Film Editor Chao Han Inspired to Help Revolutionize the World of Vertical Films
“In the past, I’ve produced and directed, gaining a deeper appreciation for the diverse ways in which storytelling can be approached. These days, as a film editor, I believe in the power of vertical short films — vertically-oriented videos optimized for mobile viewing. But not just create eye-catching dramas but ones that are emotionally resonant. I think the shift from traditional cinema to vertical format opens up a whole new world of possibilities. We can explore new storytelling techniques and create a unique cinematic experience that captivates audiences.” — film editor Chao Han
Film Editor Chao Han loves storytelling in all shapes and forms. Previously, he worked as a producer at a commercial production company for several years, both producing and directing over 50 commercials for top international brands. In the process, he learned everything from development to post-production, gaining experience in all phases of how filmed content is made. As a producer, he also learned the value of being a problem solver and team player.
Now, the Chinese-born editor who has studied at Shanghai University and the New York Film Academy in California, is taking that hard-earned storytelling knowledge into new fields. He says that the rapid growth of smartphone technology, alongside social media platforms like TikTok, provides an environment conducive to the development and growth of vertical short films and series.
Vertical shorts are brief, vertically-oriented videos optimized for mobile viewing, typically ranging from 1–2 minutes in length. Chao, who has been working as lead editor with ReelShort, suggests that “problem-solving is ingrained” in his DNA” from having worked as a commercial producer. He explains, “These vertical videos are characterized by their brevity, time-efficiency, and appeal to a wide audience. Presently, the majority of vertical shorts are low-budget productions, with a focus on capturing market dominance in this industry. However, I anticipate that this trend will evolve and expand to encompass a broader range of genres and higher-quality content. Vertical shorts have found a suitable niche in this era, akin to cinema in the past. Back in 1896, folks were thrilled to see the train approaching on screen. And look at how far cinema has come! I believe the same thing is true for vertical screens too.”
“Chao’s editing approach is precise and insightful, consistently designed to exceed the core expectations of the show, ensuring every scene aligns with the intended vision.” — Nani Yang, director of ‘Infatuated with the CEO’ vertical
Chao is lead editor on the vertical series, Infatuated with the CEO, which is a remake of a popular Chinese series. And, he was happily challenged by several issues, explaining, “It’s the first show where I’ve taken on the role of lead editor, overseeing a team of four junior editors. This project is especially challenging because it’s the first vertical show we’ve shot entirely on an iPhone. This setup has required me to work closely with the DP and DIT (digital editing tech) to solve technical issues like sound syncing and file formatting. While a remake, the director and I saw it as an opportunity to make upgrades beyond simple localization. Some elements, such as character motivations and personalities, felt unclear in the original version. We reviewed the script thoroughly to clarify these aspects, focusing particularly on the leads’ interactions. We felt the eye contact between the male and female leads needed to be more meaningful, as it plays a crucial role in building the chemistry and tension between them. Unlike other fast-paced vertical shorts, this story requires a slower, more deliberate pace to develop that connection — and we’re pleased with the results so far. Now, it’s in the audience’s hands to judge, and we’ll keep moving forward.”
When Chao worked as a producer on commercials, he recalls he “had the privilege of collaborating with talented directors from various parts of the world, each with their unique approach to storytelling.” So, he brought that concept of “team” to this vertical series, explaining how he worked with the junior editors: “Training the junior editors is also a key part of my role. They’re all talented, but as new editors in the vertical format, they tend to be conservative. In vertical shorts, editors hold a lot of creative power; if necessary, we can make substantial changes to improve the story. This could mean altering pacing, cutting unnecessary lines, resizing frames, or even capturing raw reactions from the actors before the director officially calls action. I often talk with them about pacing and the ‘core loop’ during reviews, making revisions as needed.”
Indeed, Chao is proud of how he has overseen the growth of these junior editors, adding, “Though I emphasize how different vertical shorts are, at the heart of it, we’re all striving to tell a good story — we just have less time, so we need to make every second count. It takes time and practice, but once these junior editors understand the logic, they’ll continue improving. I believe the skills they gain here will benefit them if they return to traditional formats; the sensitivity to time and storytelling pace in verticals will undoubtedly make them sharper editors overall.”
Moreover, Chao’s ability to problem-solve on the fly is one of his invaluable assets, of interest to both producers and directors. Expanding on his assertion that “problem-solving is ingrained” in his DNA, he explains how he solved issues on Infatuated with the CEO: “Even though I’m no longer in that commercial producer role, my mind instantly kicks into solution mode whenever I encounter an issue. I instinctively think, ‘How can I fix this? What’s the most efficient way to resolve it?’ One time on this vertical, while reviewing footage that was still in the process of being shot, I noticed an issue with the format and realized the audio track was recording in mono. I immediately reached out to the DIT, and together, we tried several solutions remotely, but nothing seemed to resolve the issue. I asked for the shoot location, and when I found out it was nearby, I decided to head to the set myself to help fix the problem in person.”
What happened next ended up with a happy ending: “When I arrived on location, the DIT was surprised to see an editor on-site. We worked together to troubleshoot the issue, and we were able to resolve it right there. As I was leaving, he thanked me, mentioning that without my help, the issue could have caused significant problems in post-production. I simply replied, ‘It’s part of my job.’ He laughed and said, ‘This is the first time I’ve seen an editor show up on set!’ It was then that I realized how effective it can be to address problems directly, even if it means going to set. For me, it was instinctive — I didn’t think twice.”
Apart from working on verticals like Infatuated with the CEO, and Breaking the Ice, Chao says he’s also “passionate about showcasing the everyday lives of ordinary Chinese people.” He refers to director Ang Lee, suggesting, “Directors like Ang Lee are a huge inspiration for me. His first movie, The Wedding Banquet, is exactly the kind of movie I’m looking for. The story is about a Chinese gay man living in the US who deceives his parents by pretending to be married. It’s a fascinating exploration of Chinese culture and how it differs from Western culture. It’s both entertaining and informative, and it gives us a glimpse into what Chinese people think and why they think that way. Every behavior has a reason, and understanding those reasons can help reduce misunderstandings. Ang Lee is a master of combining and using these two cultures behind him, making The Wedding Banquet a truly unique and thought-provoking film. And, I’m constantly learning from director Ang Lee’s works, and looking to apply those lessons to my own work.”
As for what’s upcoming, Chao Han admits, “I aspire to become a writer-director, revolutionize the vertical world, elevate it to new heights, and when I mention the Oscars, I also want to include vertical shorts in this category. I want my films to be so compelling that people want to watch them multiple times.”
In light of this, he’s excited to also be working on a feature film. It’s about a Chinese homeless man who squats in a married couple’s house and starts a relationship with the wife, who’s been abused by her husband. Chao Han concludes, “I’ve finished the script, and it’s a thrilling-drama that also explores the situation of Chinese-Americans.”
Check out Chao Han on IMDb.