Creative Tech

My first try at AI imagery, made with a command-line GAN before image generation went mainstream. Sea creatures melt into each other in a slow, pulsing loop. It's rough and strange, and it's where this practice started.

Finalist · Projection mapping on The Cathay

Overview:

• A 60-second projection piece about a Vietnamese creative's path from home to arrival, told through the folk tale of the carp that leaps the Dragon Gate and restyled in neon, hologram and cyberpunk.
• It draws on múa rối nước, Vietnamese water puppetry: the puppeteers hide behind a bamboo screen, and here pixels stand in for their hands.
• Built in Cinema 4D and After Effects and composed around the façade's architecture, so the story plays across the building rather than just on it.
• ‍With Daniel Tran · Roles: Co-Creative Direction, 3D, Motion

Overview:

• Combining Gaussian Splatting, 3D Talent Placement, and Node-Based AI Pipelines for Consistency.

The Problem:

• Directing high-end hotel commercials requires precise camera angles, venue fidelity, and talent consistency—often resulting in expensive reshoots.

The Tech-Driven Solution:

• Captured the resort location using Gaussian Splatting to build a photorealistic, spatial 3D volume of the scene.
• Generated a 3D avatar model of the talent for exact posture, scale, and placement within the spatial environment.
• Integrated the composite directly into Figma Weave node-based AI workflows to maintain talent and lighting consistency across shots.

• Overview of the pipeline

• Render System Prompt oversees the art direction & execution of the shots

• Pre-pro: Set Design & Character are created separately then convert to character sheet & 3D models to guide image and video generation

• Shot comps: 3D model of the talents were placed in the 3D environments, set camera angles, generated keyframes before final video generation