What Jake Frew's Minimalist Van Filmmaking Kit Includes
Jake Frew is a full-time freelance filmmaker living and working out of his van, and this video walks through every piece of gear he uses to land paid video projects. Rather than showcasing an aspirational setup, Frew demonstrates a genuinely stripped-down kit designed to fit in a backpack—essential when you're also pedaling mountain bike trails with cameras strapped to you. The video centers on a recent project where he was hired by Race Face to produce a short film for their creators series, which forced him to question what gear truly matters when space is limited.
This content is practical for van lifers and traveling filmmakers who wonder whether they can make professional work with minimal equipment. Frew's approach challenges the assumption that expensive, bulky gear drives quality output. Instead, he shows how story, lighting awareness, and smart lens selection matter more than owning everything. If you're considering van life while maintaining income through video work, or if you already live on the road and want to know what a working filmmaker actually carries, this breakdown offers honest, actionable insights.
Key Gear and Setups Frew Uses on the Road
- Canon EOS 80D as primary camera paired with a Tokina 11–16mm f/2.8 wide lens for motion and establishing shots
- iPhone 10 as the second-most-used camera, used for quick shots and rides where he didn't want to carry his full camera bag
- Sigma 18–35mm f/1.8 and Canon 24–105mm f/4 lenses for interviews and layered depth shots
- GoPro Hero 5 mounted on a ladder climb and chest rig, yielding only a few shots in the final film
- DJI Mavic Air drone, used for only two establishing shots—proving drones are optional, not essential
- ND filter that cuts light and enables natural motion blur during bright outdoor mountain biking sequences
- Chrome Industries Niko F-Stop camera backpack, handmade and weatherproof, worn on nearly every mountain bike ride
What You Should Know Before Watching
- The film was shot entirely in natural light—no studio lighting equipment—using only a computer monitor and a white LED bike light for van interior voiceovers
- Audio was recorded with a Rode Lavalier GO and a Rode VideoMic, emphasizing that clear sound matters more than expensive microphones
- Editing was done on a desktop computer inside the van using Adobe Premiere Pro, with a MacBook Pro added later for flexibility to work in coffee shops
- A basic $15–20 tripod and Joby Gorillapod served all positioning needs; expensive tripods were unnecessary for this project
- Frew packed light for summer mountain biking, meaning gear choices were driven by weight and portability, not by owning multiples of each tool
- The story and message Frew wanted to tell—not the camera specifications—is what earned him the paid assignment
Frequently Asked Questions About Van-Based Filmmaking Gear
Do you really need a drone for paid video work?
No. Frew used his DJI Mavic Air for only two shots in an entire short film. He notes that drones are fun for establishing location and scenery, but they come with complicated permitting, legal restrictions that vary by region, and are by no means crucial for getting hired. If space and weight matter—as they do in van life—a drone should be your lowest priority.
Can you make professional videos with just a smartphone?
Yes. Frew's iPhone 10 was his second-most-used camera after the Canon 80D. He used it on rides where he didn't want to carry his full camera bag and for quick shots between setup changes. The phone shots made it into the final film and held their own alongside footage from dedicated cameras, proving that the story and composition matter more than the device.
What's the minimum lighting equipment a van filmmaker needs?
Frew used zero dedicated lighting equipment. All outdoor interviews and action shots relied on natural light, sometimes with imperfect results. For interior van voiceovers, he brightened his computer monitor to full white-screen and used a simple white LED bike light to barely illuminate the background. The takeaway: if your story is strong, imperfect lighting won't sink the project.
How important is lens variety when space is tight?
Frew carried three lenses—the Tokina 11–16mm wide, the Sigma 18–35mm f/1.8, and the Canon 24–105mm—and found the wide and zoom combination powerful for capturing motion and depth layering. However, he points out he could have filmed the entire project on just the wide lens and his phone. For van life, one versatile lens often outweighs the burden of carrying three.
Should you upgrade to expensive camera accessories like tripods?
Not necessarily. Frew's $15–20 tripod is wobbly and has a loose baseplate, yet it held the camera still during interviews. He sees no reason to upgrade to a $600 tripod unless he's proven wrong with a demonstrably better alternative. For van lifers with limited space, functional gear that fits your lifestyle beats premium gear that doesn't.
