The Picture Desk
Media production, photography, video editing. Hà Nội, 2020–2024.
Frame 00 of 51 · Gold wings · Event night
Roll A · Stage 07 frames · 2020–2023
Four years of student productions taught the same lesson every time: the picture is decided before the doors open. Where the lights will sit, where the artist will walk, which two seconds are never coming back. On the night itself you are only fast.
The Reel · Multimedia 05 productions
The faculty built one large production a year and gave it a name. I shot and cut the first three, then ran the fourth. In between came a campaign about what people say to each other online. Every production shipped as one body of media — film, stills, and a cut for each platform it had to live on.
01
2023
Media Production Director
The fourth edition I had worked on, and the first from the front: visual direction, the shoot plan, crew across stills and video, and the post schedule through delivery — teaser, recap film, and the night’s full photo archive.
ShippedTeaserRecap filmPhoto archive
02
2021
Media Production Director
Cyberbullying is easy to condemn and hard to film. I ran production end to end — treatment, shot list, shoot days, the edit, and a release cut for each platform — on the one test that mattered: would anyone watch it to the end.
ShippedCampaign filmPlatform cuts
03
2022
Video Editor & Photographer
Stage coverage and backstage stills, then the recap cut turned around against a same-week deadline.
ShippedStage coverageBackstage stillsRecap cut
04
2021
Video Editor & Photographer
Available-light stage photography, then an edit built to carry a show most of the audience had watched on a phone.
ShippedStage stillsRecap edit
05
2020
Video Editor & Photographer
My first production. I learned the run of show by shooting it, and learned the edit by having to finish it.
ShippedShow coverageFinal edit
Roll B · Street theatre 07 frames · Hà Nội
For one evening, a few metres of pavement held the dressing room, orchestra and front row at once. Painted faces emerged from dark doorways. Families gathered shoulder to shoulder. The camera moved between preparation and spectacle, then stayed for the two children who would not look away.
Product photography · Ceramics 07 frames · 2023
The ceramic collection begins as a family, then the camera moves closer: a rim between the fingers, a bowl balanced in one palm, the grain of a spoon, tea catching the afternoon. The objects keep their weight, warmth and place in daily life.
Seven photographs selected from ninety source frames. Open any image to inspect the glaze and surface at full size.
The Review Desk 06 selected frames
Six frames selected from a larger review shoot: finish, cameras, AI editing, S Pen and play. Not a catalogue—this is the object in use.
Select any frame to open the light table. Arrow keys move through the complete set.
Film archive · Six stocks 24 selected frames
This is a film index, not a scan dump. Every stock gets a four-frame chapter built from its own weather: tungsten neon, clear daylight, mixed evening colour, monochrome quiet, familiar gold and low-speed cinema light.
Film stock rack Choose one roll to load
Choose a stock. Its four-frame contact sheet loads below; select any frame for the light table.
01 / 06
Tungsten nights: cyan shadow, red halation, Korean signs suspended in black.
02 / 06
Daylight split between Korea and Sài Gòn: hard blue, white blossom, ochre walls and ceremonial red.
03 / 06
Mixed light after dusk: grain, accidental bands, moving traffic and blue alleys refusing to sit still.
04 / 06
Monochrome assembled from quiet evidence: a balcony, steam on glass, an empty table and reflections trapped in a tower.
05 / 06
Warm everyday colour: tea under cafe light, a low sun on water, lantern red and a lane dressed for a festival.
06 / 06
Low-speed cinema stock turned toward Hà Nội daylight: pale lake air, old stone, flags in soft focus and an electric night coda.
The Bench Leader · 03 to 01
Decide the night before it happens.
Concept, treatment, shot list, call sheet, and the schedule that keeps a volunteer crew on time. On the night, I am the one deciding what we let go.
Stills and motion from the same position.
Events, stage, street, and interviews. Available light wherever it will hold, and a plan for the rooms where it will not.
The edit is where the story is finally written.
Assembly, pacing, colour, sound, titles — and the export that meets both the deadline and the platform it has to live on.
…and then the picture starts.
Commissions Open
I still take picture work alongside the writing — events, documentary stills, and edits that have to be finished by a real deadline.
Available for