传奇影业

黄英毅先生，越南归侨，中国广州的暨南大学中文系本科毕业，并获得了学士学位。

黄英毅先生创立了英扬传媒集团。在他的领导下，该集团在连续10年的时间里一度成为中国华南地区最大的民营影视内容传播机构。他的公司为国内超过350家城市电视台和20家卫星电视提供服务，同时还为包括星空卫视、MTV、凤凰卫视在内的多家境外媒体提供优质内容。

1998年，他和广西电视台卫星频道合作制作的日播节目《华灯初上》连续三年在全国卫星频道的同一时段保持7%的收视率，取得了第一名的成绩，这在中国电视传媒史上是首次。

2000年，黄英毅和合作伙伴一起创办了英扬传奇广告有限公司，该公司迅速成为中国排名前十的广告传媒集团，并且连续十年担任中国广东4A广告协会的首席主席公司。

2002年，他成功创办了中国最大的娱乐和潮流杂志《娱乐周刊》、《1626》并成为出品人和发行人。

2004年，黄英毅先生的公司与广东电视台和香港东方影业公司合作，出品了黄百鸣监制、高志森导演的中国首部贺岁电影《外来媳妇本地郎》，这开启了中国贺岁电影的新篇章。

2010年，黄英毅与中国领先的互联网视频公司PPTV合作，推出了《麻豆宿舍》第一季和第二季，以及与广西卫视和PPTV多屏联动的情景喜剧《女神办公室》，共200集，这使他成为中国网络剧成功的先行者之一。

2010年，黄英毅先生在加州和纽约旅居6年，结识优秀的顶尖电影制作人才，他们期待来到广阔的中国市场

2018年，他创办了广州传奇影业有限公司，旨在依托大中华区的广阔市场，汇聚全球顶尖的影视行业精英，并运用最新的人工智能和虚拟现实技术，与合作伙伴一同努力成为全球领先的新锐内容提供商。

Richard Wong, a Vietnamese returnee, completed his undergraduate studies in the Chinese Department at Jinan University in Guangzhou, China, and obtained a bachelor's degree.

Richard Wong is an entrepreneur who founded the Yingyang Media Group. Under his leadership, the group became the largest private film and television content distribution agency in South China for a period of 10 years. His company provided services to over 350 domestic city television stations and 20 satellite TV stations. Additionally, they delivered high-quality content to various overseas media, including Star Satellite TV, MTV, and Phoenix Satellite TV.

In 1998, he collaborated with Guangxi TV Satellite Channel to produce the daily program "Hua Deng Chu Shang," which maintained a 7% viewership rating for three consecutive years in the same time slot on national satellite channels, achieving the top spot for the first time in the history of Chinese television media.

In 2000, Richard Wong and his partners founded Yingyang Legend Advertising Co., Ltd., which quickly became one of China's top ten advertising media groups. He served as the Chief Chairman of the Guangdong 4A Advertising Association for ten consecutive years.

In 2002, he was the founder and publisher of China's largest entertainment and trend magazines, "Entertainment Weekly" and "1626."

In 2004, his company collaborated with Guangdong TV and Hong Kong Oriental Film to produce China's first New Year's film, "Foreign Bride, Local Groom," supervised by Mr. Raymond Wong and directed by Gao Zhisen, marking a new chapter in China's New Year film industry.

In 2010, Richard Wong collaborated closely with China's leading internet video company, PPTV, to release the first and second seasons of "Ma Dou Dormitory" and the 200-episode situational comedy "Goddess Office," simultaneously filmed, broadcasted, and updated in collaboration with Guangxi TV and PPTV, making him one of the pioneers of successful Chinese web series.

In 2018, he founded Guangzhou Legendary Film Co., Ltd., aiming to leverage the vast market in Greater China, gather top professionals from the global film and television industry, and use the latest artificial intelligence and virtual reality technologies. Together with partners, they strive to become a leading innovative content provider globally.

