The First Time I Saw My DSLR Footage on a Theater Screen
Three years ago, I shot a short film called “Beta Tested” entirely on a Canon Rebel T8i. Nothing fancy – just 2 DSLRs, three actors, and a story about what happens when an AI hologram knows everything about you in your own house.
The film got into a small festival. They projected it on a 40-foot screen.
I sat in the back row, terrified. Would the audience notice I shot it on a budget camera? Would the image fall apart on that massive screen?
Instead, someone behind me whispered: “This looks like it was shot on cinema cameras.”
That moment taught me something crucial: the camera doesn’t make cinematic footage. Understanding how to use it does.
Here’s what I learned shooting dozens of projects on DSLRs—and the specific techniques that separate home video from professional-looking content.
The Problem: DSLRs Can Shoot Video, But Most Footage Looks Amateur
Walk into any camera store, and they’ll tell you modern DSLRs can shoot incredible video. It’s true—the sensors are huge, the resolution is there, the dynamic range rivals cameras that cost ten times more.
So why does most DSLR footage still look like… well, DSLR footage?
I spent my first year shooting video on a Canon 80D, convinced I just needed better gear. Better lenses. Better lighting. Better locations.
None of that fixed the actual problem.
The issue wasn’t what I was shooting with—it was how I was shooting. I was treating video like photography with a record button. Auto white balance. Autofocus hunting through scenes. Random shutter speeds. Zooming during takes because I could.
Every single one of those habits screamed “amateur” the moment the footage hit the timeline.
On “Tommy Lindholm,” I shot an entire beach scene at 1/250 shutter speed because that’s what felt right for photos. The motion looked stuttery and strange. We had to reshoot the entire sequence the next day at proper video settings.
That mistake cost us a full day of production and nearly $800 in crew and location fees.
Why DSLR Video Looks Different (And Why That Matters)
Photography and videography use the same equipment but follow completely different rules.
In photography, you’re capturing a single moment. Shutter speed controls motion blur in that frozen instant. Autofocus locks onto your subject and stays there. White balance can shift between frames—nobody notices because they’re viewing individual images.
Video is 24-30 of those moments playing back every single second. Everything compounds.
A slightly off white balance in one photo? No big deal. That same white balance shift across 500 frames of video? Viewers immediately notice something’s wrong, even if they can’t articulate what.
This is why you can be an excellent photographer and still struggle with DSLR video. The fundamentals shift.
I learned this the hard way on “Noelle’s Package,” a short film I shot over two days. I kept my photography habits—shooting in aperture priority, letting the camera handle shutter speed, using autofocus for quick setups.
The edit was a nightmare. Exposure flickered between shots. Focus pulsed as the camera hunted. Color temperature jumped every time we moved locations.
I spent 40 hours in post trying to stabilize footage that should’ve been rock-solid from the start.
The solution wasn’t better post-production skills. It was understanding that video requires a completely different shooting methodology.
The Core Principles That Transform DSLR Footage
After shelving two projects and rebuilding my approach from scratch, I discovered that cinematic DSLR video comes down to mastering four core principles:
1. Consistent exposure across every frame 2. Deliberate focus that guides the viewer’s eye 3. Motion that feels intentional, not accidental 4. Color and contrast that match across every shot
Everything else—gear, locations, talent—matters far less than nailing these four fundamentals.
Let me break down exactly how to achieve each one.
The 12 Techniques That Actually Create Cinematic DSLR Video
1. Lock Your Shutter Speed at Double Your Frame Rate
This is the single most important technical setting for video, and it’s the one photographers struggle with most.
Forget everything you know about shutter speed from photography.
For cinematic video:
- Shooting 24fps? Lock shutter at 1/50 (or 1/48 if your camera has it)
- Shooting 30fps? Lock shutter at 1/60
- Shooting 60fps for slow motion? Lock shutter at 1/120
This creates natural motion blur that matches how our eyes perceive movement. Go faster, and motion looks stuttery and harsh—the “Saving Private Ryan” battle scene effect. Go slower, and you get motion blur that looks muddy and wrong.
I use 24fps and 1/50 shutter for 95% of my narrative work. It’s the cinema standard, and it immediately makes footage feel more film-like.
On my Canon T8i, I set this in Movie Recording Size menu (it’s called “Movie Rec. Size” in Canon’s confusing terminology). Set it once, and don’t touch it unless you’re deliberately shooting slow motion.
