How to Make a Documentary Film: The Reality Nobody Tells You

February 26, 2026 by Trent Peek

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How to Make a Documentary Film: The Reality Nobody Tells You

Three months into shooting my first real documentary, I realized I’d been following the wrong person.

We’d done ten interviews. Captured forty hours of footage. Built an entire narrative arc around someone we thought was the heart of the story. Then during interview eleven, a side character mentioned something that made my co-director and I look at each other with that sinking “oh shit” feeling.

The real story wasn’t the one we’d been filming.

That’s documentary filmmaking in a sentence: You think you’re making one film, reality laughs, and you start over with whatever truth you’ve actually uncovered.

If you came here looking for another “four steps to make a documentary” article that treats docs like they’re just narrative films with real people, you’re in the wrong place. This is about the stuff that’s actually different—the ethical minefields, the consent nightmares, the funding rejections, the interviews that go sideways, and the reality that your subject’s life doesn’t care about your three-act structure.

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. If something’s garbage, I’ll tell you—commission or not.

The Problem: Documentary Filmmaking Isn’t “Just Like Making a Movie, But Real”

Here’s what beginners think documentary filmmaking is: Point camera at interesting thing. Ask questions. Edit it together. Show people.

Here’s what it actually is:

You spend six months researching a topic. Finally get access to your main subject. Schedule your first interview. Show up with your crew. The subject clams up on camera and gives you nothing. Or they ramble for two hours about irrelevant details. Or they reveal something so sensitive you can’t legally use it without destroying their life.

Meanwhile, the event you needed to film happened last week without warning. Your funding fell through. Your co-director quit. And the archival footage you built your entire B-roll around costs $50,000 to license.

Oh, and that release form you had everyone sign? Turns out it wasn’t specific enough and now your lawyer is telling you half your footage is legally unusable.

This is why most first-time documentary filmmakers either abandon their projects halfway through or spend seven years finishing something that could have taken eighteen months if they’d understood what documentary filmmaking actually requires.

The Underlying Cause: Documentary Demands You Can’t Script Your Way Out Of

Narrative filmmaking is controlled chaos. You write a script, plan shots, hire actors, direct performances, reshoot what doesn’t work.

Documentary filmmaking is uncontrolled chaos that you’re trying to wrestle into a coherent story after the fact.

The fundamental difference: Reality doesn’t follow your outline.

Your subject gets sick and cancels three interviews. The organization you’re documenting suddenly refuses you access. The court case at the center of your film settles out of court with no resolution. The person you’ve been following for two years moves to another country.

And unlike narrative films, you can’t just rewrite the script. You have to figure out how to tell a compelling story with whatever reality gave you—which might be completely different from what you planned.

Most documentary filmmakers fail because they approach it like narrative filmmaking with a research phase. It’s not. It’s journalism, anthropology, and ethics rolled into filmmaking, and if you don’t understand those disciplines, you’re going to make something that’s either boring, exploitative, or legally unusable.

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The Solution: Understand the Documentary-Specific Challenges Before You Start

Good documentary filmmaking requires mastering four things narrative filmmaking doesn’t demand:

Finding and accessing a story that’s actively unfolding (not creating one)
Managing real people’s lives, consent, and ethical obligations (not directing performances)
Building a narrative from chaos (not following a pre-written script)
Navigating legal and financial constraints specific to non-fiction (not standard film production)

Let’s break down exactly how to handle each of these without destroying your project, your subjects’ lives, or your sanity.

Implementing the Solution: The Real Process of Documentary Filmmaking

Phase 1: Finding a Story Worth Telling (And Getting Access to It)

The Story Isn’t the Subject—It’s What Happens to the Subject

Beginning documentary filmmakers make this mistake constantly: They pick a topic instead of a story.

“I want to make a documentary about homelessness.”
“I want to make a documentary about climate change.”
“I want to make a documentary about my grandmother.”

These aren’t stories. These are subjects. A story is: What specific thing is happening to specific people, and why should anyone care?

The documentary isn’t “about homelessness.” It’s about a formerly homeless woman trying to get her kids back from CPS while living in transitional housing. That’s a story with stakes, conflict, and an uncertain outcome.

