Filmography – Selected Films

Films from Malaysian homes, studios and hotels. Made with a quiet, observant eye for light, space and the people who live and work inside them. Most of these pieces are from Ruang by Atap, where I collaborate with Atap.co to film design-led spaces across the country. Each episode is treated as a standalone short film: a careful walkthrough, a sense of how the space feels, and just enough story to invite you inside.

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Haus 37 is a home that leans into contrast: warm timber and soft textiles set against exposed concrete and black steel. The film follows the way light slides across these surfaces during the day — from the dining table to the living area and out toward the greenery beyond the glass.

Behind the scenes: We built this episode almost entirely around natural light. Most shots are slow, deliberate moves on a gimbal, with a few handheld passes to keep things feeling human. The challenge was to balance the darker concrete with the bright exterior views, so we exposed for the interior first and let the outside world fall slightly softer and more atmospheric.

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The PxP Pickleball Club is a sports facility designed with the mood of a members’ lounge. High ceilings, long views across the courts and warm, social corners create a space that feels less like a typical stadium and more like a place to stay, watch, and reconnect between games. The film follows that rhythm — from the energy of the courts to the quieter pockets where people rest and talk.

Behind the scenes: We spent a lot of time reading the existing lighting before deciding how much to add. Most of the movement is slow tracking along the sidelines to show depth and repetition in the courts. Between plays, I stole small moments of players resetting, laughing and waiting for the next serve — those pauses help the film feel more human than purely performance-based.

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The Echelon Circle is a layered space built around rhythm and repetition — vertical lines, warm pools of light and a sequence of thresholds that guide you deeper inside. The film takes a slow walk through these transitions, starting wide to show structure, then moving closer to surfaces, fixtures and details that give the place its character.

Behind the scenes: This shoot was all about controlling contrast. I leaned into the existing lighting, letting the brightest fixtures become natural focal points and keeping camera moves minimal so the architecture could do most of the work. Many shots were held a little longer than usual to let people drift in and out of frame, giving a sense that the space is always in use even when it’s quiet.

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Hotel Mokozoyo sits at the intersection of industrial structure and soft, lived-in comfort — concrete, steel and brick balanced with warm wood, fabric and colour. The film traces that contrast: from grand circulation spaces down to smaller corners where guests actually slow down, sit and look out toward the city.

Behind the scenes: Most of this episode was about pacing. We started with wide, static frames to give the building its weight, then gradually introduced slower camera moves as we entered more intimate areas like rooms and lounges. The mix of daylight and artificial light meant constantly riding exposure to keep the ambience intact without losing detail in the shadows.

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Row Equilibrium is a home that finds stillness in a dense, urban row. Long sightlines, considered openings and a restrained material palette create a sense of balance from front to back. The film follows the way light leads you through the sequence of spaces — from entry, to living, to quieter, more private rooms.

Behind the scenes: Because the footprint is narrow, we leaned on longer lenses and careful camera placement to avoid the home feeling cramped. I used repeated angles at different times of day to show how the same surfaces change with shifting light. Small sound details — footsteps, distant street noise, soft interiors — help anchor it in its neighbourhood context.

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This project centres on a dramatic pool and wellness level that hovers above Georgetown, Penang. Vertical columns of warm light, reflections on water and long views out to the skyline give the space a calm, cinematic quality. The film moves between those big gestures and smaller details — textures, transitions and the way guests occupy the edge of the pool.

Behind the scenes: We timed the shoot to catch the transition from late afternoon into blue hour, when the contrast between warm interior lighting and cooler exterior sky is strongest. Most shots are on slow slider to let reflections on the water do the work, and between those we cut to quieter views of Penang — the streets, rooftops and heritage buildings below — to remind you where this calm pocket sits in the city.