美国荷华大学电影系学与中国印度文学双学士，并获取MBA硕士学位 ，著名国际影星成龙的御用执行导演，亲密如友搭档合作十几年，作品包括《奇迹》，《飞鹰计划》，《重案组》，《警察故事3，》，《城市猎人》《醉拳 2》。之后被徐小明监制邀请在香港有线电视导演了7部电视电影，2005年跨界与香港漫画教父黄玉郎合作，开始转战香港、台湾、北京等地；2008年导演及监制的《神兵小将》及《圣龙骑兵》在全国掀起一股动漫电影热潮。还包括跟成龙合作的《Jackie Chan Adventure-China》 以及《音乐奇侠》《天元斗士》等等；2012开始与欧美电影特效公司开始合作 ，作品包括《Viy》《Blood Drive》等欧洲以及中国本土电影 ，2016年回到老本行，导演了《星求人》《暖阳》等电影，拥有丰富的导演和特效经验。

Graduated with a dual bachelor's degree in Film Production and Chinese-Indian Literature from the University of Iowa in the US and obtained an MBA master's degree 10 years later. Renowned as the dedicated executive director of international film star Jackie Chan, the two have been close collaborators for over a decade. Works include "The Miracle," "Operation Condor," "Crime Story," "Police Story 3," "City Hunter," and "Drunken Master 2." Later, invited by producer Tsui Siu Ming, directed 6 television movies for Hong Kong Cable TV. In 2005, collaborated with Hong Kong comic master Tony Wong Yuk-long and expanded his career to Hong Kong, Taiwan, Beijing, and other regions. In 2008, the films "Little Soldier of Magical Arms" and "Saint Seiya" directed and produced by him sparked a wave of anime movie enthusiasm nationwide. This also includes collaborations with Jackie Chan on projects like "Jackie Chan Adventure-China," "Music Heroes," and "Sky Warriors." Starting from 2012, began collaborating with European and American film special effects companies, with works including "Viy" and "Blood Drive" in Europe as well as domestic Chinese films. In 2016, returned to his roots and directed films like "Star Beggar" and "Warm Sun," showcasing extensive experience in both traditional filmmaking and special effects.

中山大学管理学硕士，曾任中国工商银行广东省分行、光大证券投资银行部高级副总裁保荐代表人，公众公司董事总经理等职；担任多家企业董事，战略管理顾问。具备敏锐的商业洞察力，以及多年的资本运作与企业管理，商业与资本结合实操落地经验。

Xiao Ma, Master of Management of Sun Yat-sen University, used to be the Sponsor Representative of the Guangdong Branch of the Industrial and Commercial Bank of China and the Senior Vice President of the Investment Banking Department of Everbright Securities. He has served as the Managing Director of Public Companies and has been a director of several enterprises and strategic management consultants. He has a keen business insight and years of experience in capital operation and enterprise management, as well as practical experience in combining business and capital.

英国威尔士大学商学院硕士，拥有外企市场部管理经验，后创立广告传媒工作室将近5年，多次
和中国内地，香港，日本，马来西亚，新加坡及俄罗斯等多方优秀 制作团队密切合作，积累经验。于 2016年与俄罗斯，中港合伙人成立Plan B. VFX Studio 视觉特效公司。身兼制片和业务市场开拓工作，拥有丰富行政管理能力，市场营销和业务拓展经验，具有国际视觉和执行能力，高效的人际沟通和社会活动能力，为公司的国内外市场维护和开拓做出重要作用

Management experience in multi-national company. During her time in Plan B VFX, Worked on projects such as commercial project 《Da Yun Truck》, 《TV project Fuyao》, the feature film《Lucky Star》,《Monkey King》and etc.

She leverages her many years of business development excellence, along with her sterling connections, to help the management team connect with clients, global talents and opportunities.

主要作品：李安的《卧虎藏龙》，李连杰的《霍元甲》，网飞的《Stegman is Dead》《Truy Saat》（越南）《Ultimate Justice 》（菲律宾）《One Million K’licks》（英国）《The Eagle Path》（英国）《Serangoon Road》（澳洲）。Mike Leeder 先生为中国香港电影与世界接轨做出了杰出贡献，2023年决定进军中国内地更大的市场，凭着多年累积的经验，帮助中国本土电影走向国际。

 Mike Leeder is an English casting director, producer and actor based in Hong Kong. He has worked on many Asian and international films, such as Fearless, The Raid 2, The Man with the Iron Fists, Rogue One: A Star Wars Story, and Chasing the Dragon. He is also a writer and editor for various magazines and books on the Asian movie scene.  