How to find the actual story:

Start with a subject you’re genuinely obsessed with. You’ll be living with this for 1-3 years minimum. If you’re not passionate about it now, you’ll hate it by month six.
Do deep preliminary research before filming anything. Read everything. Watch every existing documentary on the topic. Find what’s been missed or what angle hasn’t been explored.
Look for active conflict or transformation. The best documentaries follow people trying to accomplish something uncertain. Will they succeed? Will they fail? That uncertainty is your narrative tension.
Find the human element. Nobody cares about abstract concepts. They care about real people facing real consequences.

When I was developing a documentary about independent filmmakers trying to break into the industry, I spent three months just reading filmmaker forums, watching YouTube channels, and talking to people before I ever picked up a camera. That research revealed that the most compelling angle wasn’t “how hard it is to make films”—it was following three specific filmmakers through their first festival submissions and watching them handle rejection or acceptance.

Access Is Everything (And Harder Than You Think)

You can have the best story idea in the world, but if you can’t access your subjects, locations, and events, you have nothing.

Access challenges nobody warns you about:

Organizations say yes, then legal departments say no
Family members disagree about participating (one wants to, one threatens legal action)
Events happen without warning and you can’t get there in time
Subjects get cold feet after initial enthusiasm
Key people refuse to go on camera

How to actually get access:

Start with people you already know or have connections to. Cold-calling subjects rarely works. Warm introductions through mutual contacts are gold.
Be upfront about your intentions from day one. Don’t hide your angle or mislead subjects about what the film is really about. They’ll find out eventually and you’ll lose all trust.
Spend time off-camera first. Before you film anything, just hang out. Build relationships. Let people get comfortable with you. The best documentary footage comes from subjects who forgot the camera was there.
Have a backup plan if primary access falls through. I’ve had three different documentary projects where my main subject bailed midway through. If your entire film depends on one person’s continued participation, you’re one phone call away from disaster.
Document everything in writing. Every access agreement, every permission, every understanding about what you can and can’t film. Verbal agreements mean nothing when someone changes their mind six months later.

For one documentary I worked on about a small music venue, we spent two months just showing up to shows, talking to the owner, buying drinks, and not filming anything. By the time we finally started production, we had access to everything—backstage, sound booth, private owner meetings—because we’d built actual trust.

Pre-Interviews: Your Secret Weapon

Never, ever make someone’s first interview their actual filmed interview.

Why pre-interviews matter:

You learn if they’re actually good on camera (some people freeze, ramble, or just can’t articulate)
You discover what stories they have that you didn’t know about
You figure out which questions get emotional, defensive, or evasive responses
They get comfortable talking to you before the real camera pressure

I do pre-interviews over coffee or lunch, phone calls, even text conversations. By the time the real interview happens, they’ve already told me most of their stories once and the on-camera version is more natural and confident.

Red flags in pre-interviews:

They only want to talk about what they want to talk about (controlling subjects destroy documentaries)
They contradict themselves constantly (your fact-checking will be a nightmare)
They’re clearly performing rather than being genuine
They demand final cut approval (run away immediately)

Phase 2: Ethics and Consent—The Stuff That Will Destroy Your Film If You Get It Wrong

This is the part most documentary filmmaking guides skip because it’s complicated, uncomfortable, and doesn’t have clean answers.

Too bad. It’s the most important part.

Informed Consent Is Not Just a Release Form

Here’s what happens constantly: Filmmaker gets someone to sign a release form, films them, uses the footage, then gets sued or publicly destroyed when the subject claims they didn’t understand how they’d be portrayed.

Legal consent and ethical consent are different things.

Legal consent: They signed a form saying you can use their image and voice.

Ethical consent: They genuinely understand what you’re making, how they’ll be portrayed, what the potential consequences are, and they still want to participate.

You need both.

