Past Projects
Cinematography WORKS
My cinematography work is rooted in commercial filmmaking and brand storytelling (TVC), with long-term involvement in Web3 visuals. On projects such as OKX, I translate abstract fintech/crypto ideas into filmable rhythm, texture, and emotional cues, aligning camera movement, lighting, and editorial pacing into one coherent language. I’ve also built a clear methodology for automotive work through McLaren and Audi projects, shaping speed and spatial relationships so performance, power, and control truly land on screen. My work has received major recognition, including the Golden Lion Advertising Award.
Beyond project range, I bring rigorous training and dependable on-set execution. I hold an official ARRI cinematography certification and trained under Steadicam operator Li Qiang, whose credits include Jiang Wen’s Let the Bullets Fly and Gone with the Bullets. I refine movement-based cinematography and narrative blocking so the camera serves character and emotion, not technique. Influenced by poetic realism, I’m drawn to restrained visual structure—exemplified by Yang Chao’s Crosscurrent, shot by Mark Lee Ping-bing, which won the Silver Bear for Outstanding Artistic Contribution (Cinematography) at the 66th Berlin International Film Festival.
Director’s WORKS
As a director, my work leans toward auteur-driven expression and cross-cultural storytelling. The films I have directed or co-directed—Gaokao 2020, Un tendre moment, and La Saveur de l’Amok—all revolve around the question of how a person makes choices within larger structures, where identity, belief, family, and lived realities pull against one another. I tend to preserve the texture of everyday life through a realist surface, while using a restrained, poetic structure to move characters toward decisive moments—allowing silence, distance, and action itself to become the core narrative force.