t about buying the right gear. It’s about building redundancy into every part of your workflow, because when you’re alone, there’s no one to catch your mistakes.

Affiliate Disclosure: Some links in this article are affiliate links. I recommend gear I’ve actually used on professional sets and personal projects. If something’s overpriced or unreliable, I’ll tell you.

The Direct Answer

To film yourself vlogging in 2026: use your phone’s rear camera at 4K/24fps, position a cheap Amazon tripod at eye level, and invest in a $79 lavalier mic. Frame yourself in the upper third of the shot, lock your focus and exposure, and check your audio levels before recording. Everything else is refinement.

Why Most Vlogging Advice Wastes Your Time

The problem with generic vlogging tutorials is they’re written by people who’ve never worked a 14-hour shoot where every setup counts. They’ll tell you to “invest in lighting” without mentioning that a $5 foam core board from a craft store does the same job as a $200 reflector. They’ll recommend gimbals for “cinematic movement” without explaining that 80% of gimbal shots end up looking like a drunk cameraman wandering through frame.

I’ve worked as a gaffer on indie features where we lit entire scenes with practical lamps and bounce cards. I’ve been a set dresser on Netflix’s Maid, where continuity meant tracking every visible object across ten episodes. That experience taught me something most vlogging channels miss: professional-looking footage comes from eliminating variables, not adding expensive solutions.

The internet’s full of creators showing off their gear walls. But gear doesn’t fix poor technique. I’ve seen $40,000 RED footage that looked worse than properly-shot iPhone clips because the fundamentals—exposure, audio, framing—were ignored.

The Missing Insight: You’re Filming for the Wrong Camera

Here’s the unpopular truth about vlogging in 2026: most of your viewers will never see your content the way you edited it.

85% of social video is consumed on phones, with the sound off, in vertical orientation. You’re filming in cinematic 16:9, color-grading for a calibrated monitor, obsessing over bokeh—and your audience is watching a compressed 9:16 crop on a cracked iPhone screen during their lunch break.

This doesn’t mean quality doesn’t matter. It means you need to plan for how your content will actually be consumed. When I’m producing short-form content now, I frame everything 4K wide with the expectation that I’ll crop to vertical later. The center-third of my frame stays clean for Instagram. The full width gives me YouTube flexibility. One shoot, two formats.

It’s the same philosophy I learned working on Going Home: shoot for your worst-case scenario, not your ideal viewing conditions.

Camera Settings That Actually Matter

Before you touch any equipment, understand these three principles:

The 180-Degree Shutter Rule: Your shutter speed should be double your frame rate. Shooting at 24fps means a 1/48 shutter (round to 1/50 on most cameras). Shooting at 30fps means 1/60. This creates natural motion blur. Ignore this, and your footage will have that unsettling soap-opera sharpness.

ISO Is Not a Creative Choice: Keep ISO as low as your lighting allows. 100-400 in daylight. 800-1600 indoors. When I was Key Grip on The Camping Discovery, I watched our DP reject perfectly usable takes because someone had bumped the ISO to 6400 and introduced grain that would’ve been obvious on a theater screen. For vlogging, you won’t project to theaters, but noise compounds during compression. Start clean.

White Balance Destroys More Footage Than Focus Issues: Auto white balance on phones works fine if you’re not moving between light sources. Manual settings: 5600K for daylight, 3200K for tungsten bulbs. I once shot an entire interview on “tungsten” setting outdoors. The subject looked hypothermic. Color correction in post couldn’t save it.

CAMERA SETTINGS REFERENCE TABLES

Quick lookup for resolution, shutter speed, ISO, white balance, and aperture

📹 Resolution & Frame Rate

Scenario	Value	Why It Matters
Standard vlog	4K at 24fps	Cinematic motion blur, future-proof
High-action (sports)	1080p at 60fps	Smooth slow-motion options
Device struggles with 4K	1080p at 30fps	Avoid choppy playback

⏱️ Shutter Speed

Footage	Value	Why It Matters
24fps	1/48 or 1/50	Natural motion blur (180° rule)
30fps	1/60	Maintains motion cadence
60fps	1/120	Smooth for slow-mo

