As an industry leading producer and director, whenever Jamly Yang steps onto a film set, she is a leader. She is in charge of both the artistic and business sides of the production, ensuring everyone works harmoniously to make the best piece of art possible. When directing, she is highly creative, looking at each shot from an artistic standpoint to make the film a success, and when she is producing, she ensures each project she embarks on reaches its maximum potential.
“The responsibility of a producer is not just making sure the production makes a profit, but also to have eyes for stories that can change people’s lives,” said Yang.
These stories are what Yang is known for and are evident in her films The Screenwriter in the Restroom, The Invisible Superman, The Milk Tea, and many more. She also brings that sense of storytelling to her commercials, and with award-winners like the Alpha Browser Commercial, Doritos Campaign, Folgers Coffee, and beyond, she knows how to make an advertisement that not only resonates with consumers, but also entertains.
Yang has worked with many renowned brands throughout her career, including Nike. Yang shot for the iconic sporting wear company back in 2017 for a campaign that went on to win Best Commercial at the San Francisco International New Concept Film Festival 2018.
“This is a trend in the commercial industry, using stories to sell products. It is a trend I both enjoy and believe in, and I love making commercials that move audiences not only to buy something, but also get them to feel something,” said Yang.
The commercial tells the story of three generations of a family. A man gave all the best to his son, and now that the son is a father, he tries to impart some of his own father’s wisdom to his son, and Nike is a part of that. It is a beautiful story.
“Most Nike commercials we see are all about strength and power, but how do you bring more customers who are not entirely about that lifestyle, but who are just normal people who need to exercise every day? You need a touching story. Everyone has a father, everyone runs. Everyone has something from their parents that they cherish. For this Nike commercial, it’s a pair of running shoes that ties to three generations,” said Yang.
The commercial was shot at Land’s End, one of San Francisco’s most iconic spots and a beautiful scenic backdrop for the video. Yang directed, produced, and wrote the commercial, handling the majority of the responsibilities from casting to distribution. She is thrilled to play such a large part in such a successful commercial, especially because she is and has always been a fan of Nike.
“Everyone likes Nike. It’s so iconic to the point where they almost don’t need commercials at all. It is more like a culture than just a sporting wear company, and that’s how Nike differs from other brands,” she concluded.
When Yun Huang was just a young child, growing up in China, her passion for film was born. Her grandmother was a movie projectionist and would share stories of her job with her granddaughter. She encouraged Huang to not only watch films, but to appreciate them. Since then, film has been an important part of Huang’s life, and she knew it was more than a hobby. Now, as a seasoned editor, Huang works in filmmaking every day, living her childhood dream.
Having worked on several successful projects, Huang is an internationally sought-after editor. Earlier this year, her commercial “Choice” amassed millions of views online, and her work on the film Stardust led the project to many awards at several prestigious international film festivals, including Huang herself being honored with Best Editing at Festigious International Film Festival.
“It’s important as an editor not to have one specific style. Your job is to help the director to create their own style. You can provide different editing styles that you think can be used, but you must respect the director’s thoughts. That is what makes a great editor,” said Huang.
One of Huang’s ongoing projects is Unveil China Outside China, a documentary series that allows her to share her country with the rest of the world. The series is distributed on people.cn, a large-scale news platform built by ThePeople’s Daily. The People’s Daily is the biggest newspaper group in China. The paper is an official newspaper of the Chinese Communist Party, published worldwide with a circulation of 3 million.
“Yun was our video editor when we were doing the post-production of this documentary series. I have known her for a couple of years and always like her work. Yun works effectively and always has a good attitude for communicating with the crew. I believe her talent in editing will bring even more fancy artwork to the world,” said Leiqi Lin of The Oriental Vision, Inc.
While making the series, Huang and her team have conducted many interviews with foreigners, from American politicians to ordinary people in the streets of San Francisco, from the founder of international think tanks to the engineers of Silicon Valley. The idea of this, from an overseas perspective, is to let them tell the story of China. What kind of role does China play in today’s world? How does the world see the development of China? What is the expectation of the future of China? Through their narration, the audience can find different answers.