2. Manual Mode Is Non-Negotiable
Your camera’s dial needs to be on M (manual) for video. Always.
Aperture priority, shutter priority, program mode—these work great for photos. For video, they create exposure shifts that are immediately visible and impossible to fix cleanly in post.
Here’s what happened on a corporate video I shot last year: I left the camera in aperture priority while shooting an interview. The subject shifted in their chair, changing the amount of light hitting the sensor. The camera automatically adjusted exposure mid-take.
On playback, you watch the entire frame brighten for no reason. It looks terrible. There’s no fix except reshooting.
In manual mode, you control aperture, shutter speed (locked at 1/50), and ISO. Exposure stays consistent throughout the entire take.
3. Embrace Shallow Depth of Field (But Understand When to Use It)
This is the visual signature of DSLR and mirrorless cameras—the ability to create that creamy, blurred background (bokeh) that phones and camcorders can’t match.
Shallow depth of field draws the viewer’s eye exactly where you want it. The subject stays sharp while everything else melts away.
To achieve this:
- Use prime lenses with wide apertures (f/1.4, f/1.8, f/2.8)
- Shoot with your lens as open as possible
- Position your subject away from the background
- Use longer focal lengths (50mm, 85mm work beautifully)
My Canon EF 50mm f/1.4 is my most-used video lens. At f/1.4, it creates gorgeous separation between subject and background. At f/2.8, I get slightly more depth while maintaining that cinema look.
But here’s the nuance nobody mentions: shallow depth of field isn’t always appropriate.
Wide establishing shots need deeper focus so viewers can see the environment. Group shots need everyone in focus. Action sequences need enough depth to maintain focus through movement.
On “In The End,” I shot an argument scene between two characters at f/1.4. Looked gorgeous on one character, but the other fell completely out of focus. We had to stop and reshoot at f/4 so both actors stayed sharp.
Match your depth of field to the story you’re telling.
4. Control Exposure with ND Filters, Not Shutter Speed
Here’s the problem: you’ve locked your shutter at 1/50 for that cinematic motion blur. You want to shoot at f/2.8 for shallow depth of field.
Then you walk outside into bright sunlight, and your footage is blown out by six stops.
Photographers would just increase shutter speed to 1/1000 and fix it. Can’t do that for video—you’d destroy the motion blur.
This is where variable ND filters become essential.
Think of an ND filter as sunglasses for your lens. It blocks light without changing your aperture or shutter settings. You screw it onto your lens, dial in the amount of light reduction you need, and suddenly you can shoot at f/2.8 in the middle of the day.
I use a variable ND filter on 90% of my outdoor shoots. Without it, I’d either be stuck shooting at f/16 (killing depth of field) or accepting overexposed footage.
The filter I trust: K&F Concept variable ND2-ND32. Affordable, good color accuracy, no X-pattern vignetting until you hit the extreme end of the range.
One warning: cheap ND filters introduce color casts that are nightmares to correct in post. Spend the extra $30 for a quality filter. Your colorist (or future self) will thank you.
5. Manual Focus Only (And How to Actually Pull It Off)
Autofocus on DSLRs hunts. The motor noise bleeds into your audio. Focus shifts randomly during takes, pulling the viewer out of the story.
Professional video work requires manual focus.
I know—this sounds intimidating if you’ve relied on autofocus for years. But it’s simpler than you think.
For static shots:
- Use your camera’s magnification feature (usually a button or touchscreen icon)
- Zoom in on your subject’s eyes on the LCD screen
- Turn the focus ring until the image is tack sharp
- Zoom back out to your normal view
- Press record
For moving shots:
- Pre-focus on where your subject will be
- Mark that focus distance (some lenses have focus markings; learn to use them)
- As your subject moves, adjust focus to keep them sharp
The trick I learned from a focus puller: practice pulling focus without looking through the viewfinder. Feel the resistance of the focus ring. Learn how many degrees of rotation move you from close focus to infinity.
This takes practice. I spent a week just practicing focus pulls in my apartment—focusing on near objects, then far objects, then back again. Smooth transitions, no hunting.
Now it’s muscle memory.
One more technique: on my Canon, I can switch to photo mode, use autofocus to lock focus on my subject, flip the lens to manual focus mode, then switch back to video. The focus stays exactly where autofocus set it. Just don’t touch the focus ring.
6. White Balance Manually Before Every Setup
I mentioned this in my article about fixing things in post, but it bears repeating: auto white balance will destroy color consistency across your video.
