Overview

The short is a chase — Juanmao and Xiaohu tearing through neon-soaked streets with a stolen file. But the story I actually want to tell is larger. I keep imagining a city that erases a community from its database first, then sends in the bulldozers. Juanmao and Xiaohu are the ones who steal the evidence back out. Buns is the cop chasing them — and the one who knows them best.

Visually, I wanted high-tension hand-drawn cyberpunk animation — strong linework, bold silhouettes, cel-shaded layered lighting, the sharpness you'd find in a Trigger production. The city draws from BNA's readability, Cyberpunk 2077's oppressive megastructures, and Blade Runner's wet-cold streets. I wanted to make something driven purely by rhythm and visual impact, no live-action dependency. AI tools let me chase this scale and industrial texture as a solo creator.

Technical Details

Overview

This short puts a question I've been carrying onto the screen: in the march of progress, who gets left behind? I compressed human evolution and near-future society into three segments — survival filtering in prehistory, the logic of Ice Age information storage, and a divided world of AI-human symbiosis. It's not a sci-fi piece about the Fermi Paradox. It's about us.

The ending montage chains ape, Homo sapiens, and brain-machine hybrid into one continuous act of abandonment. I'm not saying technology is dangerous. I'm saying: when we talk about progress, we should also ask — who didn't make it. No dialogue, no characters. A purely visual meditation.

Technical Details

Overview

The day of her mother's funeral, Kate shows up at Sloane's birthday party with a deck of Mafia cards. Nobody expected the gun. Six friends trapped at a dining table — every vote takes someone out. Secrets surface. Betrayal outruns friendship.

I was the DP. The director gave me a clear brief: the audience should feel pressure, not space. So I went low-key — low exposure, high contrast, hard shadows. Lighting doesn't just illuminate here. It lies. What the characters say and what the shadows say are not the same thing.

Technical Details

Overview

In dense mist, Joe and Elsa are looking for a way out. Two abandoned robots, cutting through a forest toward the human world. On Joe's arm, the space after PROPERTY OF is blank — no one ever signed for him. Elsa belongs to Frank Dawson, a man she still wants to find.

Cinematography-wise, the sci-fi texture is entirely in-camera. Heavy practical haze and on-set lighting — fog as natural diffuser and spatial separator, pushing the two characters together and apart. Black oil in place of blood. An abandoned greenhouse catching daylight through the glass. No VFX.

Technical Details

Overview

In 2019, I made an experimental short called Retro Memo. A protagonist wakes from a nap and finds himself trapped in a time loop — stuck in the past, unable to move forward. It's short and, at its core, a surreal comedy about memory and being unable to move on.

I shot with warm tungsten as key and deliberately kept lens flares — I wanted the image to feel imperfect. The zooms and focus pulls are slow, hesitant, like memory itself. I was still figuring out my visual direction back then, but looking back, this short already has what I'd keep chasing: the texture of time as it lands on an image.

Technical Details