Through Vertical Series like Fleeing Husband & Undercover Heiress, Jiayun Han Shows how Film Editors are also Storytellers
“Jiayun Han is an exceptional editor whose work consistently exceeds expectations. His keen eye for detail and intuitive sense of storytelling bring a unique vibrancy to every project. He not only captures the essence of the narrative but also enhances it with his creative touch, ensuring the pacing and emotion resonate perfectly with the audience. Working with Jiayun has been an absolute pleasure — he’s collaborative, responsive, and always open to feedback. His dedication and professionalism make him an invaluable asset to any production team. I look forward to collaborating with him again in the future.” — Producer Iris Liu
Multi-disciplined Film Editor Jiayun Han has a Masters Degree in Filmmaking from the New York Film Academy, where he studied a lot of traditional editing. But he has been making exciting headway in a growing area of the film/TV business — vertical series, including two he edited, Fleeing Husband (on Sereal+) and Undercover Heiress (on BestShorts). Jiayun enthuses: “Editing for vertical shows is quite different from traditional film and television editing. It requires delivering results that satisfy clients within a very short timeframe. What sets me apart is my ability to edit at a speed that keeps up with the rapid pace of updates and iterations in vertical shows.”
Born in China, growing up Jiayun was inspired by unique movies like Eat Drink Man Woman, directed by Ang Lee who has become a widely celebrated filmmaker. But what also influenced Jiayun was the “portrayal of Asian, particularly Chinese, family dynamics planted the seed of my love for family dramas.” Indeed, in his recent two editing works, Fleeing Husband and Undercover Heiress, the dramatic plots revolve around marriage and family — in a shortened 1–2 minute episodic format, designed for “vertical” viewing on our smartphones.
In fact, there’s a similarity between the drama of vertical series to some of the great “soaps” of traditional television in the 1980s and 90s — family dramas like Dallas and Dynasty. Jiayun explains, “Traditional soap-ish programs captivate audiences by presenting exaggerated and rarely encountered social classes within a realistic setting that everyone can relate to. This blend of familiarity and intrigue keeps viewers engaged and eager to watch more. Now, these elements are key to capturing the audience’s attention in vertical content. Imagine this: you’re scrolling through social media on your phone, and suddenly, a scene set in a realistic backdrop featuring glamorous characters unfolds, showcasing an exaggerated, suspenseful storyline. Wouldn’t that instantly grab your attention?”
BestShort and Sereal+, along with DramaBox (8 million plus subscribers) are highly trafficked apps that stream various content, including short form vertical dramas, that can be viewed on various devices. As for the reasons why vertical content has exploded, Jiayun suggests, “I believe the main reason for the popularity of vertical content is society’s increasing reliance on smartphones, which have become the primary medium for accessing information. Vertical shows are a product of this era, adapting perfectly to the way people consume content today. Additionally, their exaggerated storylines, eye-catching performances, and attention-grabbing dialogue make it easier for viewers to stop scrolling and watch when they come across them on their phones.”
Jiayun speaks highly of the work ethic and approach of vertical series filmmakers, explaining, “Every person I’ve worked with behind the scenes has spent many years working and living in the traditional film and television industry. From our point of view, the way we approach vertical shows is no different from how we approach films or TV series. Our work ethic remains the same, which is why I consider them a part of the film and television world.”
This enthusiastic film editor talks about the assets he offers producers, about what he brought to the vertical series he edited, the future of this format and his filmmaking ambitions:
— Why are newer platforms like Sereal+, BestShort and DramaBox, which include vertical programming, growing in popularity?
— I believe the success of these platforms lies in their ability to captivate audiences through their content. They have a good understanding of what viewers want to watch and, after numerous trials and errors, have ultimately found a format that suits the market. When I first came across vertical content, I had the same question as you: “Who’s watching this?” That was until one day, while waiting for a flight to San Francisco, I saw a young woman and a little boy watching different vertical shows on their smartphones. That’s when I realized the target audience is likely anyone proficient in using a smartphone.
— As your first vertical show, how was Fleeing Husband ?
— I was first introduced to vertical shows in February 2024, when this type of show was just starting to gain traction in the United States. Fleeing Husband is the story of a CEO and his wife who fall in love after marriage. The couple goes through various trials over time before realizing they truly love each other. This was the first vertical show I edited. I spent a long time getting used to the vertical format. In this project, I was thrust into the role unexpectedly. After the previous editor left midway, I took over the editing and successfully completed the project. Now, I usually get involved during production filming.
— Can you tell us about working on Undercover Heiress?
— This story is about a rich heiress who hides her identity as a wealthy daughter to escape an arranged marriage and pursue her passion for the design industry. It’s a story I really enjoy because it portrays a rich heiress who doesn’t rely on a man’s help but instead grows and transforms on her own. It’s a light comedy, and personally, I’m a fan of this genre. The actors’ performances were excellent, and during the editing process, it was the first time I felt truly excited about editing. I couldn’t wait to continue and see what would happen in the next episode. Overall, editing for vertical shows is quite different from traditional film and television editing. It requires delivering results that satisfy clients within a very short timeframe. What sets me apart is my ability to edit at a speed that keeps up with the rapid pace of updates and iterations in vertical shows.
— What other verticals have you enjoyed working on?
— They include Tangled Ties and Tipsy Vows and Fated to My Cruel CEO. Then there’s Two-Faced Mistress, which is quite unique. It’s a story about revenge, where a woman who was wronged undergoes plastic surgery to change her appearance and seeks revenge. This is definitely not a soap format, but rather a dark-themed drama, and it’s really intriguing.
— How is a film editor so essential to storytelling?
— Every time I work on editing, I recall the very first thing my professor said when I was introduced to film editing: “Editing is storytelling.” I believe that, in many ways, editing represents a new creation for a film. A work typically undergoes three stages of creation: the first is during the scriptwriting phase, the second is when the director interprets the script to craft the story into a series of fragmented visuals. Editing, then, is the process of piecing together those scattered fragments based on one’s understanding of the story and script. This assembly often adds a new layer of depth to the narrative. In this sense, an editor is also a storyteller.
— What 5 tips or lessons have you picked up?
— In editing vertical shows, the use of sound effects and music can completely change the rhythm and overall viewing experience. Music with a strong beat and powerful sound effects can create this effect. From a technical standpoint, it’s somewhat similar to the editing style of reality shows. In video editing, the pacing techniques used in traditional films and television do not apply to vertical shows. Sometimes, a fast pace can better drive the emotional development of the story.
— How has the evolution of technology created benefits, and maybe challenges, for Editors?
— AI has been one of the hottest topics worldwide over the past couple of years. In the editing process, AI tools sometimes produce unique effects that were previously unimaginable. For instance, many editing software programs now feature AI-powered noise reduction, which can save a lot of unnecessary hassle in post-production. I’ve always believed that AI doesn’t have to be humanity’s enemy — it can be an angel, or it can be a demon. Right now, though, it feels more like an unformed child. Whether it grows into an angel or a demon depends on how humanity chooses to shape, guide, and regulate it.
— What’s upcoming for you and what are your goals?
— In the future, I won’t limit myself to just one format. I’m actually developing a feature film script, which is a movie I’m incredibly eager to complete. It tells the story of family separation and the tangled emotions of love and hatred between Mainland China and Taiwan. The backdrop is vast in time and space, yet it focuses on the lives of ordinary people — birth, aging, illness, death, and the cycles of reunion and separation. It’s a very touching story.
Drop in on Jiayun Han’s IMDb page. And, check out clips on vertical shows, Undercover Heiress, and Fleeing Husband.