1988年，导演史蒂文. 斯皮尔伯克邀请他负责后来赢得奥斯卡特效奖的 “Who Framed Roger Rabbit” (中文译名：谁陷害了兔子罗杰) 的动画角色的导演，此片是真人结合动
画呈现的惊险喜剧片。当年的好莱坞票房冠军，并赢得三项奥斯卡奖。2006年执导动画电影《ROMEO AND JULIET: SEALED WITH A KISS罗密欧与朱丽叶：以吻封缄》。
2000年执导动画电影《The Boy Who Discovered America发现美国的男孩》
1993年执导动画电影《We're Back! A Dinosaur's Story恐龙的故事》。
1995年美术指导与动画导演《CASPER鬼马小精灵》
1992年美术指导电影《Die Abenteuer von Pico und Columbus魔幻旅程》。
1991年执导电影《AMERICAN TAIL: FIEVEL GOES WEST美国鼠谭第二集》。
2017年美术指导迪斯尼乐园短片《Michael Jackson's Halloween迈克杰克逊的鬼节》
2016年美术指导与台本师动画电影《PING PONG RABBIT乒乓兔》
2011-2013年迪斯尼美术与动画总监。

Phil Nibbelink engaged in animation directing, and art direction in Hollywood, USA. He is an experienced artistic talent.In 1988, Steven Spielberg invited him to direct the animated characters for "Who Framed Roger Rabbit," which later won the Oscar for Best Visual Effects. The film, a thrilling comedy combining live-action and animation, became the box office champion of that year and won three Oscars.
In 1991, he directed the film "AMERICAN TAIL: FIEVEL GOES WEST."
In 1992, he served as the art director for the film "Die Abenteuer von Pico und Columbus."
In 1993, he directed the animated film "We're Back! A Dinosaur's Story."
In 1995, he served as the art director and animation director for the film "CASPER."
In 2000, he directed the animated film "The Boy Who Discovered America."
In 2006, he directed the animated film "ROMEO AND JULIET: SEALED WITH A KISS."
From 2011 to 2013, he served as the Disney Director of Art and Animation.

资深国际创意制片人， 国际影视数字内容，电影科技， 国际贸易，奥运经济传播和文 化教育产业项目专家，加拿大龙腾国际企业集团首席执行官， 加拿大海南总商会执行会 长，世界影视文化交流基金会主席，洲明科技首席虚拟拍摄战略官，应用经济学/创新商 业管理博士DBA， 工商管理硕士UBC MBA，美国斯坦福大学高级访问学者，文明可视化金 融化，大国国际叙事战略与数字经济市场策略研究与项目制作，在国际项目的策划， 营运方面有丰富阅历和经验，具有超强的国际资源整合和营运能力。

发挥温哥华作为“北方好莱坞”， 印度宝莱坞在电影产业体系， 人才技术配套， 软件 开发等方面的优势，积极推动国际影视文化产业融合和中加印合作电影项目， 3D 巨幕影 片《六祖惠能》，《孙子兵法》，联合出品人， 制片人, 中影出品冒险科幻影片《希望 岛》国际总监制；策划执行亿美元级别卡梅隆导演电影科技合资合作中国总部项目。曾 担任加拿大惠斯勒国际电影节中加影视大道之剧本竞赛中国总监。 何笑梅注重人才培养 同产业实践的结合，担任温士顿学院院长，整合纽约大学电影学院，南加州大学电影学 院等世界顶级电影教育团队进行电影大师训练营，奥斯卡短片项目等， 打造影视IP元宇宙产业链平台。

Senior international creative producer, international film and digital content, film technology, international trade, Olympic economic communication and cultural education industry project expert, CEO of Canada Dragon International Enterprise Group, executive director of Canada Hainan General Chamber of Commerce, chairman of World Film and Culture Exchange Foundation, chief virtual shooting strategist of Zhouming Technology, doctor of applied economics/innovative business management DBA, MBA in business administration from UBC, senior visiting scholar at Stanford University in the United States, visualization of civilization finance, research and project production of narrative strategies and digital economic market strategies of major countries. Rich experience and experience in the planning and operation of international projects, with strong international resource integration and operation capabilities.

Leveraging Vancouver's advantages as the "Hollywood of the North" and India's Bollywood in terms of film industry system, talent and technology support, software development, etc., actively promoting the integration of international film and cultural industries and Sino-Canadian-Indian cooperation film projects, co-producing adventure sci-fi films "The Sixth Patriarch Hui Neng" and "The Art of War" in 3D giant screen format, serving as co-producer and executive producer of the internationally supervised film "Hope Island"; planning and executing a multimillion-dollar Cameron director film technology joint venture cooperation project in China. He has served as the China director of the Canada Whistler International Film Festival's Canada-China Film Avenue script competition. He Xiaomei pays attention to the combination of talent development and industry practice, serving as the dean of Winston College, integrating top film education teams from New York University Film School, University of Southern California Film School, etc. to carry out film master training camps, Oscar short film projects, and build a film and television IP metaverse industry chain platform.