How to get actual informed consent:

Explain the project in detail—not just the topic, but your angle. If you’re making a critical film about a company, don’t tell employees you’re making a “behind-the-scenes look at the industry.” Tell them you’re investigating labor practices. They need to know what they’re signing up for.
Explain where and how the film will be distributed. “Used for broadcast on the internet and television” is too vague. Netflix? YouTube? Film festivals? A takedown piece on social media? Be specific.
Discuss potential risks of participation. Could this affect their job? Their family relationships? Their reputation? Their safety? If yes, they need to know before filming.
Make sure they understand they can say no to specific questions or topics. Consent isn’t all-or-nothing. Someone can agree to be filmed but not want to discuss certain subjects.
Get it on camera. Start every interview with them stating their name and confirming they understand and consent to participate. This protects you if they later claim they didn’t know what they agreed to.
Minors require parental consent—no exceptions. And even with parental consent, be extremely careful about what you show and how you frame it.

When I was working on a documentary about struggling filmmakers, one subject revealed during filming that they were considering suicide due to career failures. We stopped filming immediately, connected them with resources, and ultimately decided not to use that footage even though we had signed releases. Sometimes ethical obligations override your desire to include dramatic content.

The Exploitation Line You Cannot Cross

Documentary filmmaking gives you incredible power: You control how someone is portrayed to potentially millions of people.

That power comes with massive ethical responsibility.

You’re exploiting your subject if:

You know they don’t fully understand how they’ll be portrayed
You’re filming them in vulnerable moments for shock value rather than illumination
You’re emphasizing sensational elements over truthful representation
You’re profiting from their pain without meaningfully improving their situation
You’re revealing information that could seriously harm them without their full understanding of consequences

This doesn’t mean you can’t show difficult moments or unflattering truths. Documentary filmmaking requires showing reality, not propaganda. But there’s a difference between “this is uncomfortable but necessary for the story” and “this will get views but destroy this person’s life.”

Questions to ask yourself before using sensitive footage:

Does showing this serve the story or just sensationalize suffering?
Did the subject understand this moment would be in the film?
What are the real-world consequences for this person if I include this?
Am I more concerned with “great footage” or this person’s wellbeing?
Would I feel comfortable showing this to the subject’s family?

I’ve cut footage from documentaries that was cinematically perfect because using it would have been ethically wrong. Sometimes the best documentary filmmaking decision is what you choose not to show.

Working With Vulnerable Populations Requires Extra Care

Some subjects need additional protection:

Children: Parental consent is legally required, but also consider: Can a 10-year-old really understand how being in a documentary might affect them years later? Blur faces, change names, or get creative with how you show them without full identification.

Trauma survivors: Subjects who’ve experienced abuse, violence, or tragedy may not realize how triggering it could be to see their story on screen. Give them opportunities to review footage before release.

People with mental illness or cognitive disabilities: Can they truly give informed consent? Do they understand the implications? You may need additional safeguards or decide not to film them at all.

People in active crisis: Homeless individuals, addicts in recovery, people facing eviction—these are people in vulnerable situations who might agree to things they’ll regret. Just because they say yes doesn’t mean you should film.

For a documentary I consulted on about domestic violence survivors, the filmmakers never showed full faces, changed names, and let subjects review their interview footage before deciding what could be used. That level of protection built trust and resulted in more honest interviews than if they’d just shoved cameras in faces and demanded answers.

Phase 3: The Production Reality—Filming What You Can’t Control

Unlike narrative production where you control everything, documentary production is reactive. Events happen and you have to be there, ready, and adaptable.

Coverage and B-Roll: You Need Way More Than You Think

The shooting ratio for documentaries is typically 30:1 to 60:1. That means for every one minute in your final film, you’ll shoot 30-60 minutes of footage.

For a 90-minute documentary, you’re looking at 45-90 hours of footage. Minimum.

