1st ADs don’t get the glory. They get the walkie-talkie and the blame. But they’re the reason movies actually wrap on time. New guide: how to become one, what the DGA actually requires (the common “600 days” advice is wrong), current rates, and the software that matters. Start as a PA. End up running the set.
I spent years stealing from Tarantino before I understood why his techniques actually work. This article is the breakdown I wish I’d had — nonlinear structure, long-game dialogue, violence as punctuation, plus the exercises I’ve used on my own shorts. Some landed. Some fell apart. I tell you which was which. If you’re a filmmaker trying to use his system instead of just copying his surface, start here. Read the full breakdown on PeekAtThis.
That footage looked flat. Digital. Slightly fake. The faces were wax. You blamed the phone. It wasn’t the phone. It was the glass in front of it. Here’s the independent filmmaker’s guide to smartphone lenses — what actually works, what to skip, and why I stopped trusting digital zoom. Full article at PeekAtThis.
Instagram shows you the coconut. I’m here to show you the 2 AM ethernet cable. Digital nomad filmmaking is worth it — but only if you know what “it” actually is. Real costs, real failures, real systems. The beach laptop is the reward, not the work. Read the full reality check at PeekAtThis.
If you’ve bought three screenwriting books and still haven’t finished a screenplay, the problem isn’t discipline. It’s reading the right books at the wrong stage. This guide is organized by where you actually are — not where you wish you were. Beginners start with Field and Trottier. Working writers go straight to Scriptnotes. Pick one book. Write one draft. Then come back for the revision stack. The best screenwriting book is the one that gets you to FADE OUT.
Your film isn’t going to die because of your camera. It’s going to die because your audio sounds like a lawnmower, your lead can’t deliver a line, and you told yourself you’d fix it in post. I’ve been there, and I wrote down everything it cost me. Bad sound, friend-casting, unsourced props, gear traps — plus what actually works when you’re shooting on pocket change. Save yourself the reshoot.
It’s 11 PM. You’re three hours into camera comparison videos. Your editing timeline is still empty. You’re convinced the next purchase fixes everything. It won’t. GAS is real, and it’s costing you more than money. Here’s how to break the cycle. Link in bio.
Your phone rang during a take. Again. The actor broke character. The DP glared. You just cost the production 15 minutes and $600 in overtime. A smartwatch fixes this—but only if you pick one that survives film production, not just fitness tracking. I’ve worn five different watches on real shoots. One died mid-interview. One survived getting knocked off a light stand. Here’s what I learned, and which watch I actually trust on set.
Solo travel vlogging is hard. Not impossible — hard. The awkwardness of filming in public, the gear fatigue by day three, the loneliness nobody warns you about. I wrote the honest version: the 3-item kit that actually works, the mindset shift that fixes camera shyness, and the no-film days that keep you from quitting. No 47-item gear list. No fluff. Read the full guide at PeekAtThis.com.
You’re already working 14-hour days. Adding “content creation” to the list sounds like a joke. It doesn’t have to be. Passive documenting means capturing the work you’re already doing — 30 minutes per project, not 5 hours per week. Here’s how working filmmakers build career infrastructure without burning out.