HAOZE BIAN
I graduated from the Communication University of China, majoring in Digital Media Arts. Since my student years, I have been deeply involved in the film and media industry, participating in numerous projects across television stations, advertising agencies, technology companies, and media organizations.
In recent years, I have continued to explore visual and technical integration strategies for film production, installation art, and digital art projects. Through an in-depth understanding of multiple production disciplines, and by combining programming, AI technologies, and process optimization, I have efficiently delivered a wide range of high-quality works.
Key milestones include the 2019 Wuhan Light Show, where I applied batch processing and image transformation to synchronize the lighting of 954 buildings along both banks of the Yangtze River, China’s largest architectural light show to date, and wrote a script that saved the art and post-production teams four full production days. In late 2022, I directed the title sequence for the documentary ‘In Goods We Trust’, one of the first film projects worldwide to use AI-generated imagery after an internal copyright review, delivering a highly abstract, cyber-aesthetic look.
Over the past year, I focused on integrating AI into traditional film production pipelines. By deconstructing AI-generated results and reintroducing compositing, I delivered a community projection show with over 90% AI-generated visuals, widely praised for its innovation and coherence.
Today, beyond high-precision AIGC generation, I improve the control and quality of AI production in two ways. First, I use vibe coding to batch-produce precise image assets and manage workflows within traditional pipelines. Second, I develop bespoke AIGC pipelines for each project, tuning every workflow to its visual language, technical constraints, and delivery requirements. These AI-driven workflows now power my work across corporate films for technology, architecture, and real estate companies, immersive films for exhibitions and showrooms, outdoor public performances, TVCs, music videos, and stage visuals. The most recent is the 2026 Shenzhen Civic Center light show, where vibe coding let me reuse the existing LED facades of 41 buildings to create one continuous 270-degree image scroll, overcoming the fragmentation of staggered high-rises from the main viewpoint, a finer, spatial counterpart to the large-scale batch work in Wuhan.