Why you need so much:

Interviews ramble and you’ll use maybe 10% of what someone says
Events unfold unpredictably and you’re filming everything hoping something usable happens
You don’t know your story until editing, so you’re gathering options
B-roll covers edit points, establishes locations, and provides visual variety

Types of footage you absolutely need:

1. Interviews (the backbone of most documentaries)

Primary subjects: The people your story is about
Expert interviews: People who provide context or analysis
Supporting characters: People who interact with your main subjects
Opposing viewpoints: Never make a one-sided documentary, it’s propaganda not journalism

2. Verité footage (observational filming)

Your subjects doing things naturally, not performing for camera
Events unfolding in real-time
Candid moments that reveal character

3. B-roll (visual coverage)

Establishing shots of locations
Detail shots (hands, objects, environments)
Action shots showing what your subjects do
Transition footage to cover edit points

4. Archival material (if relevant)

Old photographs
Historical footage
Documents, newspaper clippings, records
Past interviews or recordings

I learned this lesson painfully on my first documentary when I thought I had enough footage after 20 hours. In editing, I realized I was missing establishing shots, detail B-roll, and had only one angle for most interviews. I had to go back and shoot for another three weeks. Now I over-shoot intentionally because you cannot go back in time to capture what you missed.

Interview Techniques for Documentary (Not Narrative Acting)

Interviewing real people is completely different from directing actors.

Setup:

Two-camera setup if possible: One tight on face, one wider showing environment. This gives you options in editing and lets you cut seamlessly.
Natural environment: Film people where they’re comfortable—their home, workplace, familiar locations. Studio interviews feel sterile and people perform rather than being genuine.
Time: Schedule at least two hours even if you think you only need thirty minutes. People need time to settle in and the best material usually comes after they’ve relaxed.

How to actually conduct the interview:

Don’t read questions from a list. Have topics you want to cover, but let it be a conversation. The moment you pull out a clipboard and start reading questions, people go into “interview mode” and stop being genuine.

Start with easy, non-threatening questions. Let them warm up before you ask anything difficult or emotional.

Embrace silence. After someone finishes answering, wait. Don’t immediately ask the next question. People will often fill that silence with additional thoughts that are more honest than their initial answer.

Ask follow-up questions. Don’t just check boxes. When something interesting comes up, pursue it. “Tell me more about that.” “How did that feel?” “What happened next?”

Let them cry, get angry, or show emotion. Don’t comfort them or stop filming (unless they ask you to). Authentic emotion is what makes documentary powerful. Obviously be compassionate, but don’t rob them of the opportunity to express real feelings on camera.

Never say “Great!” or “Perfect!” after answers. It makes them self-conscious. Just nod and move to the next topic naturally.

Get them to repeat your question in their answer. If you ask “What was it like growing up in that house?” don’t accept “It was difficult.” You need “Growing up in that house was difficult because…” This makes editing infinitely easier.

During one documentary about a musician who’d lost their hearing, the best footage came ninety minutes into a two-hour interview after we’d stopped asking formal questions and were just talking. They opened up about their fear of losing their identity in a way they never would have in the first thirty minutes. You can’t rush genuine moments.

Archival Footage and Copyright Nightmares

If your documentary requires old photographs, historical footage, news clips, or other archival material, you’re entering a legal minefield.

Copyright reality:

Just because something is old doesn’t mean it’s free to use
“Fair use” is not a free pass—it’s a legal defense if you get sued, and you need a lawyer to determine if you qualify
Licensing archival footage can cost anywhere from $50 to $10,000+ per clip depending on usage
If you can’t afford to license it, you can’t use it—period

How to handle archival footage:

Budget for it from the start. Archival licensing is often 20-30% of a documentary budget.
Start clearance process early. Finding rights holders and negotiating licensing takes months.
Consider alternatives if something is too expensive:
- Film your own recreations
- Use animation or motion graphics
- Find cheaper alternatives that tell the same story
- Use public domain or Creative Commons material
Document everything. Keep records of every license agreement, every permission, every “this is public domain” verification. You’ll need this when your film gets distributed.
Consider fair use carefully and with legal counsel. Fair use might cover brief clips used for criticism, commentary, or education, but it’s not guaranteed and you could be sued even if you’re right.

I once had to cut a perfect archival clip from a documentary because the license would have cost $8,000 for 15 seconds of footage. We replaced it with animated graphics that actually worked better and cost $500. Sometimes constraints force creativity.

Phase 4: Post-Production—Finding the Story in the Chaos

This is where documentary filmmaking gets really different from narrative.

