Behind the scenes, photo by Chaewon Suh
Los Angeles-based Director of Photography and Colorist Chang Su is a master of visual storytelling, weaving compelling narratives across a diverse range of projects. From gripping dramas to captivating documentaries, high-fashion films to viral micro-dramas, Su's work has garnered global recognition and captivated audiences with millions of online views. His approach is characterized by steady-handed problem-solving, dynamic imagery, and a deep commitment to serving the story above all else.
Still from Jin (2024), cinematography and color by Chang Su.
Su's portfolio showcases a remarkable ability to translate a director's vision into a living, breathing visual language. He's guided narratives like Jin, a Rhode Island International Film Festival Oscar- & BAFTA-qualifying semi-finalist, Nameless, which earned accolades at WorldFest Houston and the Santa Monica Film Festival, and The Reunion, selected for Rhode Island IFF and Reel Sisters, showcasing his talent for clear camera movement and a visual approach that harmonizes crisp blocking with expressive tonal contrast.
Still from A Song River (2024), color by Chang Su.
As a colorist, Su possesses a keen eye for detail, adeptly uniting disparate locations and timelines into a cohesive visual tapestry. He masterfully shaped the visual language of Berlin-nominated director Zhu Xin’s feature documentary, A Song River, which garnered prestigious awards at the Pingyao International Film Festival and screened at international festivals in Hong Kong and Beijing. His color work on the short film Manting elevated the film's presentation, earning recognition from the Palm Springs International ShortFest and other Oscar-qualifying festivals.
Bridging the gap between large-screen craft and mobile storytelling, Su shot and graded the vertical micro-drama Falling for a Superstar, DataEye’s No. 1 hit with over 110 million points. He also crafted the visual tone as a colorist for Baby Trapped by the Billionaire, a 38 million-view standout on ReelShort, the micro-drama platform recently spotlighted by the Los Angeles Times for its role in the burgeoning "two-minute drama" phenomenon.
Still from The Village of Nobody (2021), cinematography and color by Chang Su.
But what truly sets cinematographers like Chang Su apart? It's their ability to absorb the story and director's intent, and then translate it into a visual experience that resonates with the audience.
"A cinematographer first absorbs the story and the director’s intent, adds their own perspective, and then chooses the visual grammar—framing, movement, light, and color—that lets the audience feel the film rather than just hear it," Su explains. "It’s a kind of moving-image painting: each shot is shaped to keep the emotional current flowing."
For Su, some of the most rewarding moments come during the early stages of collaboration with the director. "My favorite stage is those early talks with the director, when nothing is locked and every wild idea is still on the table. We weigh those ideas against real-world limits and figure out how to make them breathe on screen."
Still from Jin (2024), cinematography and color by Chang Su.
The cinematographer's role extends beyond simply capturing images; it's about crafting a cinematic experience that immerses the viewer in the story. "Our job is more than “turn the script into pictures.” It's about actively showing, not telling. We decide when to tilt emotion with dramatic irony, letting the viewer know a threat the character doesn’t. We might use a graphic match cut, say, a spinning coin that cuts to a rising sun, to give the eye and mind a seamless leap. Or we lean on parallel cross-cutting, jumping between two ticking clocks so tension rises in real time. Sometimes a single long take does the opposite: by refusing to cut, it traps the audience in the character’s adrenaline or dread."
These cinematic tools, when applied effectively, create a powerful connection between the story and the viewer. "Each of these tools is unique to cinema, and when they land just right the viewer stops analyzing and simply rides the flow. That’s when the story feels alive."
When asked about his cinematic influences, Su doesn't hesitate to name Vittorio Storaro as a major inspiration. "Storaro really is a remarkable cinematographer. I still remember the first time I saw his work: as a kid at the Shanghai International Film Festival in my hometown, watching a screening of The Last Emperor. Those vivid swaths of yellow—and later the deep blues—stuck with me. His color design feels like painting, a textbook marriage of narrative and emotion."
