Pune Inc | How Simran Gill built a sustainable business around wildlife storytelling

Frequent visits to forests and safaris gradually turned into a serious interest in filming nature and animals. Initially, wildlife filmmaking was only a hobby, something she pursued during breaks from her professional life.

Around 2015, she co-created Gypsy Tiger, a digital platform that focused on wildlife stories from across the world. Through the project, she travelled extensively—from forests in Alaska, US; and Borneo, an island in Southeast Asia; to landscapes in Ladakh; Patagonia, a region in South America; and even the Arctic—documenting wildlife and ecosystems for social media audiences.

Film Trotters Media

The momentum, however, was disrupted by the Covid pandemic. Global travel stopped overnight, and wildlife filmmaking became impossible. Like many creative professionals, Gill had to pivot quickly. In 2020, she founded Film Trotters Media, envisioning it as a storytelling-focused production house that could work across genres.

“My initial investment was minimal,” Gill explains. The company was bootstrapped during the lockdown using personal savings and basic equipment she already owned. “Most of the money went into regulatory work to set up an LLP. We wanted to stay lean, structurally and financially, and focus on creativity from day one.”

Gill started Film Trotters Media with a simple goal to tell meaningful stories. More than just making videos, she wanted to focus on narratives with emotional depth—whether about wildlife, conservation, communities, or businesses. During the pandemic, corporate films became the company’s main source of income. When restrictions eased, Gill returned to wildlife filmmaking, this time with a stronger and more stable business structure.

Five years on, Film Trotters Media works across two main areas: wildlife and nature films, and corporate non-fiction content. This balance helps the company remain financially stable while continuing to pursue passion projects.
Gill says the company relies on multiple streams to generate revenue. “There are commissioned projects for corporates and streaming platforms, along with selective licensing of footage and content partnerships,” she says.

Film Trotters Media is a bootstrapped, project-based company that has avoided rapid growth. “We prioritise sustainable growth over big numbers. We reinvest continuously—into equipment, inventory, and creative work,” Gill says.

The company works with a small core team and a flexible structure. “We work with collaborators and freelancers based on project needs,” she adds, which helps them with access to specialised talent without high fixed costs.

‘Biggest challenge is capital’

Funding remains the biggest challenge, as she says, “The biggest challenge is capital.” Wildlife films need heavy upfront investment in travel, equipment, and crew, often without confirmed buyers. “Many projects are self-financed initially. It’s capital-intensive and time-consuming, but that’s the reality of non-fiction filmmaking,” she adds.

Balancing business needs with conservation storytelling is another difficulty. “Not all important stories are easy to monetise,” she adds, and many such projects take time to find sponsors.

On profits, Gill says, “I didn’t start Film Trotters Media to make massive commercial profits.” Some projects break even while others earn profits, which are reinvested. “Ethical filmmaking is non-negotiable. Respecting animal habitats is sacrosanct.”

(Alister Augustine is an intern with The Indian Express, Pune.)