The Paper Edit: Building Structure from Chaos

For feature-length documentaries, you’ll have 50-100 hours of footage. You can’t just start editing randomly.

The paper edit process:

Transcribe everything. Every interview, every piece of dialogue. Yes, it’s expensive and time-consuming. Do it anyway. You cannot edit what you can’t search through.
Read through transcripts and highlight the best moments. Mark anything that’s emotionally powerful, narratively important, or particularly well-said.
Print out the highlights and physically organize them. Use index cards, a wall, whatever works. This lets you see the structure before you touch the footage.
Find your narrative arc. Where does the story start? What’s the rising tension? What’s the climax? How does it resolve?
Create a rough assembly based on your paper edit. This gives you a roadmap instead of wandering around in 100 hours of footage.

For the documentary I mentioned earlier where we were following the wrong person, the paper edit saved us. We transcribed everything, realized the side character’s story was more compelling, and rebuilt the entire narrative around them before we wasted weeks editing footage we’d end up cutting anyway.

Documentary Editing Is Rewriting

In narrative filmmaking, the editor is assembling pieces according to a script. In documentary, the editor is writing the story by choosing what to include and how to sequence it.

Documentary editing challenges:

Chronology doesn’t equal story. Just because events happened in a certain order doesn’t mean you should present them that way. Rearrange for dramatic impact.

You’re balancing accuracy with narrative. You can’t manipulate reality to create false narratives, but you can choose which truths to emphasize.

Every cut is an ethical decision. Are you representing people fairly? Are you removing context that changes meaning? Are you creating implications that aren’t true?

Pacing is harder. Without the structure of a script, you have to feel your way through what works. Some documentaries need slow, contemplative pacing. Others need urgency and momentum.

Music and sound design carry enormous weight. The same footage can feel hopeful or tragic depending on the music. Use this power carefully and ethically.

I’ve spent six months editing 20-minute documentary shorts because finding the story in the footage takes time. Rush it and you end up with a confusing mess that doesn’t work.

Getting Feedback During Rough Cut

Don’t edit in isolation. Your test screenings are critical.

Who to show rough cuts to:

Subject matter experts: Do they see anything factually wrong or misleading?
People unfamiliar with the topic: Does the story make sense without prior knowledge?
Other filmmakers: Can they spot structural or technical issues?
People from the community you’re documenting: Are you representing them fairly?

What to ask for feedback on:

Does the story make sense?
Where did you get confused or bored?
Which parts felt too long or too short?
Did you care about the people on screen?
What emotions did you feel and when?
What questions did the film leave unanswered?

I’ve completely restructured documentaries based on rough cut feedback. What made perfect sense to me (because I’d lived with the footage for months) was totally confusing to fresh viewers. You’re too close to the material to judge objectively.

Phase 5: Distribution—Getting Your Documentary Seen

You’ve spent years making this thing. Now what?

Film Festival Strategy

Festivals are the primary way documentaries build audiences and credibility.

Festival submission reality:

Most films get rejected by 90%+ of festivals they apply to
Submission fees add up fast ($50-$150 per festival)
You should expect to spend $2,000-$5,000 on festival submissions
Premiere status matters—many festivals won’t accept films that have been shown elsewhere

Strategic festival approach:

Target tier 1 festivals first: Sundance, SXSW, Tribeca, Hot Docs, DOC NYC. If you get into any of these, distribution opportunities open up.
If tier 1 rejects you, go to tier 2: Regional festivals, genre-specific festivals, festivals in your location.
Don’t submit everywhere. Be strategic. Research which festivals screen films like yours.
Plan for Q&As. If your film gets selected, you’ll need to present and answer questions. Prepare for this.
Network like crazy. Festivals are where you meet other filmmakers, distribution reps, and potential collaborators.

My documentary about struggling filmmakers got rejected by 27 festivals before finally getting into a regional festival. That regional festival led to a distribution deal. Persistence matters.

Distribution Options Beyond Festivals

Distribution agent: If you have a feature-length doc that’s doing well at festivals, a distribution agent can pitch it to Netflix, Amazon Prime, HBO, etc. They take a percentage but they have access you don’t.

