It's a time of huge change for the filmmaking industry – and those emerging as the filmmakers of the future are keen to embrace that change, making the most of the challenges ahead.

Growing up, director Ashleigh Jadee used to love watching music channels. "I didn't really watch cartoons, I'd watch MTV," she says. "I'd watch the making-of and think, 'When I'm older, I want to do that'." Today, she's carved out a niche in the UK music scene directing videos for the likes of Skepta and Giggs, as well as working on campaigns for brands such as H&M.

Working across very different fields, these three young filmmakers all share commonalities in their journeys – from harnessing the power of social media and technological developments through to embracing the many challenges that come their way. This next generation of filmmakers are both capitalising on and driving the changes in the filmmaking landscape.

Here Ashleigh, Jack and Irene share what is pushing them on in their creative filmmaking today.

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"One thing I learned in my early career is that when something is difficult, it's going to teach you something," says Irene. That was certainly the case on her favourite project to date – her first feature film, Diana.

"Normally people start off with short films, but I made my first feature film straight from making video art," she says. "It was challenging entering cinema with a big project." It's a challenge that's paid off, allowing Irene to develop her skills as a DoP on larger productions while continuing her career in contemporary art.

Jack faces challenges through the tough subjects he tackles in his work. "I see climate change as the greatest storytelling challenge of our time," he says. "This moment requires us to tell a new story, and that just intrigues and excites me as a filmmaker."

"I'm always challenging myself to be a better director," says Ashleigh. "What draws me to a project is, 'Is it going to be different? Can I create something new?'" After transitioning from shooting to directing, Ashleigh is now looking to diversify into more artistic music videos, scripted content and eventually film and TV. "I feel like I've had a really successful run within the UK music scene and it's vital to be able to hand it to the next generation and move on to other things," she says. "I'm going back to square one and taking the same steps."

"I'm a filmmaker who got my start on social media," says Jack (@jackharries), who has 3.7m subscribers on YouTube and 1.4m Instagram followers. "I'm totally indebted to social media for having any sort of career and I think it's an incredible tool when harnessed properly. What I loved about creating a YouTube channel and making films on social media is having that direct relationship with my audience. Being able to get direct feedback and converse in a way feels more informal than an audience – it feels like a two-way relationship."

Since getting his start on YouTube, Jack has continued to explore the constantly evolving social space, most recently launching environmental advocacy organisation Earthrise on Instagram with the goal of making climate activism accessible. "In the past two years, Instagram has really transformed from showing photographs you've taken hanging out with your mates, to becoming a space for activism and education," he says. "These are the tools that are at our fingertips as the next generation of filmmakers."

Ashleigh (@ashleighjadeeee) is a big believer in creating an online brand for yourself. "I've noticed that a lot of creatives, especially women, hide in their Instagram," she says. "They just post their work. It's important to show your personality and build a personal brand as well, because people like to buy into the person. I've 100% got work from social media, because you're at the forefront of someone's mind. It's a reminder, 'Look, I'm still here'."

"When I was first starting out, I didn't see the power of collaborating with people, but that's how I got my big break," says Ashleigh. A chance conversation on set led to the opportunity to co-direct a music video for one of her favourite artists – which made her name.

"The DoP shooting with me, Luke Biggins, had a shoot straight after with Roddy Ricch, who I was a big fan of," she says. "I was like, 'I love that guy,' and Luke said, 'Come and co-direct it with me.' I don't think he understands how big a deal that was, but it changed my life. When I released that video, everyone looked at me differently as a director."

Ashleigh brings her own mentees onto shoots whenever she can, as directors, producers and BTS-shooters. "That means they've got a showreel with well-known artists," she says. "Working with someone with more of a name is a way to get your foot in the door, so that's what I try to offer to my mentees."

Irene (@irenecruzfoto) was focused on photography until one of her professors, video artist Eugenio Ampudia, encouraged her to explore video installations and art during her Master's degree in Madrid. "I discovered a new world of expressing myself," says Irene. "I got started in film because I had someone who believed in me."

"I think the biggest lesson I've learned over the last few years about filmmaking is that's a collaborative process," adds Jack. "When I started making YouTube videos, the only reason we were able to grow the channel and build an audience was because we could collaborate with other YouTubers."

"Changes in technology are making filming more accessible," says Irene, who shot her first feature film and a recent documentary on her Canon EOS C300 Mark II. "Filmmakers in the '50s needed a big team and a lot of money. Now with creativity and a minimal team, you can do very interesting things."

"If you are a self-shooter with a DSLR and a stabiliser, you can shoot so much right now," says Ashleigh, who taught herself to shoot video on a Canon EOS 60D (now succeeded by the Canon EOS 90D), which in turn led her to directing. "I loved how versatile it was. It built me up as a really rounded creative, because I could switch from photographer to videographer in seconds."

"The EOS C70 is really exciting. For me, it's kind of the perfect camera, because it combines so many features that I want. It's small, but it has the same power as a cinema camera. It has an incredible autofocus, and it has a tripod thread on the side, so you can mount it vertically, which is great for shooting vertical video for Instagram.

"What I love about Canon cameras is the accessibility and build quality," Jack adds. "The fact that they combine form and function perfectly allows you, as a filmmaker, to just get the job done."

"Previously, you had to go to a channel and they would distribute your work, but you can be across the entire process now," says Jack. "Social media means that anyone can build and reach an audience, which means that you can surpass the traditional gatekeepers. Being able to have that control and freedom is a huge privilege. It means that storytelling is democratised. Hopefully stories that need to be told, that traditionally haven't, will be heard."

Irene has also been harnessing social media alongside traditional TV work in new multi-platform delivery formats. "One of my new projects is a regular five-episode series with Amazon, with extra paid content available through Twitch," she says. "I think the future will combine social media with regular filmmaking."

"We're seeing a new genre of filmmakers who are multi-skilled," adds Jack. "People who produce, shoot, edit, do special effects and run their own distribution. Although it can be quite overwhelming to be across that full range, it's really beautiful to have that much control over the filmmaking process.

"There are many different filmmaking paths. If you want to make films, I would say just grab a camera, tell the story you want to tell, and share it with the world."