香港中文大学Al技术课程培训讲师

交大Al先行高级研修班专业讲师

-香港电影后期专业人员协会特邀教师

16年影视特效高阶制作人

曾任香港著名特效公司T-FILMS

荣获多项国内外影视行业大奖

深圳三二数字内容有限公司联合创始人

从事影视特效行业十六年

曾供职于香港著名特效公司T-FILMS, 在电影特效制作上

有自己方法论，其参与过多项海内外实拍电影、动画电影的特效制作。曾参与《湄公河行动》、 《降龙大师》、蔡依林新曲MV等影视特效制作。凭借多年的经验沈淀，

不断探索传统CG和Al融合新模式，曾自主研发ics管理系统，因技术突出特聘为香港

中文大学技术课程培训讲师。从技术底层思维出发

利用Al工具组合演绎，走进一百多家企业，跨界拓展至各行业的数字内容应用场景，致力于打造AlGC赋能数字内容生态系统。

Mike Leeder is an English casting director, producer and actor based in Hong Kong. He has worked on many Asian and international films, such as Fearless, The Raid 2, The Man wi
th the Iron Fists, Rogue One: A Star Wars Story, and Chasing the Dragon. He is also a writer and editor for various magazines and books on the Asian movie scene.

在英国从事视觉特效行业超过20年,是欧洲最有名的视效总监，除了欧洲，也曾参与多部好莱坞电影的后期制作;近年Jonathan是Netflix网飞影视公司视效总监首选，拥有非常丰富的西方视觉效果理念和经验。主要负责协调国际特效团队的工作, 监督特效质量,现场拍摄指导以及视觉效果设计和创作。2021年凭借英国电视电影《Warrior Learn to Endure 战士的忍耐》赢得VES Award (全球视觉效果协会)第19届最佳视效奖。近年特效作品包括：
2022年 Netflix网飞电影《Justice Served劫持正义》
2022年 好莱坞电影《Poison Arrow 毒箭》
2021年 好莱坞电影《Escape Through Africa 逃出非洲》
2021年 意大利电影《Bla Bla Baby》
2021年Netflix 网飞剧《Abraham Lincoln 林肯传》
2020年美国富士电视剧《The Gilded Age 》
2020年英国电影《The Kissing Booth2 亲吻亭2》

Jonathan Alenskas is a British South African visual effects supervisor and artist who has worked on many international films, television shows and commercials. He has been nominated for several awards, including the Visual Effects Society Award for his work on Warrior12. He has collaborated with director Fong for many years, creating numerous classic visual effects scenes. He is an exceptional talent in the film industry.

中国电视艺术家协会会员，影视制片人，广西首届铜鼓奖获得者，广西十佳文艺工作者称号；从事影视文化工作四十余年，代表作：电视连续剧《李宗仁归来》《我还是軍人》《飓风》《女进修生》等2OO余部集，

作品均在中央电视台播出。
电视连续剧《石达开》获全国少数民族题材骏马奖。

Member of China Film and Television Artists Association, Film and Television ProducerThe recipient of the inaugural Bronze Drum Award, awarded the title of Top Ten Literary and Art Workers in Guangxi, has been engaged in film and television cultural work for over forty years.
Notable works include TV series such as "Hurricane," "Li Zongren Returns," "I Am Still a Soldier," "Female Trainee," and more than 200 episodes. All works have been broadcast on China Central Television (CCTV).
The film "Shi Dakai" received the National Award for Outstanding Minority Theme (骏马奖).

高级三维特效指导，乌克兰Admiral Makarov national university of ship building软件系统自动化专业，从事后期制作行业20年，曾参与过多部大型欧美电影的模型建构和材质绑定等制作，专门负责模拟真人动作和脸部表情捕捉， 制作出无数大电影中的机器人及魔兽角色的制作，熟练掌握最先进的三维建模制作技术，良好的国际触觉和中西文化的研究。曾参加过电影项《VIY3D》 环境地域设计，建模，材质，渲染和合成，及电影项目 《Territory 2》《Legend》《Home styler》等项目制作和监控工作。

Senior VFX Compositor，Ukraine Admiral Makarov national university of shipbuilding Software system degree. Over 20 years post production working experience. Focus on facial motion capture. Joined《VIY3D》 environment design, modeling, texture, rendering and composing. Also join movie postproduction and monitor work《Territory 2》《Legend》《Home styler》.

