For Xiaomi Qu, a senior producer at Dentsu Creative, video production is more than just a job—it’s a way to merge her love for creativity with her knack for organization. What began as a side task during her copywriting internship has evolved into a successful career, working on campaigns for brands like Audible, JP Morgan Chase Verizon, and General Mills.
Xiaomi’s work is defined by her ability to balance client expectations with creative vision, whether she’s interviewing real Audible listeners or collaborating with celebrities like Ronny Chieng.
In this interview, Xiaomi Qu shares her thoughts on the production process, the importance of representation, and why tools like Filmsupply are a game-changer for editors. Her story is a reminder that the best careers often start with a spark of curiosity.
FILMSUPPLY: What initially sparked your interest in video production?
Xiaomi Qu: During my first advertising internship as a copywriter, I helped the production intern with a shoot and really enjoyed pulling things together and being on a set.
I was also angsty about having so many legal restrictions put on the copy I was writing, but production seemed like a way to use my organizational, type-A side while still being involved creatively.
You’ve worked on numerous commercial projects for some pretty iconic brands. What are some of the most memorable projects you’ve worked on?
Xiaomi Qu: Most of my career highlights have more to do with working with a particularly great team or passion brand.
I worked on a campaign that ran for a few years where we got to interview real Audible listeners, which was a delight because I love talking about books.
Last year, I got to shoot a General Mills campaign with actor Ronny Chieng. It was especially memorable because it was the first time in my career I got to work with an Asian celebrity.
It was also a bonus that Ronny was smart and collaborative; he brought his own sharp spin to our concepts.
Even though we hire more Asian actors now than when I started my career, it was still exciting to have Ronny as the face of the campaign. A younger me wouldn’t have believed that could happen. Representation matters!
Is there a part of the production process you love the most?
Xiaomi Qu: Definitely the pre-production and shoot! The pre-production is the calm before the storm. As all the prep and details start coming together, my type-A brain likes checking it all off before the fun and magic of the shoot happen.
It’s so satisfying to see everyone’s hard work come together during the shoot. I just love it when all the elements (location, wardrobe, set design, props, products, talent, etc.) pull together and become real and part of one cohesive vision.
Also, seeing what snacks craft services has to offer is a fun surprise I don’t have any control over!
How do you manage client expectations while pushing the creative boundaries?
Xiaomi Qu: I’m an art-loving but logic-minded human, so I like to think I am built to balance these things. I try to take the time to understand both the clients’ perspective and the creatives’ vision. And then I’ll try to explain it all clearly, transparently, and holistically to the team.
I think of it as building a case. Ideally, we have the perfect creative solve to any client issue, but when we don’t, I try to give the clients as much info as is possible/useful to help them make an informed decision.
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How do you handle tight deadlines and high-pressure situations?
Xiaomi Qu: I lean on a whole slew of Google Docs, calendars, hotlists, and tabs as second brains to help me stay on top of complex projects. I also do frequent check-ins and heads-ups for my team to make sure we’re in lockstep, as well as trying to make sure everyone is getting enough sleep.
We can’t do good work when we’re exhausted!
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What advice would you give to aspiring editors who are working their way up the ranks?
Xiaomi Qu: Sometimes, you might have a better idea of how to solve a client note than what your producer asked you to try. That’s why it’s important to have a deep understanding of the feedback/client issue so you can present your solution clearly. We’re always open to hearing your thoughts.
Also understanding every element of post-production makes for a really fantastic editor.
One of my favorite editors in the business (Matt Posey at PS260) is a great example of this. Not only is he a smart, creative thinker and the speediest editor I know, but he’s also a whiz with graphics and quick comps. And he’s so insightful during color and mix sessions.
In addition to all those really important skills, he understands budget constraints and the time it takes to do finishing work and will flag these things. We love making all the creatives’ dreams come true within budget and schedule. He’s a true gem of an editor and a producer’s dream.
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Why do you recommend Filmsupply as a resource for editors, agencies, and post houses?
Xiaomi Qu: Every creative shudders at having to use stock, precisely because we’re all familiar with the options that look so dated or “stock-y.” But Filmsupply always has footage that looks natural and often more filmic or closer to real world content.
When my creatives and editors can easily find footage they like on Filmsupply, we’re able to spend more time focusing on the edit. It saves us hours of wading through pages of useless stock options.
When judging Editfest submissions, what’s the one thing you look for that will set great edits apart from the rest?
Xiaomi Qu: Something that hooks my interest and keeps it. I look for a perfect blend of storytelling, pacing, and novelty wrapped up in a tidy package.
Even if the spot’s subject is something that doesn’t really interest me, a well-cut, visually interesting edit can suck me right in. That’s the magic of editing.
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This was written as a part of Filmsupply Editfest 2025. Want to learn more?