“The documentary series include aspects of Chinese achievements, innovation in China, ‘Made in China’, Chinese diplomacy, China’s economic globalization, important meetings of the Chinese government, reform and opening-up, and so on. We interviewed many foreigners who told stories of China in overseas perspectives. I like to know more about China in different angles. I’m so proud that I can introduce China to the world by editing this series,” said Huang.
Having had previous documentary experience, Huang knew she was up for the task of creating and launching Unveil China Outside China. The monthly series involves a lot of work, and when Huang receives the footage, she only has a few days to turnout a compelling installment. At first, she found this to be a challenge, but now she finds it exhilarating.
“I only have three or four days to finish an episode, which was a challenge for me in the beginning, because I also have to work on the stock footages and special effects, find the background music, and more. However, after I had edited two episodes, I knew that I enjoyed such high intensity work. It let me have a sense of accomplishment. I believe resilience is a skill that all editors should possess,” she said.
The first episode premiered in October of 2017 and was published on both people.cn and People’s daily app. The premiere received over 810 thousand views in its initial month of being live, and Huang knew then and there that they were making something special. Now, they have ten episodes, each more successful than the last.
Unveil China Outside China is just one of the many projects that exemplify what a versatile and talented editor Huang is. She knows that the most fundamental aspect of her job is storytelling, and she encourages all editors that are looking to follow in her footsteps to make sure they know just how to do so.
“Try to learn more things rather than simply editing, such as fine art, music, literature and so on. These are extremely important skills and knowledge while you are editing videos with various subjects,” she advised.
You can watch one of Huang’s most recent episodes of the series, Unveil China Outside China: Riding on a bullet train is fabulous, here.
Growing up in Changzhou, a small town in the Eastern part of China, Yang Shao found himself drawn towards filmmaking. As a child, he would pick up his family’s handy-cam and experiment, filming everything he considered interesting. In such a way, he was destined to be a cinematographer. He always had a good eye for photography and frame composition, and when the average person would just see tall buildings while walking in the city, Shao saw letters, signs, magic. He spent his youth thinking of what angle every image he took in would look the best, and he still applies this mentality now, years later, as a celebrated cinematographer.
Shao has put his artistic touch on many film and television ventures. Projects such as A Better World, Life is Horrible, Under and The Great Guys have gone on to see international success with the help of his talents. Audiences can soon expect the same from his upcoming features: Need, In the Middle of the Night, and Excel on the Highway.
The highlight of his career, however, came just last year when Shao worked on the film Once More. It perfectly showcased his talent and passion for cinematography, as the Director and Producer were eager to let him explore his creativity. He was also eager to share the story with the world.
“I was really moved by the story this movie tells. I believe in the importance of telling good-hearted stories and this one is a perfect example of that kind of story. Also, we had an amazing team who was working on the project and working with those folks was really a pleasure,” said Shao.
Once More explores the tale of a psychologically collapsed dancer who failed in a renowned competition and broke his left leg. As the remedy to this life, he intends to commit suicide, but he is accidentally saved by a neighbor girl he was in secret love with. This subtlety encourages him to get back to the stage by dancing with the bum leg.
“At the present time with the #TimesUp movement showing the toxic environment in the film industry that was exposed in the recent year, I think there’s still a lot of room for masculine vulnerability. In fact, that kind of trait in men actually gives me hope in our future. And this movie is a good example of bright and pure emotions that are left in men’s souls. I believe in importance of bringing up the stories that have to be heard but at the same time I know that good-hearted and kind stories is what will make this world a better place,” said Shao.
Once More premiered in March 2017 at the Hollywood International Moving Pictures where it was a semi-finalist on the festival program. From there, it saw great success at many international film festivals, and Shao himself was recognized at many of them, winning Best Cinematography at the American Movie Awards, the Hollywood International Moving Pictures Film Festival, Top Shorts!, Festigious International Film Festival, Los Angeles Film Awards, and more. In total, the film brought Shao seven awards for cinematography, and also numerous awards for Best Film, Best Director and Best Producer. Such acclaim could never have been possible without Shao’s artistic eye.
“I always knew that Yang is a talented cinematographer and always wanted to work with him. He brought his outstanding skill-set to the project. I’m looking forward to working more with Yang,” said Kees Van Oostrum, Executive Producer of Once More.