印度HSC Amravati Unitversity学士学位，高级特效总监/特效现场指导总监，16年影视特效后期经验，高级特效总监， 负责现场特效指导，提供专业后期制作指示给到现场拍摄，让拍摄顺利进行，保证后期团队的制作。从概念和场景到后期制作的项目管理，保证质量和有效 时间内完成客户要求，曾参与过《Journey to the west CGI》， 《中国机长》,《 烈火英雄》,《 雪鹰领主》等，RAMAYANA THE EPIC (Movie)，ODDY (TV Series)，DA JAMMIES (TV Series)，ROSSIE (TV Series)，OCTONUTS (TV Series)，动画电影《Disney Tinker Bell》《Disney Planes》，同时负责开发印度的宝莱坞电影潜在客户群，管理我们在印度的团队，保证质量和有效时间内完成客户要求。

India HSC Amravati University Bachelor’s degree, Senior Special Effects Director, On-set special effects Supervisor, ensuring smooth filming and guide the post production team to do better job. Joined movie , , , ,Chinese Animation Series。Animation movie 《Disney Tinker Bell》《Disney Planes》At the same time, responsible for developing potential customer groups for Bollywood movies in India, managing our team in India, ensuring quality and timely completion of customer requirements.

在历史的长河中，每个时代的技术革新都是人类智慧的结晶，它们如同星辰般璀璨，照亮了文明的道路。我，作为一名在电影艺术领域深耕细作的探索者，曾目睹了PC互联网的波澜壮阔和移动互联网的波澜起伏，然而，我的心灵深处始终回响着一个声音：在AI时代的门前，我绝不再徘徊！

哲学的光辉：技术与艺术的交响

在哲学的光辉照耀下，技术的进步不仅是对物质世界的改造，更是对人类精神世界的深刻映照。AI时代的降临，不只是一场技术的革命，它更是对电影艺术的一次深刻对话。电影，这门融合了视觉、听觉与叙事的艺术，其真正的力量在于触动灵魂，传递时代的脉动。AI的介入，让我们重新审视艺术的本质：当算法成为创作的伙伴，艺术的边界将被重新定义，机器编织的故事能否同样触动人心？

历史的车轮滚滚向前，技术的每一次飞跃都曾引发对艺术未来的担忧，然而艺术总能在变革中找到新的表达。在AI的光辉照耀下，我们或许将见证一种全新的艺术形式——技术与艺术的和谐共生，共同谱写电影的新篇章。

理性的探索：AI与电影行业的融合

理性的探索引领我们认识到，AI技术在电影行业的应用正如同一场思想的启蒙。它不仅优化了电影的制作流程，更是在艺术创作中开辟了新天地。AI的深度学习能力，能够洞悉观众的心理，辅助编剧和导演创作出更加引人入胜的作品。在特效制作上，AI的精准计算能够创造出前所未有的视觉奇观，让电影的梦幻效果达到新的高度。同时，AI的数据分析能力，为电影的市场定位提供了前所未有的精准度。

然而，技术的双刃剑也带来了挑战。它可能会重塑电影行业的职业格局，对传统电影人的技艺提出新的挑战。在这个过程中，我们如何在追求效率的同时，保持电影的艺术灵魂和人文关怀，这是我们必须深刻思考的问题。

激情的瞩望：AI时代的电影新纪元

站在AI时代的风口上，我们对未来充满了激情与期待。未来的电影将更加个性化，AI的精准分析能够为每位观众量身打造独特的观影体验；电影的制作将更加智能化，AI的高效协作将使电影的创作和发行流程更加流畅；电影的体验将更加沉浸式，VR和AR技术的发展将让观众仿佛穿越屏幕，亲临其境。

在这个充满变革的时代，我们电影人的角色也将经历转变。我们不再是单纯的创作者或执行者，而是成为了技术与艺术的桥梁，引领着电影艺术进入一个全新的纪元。我们需要学会与AI携手共舞，利用它的力量来丰富我们的创作，同时坚守电影讲述人类故事的核心使命。