🌙 ISO

Scenario	Value	Why It Matters
Bright daylight	100-400	Minimal noise
Indoor/shaded	800-1600	Acceptable noise trade-off
Low light (avoid if possible)	3200+	Noise becomes visible

☀️ White Balance

Scenario	Value	Why It Matters
Daylight/outdoors	5600K	Matches sunlight color temp
Indoor tungsten bulbs	3200K	Prevents orange cast
Overcast/shade	Auto or 6500K	Corrects blue shift

🔆 Aperture

Scenario	Value	Why It Matters
Talking head close-up	f/2.8-f/4	Blurred background, sharp face
Group shot or deep focus	f/5.6-f/8	Everything in focus
Low light	f/1.8-f/2.8	Maximum light gathering

⚠️ Critical Rule

Your shutter speed should always be double your frame rate (the 180-degree shutter rule). Break this, and your footage will have that unsettling soap-opera sharpness that screams "amateur."

📸 Based on standard cinematography guidelines and real-world testing.

The Pre-Record Checklist I Actually Use

Print this. Keep it in your camera bag:

Battery: Charged + backup power bank in your pocket
Storage: Empty card, 32GB minimum free space
Audio: External mic connected, 3-second test recording played back
Focus: Tap your position, lock it (most phones: long-press to lock AE/AF)
Exposure: Check histogram, manual lock if possible
Framing: Eyes on upper third line, 10% headroom above your head
Backup: Second recording device ready (even if it’s just your laptop’s webcam)

I learned this checklist the hard way on Married & Isolated. We shot a critical scene, the performances were perfect, and the camera had been recording to a corrupted SD card for 40 minutes. No backup. We had to reshoot two days later. The energy was never the same.

Equipment: What You Need vs. What You Think You Need

Camera Options: The Honest Breakdown

For Smartphone Users (Budget: $0-150):
Stop using your front-facing camera. The rear camera on any phone from the last three years has a significantly better sensor. Use your phone’s screen as a monitor by propping it in front of a mirror, or invest in a $20 Bluetooth remote shutter.

The DJI Osmo Pocket 3 ($520) deserves special attention here. I’ve worked with RED Komodo and ARRI Alexa Mini on high-end projects, and what impresses me about the Pocket 3 isn’t that it competes with cinema cameras—it’s that it solves the problems cinema cameras create when you’re working alone.

The 1-inch sensor is the key differentiator. It’s the same sensor class as the original Blackmagic Pocket Cinema Camera, which means you’re getting legitimate depth of field and low-light performance in a device that fits in your jacket pocket. The mechanical 3-axis gimbal is built-in, so you’re not carrying a separate stabilizer. For solo travel work—like the stadium tour and rail trip I’m planning this year—it’s the only camera that doesn’t force compromises.

For Mirrorless Upgraders (Budget: $1,200-2,500):
The Sony ZV-E10 II ($900 body-only) and Fujifilm X-S20 ($1,299 with kit lens) both have flip screens and surprisingly good autofocus. I used a Fuji X-S10 (the previous generation) to shoot B-roll on Noelle’s Package. The colors straight out of camera saved hours in post.

Important: Mirrorless cameras don’t make you a better vlogger. They give you more control when you already know what you’re controlling. If you can’t manually expose and white balance on a smartphone, buying a $2,000 camera won’t fix that.

MY 2026 SOLO TRAVEL RIG

After a decade of lugging full camera packages, here’s what I’m actually packing for high-quality solo work:

Camera: DJI Osmo Pocket 3 ($520)
Audio: DJI Mic 2 ($349) — Magnetic attachment, pairs directly via Bluetooth
Tripod: Manfrotto Pixi Evo ($35) — Tabletop/handheld hybrid, fits in a side pocket
Backup Storage: Samsung T7 1TB ($89)
Variable ND Filter: PolarPro VND 2-5 Stop ($130) — Essential for the 180° shutter rule in bright daylight

Total Kit Weight: 1.8 lbs
Total Cost: $1,123

This setup delivers broadcast-quality footage without the bulk. The Mic 2’s 32-bit float recording means I never clip audio, even in loud stadium environments. The Pixi Evo doubles as a handle for handheld work. Everything fits in a Peak Design Everyday Sling 6L.