It was Van Oostrum that approached Shao to be a part of the film. He knew Shao’s cinematography style and that he would be vital to the production. As the cinematographer, Shao chose to use more of the natural light because the story is very elevated by itself and a lot of artificial light would only have hurt the picture in his opinion. A large portion of the movie takes place in a theater, and he made a decision to use abstract lighting to highlight the emotional state of the character and emphasize the stress that the protagonist was going through.
Coming from the East, Shao shot the story with an Asian flavor, bringing the best traditions of the eastern cinematography combined with his extensive experience working in the film industry. This allowed him to obtain angles many would not have, and this tactic was fully supported by the Director, Rachel Zhou and main actor, Jaeme Velez.
“I think we found something very precious there on set. When people’s energies start to bounce around and more importantly play in the same key, that’s when the real magic happens,” said Shao.
Above all else, however, Once More was special for Shao because of the story. He saw himself in the main character, connecting to the protagonist’s artistic journey. It provided a beacon of hope during a difficult time for the cinematographer, and he will never forget what it gave him.
“His passion and will resonated with me on a deeper level. His struggle and obstacles that were on his way to his dream are similar to mine in a way, and to most of the artists’ paths. There was a time in my life where the only thing that was left was hope and big desire to create something larger than myself. And actually, this film came along right around that time. It was like a big sign telling me to keep going, and I think in the end it paid off really well,” he concluded.
No matter how powerful the actors’ performances, how brilliant the director, or how adept the cinematographer, the film that audiences ultimately see is only as good as its editor. When tens to hundreds of hours of footage reach the editor’s desk, the success of the film is in their hands. Like a conductor who turns the unbridled chaos of an orchestra into the most beautiful of symphonies, a great editor can create a timeless masterpiece from a million disparate pieces, and that is exactly what editor Aijia Li accomplishes with every project she takes on.
Hailing from Changchun in northeast China, Aijia developed a passion for film and photography when she was just a teen. She spent her youth hungrily absorbing every movie she could get her hands on. By the time she reached college she’d accumulated a huge collection of movies, and was falling more in love with filmmaking with each passing day.
“I’ve had a passion for telling stories since I was a kid, and then I started writing stories and novels. But film has always been my spiritual food,” Aijia recalled. “In junior high, I spent all my allowance on DVDS, and now my parents still have a few boxes of my collection in the house.”
It was during college that Aijia seriously began experimenting with creating and editing her own films. She discovered just how crucial the editor’s job was to the overall process and realized that she had a natural aptitude for the delicate and often-arduous job. But editing films was not just something she was good at — it was something she loved. As an editor, Aijia was able to work hand-in-hand with the director to shape and define the story as they envisioned it. It’s not much of a stretch to liken her role to that of a midwife, guiding the film through the last critical stages before it enters the world.
“Film can [only] be film because of editing. A good editor can save the director’s life. I think in the digital age, the editor as the director’s closest partner may become more and more important,” Aijia explained. “The relationship between the director and the editor is like a marriage. After they finish shooting the film, the director spends more time with the editor than their own family. A good director understands that the film is the editor’s work. Before editing, what the director has is only the raw material.”
Nowhere is the power of that partnership between director and editor more evident than in the quality of Aijia’s work. Time and again she faithfully executes the director’s vision, blurring the line between art and science with equal measures of calculated efficiency and creative instinct. The 2018 drama “The Moon Also Rises” is a perfect example of Aijia’s unparalleled editorial prowess.Simultaneously moving and thought-provoking, “The Moon Also Rises” is an existential exploration of the impacts that people have on the lives of those around them, and the lasting traces they leave when they’re gone.
“This film is different from any other film I’ve edited,” Aijia said. “In the process of cross-editing, the difference between the images and the proportion of the frame gives the audience a strong sense of the drama’s conflict… The director of this film is a pure artist.”
Faced with the daunting challenge of creating a final product that lived up to director Yao Yu’s lofty expectations, Aijia’s work on “The Moon Also Rises” was a trial by fire. The resulting film is a testament to both her technical expertise and keen creative instincts. Impressed by the film’s concept and execution, judges at the prestigious Cannes Film Festival included “The Moon Also Rises” in the festival’s 2018 lineup of screenings.
