Interview with Tingyi (Amber) Zhu: Crafting Stories That Matter Across Formats

Today, the film and television industry is changing at a rapid pace. New content formats continue to emerge. Creators now work with traditional horizontal screens, popular vertical short dramas, narrative shorts, and documentaries. In this environment, strong creators always put storytelling at the center. They use different formats to share ideas and emotions with audiences.

Producer Tingyi (Amber) Zhu creates works across many formats, genres, and production styles. She has a sharp sense of ideas. She also works with strong discipline in production. She gives each project its own clear value.

In this interview, Zhu shares how she first became interested in film and television. She talks about how she adapts her work to different formats. She also explains the deeper meaning behind the stories she creates.

Her journey into visual storytelling

Hi Tingyi (Amber), thank you for speaking with us today. To begin, could you briefly introduce your background and share how you entered the film and television production industry?

I’ve always been drawn to visual storytelling. I was growing up around music and film, so I naturally became sensitive to how motion pictures and sound can shape emotions. Looking back, getting into film and television feels like a pretty natural path for me.

I attended the Dodge College of Film and Media Arts at Chapman University, where I had the chance to explore different areas of production. There was one short film called Hysteria that really shifted things for me. The producer, who is also a good friend of mine, encouraged me to step in as a line producer because she saw my strength in communication and research. I ended up handling location booking and coordinating with vendors.

Why she loves creative producing

Through that project, I realized I enjoyed the producing side as I was able to connect the creative vision with the practical side of execution, and worked with both the filmmaking team and real-world environments outside of the film set. From that point on, I started focusing more seriously on producing, and that’s the direction I’ve been building on ever since.

How would you describe yourself as a producer, and what key strengths do you believe define your work in this role?

I would describe myself as a creative producer as I care a lot about the story itself – how it’s told, how it feels visually, and whether it speaks to the audience. I’m not purely commercially driven; for me, the content always comes first.

Balancing art and logistics daily

A lot of people see producers as mainly handling financing or logistics, but as a producer, I’m very involved creatively throughout the entire process. During development, I give notes on story structure and logic, and flag anything that might be confusing or difficult to execute. When putting a team together, I focus on finding people who really understand the tone of the project. And throughout the production, I like to stay involved in creative discussions and help keep everyone aligned.

To me, a good producer isn’t just someone who ensures a project runs smoothly, but someone who constantly cares about the story and what it offers to the audience. That focus on the content itself is always at the center of how I approach producing.

Among the projects you have produced, which ones are you most proud of, and what makes them significant to you?

Mercy documentary: a proud milestone

I’m most proud of the first documentary I participated in as a co-producer. It’s called Mercy. It follows a girl with a physical disability as she navigates life while holding on to her sense of dignity and hope. I clearly remember that the production itself was really challenging, especially because most of our key crew members were based in the Los Angeles area, while the shooting location was on the East Coast. So everything required long-distance coordination. But that experience really pushed me to grow as a producer.

The film went on to be selected by 13 international film festivals in 2024, and it won Best Short Documentary at the American Documentary and Animation Film Festival, which made it eligible for Academy Award consideration. It also won Best Documentary Short at the New York HiCine Film Festival in 2025.

More importantly, this documentary highlights the challenges faced by women with disabilities, whose voices are often overlooked. Being part of this project reminded me why I do what I do in the film and television industry: to tell meaningful stories and bring visibility to underrepresented communities.

From horizontal to vertical drama

In recent years, vertical short dramas have become popular worldwide. We’ve come across your vertical projects, such as One Last Heartbeat: If You Never Heard, which has gained a lot of attention. You began your career working on horizontal short films and later transitioned into producing vertical drama series. What motivated this shift?

My first job in the vertical world was at ReelShort, one of the largest vertical short platforms in the U.S., where I worked in post-production coordination. That experience introduced me to the vertical drama space and helped me understand how this industry operates. From there, I gradually moved into on-set production through industry connections and started taking on producing roles in vertical projects.

I worked closely with several platforms, such as Playlet, Goodshort, and Dramabox, and some of my shows have gained hundreds of thousands of viewers, which really showed me how popular vertical content has become.

Adapting to fast‑paced vertical shoots

How have you adapted your producing approach to meet the specific demands of vertical short-form production?

As I started producing vertical projects, I realized that the biggest difference between vertical shorts and traditional horizontal films is the pace. Vertical production is highly fast-paced and volume-driven. Everything moves quickly, and every department has to stay aligned and execute efficiently within a tight timeline.

That also means the role of the producer becomes even more demanding. I have to stay organized, coordinate closely across all departments, and lead the project moving forward. At the same time, I place a strong emphasis on creative quality. Beyond logistics, I’m constantly monitoring the visuals and overall execution on set to make sure the final result meets both creative and audience expectations.

Upcoming narrative short reveals truth

Could you share a recent project you are currently developing, and what audiences can expect from it?

I recently produced an independent narrative short film in late 2025, and it’s currently in post-production. The story is based on the real-life experience of a transgender woman who is a close friend of the writer-director. It explores themes of identity, family, and acceptance, and it’s a project I’m really excited about.

I was introduced to the project through a friend and connected with the writer-director, who came to Los Angeles from China to develop the film. As a LA based local producer, I’ve been involved from an early stage, working closely on shaping the project and supporting it throughout production.

Championing underrepresented voices now

It’s been a really meaningful experience for me. Most importantly, it’s the kind of story I’ve always wanted to tell, one that speaks for underrepresented communities.