Here’s what happens: you shoot a scene with AWB. The camera sees warm afternoon light and compensates by cooling the image. Then a cloud passes overhead, changing the color temperature. The camera compensates again, shifting color mid-scene.
On playback, your footage has visible color shifts that scream amateur.
Professional approach:
- Shoot outdoors in daylight? Set white balance to 5600K (Daylight preset)
- Shooting indoors with tungsten lights? 3200K (Tungsten preset)
- Mixed lighting or unsure? Use a gray card and set custom white balance
For “Married & Isolated,” I shot entirely indoors with practical lighting. I set custom white balance at the start of each scene using a gray card. When we moved to a different room, I set it again.
Result: perfect color consistency across the entire film. Color grading took two hours instead of two days.
Your camera manual explains how to set custom white balance—read it. This one setting will save you more time in post than any other technique.
7. Shoot Flat Picture Profiles for Maximum Grading Flexibility
Most DSLRs come with picture profiles—settings that control contrast, saturation, and sharpness baked into your footage.
The default profiles look punchy and saturated straight out of camera. Great for sharing unedited footage. Terrible for professional color grading.
Set your picture profile to Neutral or Flat:
- Contrast: -4 or lower
- Saturation: -2 to -4
- Sharpness: -4 or lower
This preserves maximum image data for color grading. Your footage will look washed out and flat on the camera LCD—that’s correct. You’re capturing information, not a finished image.
In post, you have complete control to shape the look. Push contrast where you want it. Add saturation deliberately. Sharpen to taste.
I shoot everything on Neutral with sharpness at -4. Sharpness especially can’t be removed in post—once it’s baked in, you’re stuck with it. Keep it minimal in camera, add it exactly where needed in the grade.
Some filmmakers use LOG profiles if their camera has them (Canon C-Log, Sony S-Log, etc.). These preserve even more dynamic range but require careful exposure and serious color grading skills. For most DSLR shooters, Neutral is the sweet spot.
8. Stabilize Everything (Tripod, Gimbal, or Strategic Handheld)
Shaky footage is the fastest way to signal “amateur video.”
Human hands wobble. Every tiny movement gets magnified on playback, creating footage that’s distracting and headache-inducing.
Three approaches to stable footage:
Tripod (90% of my shots): DSLRs shine when locked down on a solid tripod. Static compositions, slow pans, deliberate tilts—this is where you get cinema-quality images.
I use a Peak Design Travel Tripod. Lightweight for travel, stable enough for video, and the ball head lets me make quick adjustments. When I need smooth pans, I loosen the pan lock and use my finger as a gentle brake, creating slow, controlled movement.
Rules for tripod shots:
- Lock down the camera completely before hitting record
- Add 2-3 seconds of buffer at the start and end of every take
- If panning, move slower than feels natural—video exaggerates speed
- Test your pan before recording; if there’s any hitch or wobble, reset and try again
Gimbal (for walking shots): When I need to follow talent through a space or create smooth moving shots, I use a DJI RS 4 Pro. It mechanically stabilizes the camera, letting you walk, run, or move through spaces while maintaining smooth footage.
Gimbals require practice. Your first dozen shots will have subtle wobbles and weight shifts. Practice walking heel-to-toe, knees bent, smooth movements. Watch gimbal operation tutorials on YouTube—there’s a specific technique to it.
I use the gimbal maybe 10% of the time, but those shots add production value that tripod-only footage can’t match.
Handheld (only when intentional): Sometimes handheld footage serves the story—documentary-style realism, urgent action, intimate character moments.
If you’re going handheld:
- Use your camera strap to create tension (wrap it around your neck, pull the camera away to create a stable triangle)
- Keep movements minimal and deliberate
- Enable in-body stabilization if your camera has it (it helps, but doesn’t fix bad technique)
- Shoot at wider focal lengths (24mm is more forgiving than 85mm)
- Keep takes short—handheld fatigue is real
The key word: intentional. Handheld should be a creative choice, not a solution for not having a tripod.
9. Master the 180-Degree Shutter Rule for Different Frame Rates
I mentioned setting 1/50 shutter for 24fps, but let’s go deeper.
The 180-degree shutter rule states: your shutter speed should be double your frame rate.
- 24fps = 1/48 shutter (or 1/50 if your camera doesn’t have 1/48)
- 30fps = 1/60 shutter
- 60fps = 1/120 shutter
- 120fps = 1/240 shutter
This creates natural motion blur that matches what our eyes expect to see.