Aijia had already cultivated a stellar reputation as an editor prior to “The Moon Also Rises.” Among her earlier works was the inspiring 2016 film “Short Term” about the unlikely paternal bond a homeless man develops with a young boy he finds living on the streets. Written, directed and edited by Aijia Li, “Short Term” explores the perennially-relevant subjects of poverty and racism and the impacts they have on the most vulnerable members of society.
“As the editor, the only way to make this kind of emotional story great is to edit by heart. I understand the characters, I feel them…,” Aijia explained of her process. “Another thing is, less is more. I don’t cut too much when there’s a heavy, emotional moment. I hold it. Because good editing is not just about skill and it’s not an editor’s showreel. It’s a story.”
That philosophy guided Aijia’s work throughout the editing process, and when critics and audiences watched “Short Term” it was obvious she had a gift possessed by few others in the field. The film immediately caught the attention of festival judges across the country. In addition to winning top prize at the 2016 Women’s Independent Film Festival, “Short Term” was also a semi-finalist at both the Los Angeles CineFest and the Hollywood Screening Film Festival. It was also an official selection at the International Family Film Festival, the Lady Filmmakers Festival and the Glendale International Film Festival — where it was also nominated for two additional awards.
Among some of Aijia Li’s other masterful works as an editor is the recent film “Float,” which earned multiple prestigious awards from the 2017 European Independent Film Awards, Hollywood Film Competition, London Independent Film Awards and the LA Shorts Awards, and Pantha Rahman’s dramatic film “Deceased,” which was chosen as an Official Selection of the Nepal Human Rights International Film Festival, Bucharest International Film Festival, Indian Peacock International Film Festival and more.
“I have encountered many editors during my time in the film industry, but Aijia was my only choice to work on this film. Aijia has the best feel for editing out of any professional I have ever worked with,” admits “Deceased” director Pantha Rahman.
“I was incredibly impressed by the high level of emotion she added to my film… Ms. Li’s unlimited knowledge and understanding of editing was evident in every single cut she made… Her vast knowledge and wealth of experience were essential in building the film’s narrative structure… Without Ms. Li as the editor of ‘Deceased,’ the engaging visuals and sentimentally resonant narrative would have never come together, making me forever grateful for her work on the film.”
A great editor understands a film’s story and characters as well as they understand the technical aspects of the job. In many ways a film is a lot like an unassembled puzzle when the editor’s job begins. Only, this puzzle includes hundreds of extra pieces and there is no picture to reference. The only way to know where the pieces go and what they’ll form is to fully understand what the director’s vision is and how to bring it to life. In the simplest terms, that’s what Aijia Li does — from thousands of scrambled, disparate pieces, she builds stories with the power to move audiences to laughter or tears.
In 1999, Chen Xu dedicated himself to watching approximately 1,000 movies in order to absorb as much information as possible about sound design and sound mixing within the film industry. Interestingly enough, the overwhelming lesson that he learned was that regardless of a film’s genre or budget, a good sound design could always supplement a film’s visual stimuli and boost the viewer’s imagination beyond this imagery. Sound design has the ability to change the entire viewing experience and Xu felt confident that he possessed the skill set and creativity to be able to take any visual film component and take it to the next level with the addition of his sound design. Since then, he has earned a substantial amount of recognition for his talents, not only in the form of awards, but also in sheer demand for his work. Fortunately for Xu, sound design and sound mixing are a lifelong passion and he is one of the few people in this world who can say that they get to do what they truly love and call it “work.”
“Sound is not as specific as the film’s picture; however, it tends to be integral to our subconscious mind. The delicate organization and arrangement of sounds can greatly enhance a movie. On the surface, it appears to be a mere aid to the picture but in reality, the space and importance of the sound creation typically accounts for over half of the film. This gives me a sense of freedom in my work to express my own creativity. That’s where I really like sound,” said Xu.
