GENERATIVE AI FILMMAKER · VISUALIZATION LEAD · PREVIS SUPERVISOR · CINEMATIC DESIGNER
Story first.
Every frame.
I turn creative intent into cinematic sequences.
Studio-tested craft, real-time worlds, and generative AI in real production.
01 / AI Filmmaking
Short films I made with AI.
I use generative AI every day at work. These short films are where I push it further on my own terms. A set of short films I create as personal projects, exploring what happens when traditional cinematic craft meets generative AI. Every character, world, and story here began as my own concept, designed and directed from the ground up.
I start with storyboards to plan the sequence, frame the action, and establish the story beats. Then I move into Unreal Engine, using Blender where needed, to block the characters, design camera moves, and refine the timing. I develop looks and visual elements in ComfyUI, then bring the designed shots into Seedance for the final renders. Editing and audio bring the film together. Every stage follows the same creative direction, from the characters and world to the tone and story.
02 / Five Minutes Late breakdown
Five Minutes
Late.
A birthday cake. A very bad commute. A reminder of what really matters.
Follow the complete production journey: script, storyboards, visual development, animatic, Unreal camera work, and the final film with audio.
03 / The reel
See the thinking.
Feel the shot.
From early camera exploration
to sequences ready for production.
Previs, layout, cinematic design, and real-time visualization for Marvel Studios, Blizzard Entertainment, Walt Disney Imagineering, and Sony Pictures. This reel is a fast cut through that work.
Today, generative AI is part of my production work at Sony Pictures. Across multiple projects, I composite AI-generated elements into shots, generate shots directly with GenAI, and build edit sequences from generated material. Unreal Engine and ComfyUI sit alongside those tools, so teams move faster through previs, layout, look development, and edit without losing the craft fundamentals that make a shot work.
Selected productions
A career told in frames.
A working list of productions I've contributed to across previs, layout, cinematic design, and visualization.
What I offer
Six ways I work.
Generative AI Production
I use generative AI on multiple studio projects at Sony Pictures, from compositing AI elements into live-action and CG shots, to generating shots, to assembling and refining edit sequences. In Nuke, I blend real plate footage with AI-generated backgrounds and elements into single, cohesive shots. In Unreal Engine and ComfyUI, I lock blocking, camera, and timing first, then use generative tools for detail, look, and iteration speed. The tools are new. The judgment behind every shot is not.
Real-Time Visualization
I build real-time visualization pipelines in Unreal Engine, turning scripts and concept art into camera-ready sequences that directors and VFX supervisors can review and revise before a shot is ever filmed. I work directly with production designers, cinematographers, and VFX supervisors to problem-solve blocking, lensing, and lighting in engine, so creative decisions get locked in early instead of costing time and money on set.
Virtual Production
I plan camera, blocking, and staging for virtual production, from LED volume content and in-camera VFX setups through on-set execution, keeping creative intent intact from previs to final delivery. I work closely with directors, DPs, and stage teams to validate shots in engine ahead of time, so what's captured on set matches what was designed, with fewer surprises and less time lost on the day.
Layout Supervisor
I was a Layout Supervisor at Marvel Animation Studios, translating storyboards into staged 3D scenes for animated series and features, setting camera, blocking, and pacing that carried each director's intent into animation and gave every department downstream a clear cinematic foundation to build on.
Cinematic Designer
I was a Cinematic Designer at Blizzard Entertainment, directing in-game cinematics and trailers for World of Warcraft from camera blocking and story beats through final animation polish, partnering with narrative, art, and engineering teams to turn key story moments into cinematic sequences that land both emotionally and technically.
Unreal & Previs Professor
I teach Unreal Engine and previs animation at Santa Monica College, training the next generation of artists in both classical film language and real-time production. My courses cover camera and blocking fundamentals, real-time lighting and rendering, and the production pipelines studios actually use, giving students a working bridge between traditional animation training and the real-time tools reshaping the industry.
The person behind the camera
Hi, I’m Huan.
I help filmmakers turn ambitious ideas into sequences they can see, shape, and bring to life. For 20+ years, I’ve worked where storytelling meets production: finding the camera, staging the action, and making sure every shot has a purpose.
I’m a Visualization Lead at Sony Pictures, partnering with directors and VFX supervisors from previs through delivery. Generative AI is now a core part of that work. Across multiple projects, I composite AI-generated elements into shots, generate shots with GenAI, and build edit sequences from generated material, bringing the same cinematic standards to these tools that I bring to everything else.
Before Sony, I supervised previs and layout at Marvel, served as a Lead Cinematic Designer for games, worked at Digital Domain, and created real-time projected effects for Walt Disney Imagineering’s Guardians of the Galaxy: Cosmic Rewind.
What ties it together: visualization makes creative choices tangible, so teams can explore, solve problems early, and move forward with a shared picture of the sequence. GenAI makes that faster and opens new options, but only if someone still knows why the camera is where it is.
My personal films are where I take these workflows end to end, from script and storyboards through Unreal blocking, ComfyUI look development, Seedance renders, editing, and final delivery.
I studied Digital Communication and Media at Otis College of Art and Design and teach Unreal Engine and previs at Santa Monica College. Teaching keeps me asking useful questions: why this lens, why this move, what should the audience feel?
Outside the studio and classroom, I spend time with my wife and kids. We like to go on long hikes, cheer the kids on at their games, and wind down at home with movie nights together.
If you’re building stories across film, games, virtual production, or AI-assisted filmmaking and need someone who already uses GenAI in real production, let’s talk.
YOUR NEXT PRODUCTION
Let’s build
the next shot.
Visualization, cinematics, virtual production, and generative AI in production.