Life & Work with Jiaming Chong of Los Angeles

Today we’d like to introduce you to Jiaming Chong

Hi Jiaming, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?
I am an indie filmmaker, and I’ve recently Co-Founded my own production company called On Shot. I graduated from Columbia College Chicago and moved to Los Angeles in 2022. Soon after, I joined a film production company, working as a producer, and filmed two documentaries—”Foreign New Abe” and “Thirty-Three Stories.” Both of these films have won numerous awards at various film festivals, including the Chinese American International Film Festival. I also worked as an executive producer on “Thirty-Three Stories,” which has garnered significant attention. My short film Sunset, produced on an almost zero budget, has won awards at prestigious events like the Rome International Movie Award and the Toronto Lift-Off International Film Festival. I feel fortunate that my work has garnered the attention of such esteemed judges. Currently, our company has produced and aired several commercials and a series of vertical dramas. Each vertical drama series, with a runtime of approximately 100 minutes and a budget of around $150,000, has earned nearly $2 to $3 million in profits on streaming platforms. This success highlights the growing trend of vertical dramas in today’s streaming and social media-driven film industry.Which is the big and new trend in today’s world of steaming and social media in film industry. I am now applying for membership in the Producers Guild of America (PGA).

My love for cinema began in high school. On a hot summer night, I was told we had a math exam. Frustrated with all the equations, I quietly left the exam room. To avoid being caught by the counselors, I snuck into the library to read some history books. There, I discovered a door leading to the faculty entertainment room. Hesitantly, I pushed it open and found a room that resembled a small movie theater, with a giant screen at the front connected to a computer. Out of curiosity, I clicked on the first movie file in the folder. I was immediately captivated by the cinematic world unfolding before me. The movie I watched was “The Revenant” (2015). Although I knew nothing about its background, I was wide awake when I returned to the dorm after watching it. The bear attack, the frigid wilderness, and the flickering flames reflected on the fur-clad hunters’ faces—all of these scenes were etched in my mind throughout the night. “The Revenant” (2015) profoundly inspired my filmmaking career.

Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
My film career right started during the pandemic in 2020. During the COVID-19 pandemic, even before my graduation, I co-founded a film festival with my classmates called the Golden Plume Film Festival. As a co-founder, I was involved in designing the festival’s rules and event processes. We collaborated with school organizations, Photon Pictures, and Freetitle, an online artist community. We awarded Best Picture, Best Director, and other accolades, with reference to the award rules of the Academy Awards and the Cannes Film Festival. I served as a co-founder, festival judge, and even the festival coordinator. This festival was instrumental in broadening my network within the industry. I had the opportunity to meet a wide range of professionals, including film fundraisers, studio executives, news anchors, and more. Although the festival ultimately gained popularity only within a niche community, the experience taught me invaluable lessons in organizing and managing a large-scale event. This experience has greatly benefited my career, as networking and active participation in industry events are crucial in the film and entertainment world. The connections I made and the skills I developed during the festival have continued to play a significant role in my professional growth.

I then co-founded On Shot with some friends. We chose the name On Shot because it embodies the spirit of filmmakers who are ready to make their mark with every frame. We made documentaries, but we still needed locations and set crews. Due to the pandemic, many places like restaurants and shops were shut down. As a producer, I had to think creatively to overcome these challenges. On one hand, I had to respect the COVID-19 regulations, and on the other, I needed to ensure the project moved forward.

The first step was to ensure my crew’s compliance with all safety protocols. I rechecked that all team members were vaccinated and strictly adhering to health guidelines. Then, I approached the restaurant owner where we planned to shoot and renegotiated our terms. I assured them that we would limit our crew to just seven people, disinfect the location thoroughly before and after the shoot, and minimize our time on-site. The owner agreed, and we were able to film as planned. This experience taught me that negotiation skills are crucial for a producer, especially in times of crisis.

The third challenge came during the actor and writer strikes. With the strikes underway, we struggled to find quality scripts and stories. While we didn’t participate in the strike, we were actively brainstorming how to survive in such a harsh filmmaking environment. We decided to pivot and start producing commercials. Although I had learned narrative filmmaking in school, commercial production was a different beast. To bridge this gap, I took online courses in commercial production and joined advertising associations to build my network. I realized that the best way to master a new craft was to dive in and learn quickly. As a studio founder, I knew this was the only way to keep our company afloat. We began shooting commercials for small brands—not big projects, but they marked our first significant progress.