He also cites other luminaries like Roger Deakins, Emmanuel Lubezki, Christopher Doyle, Bradford Young, and Rachel Morrison, each demonstrating a unique approach to visual storytelling. "Each of them leads by serving the story first and technique second. Their varied approaches demonstrate that effective visual storytelling arises from a deep understanding of the film's core message, rather than adherence to a rigid set of visual rules."
Stills from Falling for a Superstar (2024) and A Trade of Hearts (2025), cinematography and color by Chang Su.
Su's work extends to the rapidly evolving landscape of vertical dramas on platforms like AltaTV and ReelShort, where he brought his expertise to titles like Falling for a Superstar (AltaTV, DP & Colorist) and Baby Trapped by the Billionaire (ReelShort, Colorist). He explains the rise of this format: "First, Douyin trained hundreds of millions to watch stories upright on the subway. When producers realised users would pay a few cents to unlock the next sixty-second cliffhanger, money rushed in. In 2024 micro dramas pulled in about seven billion US dollars inside China. Studios with gaming roots then pushed the format overseas. Apps like ReelShort and DramaBox break a feature-length story into tiny clips and sell them with ads or micro-tickets. Some titles hit hundreds of millions of views."
Still from Phillip Lim - “Selina” A Grown-up’s Monologues (2019), cinematography and color by Chang Su.
Beyond narrative and micro-drama, Su has also lent his polished aesthetic to high-fashion projects with names like Phillip Lim, Armani, Esquire, and Dior. "These projects care less about the product itself and more about the feeling the video delivers. They lean toward the impressionistic and abstract, so we do not treat them like ordinary narrative shoots. The director’s vision becomes all the more central, and my role, whether I am the DP or the colorist, is to shape an image world that feels both uncanny and fluid." His work on these projects has allowed him to experiment with warped reflections, unusual screen angles, and flares, pushing the boundaries of visual perception.
When asked about projects that allowed him creative freedom, Su highlights The Reunion and A Song River. "I cherish my experiences on The Reunion and A Song River because both directors were genuinely open minded, making every conversation productive and joyful. A mentor once told me that filmmaking is neither dictatorship nor unchecked democracy but a living balance in between, and these projects embodied that ideal.”
Still from The Reunion (2021), Cinematography and color by Chang Su.
"On The Reunion I shared the Director of Photography role with Leo Zhang. Adding a third creative voice alongside the director multiplied possibilities and sparked an exhilarating pre production dialogue. For A Song River I served as colorist. The director arrived with a clear vision yet welcomed discussion, so my suggestions evolved through an easy back and forth until we reached common ground."
Ultimately, for Chang Su, the most important aspect of any project is the opportunity to push the boundaries of its genre or medium. "What matters is whether a project lets me push the unique strengths of its genre or medium as far as they can go." Whether it's crafting a slow, contemplative scene or a fast-paced, action-packed sequence, Su is committed to using the visual language of cinema to create a truly immersive and unforgettable experience for the audience.
"On The Reunion I shared the Director of Photography role with Leo Zhang. Adding a third creative voice alongside the director multiplied possibilities and sparked an exhilarating pre production dialogue. For A Song River I served as colorist. The director arrived with a clear vision yet welcomed discussion, so my suggestions evolved through an easy back and forth until we reached common ground."
Ultimately, for Chang Su, the most important aspect of any project is the opportunity to push the boundaries of its genre or medium. "What matters is whether a project lets me push the unique strengths of its genre or medium as far as they can go." Whether it's crafting a slow, contemplative scene or a fast-paced, action-packed sequence, Su is committed to using the visual language of cinema to create a truly immersive and unforgettable experience for the audience.
Still from Baby Steps (2023), Cinematography and color by Chang Su.
Born in Shanghai, Su's passion for filmmaking began in high school. He honed his skills through formal training at the School of Visual Arts (BFA) and Chapman University’s Dodge College (MFA). Today, his expertise is sought after on sets ranging from independent productions to large-scale projects across Asia and North America. No matter the scale or location, Chang Su remains dedicated to crafting boundary-breaking visual language that carries a director’s intent and captivates the audience long after the final frame fades to black.
