I’ve spent my career where storytelling meets technology. For the past few years that has come down to one question: where does AI genuinely help a production, and where does it cost you the story?

I started in factual. For my MA documentary at the University of Hong Kong, made under Oscar-winning director Ruby Yang, I co-directed ... Read More

I’ve spent my career where storytelling meets technology. For the past few years that has come down to one question: where does AI genuinely help a production, and where does it cost you the story?

I started in factual. For my MA documentary at the University of Hong Kong, made under Oscar-winning director Ruby Yang, I co-directed with Ayush Niroula and was the primary DOP and editor. We followed six characters in under 20 minutes, which forces hard editorial choices. I went on to shoot and edit for the South China Morning Post and Bloomberg, and was instrumental in growing SCMP Style’s annual organic views from 1.6M to 38M in 18 months across all social media channels. Since 2020 I’ve run Odyssey Films, producing work from brief to final grade, and I still cut and colour in Premiere, Resolve and After Effects myself.

With AI, I build tools as well as use them. I work hands-on in Claude Code and have built agentic workflows that connect Claude to Notion. They include a content and analytics system tracking 70+ published pieces, a message-triage loop I keep in shadow mode until it earns trust with live decisions, and an AI-assisted method for checking whether published inspection reports support their own conclusions. For generative video and audio I use Runway, Sora, Kling, Veo, ElevenLabs and HeyGen.

The rule I work by: the better the editorial judgement, the better the AI output. Nothing goes out unverified.

Much of my work is bringing people with me. I’ve had around 100 AI-adoption conversations with founders and senior leaders, written plain-English quick-start guides, and co-host the Oxford AI Podcast. Oxford AI Programme alumnus, based in London.  Read Less