When I shoot slow-motion footage (I use 60fps slowed to 24fps in post), I set shutter to 1/120. The motion blur remains correct when the footage is slowed down.
If you break this rule deliberately—say, shooting at 1/500 shutter—you create choppy, staccato motion that can look stylized or jarring. The fight scenes in “Gladiator” used fast shutter speeds to create that visceral, chaotic feeling.
But for 99% of narrative work? Stick to the 180-degree rule.
10. Avoid Zooming During Takes (Unless You Have Cinema Glass)
Here’s a mistake I made constantly when starting out: I’d see something interesting developing in a scene and zoom in to get a closer shot.
Two problems:
First, most DSLR kit lenses have variable apertures. When you zoom from 18mm to 135mm, the maximum aperture shifts from f/3.5 to f/5.6. Your exposure changes mid-shot, creating a visible darkening as you zoom.
Second, manual zooming on DSLR lenses is nearly impossible to do smoothly. Any tiny hesitation or speed change is glaringly obvious on playback.
Cinema zoom lenses solve both problems—they maintain constant aperture and have smooth zoom mechanisms. They also cost $15,000+.
For DSLR shooters: don’t zoom during takes. Instead:
- Shoot your wide shot
- Stop recording
- Adjust your focal length or physically move closer
- Shoot your medium shot or close-up
You’ll edit these together in post, creating the illusion of a smooth transition without the technical problems.
11. Shoot Short Clips With Buffer Footage
Don’t run your camera for five-minute takes hoping to find good moments. Shoot deliberately in 10-20 second clips.
Why short clips work better:
- Easier to organize and find in the edit
- Less strain on your camera (long recording times cause sensor heating)
- Forces you to think about specific shots rather than hoping to “find it in post”
- Reduces file sizes and storage requirements
Always add buffer footage—2-3 seconds of the subject being still and properly framed before any action or dialogue begins, and 2-3 seconds after. This gives you handles for clean edits and transitions.
I learned this on “3rd Date.” We shot a sunset scene in one long take, assuming we’d cut it up later. In the edit, every place I wanted to cut had the subject mid-movement or mid-sentence. No clean in or out points.
Now I slate every shot mentally: “Three seconds still, action, action ends, three seconds still, cut.”
12. Mind Your ISO—Noise Destroys Cinematic Feel
Digital noise (grain) is far more noticeable in video than stills. In photos, grain can add character. In video, it makes your footage look low-quality and distracting.
Keep your ISO as low as possible:
- Outdoors or well-lit interiors: ISO 100-400
- Moderate light: ISO 400-800
- Low light: ISO 800-1600 (maximum)
If you’re hitting ISO 1600 and still underexposed, you need more light or faster lenses—not higher ISO.
This is why I invest in fast prime lenses (f/1.4, f/1.8). In low light, a lens that can open to f/1.4 lets in four times more light than a lens maxed at f/2.8. That’s the difference between ISO 800 and ISO 3200—huge in terms of noise.
My low-light workflow:
- Open aperture as wide as possible (f/1.4)
- Shutter locked at 1/50
- ISO at 800 or below
- If still underexposed, I add practical lights to the scene
Some modern cameras handle high ISO better than others. My Sony A7III is clean up to ISO 3200. My Canon Rebel shows noise at ISO 1600. Know your camera’s limits and shoot accordingly.
The Gear That Actually Matters (And What You Can Skip)
I’ve shot on DSLRs ranging from $500 to $3,000. The camera body matters less than you think.
What you actually need:
Fast prime lenses (critical): One 35mm or 50mm prime with f/1.8 or wider. This single lens will handle 80% of your video work. I use a Canon EF 50mm f/1.4—costs $400, creates images that look like they came from a $4,000 lens.
Variable ND filter (essential for outdoor shooting): Lets you maintain proper exposure and shallow depth of field in bright light. Budget option: K&F Concept variable ND ($60-80). Pro option: PolarPro Peter McKinnon Edition ($150).
Solid tripod (non-negotiable): Cheap tripods wobble, drift during pans, and break when you need them. Spend $150-300 on something that’ll last. I use Peak Design Travel Tripod, but Manfrotto makes excellent options.
Fast memory cards (required): Video writes data constantly. Slow cards cause recording failures and dropped frames. Use SanDisk Extreme Pro 170MB/s or equivalent. Budget at least 128GB for a full shoot day.