Throughout his remarkable career, Xu has used his sound design and sound mixing expertise to enhance the scripts of a number of renowned films such as A Simple Goodbye and The Wasted Times. For his work on The Summer Is Gone, Xu received a nomination for Best Sound Effects Award at the 53rd Golden Horse Film Festival. For Xu, however, receiving awards and nominations are simply a bonus to being able to mix and design sounds for a living. In fact, the true highlights of his career come to life when he gets to work on projects enriched with culture and meaning. This is why, in 2015, when Xu was approached about working on The Shaft, he could not refuse.
The Shaft, which has earned over a dozen international awards, follows three intertwined stories of a father, a son, and a daughter fighting to hold onto hope and family as they face the harsh realities embedded within life in a poor Western-Chinese mining town. The story illuminates a number of complicated relationships hidden beneath the community’s hardened exterior and when Xu first read the film’s script, he knew it was something he had to be a part of. Xu credits the film’s realistic script as being the main draw to accepting this challenge. This meant that for the film, Xu would be in charge of all sound-related work, from production mixer to sound design to final mixing during the film’s post-production phase.
What Xu hadn’t necessarily anticipated when accepting the opportunity to work on The Shaft, was just how harsh the conditions would be. Due to the fact that the film deals with miners, many scenes were shot deep underground and as a result, Xu was tasked with ensuring that the film’s sounds remained as clear as possible given the setting constraints. In addition, the actors insisted on shooting their own scenes despite dangerous conditions, and therefore, Xu had to accompany them in the mines to shoot their scenes. Oftentimes, he would be covered in particles of soot at the end of a shoot. To his director’s appeal, Xu masterfully captured the realistic texture of the town and the state of those living within its conditions through his sound mixtures. In addition, he chose to enhance the importance of the film’s sound design by only using music at the conclusion of the film. In addition, he managed to capture the unique, untouched atmosphere of Guizhou Province in China. Given the fact that Guizhou Province has not yet fully integrated into the fast-growing Chinese economy, he knew that it would be extremely important to ensure that audiences could grasp the authenticity of the film’s location.
Where some sound designers may have found themselves intimidated by the challenges presented when working on The Shaft, Xu found himself energized by the opportunity to experiment in new areas of his art form and to help his colleagues tell this story in the most interesting fashion possible. The film’s director, Zhang Chi, requested that Xu stray away from the typical, clear-cut sound design principles and create a more “dirty” sound arrangement. This, however, did not require Xu to simply arrange the film’s sound elements, but to do so in an intentionally disorderly manner. Chi felt as though this would help to enhance the film’s objectivity. He did not want to criticize the characters, nor did he wish to sympathize with them. He wanted to present the world with an understanding of the social realities embedded within the Chinese culture today and to do so in a way that would resonate with his audiences.
In the coming year, Xu will take charge of the sound mixing and design for two feature length films and hopes to continue spreading his talents throughout the sound editing industry for years to come. To anyone else looking to pursue a career in sound mixing and sound design, Xu offered the following advice:
“Sound design and mixing is a very creative but oftentimes relatively boring job. If you want to become a good sound designer, you must first be able to endure loneliness and genuinely love movies, so that you can always maintain the vitality of your creation,” told Xu.
As a film editor, Meibei Liu sees herself almost as the conductor of an orchestra. She puts together endless footage and turns it into a piece of art, transforming a script into a true visual masterpiece. In many ways, she is like the doctor of a film; she removes what is unnecessary and replaces what needs work. Editing is putting the final pieces of the director’s puzzle together, and Liu not only understands that, but she also thrives because of it, and that is what makes her a good filmmaker.
Having worked on a variety of projects that have made their way to many prestigious film festivals around the world, Liu has made quite a name for herself as an editor. Such films include Dear Mamá, Headshot, Faith Need Not Change Her Gown, Pumpkin and Fried Noodle, and more. Recently, her film The Ballerina The Shoemaker and His Apprenticereceived nominations at the Oscar-Qualifying Hollyshorts Film Festival and LA Shorts Fest, Maryland International Film Festival, and Ouchy Film Festival in Switzerland, New Port Beach Film Festival where it was nominated for Short Film Award, The Grand Jury Award and Best College Film at The Next Generation Filmmaker Film Festival.
