Jessie Sun
Always On Content
PROJECT OVERVIEW
PROJECT OVERVIEW
The work that kept the feed moving between launches. Texture, lifestyle, and visual experiments made with whatever the day allowed.
PROJECT TYPE
PROJECT TYPE
Content Creation
YEAR
YEAR
2026
MY ROLE
MY ROLE
Art Director, Creative Producer
CLIENT
CLIENT
Multiple Brands
The In-Between
Not every shoot needs a full concept deck. A lot of this came from spare minutes between other shoots during my time as Head of Design at Amorepacific, where tight budgets were less a constraint and more a permanent roommate. So things got made the resourceful way, fast, smart, and often with whatever was already on set. There are a few AI experiments in the mix too, more on that in the gallery below.
Not every shoot needs a full concept deck. A lot of this came from spare minutes between other shoots during my time as Head of Design at Amorepacific, where tight budgets were less a constraint and more a permanent roommate. So things got made the resourceful way, fast, smart, and often with whatever was already on set. There are a few AI experiments in the mix too, more on that in the gallery below.
Texture Earned Its Close-up
Texture Earned Its Close-up
Water, foam, cream in motion, shot to make you feel it before you touch it.
Water, foam, cream in motion, shot to make you feel it before you touch it.
ai-assisted · stills & video
ai-assisted · stills & video
The Boundary I Kept Testing
The Boundary I Kept Testing
The Boundary I Kept Testing
Explored carefully, tool by tool: Adobe Firefly, ChatGPT, Higgsfield. A hand swapped here, a mood shifted there, a still turned into motion. Never meant to replace the shoot, just to see how far an asset could stretch without losing what made it real.
Explored carefully, tool by tool: Adobe Firefly, ChatGPT, Higgsfield. A hand swapped here, a mood shifted there, a still turned into motion. Never meant to replace the shoot, just to see how far an asset could stretch without losing what made it real.
There wasn’t enough time or budget for a full motion shoot, so the original texture asset got a little movement instead. Retouching was still very much required, especially around the label, because disclosure rules are disclosure rules. For now.
There wasn’t enough time or budget for a full motion shoot, so the original texture asset got a little movement instead. Retouching was still very much required, especially around the label, because disclosure rules are disclosure rules. For now.
The HQ asset felt a little too retouched for the US market, so I use my own hand as a reference and used AI to refine it. Technically, the hand was real. But I still went back and forth on whether the process felt authentic enough to use. In the end, I didn’t use it. What do you think?
The HQ asset felt a little too retouched for the US market, so I use my own hand as a reference and used AI to refine it. Technically, the hand was real. But I still went back and forth on whether the process felt authentic enough to use. In the end, I didn’t use it. What do you think?
Off the Shelf, Into a Life
Off the Shelf, Into a Life
Product out in the world, or something close to it. A few millimeters of jewelry, a jar of cream, all shot to feel less staged than they were. A handful of studio still lifes snuck in here too, they just behaved themselves too well to get their own section.
when digital joined the team
when digital joined the team
Up 20% Since
Up 20% Since
The digital team merged into mine, promo included. Output's up 20% since.
The digital team merged into mine, promo included. Output's up 20% since.
Digital Promo: The Samples Nobody Usually Bothers With
Digital Promo: The Samples Nobody Usually Bothers With
Mini sample sets, the kind most brands shoot on autopilot. These didn't get that treatment. Turns out the smallest assets can still be the best-looking ones.
Mini sample sets, the kind most brands shoot on autopilot. These didn't get that treatment. Turns out the smallest assets can still be the best-looking ones.
Making the Budget Work
Making the Budget Work
The Part I Didn’t Expect to Like
The Part I Didn’t Expect to Like
Tight budgets meant I couldn't just direct. I had to produce too: sourcing photographers, stylists, talent, retouchers, and sometimes becoming the retoucher, or the hand model, myself when the numbers called for it. With Jay Large Studio as a trusted partner in the process, I negotiated rates, built timelines, managed invoices and contracts, tracked production needs across teams, and kept the work moving through post and release. It was stressful, spreadsheet-heavy, and not exactly the part I expected to enjoy. But somewhere between the budget math, cold emails, and quality control, it started feeling less like a grind and more like a game I kept wanting to win. Turns out I'm good at this part too, and I liked beating the odds more than I'd admit at the time.
Tight budgets meant I couldn't just direct. I had to produce too: sourcing photographers, stylists, talent, retouchers, and sometimes becoming the retoucher, or the hand model, myself when the numbers called for it. With Jay Large Studio as a trusted partner in the process, I negotiated rates, built timelines, managed invoices and contracts, tracked production needs across teams, and kept the work moving through post and release. It was stressful, spreadsheet-heavy, and not exactly the part I expected to enjoy. But somewhere between the budget math, cold emails, and quality control, it started feeling less like a grind and more like a game I kept wanting to win. Turns out I'm good at this part too, and I liked beating the odds more than I'd admit at the time.
