Making Things
Worth Watching

Visual thinking isn’t a skill I learned at a desk. It’s something I’ve been practicing for over fifteen years — in alleyways, on rooftops, across countries — and it’s what I bring into every brand, campaign, and space I direct.

The Foundation

It started with a Nikon D70 my grandfather gave me in middle school. No tutorials, no formal training — just a camera and the instinct to point it at things that felt worth keeping. That early habit of looking, framing, and deciding what matters inside a rectangle never left me. It became the foundation of how I think about every creative project I work on, regardless of the medium or industry.

Kodak Ektar H35 Review Intro Bridging analog nostalgia with modern storytelling. A long-form visual review that organically engaged 50,000+ viewers through authentic aesthetic and pacing.

Filmmaking & Motion — 2012–2017

Before brand strategy and business, I was a filmmaker, art director and VFX artist. I directed fashion films for emerging Vietnamese designers, created motion content for clients including the BraveBits, Showbox Singapore, National Economics University,.. This period shaped how I approach storytelling: not as decoration, but as a system — where every frame, cut, and color decision serves a larger emotional arc.

It also gave me something most creative directors don’t have: I understand the full production pipeline from pre-production to post. When I direct, I’m not guessing what’s possible — I know exactly what it takes to execute.

Working with early-career designers taught me something that still defines how I work: the most effective creative direction is the kind that makes someone else’s vision more fully itself, not a version of yours.

Godox Lux Senior — Brand Partnership
Commissioned cinematic review

Commissioned promotional video
for Freepik’s stock video & sound collection.

Sony ZV-E10 — Brand Partnership
Commissioned cinematic review

Motion graphics & visual effects production
Template & asset marketplace.

HOFAP Magazine

Long before “User-Generated Content” became a marketing buzzword, I built a community around it.

HOFAP started as a simple question: what if there was a space in Vietnam where people who cared about photography could share work and push each other forward? It became a community of over 70,000 people across Vietnam, Taiwan, and Thailand. I defined the aesthetic direction, editorial voice, and visual standards for the platform — and created the hashtag #hofotd, which organically generated over 20,000 community-submitted images.

What HOFAP taught me about creative direction: you don’t lead by controlling output. You lead by setting a visual language clear enough that others can create within it — and want to.

Cinematic Content

Photography and filmmaking have never been work I put down when the business started. They’re the constant — the practice that keeps my technical instincts sharp and my aesthetic sensibility honest.

I shoot on RED and Sony, grade everything carefully, and publish on YouTube when a piece of work earns it. A Kodak camera review reached 50,000+ views. A travel film from Phu Quoc pulled 15,000+ — both long-form pieces, over ten minutes, made without a team or a budget. Just a point of view and the patience to execute it properly.

I also teach occasionally — workshops on shooting and composition for beginners — which forces me to articulate why visual decisions work, not just that they do. It’s the best way I know to stay honest about craft.