“I’m happy to hear that the film went all over the world for festivals and awards. I was glad that my changes made it into the film and was shown to people who speak different languages. It confirmed that emotions expressed and enhanced by editing can be identified by everyone, which made me believe that I should continue doing what I did for the film. I was glad that Eva asked me to go on board and be part of the project. That gave me a chance to show my attitude towards editing to people,” said Liu.
The film takes place in 1963 Hackney, England, and follows George Arkwright, a young man down on his luck, who must navigate the refined world of ballet pointe shoe making and redeem his value as the apprentice under the shadow of Mr. David Traynor, a talented but stuffy point shoemaker. George’s imagination turns into a reality when he becomes smitten with the Ballerinas the shoes are built for, one named Sylvia particularly, but soon learns this magical and seemingly distant world is not beyond the reach of affliction. Liu came on board half way through editing the film when the Director, Eva Ye, realized she needed expansive editing talent to turn her vision into a reality.
“Working with Meibei was great. She has a strong sensibility for impactful storytelling through an editing perspective. She often provides new perspectives to the story and is invested in trying different ways of getting the emotion across. Sometimes she is more willing to dig deep into the materials just to find something I didn’t even know existed. Her passion and dedication to editing is something I’ve seen rarely. And in many ways, she makes my work better,” said Ye.
Liu is able to address the problems of cuts quickly. When she reviewed the first cut that was made before she was brought on, she realized exactly how to transform the footage into what the director wanted and what audiences would connect with. She took what was a half-finished film and reworked it, making it better. She realized that the scenes were dragging; all of them could end earlier by cutting out some of the lines and actions. She stopped in the middle of the first scene and started the second scene earlier, helping to show the main character’s eagerness. Sometimes, however, she chose to extend a scene and have it linger longer to show the apprentice’s feeling of loss and disappointment. This film has very subtle emotions, and an editor’s vision and eye on digging out the emotions, and enhancing them by editing is vital. Being a very emotional person who is strong at noticing the emotional changes of people, Liu was the ideal candidate to take over as editor.
“It’s a story of dreaming. I believe this is a film that speaks to everyone in spite of when and where it happened. It’s a worldwide emotion that people all over the world can understand. I believe it is important to tell this kind of story, giving the audience a short period of time to experience something they can relate to,” Liu concluded.
The Ballerina, The Shoemaker, and His Apprentice is currently available on Amazon Prime Videos.
For as long as she can remember, Dixie Chan recalls having a deep passion for the art of filmmaking. When she was a child, she would actively search for the “behind-the-scenes” footage of her favorite films and study the styles and techniques through which they were created. Particularly, Chan found herself interested in the making of documentaries. There was something so intriguing about how the lives of the individuals or concepts presented in narrative documentary style films would tell themselves. As she got older, Chan began exposing herself to film festivals around the world and her fascination with the visual and narrative power of documentary films grew stronger the more that she watched. She could often be found in the back of a film screening, jotting and scribbling notes about the techniques and ideas that interested her most. Flash forward to today, and Chan has developed a remarkable career as a film producer, exploring her love for documentary style films and forming a livelihood around it.
“What I love is that every documentary project has a certain theme, message, or vision. My role as a producer, then, is to flesh that out by searching for the right people and the right places to tell those compelling stories. In the field of documentary storytelling, you look for these compelling characters and you let their lives tell their stories. With that, preproduction work often involves extensive research, most of which is done in the field with locals. As a producer, I am always the first one to access the location and characters, so a big part of my job is to gather as much intelligence for the shoot as possible. Subsequently, I cast characters and scout out the best filming spots and angles. I also brainstorm with the field director about how we can bring our narrative ideas to life, from the types of scenes that can be shot to the kind of questions that we can raise during interviews,” shared Chan.
During her career as a producer, Chan has worked on some of National Geographic and The Discovery Channels most prestigious documentaries. Her work on documentaries such as Frontier Borneo, The Bridge, Warriors of Wood and Stone, and Expedition X — Silk Road Rising, are the reason that she has earned such a strong reputation amongst her peers. She is well known for her ability to see a project through from conception to post-production and her unique style makes her a force topple reckoned with in the producing community. In fact, the caliber of work that Chan is capable of producing typically earns her a significant amount of praise and award buzz in her field. For instance, it is no coincidence that after Chan produced Frontier Borneo, it went on to receive a nomination for Best Documentary Series at the 2017 Asian Television Awards, as well as an Official Selection for the 2017 Eco Film Festival in Singapore. These awards were little, however, in comparison to the recognition she received for her work on National Geographic’s hit series, China From Above.