2026 VLOGGING CAMERA COMPARISON

Sensor size, best use cases, and key strengths for every style of vlogger

Camera	Sensor Size	Best Use Case	Key Strength
DJI Osmo Pocket 3	1-inch CMOS	On‑the‑move / Rail travel	Mechanical 3‑axis gimbal; fits in a pocket
Sony ZV‑E10 II	APS‑C	Stadium vlogs / Interviews	Large sensor for low light; interchangeable lenses
Fujifilm X‑S20	APS‑C	Cinematic travel stories	Internal 10‑bit recording; great battery life
Insta360 X5	1/1.28" (Dual)	Immersive stadium POV	8K 360° video; "invisible" selfie stick effect

🎥 All models are top contenders for vlogging in 2026 based on real-world testing.

Audio: The Only Area You Can’t Compromise

Bad audio tanks viewer retention faster than shaky footage. I’ve worked on festival-selected shorts with intentionallyhandheld camerawork. I’ve never seen a festival film with muddy dialogue audio.

Budget Choice: Rode Lavalier GO ($79)
Wired, so you’re tethered to your recording device. But it’s clean, reliable, and sounds professional. Clip it 6-8 inches below your chin. Closer = more bass. Farther = thinner but clearer.

Professional Choice: Rode Wireless PRO ($399)
32-bit float recording means audio cannot clip. You can scream into the mic, whisper, and everything in between—the recorder captures it all with usable dynamic range. It’s the single best upgrade for solo creators who forget to check audio levels (which is everyone).

The DJI Mic 2 ($349) is the middle option. Magnetic attachment, long battery, built-in recording backup. If I were building a kit today, this is what I’d buy.

The Audio Problem No One Mentions: Room Tone

On Maid, we recorded 30 seconds of “room tone” after every take—just silence with the ambient sound of the location. In editing, it’s used to smooth transitions between cuts. For vlogging, recording 10 seconds of silence in your location gives you clean audio to layer under cuts where you’ve removed “ums” or long pauses. Without it, your cuts sound like glitches.

THE ONE-MAN CREW LENS GUIDE

Essential lenses for Sony APS-C and Fujifilm X‑Series vlogging rigs

Lens Type	Sony ZV-E10 II (APS‑C)	Fujifilm X‑S20 (APS‑C)	Why It Works for Vlogging
The "Vlog" Wide	Sony E 11mm f/1.8	Fujinon XF 8mm f/3.5	Ultra‑wide for holding the camera at arm's length. Shows you + the stadium.
The "Story" Zoom	Sigma 18-50mm f/2.8	Sigma 18-50mm f/2.8	Constant aperture. Great for B‑roll of trains or detail shots of the field.
The "Cinema" Prime	Sony 35mm f/1.8 OSS	Fujinon XF 33mm f/1.4	Best for "Talking Head" segments with that creamy, blurred background (bokeh).

Pro Tip — The Crop Factor Trap: Remember that on APS‑C sensors, an 11mm lens looks like a 16mm (full‑frame equivalent). If you go any tighter than 11mm for "selfie" style vlogging, your face will fill the entire frame and look distorted.

Pro Tip — Optical Image Stabilization (OSS/OIS): Since you aren't always carrying a gimbal on a train or into a stadium, prioritize lenses with internal stabilization. It smooths out the "micro‑jitters" that digital stabilization can't always catch.

🔆 The Variable ND Filter Rule

If you're shooting outdoors in bright sun and want to maintain the 180‑degree shutter rule (1/48 or 1/50 for 24fps), you must use a variable ND filter. Without it, you'll be forced to shoot at 1/500 or faster to avoid overexposure, and your motion will look choppy and amateur—like a video game instead of a film. I use the PolarPro VND 2‑5 Stop ($130) because it doesn't introduce color casts, which cheaper NDs often do.

📸 Lens recommendations based on real-world testing for solo creators.

Stability: Tripods vs. Gimbals

Basic Tripod: Amazon Basics 60-inch ($25)
Aluminum, heavy, stable enough for smartphones and crop-sensor cameras. Tighten all the locks before you walk away. I learned this on that Squamish ridge.

