filmmaker spotlight - Cam Sheldon

Welcome to the Filmmaker Spotlight – this series shines a light on filmmakers, actors, editors, and more, as we ask them a few questions and uncover why they love what they do.

This time - Cam Sheldon

Director Of Photography/Camera Operator

• Tell us a bit about yourself, how did you get into the industry?

I am a full time creative filmmaker based in Dudley, West Midlands, currently transitioning into the freelancing world after over a decade of experience in hospitality, medical, corporate, and administrative roles. While I did not attend film school or have formal training, my strongest asset has always been my passion. When that passion aligns with my creativity, I commit to fully conducting in depth research, studying the work of other filmmakers, and most importantly, putting that knowledge into practice.

My entry into the film industry was driven not only by understanding how to run a business and generate income with a camera, but also by building meaningful connections along the way. As cliché as it may sound, relationships have been pivotal to my journey. Being naturally extroverted has enabled me to network with ease, form genuine friendships, and overcome the social barriers that often hold people back.

I work by one guiding principle that I believe everyone in the industry should consider: Be the person you would want to work with on set. Show respect, listen to others, and embrace collaboration and everything else will fall into place.

• What’s something about working in film/TV that outsiders would never expect? 

Probably the most challenging aspect is the complexity involved in setting up certain shots. As an audience member, it’s easy to watch a film, see a three second explosion, and forget about it moments later. But once you begin to understand the logistics behind that brief scene, you quickly realise the immense amount of work required, not to mention why budgets for major blockbusters are so high. These intricate processes often remain invisible to anyone outside the industry, and their full weight can only be appreciated if you’re there to witness them firsthand. That, to me, is the magic of cinema: a rare luxury that is all too often taken for granted.

• What about Cinematography do you enjoy the most and why? 

I thrive on playing a key role in shaping the visual impact of a film. Whether it’s defining a project’s distinct look, solving technical challenges, or contributing my expertise to help the team realise a clear and compelling vision. This passion partly comes from my earlier years working in roles where my contributions often went unnoticed. In film production, however, there is a profound sense of collaboration, especially when you’re entrusted with guiding the creative direction.

There’s something deeply rewarding about understanding how a single frame can convey emotion and meaning, and knowing how to bring that vision to life. It’s an art form that, once discovered, is impossible to switch off. The curiosity it sparks keeps me constantly learning, analysing, and pushing myself to achieve more.

• Favourite On-set snack? 

My favourite on-set snack has to be a hot jacket potato with cheese and beans. I’ve only experienced it once, but it felt like a true luxury compared to the usual sugary snacks that keep you going. You’d be surprised how much a hot meal can lift the spirits of a crew working 10+ hour days. For a less wholesome, but equally a satisfying option, you can’t beat a classic crisp sandwich during a quick 10 minute break.

• What is the hardest part of working freelance?

The most challenging aspect is managing every role yourself. As a freelancer, you’re not only responsible for your creative work but also for running the business behind it. If you’re not investing the time, you’re not progressing. You have to wear multiple hats marketing, finance, client relations, while ensuring the creative side doesn’t suffer. Nobody will run your business for you, so staying switched on 24/7 becomes essential. Time management is just as important as the work itself. It can feel like a constant juggling act, but as I’ve learned, the more effort you put in, the more rewarding the results.

• What’s one skill, creative or technical you wish more people in the industry took more time to master? 

Two key areas come to mind when thinking about development for other creatives. The first is communication. You’d be surprised how many situations could be resolved or avoided entirely through clear, direct communication. As the industry thrives on collaboration, this is a skill everyone should actively develop from the very start of their career.

The second is gaining an understanding of other departments. Think of it like being a chef who suddenly becomes a restaurant manager. You might know how to cook, but without understanding how the front of house runs, you’ll struggle to lead the entire operation effectively. The same applies on set. Taking just five minutes to observe another department, ask thoughtful questions, and show genuine curiosity can teach you a great deal and ultimately make you a stronger, more well-rounded professional.

• What have you learnt over time that you wish you knew when you started? 

One of the most common mistakes aspiring filmmakers make is believing that more gear automatically makes you a better filmmaker. It’s easy to fall into the trap of constantly buying equipment, often going into debt, because new products are pushed at us from every angle on social media. I’d be lying if I said specific gear hasn’t helped me land certain jobs, but with that comes the responsibility of truly knowing how to use it.

If I could give advice to my younger self from a year ago, it would be this: focus on making the most of what you have right now. Master your craft with your current tools, and only invest in new gear when it’s absolutely essential, when it will genuinely elevate the work you’re already doing to the next level.

• Who or what inspires you in your work? 

I’ve found that my greatest inspiration has ultimately come from myself. While blockbuster films and high budget commercials have certainly influenced how I approach certain shots on a smaller budget, my most valuable lessons have come from revisiting my own past work and learning from it. In an industry filled with incredibly talented individuals, it’s easy to get lost in the noise, but focusing on your strengths and exploring new ways to innovate your storytelling will always set you apart.

I also believe in surrounding myself with people who are more experienced and knowledgeable. Working alongside them ensures that every day on set becomes a learning opportunity. With that mindset, inspiration is never in short supply.

• What’s one project you’re especially proud of, and why? 

One project I’m particularly proud of is my first short film, The Third Visit. As a first time Director of Photography, I took on a 19 page script with 205 written shots which was… ambitious, and admittedly a little naïve to be completed in just four days. It quickly became clear I was in over my head, but with a streamlined shot list, a collaborative crew of over a dozen talented members, and the passion to see it through, we brought the film to life on a skeleton budget and at an impressive scale.

A highlight was receiving praise from our sound engineer, a respected professional with over 15 years in TV and film. That moment reinforced for me what’s possible when you commit to improving your skills, work collaboratively, and push forward with your craft.

• Any advice for people wanting to do the job that you do? 

Success in this industry doesn’t happen overnight, for anyone. I’m still far from the level I aspire to reach in my cinematography. Often, I find myself working on other sets or passion projects in different roles, not necessarily to advance my career as a cinematographer, but to surround myself with the right people in the industry. These are the individuals who push for long term, meaningful opportunities and who build trust over time.

In film, career relationships matter as much as skill. Professionals are often hired not only for their talent but because others trust and enjoy working with them. This is why top directors frequently collaborate with the same cinematographers, they understand each other’s vision and have cultivated a strong working connection. Similarly, cinematographers bring on gaffers they trust, who in turn hire best boys and grips they’ve successfully worked with before. The industry thrives on collaboration, and building lasting relationships is key to long term success.

• Currently working on a project or want to plug something? 

Yes! I’m excited to share that I’ve been fortunate to land my second short film project as Director of Photography. The film, titled Career Ending Choices, is a locally shot horror/comedy about a radio presenter whose pursuit of lust over repairing his marriage only leads him to make increasingly poor decisions. I’m really looking forward to bringing this story to life behind the camera.

In the meantime, my first music video, Heartbreak Girl, written by the alternative rock band Red Light Camera, will be released this month (August). I’m eager to see how modern audiences respond, so keep an eye on my Instagram @camsheldon for the release!

If you’d like to work with Cam you can contact him here: Cam Sheldon