Self-distribution platforms: Amazon Prime Video Direct, iTunes, Vimeo On Demand let you upload and sell directly. You keep more money but do all the marketing yourself.

Educational distribution: If your doc is relevant to schools, libraries, or universities, companies like Kanopy and Films Media Group specialize in this market.

Impact campaigns: If your documentary is about a social issue, you can partner with nonprofits and activist organizations to use the film as a tool for change. This doesn’t always make money but can create real-world impact.

Free release: YouTube, Vimeo, your own website. No money, but maximum reach and potential for sponsorship or crowdfunding for future projects.

My advice: Don’t wait for the perfect distribution deal. Get your film seen however you can. A film that reaches 10,000 people on YouTube is more successful than a film that never leaves your hard drive because you’re holding out for Netflix.

The Documentary-Specific Budget Reality

Let me be blunt about money: Documentaries are expensive and rarely profitable.

Average documentary budgets:

Ultra-low-budget (DIY): $5,000-$30,000
Independent: $50,000-$200,000
Professional: $300,000-$1,500,000
Premium (broadcast): $1,000,000+

Where the money goes:

Pre-production: Research, travel for pre-interviews, legal consultation (10-20%)
Production: Travel, crew, equipment, accommodation, food, location fees (20-30%)
Post-production: Editing, sound design, color grading, music licensing, archival licensing (40-50%)
Festival submission and distribution: Submission fees, marketing materials, travel to festivals (10-20%)

Documentary funding sources:

Personal funds: Most first documentaries are self-funded. Be realistic about what you can afford.

Crowdfunding: Kickstarter, Indiegogo. Viable for $10,000-$50,000 if you have an audience and a compelling pitch.

Documentary grants: Organizations like ITVS, Sundance Documentary Fund, Tribeca Film Institute, Ford Foundation provide grants ranging from $25,000-$500,000. Extremely competitive.

Fiscal sponsorship: Nonprofits like Film Independent or IDA can sponsor your project, making you eligible for grants and allowing donors to make tax-deductible contributions.

Broadcast pre-sales: If you have a track record, broadcasters like PBS, BBC, or Arte might fund your documentary before it’s finished in exchange for airing rights.

Impact investors: For issue-driven documentaries, foundations and philanthropists might fund your film as part of their social change work.

I’ve made documentaries for $8,000 and I’ve worked on documentaries with $400,000 budgets. The budget doesn’t determine quality—it determines scope. Know what you can realistically accomplish with the money you have.

Wrap-Up

That documentary where we realized three months in that we were following the wrong person?

We salvaged it. Pivoted the entire narrative. Spent another eight months filming the actual story. The final film was completely different from what we’d originally planned.

And it was better. Because documentary filmmaking isn’t about executing your vision—it’s about discovering the truth and finding the most compelling way to share it.

Here’s what nobody tells you when you start: Making a documentary will take twice as long as you think, cost more than you budgeted, and force you to confront uncomfortable ethical questions you didn’t anticipate.

You’ll film things you can’t use. You’ll build relationships with people who disappoint you. You’ll face moments where you have to choose between great footage and doing the right thing.

But if you’re documenting something that matters, following people whose stories deserve to be told, and approaching it with ethical integrity and journalistic rigor—you might make something that actually changes how people see the world.

Just don’t expect it to be anything like making a narrative film. Documentary filmmaking is its own beast, and you have to respect that from day one.

Now go find a story that won’t let you sleep at night until you’ve told it. That’s the only documentary worth making anyway.

Suggested Links From Peek At This:

Documentary Camera Gear: The Only Kit Guide You Actually Need – Equipment specifically for documentary production
How to Mic Documentary Interviews: The Ultimate Audio Guide – Technical deep-dive on interview audio
Film Pre-Production: 7 Stages Every Filmmaker Needs – General pre-production applicable to docs
How to Get Your Film Into Film Festivals – Festival submission strategy
Low Budget Filmmaking Tips – Budget strategies applicable to documentary work
Ultimate Guide to Filmmaking Resources – Tools and resources for documentary filmmakers

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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.

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