Professional Tripod: Manfrotto 502AH with 535 Carbon Fiber Legs ($650)
This is overkill unless you’re also shooting narrative work. But if you are, the fluid head makes panning smooth, and carbon fiber is light enough to carry on long hikes without hating yourself.

Smartphone Gimbal: DJI Osmo Mobile 7 Pro ($169)
Only useful for walking shots and awkward angles where tripods won’t work. 90% of gimbal footage ends up looking like unmotivated movement. Use it sparingly.

Mirrorless Gimbal: DJI Ronin-SC ($439)
I used a Ronin-S (the older, heavier version) on a tracking shot in Beta Tested. It’s smooth, but it requires practice. If you don’t know how to move from your core instead of your arms, the gimbal amplifies your shakiness.

The real trick with gimbals: take smaller steps and move slower than feels natural. Your brain compensates for the gimbal’s motion, so everything feels smooth to you while it looks jerky on playback.

Lighting: The $5 Solution vs. The $400 Solution

The Problem With “Invest in Lighting”

Most vlogging advice assumes you have a dedicated filming space. I work a 4-star hotel doorman shift and film content in whatever location makes sense for the topic. Hauling a three-point LED kit to a trailhead isn’t realistic.

Here’s what works:

Natural Light + Foam Core Boards ($5 at any craft store):
Position yourself facing a window. Tape a white foam core board to a chair on your shadow side. It bounces light back onto your face, filling in shadows. This is the same principle as a $300 collapsible reflector, but it costs less than a coffee.

Car windshield reflectors from the dollar store work identically. I’ve used them on paid commercial shoots.

Godox LED500LRC 3-Light Kit ($389):
If you need consistent lighting regardless of location or time of day, this is the budget professional option. Adjustable color temperature, dimmable, lightweight. I keep two of these in my car for client work.

Seasonal Lighting Reality

Winter / Low Light:
I filmed exterior scenes for Dogonnit in December in Vancouver. By 4 PM, we were losing light. The solution: shoot during the first or last hour of daylight (golden hour), and embrace higher ISO settings. Noise is fixable in post. Underexposed footage isn’t.

Harsh Summer Sun:
Midday sun (11 AM–3 PM) creates unflattering shadows under your eyes and nose. Shoot in open shade—under a tree, a building overhang, or even a pop-up tent. If you must shoot in direct sun, use a white bedsheet as a diffusion panel above your head. Hold it with clamps and light stands, or recruit a friend.

Overcast Days:
The best natural lighting for vlogging. The clouds act as a giant softbox. Colors may look flat, so add 10-15 points of contrast in your editing software.

Framing and Composition: The Rules You Can’t Ignore

Rule of Thirds (Actually Matters)

Your eyes should sit on the upper third line of the frame, not dead center. This creates visual balance and gives space for graphics or text overlays.

Leave 10% of the frame height as headroom above your head. Too much headroom makes you look small. Too little makes the frame feel cramped.

Looking Direction: If you’re facing left of center, leave more empty space on the left side of the frame. This is “looking into the frame space.” It feels natural. Reverse this, and it looks like you’re being pushed out of the shot.

The Mistake I See on Every Beginner Vlog

Shooting too wide. If I can see your full body and the room behind you, I can’t see your facial expressions. Faces create connection. Wide shots create distance.

Frame yourself from mid-chest up. Fill 1/3 to 1/2 of the frame with your head and shoulders. This is the framing standard for broadcast interviews and professional YouTube creators.

Background Depth (Learned on Set Dec)

On Maid, continuity meant every background object had to match across multiple takes and episodes. I spent hours ensuring lamps, books, and wall art stayed consistent.

For vlogging, this translates to: position yourself 4-6 feet away from your background. Close to a wall = flat, amateur look. Distance = depth, separation, visual interest.

Choose backgrounds that complement your content but don’t compete with you. A bookshelf works for educational content. A window with blurred trees works for lifestyle. A blank wall works for nothing—it’s boring and highlights every lighting flaw.

