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Strange times like these are perfect for creatives. It’s in our nature to adapt and working from home requires its fair share of adaptation. You’re competing against loneliness, distractions, overly affectionate dogs — and that’s just the start of it.

It’s a new year, and you’ve probably made your fair share of resolutions. But we have one more for your list: Attending film festivals. As a filmmaker, you probably fall into one of two camps. First, you already know why you should go to them and are tying to decide which film festivals in 2020 to attend. Second, you’re either unconvinced or unsure if they’re worth the effort.

While the wedding film industry may seem insulated from other film industries, it’s still one-hundred-percent filmmaking. There are stories, editing timelines, demanding clients, and hard drives full of footage. Yet, a career in wedding filmmaking is also different than any other film career. There’s a steep learning curve to learning how to work with clients, manage, schedules, and stay sane during the infamous “edit season.”

Drea watches more than 350 films every single year and plays an active role in whether they’re successful or not. She’s well aware of the uphill climb many filmmakers face to get accepted — she said Sundance receives around 14,000 submissions every year and only 100 actually get a premiere. So, in an effort to make that climb a little more friendly, we decided to chat with Drea to put together a rough guide for getting into film festivals.

There are a lot of conversations surrounding the Vimeo Staff Pick, but no one in the indie film community can question its importance. For many creatives that elusive badge has been the starting point for their career, the moment when they get noticed.

For many filmmakers, branded content is a tough code to crack. With variables including — but not limited to — product, budget, timelines, and internal politics, it may seem like a game not worth jumping into. But, allow Scott Ballew, YETI’s Head of Content, to simplify it for you.