The third challenge, and perhaps the most risky opportunity, was entering the world of vertical drama. Vertical dramas require strong actors, but due to the actors’ strike following the screenwriters’ strike, we faced a shortage of talent. To address this, we cast some promising but less experienced actors and arranged for an acting coach to train them. These actors had raw talent but needed refinement. Through short-term intensive training, we helped them develop their skills, ensuring they were capable of delivering compelling performances in our vertical dramas.

Thanks – so what else should our readers know about your work and what you’re currently focused on?
I am a film/commercial ads producer & director and I just Co-Founded my own production company with my friends called On Shot and have been producing 3 awarded documentaries, ” Foreign New Abe”, “Thirty Three Stories”, “DreamBowl” As a director, I also directed 2 awarded short films: “Sunset”, “Thanks for the Dance” . I also produced and directed a bunch of vertical dramas, commercial ads etc.As a writer, I used to work as a narrative designer (video game screenwriter) in a small game company. To sum up, I specialize in creative producing, screenwriting and also directing. As a festival organizer, I co-founded a film festival called “Golden Plume Film Festival”.

What I am most proud of is seeing my work come to life. It’s like nurturing a child and finally witnessing them step into the world. Each project I complete feels like a part of me that I’ve carefully crafted, and seeing it take shape and resonate with audiences is the most rewarding experience I could imagine.

What truly sets me apart from others is my problem-solving ability. Filmmaking is a constant exercise in creative problem-solving; every project presents new challenges and obstacles. A filmmaker’s journey is like navigating a boat through stormy seas—it’s the ability to solve these problems that keeps the boat moving forward. Without this skill, the journey would stall, and eventually, the boat would sink. My determination to tackle each issue head-on is what drives my career and ensures that no matter the storm, I keep moving forward.

We’d love to hear about how you think about risk taking?
As a filmmaker, the primary risks I face stem from three key areas: new projects, fundraising, and creativity.

First, creativity is both the lifeblood and the greatest challenge of filmmaking. Being truly creative is incredibly difficult; sometimes, despite our best efforts, multiple projects can start to feel like variations of the same idea. Filmmaking is an art form that thrives on originality, and we constantly strive to push boundaries and explore new territories. However, determining what counts as “being creative” is one of the most difficult challenges. It’s not just about doing something different; it’s about doing something meaningful that resonates and feels fresh.

The second risk involves securing new projects consistently. Filmmaking is unlike other professions; it’s project-based, and without a new project lined up, there’s no work to be had. Understanding how to continuously secure new, stable projects is a vital skill that every filmmaker must learn. It’s not just about creativity; it’s also about navigating the industry landscape, building relationships, and positioning yourself to attract new opportunities.

Finally, but perhaps most critically, there’s the risk associated with fundraising. Every great endeavor, whether it’s a new product development, a high-tech invention, or a groundbreaking research initiative, requires financial backing—and filmmaking is no exception. A staggering 90% of film productions either fail or are compromised due to insufficient budgets. In the current economic climate, with the film industry in a recession and financing options shrinking, this risk is more pronounced than ever.

The best way to mitigate this financial risk is to be resourceful and patient. As a calm and strategic filmmaker, it’s essential to explore multiple financing channels and wait until the necessary funds are secured before proceeding. This might mean starting with a no-budget production and then finding ways to secure additional financing to enhance the project after initial filming is completed. It’s about being flexible, innovative, and persistent—qualities that are indispensable in navigating the complex world of filmmaking.

Pricing:

• Cinematic Commercial Ads production:$3000/day shoot(Crew team fees); 30s-60sec
• Vertical Drama shoot: $150,000-$200,000 (90 episodes; 100 mins))
• tiktok video filming: $500/day shoot (for videographer only)
• Film / Other entertainment event planning: depends on projects
• Script/Story Development: Depends on projects

Contact Info:

• Website: the website is still on construction now. will be landed shortly
• Other: Work Email: onshotproduction.business@gmail.com

Image Credits
image 1: I was invited by my friends whose films screening in LA Fest

image2: Golden Plume film festival ‘s poster

image3 : BTS shots for one of our projects.

image4: I was invited to be in the AFM for financing and presenting