行动的号召：把握AI时代的机遇

为了不错过AI时代的机遇，我们需要以行动来回应时代的召唤。我们要不断学习，紧跟AI技术的发展步伐，掌握与AI共舞的技巧。我们要敞开心扉，勇于尝试，将AI技术融入电影创作的每一个细节。我们要坚持不懈地创新，探索AI与电影艺术结合的无限可能。

AI时代，是一个充满智慧光芒的时代。对于我们这些经历过PC互联网时代和移动互联网时代的电影人来说，这是一个全新的起点，一个展现智慧和创造力的舞台。让我们拥抱AI，共同开启电影行业的新篇章，让我们的智慧在AI的光辉中闪耀！

In the long course of history, technological innovations in each era are the crystallization of human wisdom. They shine like stars, illuminating the path of civilization. As an explorer deeply engaged in the field of film art, I have witnessed the grandeur of the PC Internet and the ebb and flow of the mobile Internet. However, a voice echoes within me: I will no longer hesitate at the doorstep of the AI era!

The Radiance of Philosophy: The Symphony of Technology and Art

Under the radiance of philosophy, technological progress not only transforms the material world but also profoundly reflects the human spirit. The advent of the AI era is not merely a technological revolution; it is also a profound dialogue with the art of cinema. Film, as an art form that combines visual, auditory, and narrative elements, derives its true power from touching souls and conveying the pulse of the times. With AI's intervention, we reexamine the essence of art: When algorithms become creative partners, the boundaries of art are redefined. Can machine-woven stories also move hearts?

The Wheels of History Roll Forward: The Fusion of AI and the Film Industry

Rational exploration leads us to recognize that AI technology's application in the film industry is akin to enlightenment. It optimizes film production processes and opens up new horizons in artistic creation. AI's deep learning capabilities allow insight into the audience's psyche, assisting screenwriters and directors in crafting more captivating works. In visual effects, AI's precise calculations create unprecedented visual spectacles, elevating the dreamlike effects of cinema. Simultaneously, AI's data analytics provides unparalleled precision in market positioning for films.

However, this double-edged sword of technology also brings challenges. It may reshape the professional landscape of the film industry, posing new challenges to traditional filmmakers' skills. In this process, how do we maintain the artistry and human compassion of cinema while pursuing efficiency? This is a question we must deeply contemplate.

The Passionate Anticipation: A New Era of Film in the AI Age

Standing at the forefront of the AI age, we are filled with passion and anticipation for the future. Films will become more personalized, with AI's precise analysis tailoring unique viewing experiences for each audience member. Film production will become more intelligent, as efficient collaboration with AI streamlines the creative and distribution processes. The film experience will be more immersive, with VR and AR technologies allowing audiences to step beyond the screen and into the scene.

In this era of transformative change, the role of filmmakers will also evolve. We are no longer mere creators or executors; we become bridges between technology and art, ushering film art into a new epoch. We must learn to dance hand in hand with AI, leveraging its power to enrich our creativity while staying true to the core mission of storytelling.

The Call to Action: Seizing Opportunities in the AI Age

To seize the opportunities of the AI age, we must respond with action. We need to continuously learn, keeping pace with AI's technological advancements and mastering the art of collaboration with AI. We must open our hearts, embrace experimentation, and integrate AI into every detail of film creation. Perseverance in innovation will lead us to explore the boundless possibilities of combining AI and film art.

The AI age is a time illuminated by the brilliance of wisdom. For those of us who have experienced the PC Internet and mobile Internet eras, it marks a new beginning—a stage to showcase our intelligence and creativity. Let us embrace AI and collectively write a new chapter in the film industry, allowing our wisdom to shine in AI's radiance!"

Feel free to explore this new era with enthusiasm and creativity! ���✨

香港理工大学，市场营销专业，有超过13年市场开发丰富经验，熟练母语英语和西班牙语，主要负责组织各部门总监对市场趋势判断和客户需求，负责维护和丰富海外影视市场（欧美市场），寻找潜在客户群，指定市场推广策略。

Hong Kong Polytechnic University Marketing Bachelor’s degree. In marketing industry has over 13 years’ experience. Due to familiarity with English and Spanish, mainly responsible for organizing department directors to assess market trends and customer needs. Responsible for maintaining and enriching overseas markets (European and American markets), and formulating market promotion strategies.