Chengyu Lu Emerges as a Creative Force in the Vertical Streaming Era

Chengyu “Tate” Lu is one of the rare filmmakers who navigates both the visual and structural demands of contemporary storytelling—often at the same time.

Best known for his dual roles as producer and art director, Tate has become a leading creative force in the fast-growing world of vertical content. Over the past two years, he has contributed to more than a dozen vertical series across major North American platforms, many of which have trended upon release. His ability to work fluidly across departments, manage rapid production timelines, and deliver finely composed visuals within tight constraints has made him a trusted name in the entertainment space.

Before shifting into series work, Tate gained recognition on the international festival circuit. His thesis short Oyster Sea was selected by multiple festivals worldwide and received several awards for its lyrical, psychological storytelling. Earlier, his directorial film Far Above the Starry Sky was a Finalist at the Golden Rooster and Hundred Flowers Film Festival New Image Project—widely regarded as China’s Academy Awards.

“To me, filmmaking isn’t about wearing many hats just for efficiency,” he says.
“It’s about understanding how each part connects—visually, logistically, emotionally.”

Building Cinema Inside a Vertical Frame

Tate is at the forefront of a shift in screen language. As vertical series move closer to the mainstream—especially on mobile-first platforms—filmmakers are being asked to rethink composition, blocking, and pacing from the ground up.

While many still treat vertical video as an afterthought, Tate sees it as a unique form. His production designs often transform compact locations into multi-scene environments, using lighting shifts and texture layering to create spatial depth and emotional evolution. In one standout project, he converted a warehouse into four distinct sets, allowing the team to shoot multiple episodes in just two days—without sacrificing cinematic quality.

“People scroll more than they stop to watch,” he notes. “So when you catch their attention, it has to count. Every frame needs to feel like it belongs in a larger world.”

A Background in Stillness

Outside of production, Tate is an accomplished street photographer. His film photography—some of which has been selected by Photo Vogue—shapes the way he engages with space, light, and gesture. Even during high-speed shoots, his visuals retain a sense of stillness and clarity.

“Photography taught me how to read the frame, not just fill it,” he says. “That instinct is crucial when you’re trying to communicate a whole mood in 15 seconds.”

The results show. Tate’s vertical work often achieves emotional resonance with minimalist means—drawing as much from contrast, movement, and silence as from dialogue.

A Mind for Structure, Not Just Style

Beyond aesthetics, Tate is known for his production fluency. His bilingual communication skills and structured approach make him an invaluable lead in fast-paced, multi-department environments. On set, he moves confidently between creative and logistical roles, ensuring the production flow supports the original vision without disruption.

Currently based in Los Angeles, Tate focuses on narrative, branded, and experimental projects crafted specifically for modern screens. Whether directing, designing, or producing, he gravitates toward work that demands both precision and humility.

“In verticals, there’s no room for over-explaining. You build the frame, hold it steady, and let the image speak.”

What’s Next

Tate is currently developing several new vertical and hybrid-format series, while consulting on branded campaigns that experiment with non-traditional runtime and structure.

He isn’t chasing scale for its own sake. His creative north star remains clear: structure, rhythm, and images that stay with the viewer long after the scroll has ended.“Every format shift is an invitation to rethink how we tell stories,” he says.

“That’s what excites me most.”

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Adam Regan

Deputy Editor

Features and account management. 3 years media experience. Previously covered features for online and print editions.

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