External microphone (if you want usable audio): DSLR internal mics sound terrible. Rode VideoMic Pro or VideoMic GO dramatically improves audio quality. Audio is 50% of your video—don’t ignore it.
What you can skip (for now):
- Expensive zoom lenses: One good prime outperforms a mediocre zoom
- Shoulder rigs and cages: Look cool, add weight, rarely necessary for DSLR work
- Follow focus systems: Manual focusing on DSLR lenses is manageable without gear
- External monitors: Your camera LCD works fine for most DSLR shooting
- Slider and jib systems: Master tripod work first
On “Married & Isolated,” my entire kit was: Canon T8i, 50mm f/1.4 lens, Peak Design tripod, variable ND filter, Rode VideoMic Pro. Total investment around $2,200.
That project screened at four festivals and got distribution offers.
Gear doesn’t make cinematic video. Understanding these principles does.
The Techniques Competitors Don’t Mention (Your Secret Weapons)
After studying competing articles and shooting dozens of projects, here are the advanced techniques that separate good DSLR video from exceptional work:
Pre-Focus Using Phase Detection Points
Most DSLRs have multiple autofocus points visible in your viewfinder. Before switching to manual focus, use these as visual references.
Frame your shot. Note which AF point covers your subject’s eyes. When pulling manual focus, use that AF point as your visual target—it helps you nail focus faster than guessing.
Zebra Patterns and Focus Peaking (If Your Camera Has Them)
Newer DSLRs include zebra patterns (exposure warnings) and focus peaking (edge highlighting for what’s in focus). Enable both.
Zebras show overexposed areas with diagonal lines. If you see zebras on your subject’s face, you’re clipping highlights—adjust exposure.
Focus peaking overlays colored highlights on sharp edges. When pulling focus, follow the colored outline as it moves from foreground to background.
My Canon T8i doesn’t have these features. My Sony A7III does. If your camera has them, use them—they’re game-changers.
The Ninja Warp Stabilizer Trick
Even with a tripod, micro-vibrations can introduce tiny shakes—especially on longer focal lengths or windy days.
In Premiere Pro, I use Warp Stabilizer on locked-off tripod shots, but with specific settings:
- Stabilization: Position only (not position, scale, rotation)
- Smoothness: 5-10% (subtle)
- Crop less than: 5%
This removes micro-jitters while maintaining your original framing and composition. Don’t use aggressive stabilization—it creates the “Jell-O” wobble effect.
Strategic Rule of Thirds for Video Composition
Photography uses rule of thirds for single frames. Video adds the dimension of time.
When framing subjects, leave lead room in the direction they’re looking or moving. If someone’s looking right, position them on the left third line with empty space on the right.
This gives the viewer visual breathing room and creates more comfortable compositions.
On “Noelle’s Package,” I framed a character walking left-to-right but positioned them on the right third of frame. Felt cramped and claustrophobic (which worked for that particular story), but for most scenes, lead room makes compositions feel natural.
Shoot for the Edit
Think about how shots will cut together before you shoot them.
Need an establishing shot that cuts to a medium shot that cuts to a close-up? Shoot all three angles, even if you think you only need one.
Match eyelines between shots. If your subject is looking left in the wide, they should be looking left in the close-up.
Maintain screen direction. If a character exits frame-left, they should enter the next shot from frame-right.
These editing fundamentals start on set. Fix them during shooting, not in the edit bay.
What Nobody Tells You About DSLR Video Limitations
DSLRs can create gorgeous video. They can’t do everything.
Recording time limits: Most DSLRs stop recording at 29:59 to avoid a European tax classification. If you need continuous long takes, DSLRs aren’t the solution.
Overheating: Sensors get hot during extended video recording. Some cameras (especially Canon) shut down after 20-30 minutes. Plan your shooting around this.
Rolling shutter: DSLR sensors read data line-by-line, top to bottom. Fast pans or movements create a “Jell-O” wobble effect. Minimize fast camera movements.
No XLR inputs (most models): Professional audio requires XLR connections. You’ll need an external recorder or adapter for pro-level sound.
Battery drain: Video decimates battery life. Budget 3-4 batteries minimum for a full shoot day.
Understanding these limitations prevents nasty surprises on set.
