Filmmaker Ke Liu Brings Special Combination of Editing & Directing to Films and Vertical Series
“As both an Editor and a Director, one of my strengths is finding the emotional core of a story and crafting a cohesive narrative from raw footage. I value cross-departmental collaboration and fostering a creative and efficient environment where everyone feels empowered to contribute their best. As for working in different areas of filmmaking, the role of a director in vertical series is quite similar to that in traditional film or TV, particularly when it comes to collaborating with talent and crew.” — award-winning filmmaker Ke Liu
While filmmaker Ke Liu has directed short films, like Same Star Above Us, that have earned prestigious honors, and also directed episodes of 8 vertical series that have garnered millions of views, she also loves the craft of editing. Diversely talented Ke holds a degree of Master of Fine Arts (Directing) from New York’s Columbia University.
She explains that generally when she directs a project, she intends to also edit the work to “to preserve the integrity of the project.” But in her role as an editor when she’s not directing, she explains, “When I work as an editor on other filmmakers’ projects, I carry this same philosophy with me. I approach the film with a director’s mindset, trying to honor the director’s vision while using my insights to transform raw footage into a cohesive and compelling story. In doing so, I aim to find a balance between technical precision and emotional storytelling, ensuring that the final film resonates with its audience.”
Indeed, Ke’s editing work on A Mermaid on a Summer’s Night (2022) earned the project a Best Fantasy Short Film award. She recalls, “The editing process for this short took me longer than most of my other projects because I took time experimenting with the structure. The final cut ended up being significantly shorter — almost six minutes less than the first cut — which allowed the story to become more impactful. By refining the pacing and focusing on the core elements of the narrative, I was able to enhance the film’s emotional resonance and ensure its magical elements were seamlessly integrated. I guess this approach to editing contributed to the film being awarded Best Fantasy Short Film.”
Ke’s resume demonstrates several projects where she has had dual responsibility as director and editor. They include being director/editor for the documentary, Never Fear, And You Will Be Lucky, which has earned official selections and exhibitions at CineCina Film Festival, Strata of Time as a System of Perception, Taipei, A Myriad of Rooms (Shanghai), and Bei Xin Qiao Screening, at Aotu Space, Beijing.
And, she has worked as a director on several verticals, on platforms such as ReelShort, ShortMax, Sereal+, and FlexTv. The series include: Flash Marriage: Alpha, Don’t Love Me 2024 (on ShortMax); My Billionaire EX, 2024 (on FlexTV); Who The Heck Did I Sleep With, 2024 (on ReelShort); and, she wrote on Second Chance Mate, 2024 (on Dreame Short).
With big goals in mind, like one day being part of a Palme D’Or/Cannes-winning movie, Ke Liu talks about her takes on emerging and traditional filmmaking.
— What were your challenges editing the fashion performance film called “22”?
— This fashion performance film had a unique pacing compared to many other fashion films I’ve seen — it was intentionally slow, and rather than focusing solely on visuals, the director incorporated a narrative structure within its 5-minute runtime. One of the biggest challenges for me was finding the right rhythm to match this distinctive style while ensuring the narrative concept played out effectively within such a limited timeframe.
— What are some “Do’s and Don’ts” to use on microbudget projects?
— Do’s: Do work with people who share your vision and aesthetics, as a cohesive team makes the experience much smoother and more enjoyable. Imagine how frustrating it would be for someone dreaming of making Jurassic Park to work on a set with fewer than ten crew members! And, one Don’t: Don’t rigidly stick to the script or original ideas if they can’t accommodate the available resources. Flexibility is key when working with a limited budget.
— What are the similarities in working in vertical (made-for-mobile phone) filmmaking and traditional filmmaking?
— Working as a director on these verticals isn’t all that different from directing traditional films. My primary responsibilities include shaping the emotional arc of the entire show and each episode, ensuring that every department understands the creative and narrative goals for each scene, and finding creative solutions to work around any limitations. The latest vertical I directed, Hello Again, My Doctor, is set to be released soon on Sereal+, and I’m particularly excited about it. This show presented a unique challenge: choreographing scenes where multiple actors dance together. It was a new experience for me as a director, and I’m eager to see how it resonates with the audience.
— And, what are the differences?
— When it comes to collaborating with talent and crew, there’s not much difference as a director. But the differences are clear too. Vertical series have a much faster production pace and operate with smaller budgets compared to most features (independent films aside). The most significant difference, however, is in their format: they are shot vertically and designed to be viewed on mobile devices. This fundamentally changes how we approach shot composition, camera movement, and rhythm. The essence of vertical series — a type of comfort show designed to deliver satisfaction every minute and keep audiences eager to pay to finish the story — also influences the style of performance. I think the acting style often resembles that of 1990s soap operas, where actors tend to overact to emphasize emotions and maintain the audience’s engagement within the compact storytelling format.
— How is technology changing the landscape for filmmaking?
— I’ve noticed vertical formats expanding beyond social media and gaining traction in commercials and even television. There’s already buzz about renowned directors working on high-budget, vertically-shot TV shows, which highlights that vertical filmmaking is becoming a legitimate medium for storytelling. On the AI front, the impact is even more transformative. By significantly reducing production costs, AI is poised to revolutionize low-budget productions. I believe we’re nearing a future where many of these projects will be entirely AI-generated. In this scenario, the director’s role may evolve into something more like an AI production supervisor — guiding AI tools to realize a creative vision.
— What are your goals in the industry?
— I have a goal to complete my first feature film within the next three years, while continuing to sustain myself as both an editor and a director. Additionally, I hope to expand my creative work into music videos and commercials, exploring new formats and storytelling techniques.
Drop in on Ke Liu’s website for more information.