The “Invisible Gear” Philosophy: Setting the Stage

Your filming location is part of your production design, not just a backdrop. I work as a hotel doorman, and one skill translates directly to vlogging: reading the room.

When I’m scouting a location for filming, I check:

Ambient noise at the time I plan to shoot. A quiet park at 7 AM is a traffic nightmare by 9 AM.
Existing light sources. A floor lamp in the corner might be all the fill light I need.
Visual clutter. Anything in frame that doesn’t support your message is a distraction.

Use practicals (existing lamps) to create depth. Turn on a lamp in the background, slightly out of focus. It adds warmth and dimension. This is basic cinematography, but most vloggers ignore it.

The “Maid” Set Dec Technique: Practical Lighting for Depth

On Maid, my job as Set Dresser meant every visible object had to feel lived-in and intentional. We didn’t just place a lamp in the corner—we chose a specific lamp with a warm bulb to create depth and separation from the wall.

For vlogging, this translates directly:

When you’re filming in a hotel room or home, turn off the overhead light. Overhead lighting is top-down and creates unflattering shadows under your eyes and nose (cinematographers call this “raccoon eyes”).

Instead, use a practical lamp—a bedside lamp, a floor lamp, even a cheap IKEA paper lantern—positioned behind you and slightly to the side, out of focus. This creates visual separation between you and the background. Your eye is naturally drawn to the brightest part of the frame, so keeping the background slightly darker (or adding a warm light source) adds depth without requiring expensive equipment.

If you’re upgrading, a small RGB LED like the Aputure MC Pro ($109) can be placed on a bookshelf or taped to a wall behind you. Set it to a warm amber or a cool cyan—it adds color separation and makes your footage look intentional instead of accidental.

This is the same technique we used on Married & Isolated to differentiate locations. A single colored practical in the background tells the audience “this is a different space” without needing to change sets.

Storage and Backup: The Disaster Prevention System

4K footage eats storage. One hour of 4K video at high bitrate = 20-45GB, depending on your camera.

My Three-Tier System:

Primary: High-speed SD card (SanDisk Extreme Pro 128GB, $45). This stays in the camera.
Backup: Portable SSD (Samsung T7 1TB, $89). I copy raw files immediately after shooting, before editing.
Archive: Cloud storage (Google Drive, Dropbox). Finished projects get uploaded. Raw files stay on the SSD.

The Workflow:
Import footage → Copy to backup SSD → Edit from backup SSD → Export finished video → Upload to cloud → Only delete originals after confirming all backups exist.

I’ve watched too many creators lose months of work to failed drives. Redundancy isn’t optional.

Mobile Editing: The 2026 Standard

The fastest-growing editing workflow in 2026 isn’t desktop—it’s mobile. I’ve edited full short films in DaVinci Resolve on a MacBook Pro, but for vlogging content with tight turnaround, I’m increasingly cutting on an iPad.

CapCut (Free): The most popular choice for short-form content. Auto-captions are surprisingly accurate, and the template system speeds up repetitive edits. The trade-off: limited color grading controls and occasional export compression issues.

DaVinci Resolve for iPad (Free, $95 for Studio): This is the same color grading engine used on feature films. If you’re serious about matching shots or creating a consistent look across content, the learning curve pays off. The free version exports up to 4K, which is all most vloggers need.

LumaFusion ($30): Professional-level timeline editing with multicam sync, keyframe controls, and robust audio tools. It’s what I use for client work when I’m editing on location without a laptop.

The advantage of mobile editing: you can film, edit, and publish from a hotel room, a train cabin, or a stadium concourse. For time-sensitive content—like documenting a live event—it’s faster than waiting to get back to your desktop.

Editing: The Step-by-Step Workflow

1. Import and Organization

Create a folder structure:

Raw Footage
Audio
Graphics
Exports

Label clips with descriptive names. “Trail_Intro_Take3” is better than “IMG_0427.”

Back up original files before you start cutting.

2. Rough Cut Assembly

Watch all footage first. Don’t edit as you watch. Make notes on which takes are usable.

Cut out obvious mistakes (focus hunting, dead air, flubbed lines). Arrange clips in story order.