China From Above is a 2-part documentary commissioned by the National Geographic Channel which takes an aerial perspective showcasing how China has transformed its cities and infrastructure over the last three decades, whilst still retaining its strong traditions. From the monumental engineering feats of the Great Wall, to innovative and unique farming techniques, and a massive water splashing festival, the show illustrates how these strong traditions have shaped China’s landscape to make it uniquely recognizable around the world and truly magnificent, especially from the air.
Chan began working on China From Above in 2014, partway through the show’s production. Given that aerial cinematography was still a relatively new style of filming, she was eager to explore her own personal production style along with it. At the time that Chan was asked to join China From Above’s production team, management had identified a gap in communication between the show’s Chinese and Australian partners. Fortunately, Chan had experience working on Chinese documentaries and being bilingual, she was able to communicate extensively in both Mandarin and English on all logistical and editorial matters. She was thrilled that she was able to bridge the gab between Chinese and Australian work cultures. Though it was challenging at times, she was rewarded by the opportunity to expand her experience within the field of documentary style film production, as well as to explore her potential as a bilingual producer.
As the show’s lead producer, Chan had a very large task on her hands. Given the fact that aerial documentaries were so new and unexplored, she had few points of reference to go by when researching and planning the film’s production. For this reason, she motivated herself to utilize the skills she had already established throughout her career and adapt them for this new and unfamiliar style of filming. In addition, she had her work cut out for her when it came to scouting characters and locations to feature in the show. She was in constant battle with climate and terrain conditions, travelling through extreme winter and desert conditions at even the best of times. Beyond that, she carefully and considerately searched for characters who would bring a certain degree of unpolished authenticity to the footage. For this reason, she spent countless hours grooming candidates and refused to stop searching until she found the best possible individuals for the job.
“There was one instance where I arrived on location to work on a story about Kazakh Eagle Hunters and realized that the characters that were introduced to us were not ideal for our project, and had to spend another 5 hours traveling in the snow to find a more authentic candidate. I am a perfectionist in that regard. I never take the easy way out especially when it comes to characters and stories,” told Chan.
Though daunting at times, her hard work eventually paid off in the end and Chan considers her work on China From Above to be one of the greatest highlights of her career. For anyone who worked with her on the project, it is no secret why. She placed a great level of dedication and effort into ensuring that each second of film was edited and refined to shed China in the most compelling light possible. Felix Feng, Vice President of Operations: China, Natural History New Zealand, worked very closely with Chan when researching and scouting locations for the show and knows how particular she was about capturing high quality content throughout the duration of the filming process. He credits her as having been the reason that the project was executed so smoothly and considers himself fortunate to have been able to collaborate with such a high performing producer.
“It was a great experience working with Dixie on this award-winning and breakthrough project about China. Her patience, hard-work, smart and creative thinking, persistence, and proper communication skills were very valuable in the production of China From Above. This helped us in an extremely smooth execution in both the research and ground shooting of the production. Today, the show has a viewership of over 200 million people and is one of the best rated documentaries in China. Dixie was a hero behind the scenes and is one of the biggest reasons why it was so successful,” added Feng.
After it premiered, China From Above went on to earn a slew of awards and praise at film festivals across the globe. For instance, the film won the award for Best Camerawork and Best Cultural Issues at the New York Festival Gold Awards in 2016, as well as a Gold Panda Award at the 2016 Sichuan TV Festival, and more. In addition, it received over 130,000,000 views within the first two weeks of premiering in China and was later named China’s most viewed documentary TV series in 2015 by China Mainland Media Research Co., Ltd. Its widespread success and praise was above and beyond what Chan had dreamed of for the series and she feels fortunate to be able to have played such a prominent role in creating it.
International Entertainment, and the Talents that Leave us Buzzing….