My Current DSLR Video Setup (What I Actually Use)
After years of experimentation, here’s the kit I reach for on 90% of projects:
Camera: Canon EOS Rebel SL3 (crop sensor, 4K capability, excellent color science)
Lenses:
- Canon EF 50mm f/1.4 (primary lens)
- Canon EF-S 24mm f/2.8 (wide shots, tight spaces)
- Canon EF 85mm f/1.8 (portraits, isolating subjects)
Support:
- Peak Design Travel Tripod
- Dji Ronin RS4 Pro gimbal (occasional use)
Filtration:
Audio:
- Rode VideoMic Pro (on-camera)
- Zoom H5 recorder + lav mics (for interviews or important dialogue)
Storage:
- SanDisk Extreme Pro 128GB V30 cards (three of them)
Power:
This entire setup fits in a Peak Design Everyday Backpack 30L. I can fly with it as carry-on, hike with it comfortably, and shoot professional-quality video anywhere.
Total investment: roughly $2,800 (accumulated over three years, not all at once).
The Practice Routine That Actually Improves Your Skills
Watching tutorials doesn’t make you better at DSLR video. Shooting does.
Here’s the practice routine I used to build competency:
Week 1-2: Static Shots
- Set up tripod in your space
- Practice locking shutter at 1/50, setting aperture, adjusting ISO
- Shoot 20 clips of stationary subjects
- Focus on nailing exposure and focus every single time
- Review footage: is anything soft? Over/underexposed?
Week 3-4: Manual Focus Pulls
- Set up two objects at different distances
- Practice pulling focus smoothly from near to far
- Try rack focus in both directions
- Speed doesn’t matter—smoothness does
- Goal: 10 perfect focus pulls in a row
Week 5-6: Panning and Movement
- Practice smooth pans left and right
- Try tilting up and down
- Experiment with handheld stabilization techniques
- Record everything, review ruthlessly
- Your goal: smooth motion that doesn’t distract from subject
Week 7-8: Real Project
- Shoot a 60-90 second short film or product showcase
- Apply everything: proper settings, manual focus, stable shots, deliberate compositions
- Edit it start to finish
- Share it and get feedback
This is how I learned. Not by reading articles (though they help), but by shooting hundreds of terrible clips until they weren’t terrible anymore.
When to Upgrade (And When to Keep Shooting)
You don’t need a better camera. You need better technique.
I shot professionally on a Canon T5i for two years before upgrading. That camera cost $500 used. Films I shot on it screened at festivals and earned client work that paid for my entire next camera body.
Upgrade when:
- You’ve genuinely mastered your current camera’s capabilities
- A specific limitation is preventing you from executing your creative vision
- You’re earning money from video work that justifies the investment
Don’t upgrade because:
- You think better gear will make you better (it won’t)
- You see other creators with fancier equipment
- You’re bored and want new toys
The Canon T8i I use now is a mid-range DSLR. It’s not the best camera Canon makes. But I know every menu, every limitation, every workaround. That familiarity lets me focus on creativity instead of fighting my gear.
Master what you have before you buy what you want.
Final Frame
The gap between “person with a DSLR” and “filmmaker shooting cinematic video” isn’t gear—it’s understanding.
Lock your shutter at 1/50. Shoot in manual mode. Use fast primes wide open. Stabilize everything. Think in terms of deliberate shots, not hoping to fix it later.
These fundamentals transform your footage from “nice try” to “wait, you shot this on what camera?”
Now get out there and shoot something. Your DSLR is more capable than you think.
Just remember to clean your lens first.
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About the Author:
Trent Peek is a filmmaker specializing in directing, producing, and acting. He works with high-end cinema cameras from RED and ARRI and also values the versatility of cameras like the Blackmagic Pocket Cinema.
His recent short film “Going Home” was selected for the 2024 Soho International Film Festival, highlighting his skill in crafting compelling narratives. Learn more about his work on [IMDB], [YouTube], [Vimeo], and [Stage 32].
In his downtime, he likes to travel (sometimes he even manages to pack the right shoes), curl up with a book (and usually fall asleep after two pages), and brainstorm film ideas (most of which will never see the light of day). It’s a good way to keep himself occupied, even if he’s a bit of a mess at it all.
P.S. It’s really weird to talk in the third person
Tune In: He recently appeared on the Pushin Podcast, sharing insights into the director’s role in independent productions.
For more behind-the-scenes content and project updates, visit his YouTube channel at https://www.youtube.com/@trentalor.
For business inquiries, please get in touch with him at trentalor@peekatthis.com. You can also find Trent on Instagram @trentalor and Facebook @peekatthis.