At this stage, aim for 10-15% longer than your target length. You’ll tighten in the next pass.

3. Fine Cut and Timing

Remove “ums,” awkward pauses, and false starts. Add B-roll to cover jump cuts (the camera doesn’t need to see you for every word).

Check audio levels throughout. Dialogue should peak around -6dB to -12dB, leaving headroom for music or sound effects.

4. Polish and Export

Color correction (not grading): Fix exposure and white balance issues. Keep it natural unless you’re going for a specific look.

Audio cleanup: Remove background hum, normalize levels, add compression if needed. Audacity is free and effective for basic cleanup.

Graphics: Intro/outro, lower thirds, text overlays. Keep them simple. Over-designed graphics look dated quickly.

Recommended Export Settings

YouTube:

Resolution: 1080p or 4K
Frame Rate: Match your source (24fps, 30fps, or 60fps)
Format: H.264, MP4 container
Bitrate: 8-12 Mbps for 1080p, 35-45 Mbps for 4K

Instagram/TikTok:

Aspect Ratio: 9:16 vertical
Resolution: 1080×1920
Frame Rate: 30fps
Keep file size under 650MB for Instagram

Platform Optimization: YouTube vs. Short-Form

YouTube Strategy

Thumbnails: 1280×720 pixels, under 2MB. High contrast, readable text, faces with expressions.

Titles: Front-load your keyword. “How to Film Yourself Vlogging (2026 Guide)” is better than “My Ultimate Vlogging Tips and Tricks!”

Descriptions: First 125 characters appear in search results. Include your keyword and a clear summary.

Hook: The first 15 seconds determine whether viewers stay or leave. Lead with the payoff, not the setup.

Short-Form Repurposing

Extract 15-60 second highlights from long-form content. Add captions for silent viewing (85% of social video is watched without sound).

YouTube Shorts: Up to 60 seconds, vertical preferred
Instagram Reels: 15-90 seconds, strong hook in first 3 seconds
TikTok: 15 seconds to 10 minutes, algorithm favors completion rate

The Biggest Mistakes to Avoid

Talking to the Screen Instead of the Lens

This is the #1 tell for amateur content. When you look at the screen (to check framing or see yourself), you’re not making eye contact with viewers. Look directly at the camera lens.

If you’re using a phone, place a small dot sticker next to the lens as a visual reminder.

Shooting Too Wide

If I can see your entire torso and the room behind you, you’re too far from the camera. Close-ups create connection. Wide shots create distance.

Inconsistent Audio Levels

Nothing says “amateur” like constantly adjusting volume. Normalize audio levels in post before adding music. Most editing software has a “match loudness” feature—use it.

Forgetting to Check Settings Mid-Shoot

Cameras change settings without warning. Autofocus drifts. White balance shifts when you move from shade to sun. Check your settings after every location change.

I’ve thrown away hours of footage because auto-ISO ramped to 6400 when a cloud passed over the sun.

The Bottom Line

Creating engaging solo content isn’t about owning the most expensive gear—it’s about understanding the fundamentals and executing them consistently. The same principles I apply on RED and ARRI systems translate down to smartphone cameras: expose correctly, capture clean audio, frame with intention.

Start with your phone’s rear camera, a $25 tripod, and a $79 lavalier mic. Master those before upgrading. Most technical problems stem from poor technique, not inadequate gear.

The learning curve is steep for your first 5-10 videos. After that, the technical side becomes muscle memory, and you can focus on the creative side—what you’re saying, how you’re saying it, and why it matters to your audience.

Want to see the “cinema look” on a smartphone budget?
Join my weekly One-Man Crew newsletter. I break down the cinematography behind recent vlogs, show you how I lit specific shots, and share the gear failures that forced me to improvise on set. No fluff. Just practical techniques from someone who’s worked both sides of the camera.

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:

Watch: YouTube | [Vimeo]
Credits: [IMDB] | [Stage 32]
Social: Instagram @trentalor | [Facebook @peekatthis]
Hear him talk shop: Check out his guest spot on the Pushin Podcast discussing the director’s role in indie film.

Business Inquiries: trentalor@peekatthis.com

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