From Newsroom to Forest: Simran Gill's Wildlife Filmmaking Journey
Simran Gill made a bold career shift several years ago. She left the predictable environment of a newsroom for the unpredictable world of wildlife filmmaking. This decision marked the beginning of an extraordinary professional transformation.
At 41, Gill now leads Film Trotters Media as both founder and content head. Her company represents a growing niche where sustainable business practices meet visual storytelling. Passion-driven careers can indeed find solid ground even in high-risk fields.
Journalism Roots and Wildlife Passion
"Wildlife was always my passion," Gill states clearly. She nurtured this interest while working with prominent media organizations like ET NOW and The Economic Times. Her mainstream journalism experience provided valuable professional foundations.
Regular forest visits and safari trips gradually evolved into something more serious. What began as casual nature filming during work breaks transformed into a dedicated pursuit. Wildlife filmmaking started as just a hobby but grew into something much more significant.
Building a Digital Platform and Global Travel
Around 2015, Gill co-created Gypsy Tiger, a digital platform focused entirely on wildlife stories from around the world. This project enabled extensive international travel and documentation work.
She journeyed to diverse locations including:
- Forests in Alaska, United States
- Borneo island in Southeast Asia
- Landscapes in Ladakh
- Patagonia region in South America
- Even the remote Arctic
Through these travels, she documented wildlife and ecosystems for social media audiences, building both experience and reputation.
Pandemic Pivot and Company Formation
The COVID-19 pandemic disrupted this momentum dramatically. Global travel halted overnight, making wildlife filmmaking temporarily impossible. Like many creative professionals, Gill needed to adapt quickly.
In 2020, she established Film Trotters Media with a clear vision. She wanted a storytelling-focused production house capable of working across multiple genres. "My initial investment was minimal," Gill explains frankly.
The company bootstrapped during lockdown using personal savings and basic existing equipment. "Most money went into regulatory work to establish an LLP structure," she notes. The approach emphasized lean operations from the beginning, focusing financial resources on creative work rather than overhead.
Dual Focus: Wildlife and Corporate Content
Film Trotters Media began with a straightforward mission: tell meaningful stories with emotional depth. The company explores narratives about wildlife, conservation, communities, and businesses.
During pandemic restrictions, corporate films became the primary income source. When conditions improved, Gill returned to wildlife filmmaking with a stronger business foundation. Today, the company operates in two main areas:
- Wildlife and nature films
- Corporate non-fiction content
This balanced approach maintains financial stability while allowing continued passion projects.
Revenue Streams and Growth Philosophy
Gill describes multiple revenue sources for the company. "We handle commissioned projects for corporations and streaming platforms," she says. The business also licenses footage selectively and forms content partnerships.
Film Trotters Media remains bootstrapped and project-based, deliberately avoiding rapid expansion. "We prioritize sustainable growth over big numbers," Gill emphasizes. The company reinvests continuously into equipment, inventory, and creative development.
A small core team operates with flexible structure. "We collaborate with freelancers based on project requirements," Gill adds. This model provides access to specialized talent without incurring high fixed costs.
Challenges and Ethical Commitments
"The biggest challenge is capital," Gill states plainly. Wildlife films demand substantial upfront investment for travel, equipment, and crew, often without guaranteed buyers. "Many projects begin self-financed. This work is capital-intensive and time-consuming, but that's nonfiction filmmaking reality."
Balancing business needs with conservation storytelling presents another difficulty. "Not all important stories are easily monetized," Gill acknowledges. Such projects frequently require extended periods to secure sponsors.
Regarding profits, Gill offers perspective: "I didn't start Film Trotters Media to generate massive commercial profits." Some projects break even while others earn profits that get reinvested.
"Ethical filmmaking is non-negotiable," she declares firmly. "Respecting animal habitats remains sacrosanct in all our work."
Simran Gill's journey demonstrates how passion and practicality can combine successfully. Her company continues telling important stories while maintaining business viability in a challenging creative field.
