We recently had the chance to connect with Yuxin Cha and have shared our conversation below.
Yuxin, a huge thanks to you for investing the time to share your wisdom with those who are seeking it. We think it’s so important for us to share stories with our neighbors, friends and community because knowledge multiples when we share with each other. Let’s jump in: Have any recent moments made you laugh or feel proud?
Lately, I’ve been feeling quietly proud because the vertical drama, Dominant’s Daddy’s Good Girl, which I worked on as the cinematographer, is about to reach 100 million views online. When we were filming it, none of us imagined it would resonate with such a huge audience. The production had many challenges , from shooting long emotional scenes to keeping the visual tone consistent across intense schedules, but seeing people connect with the story makes every long night worth it.
What truly makes me proud isn’t just the number, but how the visual storytelling played a part in the series’ success. It’s a reminder that good cinematography doesn’t just look beautiful, it builds emotion, tone, and trust with the audience. Moments like this make me feel deeply grateful to be part of a team whose work reaches and moves so many people.
Can you briefly introduce yourself and share what makes you or your brand unique?
I’m Yuxin Cha, a cinematographer specializing in creating visually immersive and emotionally resonant stories. My works, ranging from narrative film, documentary, commercial and vertical drama, have been recognized at festivals such as Dances With Films, LA Shorts, Shanghai International Short Week, and the Los Angeles Asian Film Awards. What makes my work unique is my focus on blending realism with visual poetry, often combining traditional cinematography with emerging technologies like virtual production. I’m currently developing new projects that continue exploring the intersection between human emotion and cinematic innovation.
Great, so let’s dive into your journey a bit more. What’s a moment that really shaped how you see the world?
One moment that really shaped how I see the world goes back to when I was in middle school and first picked up a camera. I became fascinated by how photography could capture the best moment, something fleeting, emotional, and real, and preserve it in a single frame. That experience made me realize how powerful images can be in shaping emotion and memory.
Years later, around 2021, I encountered virtual production for the first time, and it completely changed how I thought about cinematography. Seeing how technology could expand creative possibilities and allow us to visualize stories in new ways was transformative. It made me believe that virtual production is not just a technical innovation, but a powerful tool that will lead the future of filmmaking. I saw it as an merging artistry and technology to redefine how we see and create the world on screen.
What’s something you changed your mind about after failing hard?
One thing I changed my mind about after failing hard was the idea that a successful shoot depends on perfect images and perfectly efficient communication. Early in my career, I pushed myself and my team to achieve visual perfection and high efficiency. But I eventually realized that not everyone thinks or works the same way, and real collaboration means embracing those differences, and adapting my communication based on different teams.
When I began working on vertical dramas, the fast-paced and high-pressure environment taught me to step back, listen, and really understand what my team needed. I learned that leadership is not just about giving direction, instead, it’s about finding ways to motivate your team, maximize everyone’s potential, and know when to step back to keep them calm and focused. Once I embraced that, the set became more balanced, and the creative results were even better.
So a lot of these questions go deep, but if you are open to it, we’ve got a few more questions that we’d love to get your take on. What’s a belief or project you’re committed to, no matter how long it takes?
As a cinematographer, I’ve always believed in staying open to new technologies. Yet, no matter how much the tools evolve, my foundation remains the same, which is to evaluate the emotion of the character and create resonance with the audience. From shooting on traditional film cameras to digital and now virtual production, I’ve followed the same path of using light and image to express emotion.
I believe new technologies, like AI video or real-time virtual production, will keep reshaping the industry, but they’ll never change this fundamental of film industry. They are providing us more tools to make our visual come true. What truly connects us to cinema is empathy and emotion. Next year, I’ll be working on a short film, Behind Closed Door, that involves virtual production, and I’m also developing KOI, one of my most successful films, into a feature-length project using this technique. For me, technology is not a replacement. it’s an expansion of how we tell stories.
Okay, so before we go, let’s tackle one more area. Are you doing what you were born to do—or what you were told to do?
I wouldn’t say I was born to do this, or that anyone told me to do it. For me, it’s something I truly want to do. Art isn’t about destiny or talent, it’s about enthusiasm. That passion is what keeps me learning, experimenting, and contributing. Cinematography has always been a way for me to explore how emotions can be translated visually. Every project, whether it’s traditional filmmaking or virtual production, is another opportunity to understand different people’s stories, and light in a new way. I do this work not because I feel obligated or chosen, but because I find meaning in the process itself. I like working in this collaborating, discovering, and creating environment, something that connects with others. That’s what makes me feel alive, and that’s why I’ll keep doing it as long as I can.
Contact Info:
- Website: https://www.yuxincine.com
Image Credits
1. BTS of me doing virtual production
2. Still from Koi
3. BTS of me
