Hanyu (Kat) Wang.TORONTO, CANADA
FILM / UNREAL ENGINESELECTED PORTFOLIO
Introducing the Project Outsiders team on stage at the documentary premiere
Project OutsidersCo-Producer

From an idea
to the screen.

I’m Kat, a filmmaker and cinematic artist based in Toronto. I produce documentary projects and create cinematics in Unreal Engine, bringing my background in film and business to both the creative work and the coordination behind it.

Explore my work
HOME
01 / FILM & PHOTOGRAPHY

Project Outsiders

The Youth in Care Project

Feature documentary · Co-Producer

OFFICIAL TRAILER

The Youth in Care Project

Watch the trailer from Project Outsiders.

75 minCompleted feature documentary
CAD 20,000+External production funding secured
500+ ticketsSold at the TIFF Lightbox screening
THE FILM

Young people.
Their own perspectives.

The Youth in Care Project follows four young Canadians with experience of the foster care system. Produced by Project Outsiders, the film brings their personal journeys and perspectives into a wider conversation about child welfare.

Film listing on IMDb
MY CONTRIBUTION / CO-PRODUCER

Bringing the production together.

Bringing The Youth in Care Project from an idea to a completed film meant building a team and securing the support around it. As co-producer, I assembled a six-person crew, coordinated the schedules, budget and resources, and negotiated partnerships with three external supporters to close funding gaps.

The relationships around the film mattered just as much. Conversations with young interviewees addressed their concerns about filming, helping them feel more comfortable sharing personal experiences on camera. Instagram promotion and outreach for media interviews and coverage extended that work beyond production, contributing to the film’s public screening at TIFF Lightbox.

At the premiere

Team, audience and conversations.

COVERAGE & COMMUNITY

The conversation beyond the screening.

THE TORONTO OBSERVER · 2023
The Youth in Care Project

Read the original article from The Toronto Observer.

Read article CHILDREN’S AID SOCIETY OF TORONTO · 2025
Youth exchange & documentary discussion

A report on the Canada–Japan youth exchange where Project Outsiders members discussed the film.

Read community story
PROJECT OUTSIDERS
02 / SHORT FILM · SCRIPT SUPERVISOR

Peanut

Script Supervisor (Continuity) · 2025

Peanut · Short filmFilm still via Brianna Chary’s portfolio
THE PRODUCTION

Continuity from set to edit.

A short film directed by Yijie (Viktor) Bai. Script supervision helped keep the visual and narrative details consistent across scenes and takes, so the footage could cut together in post-production.

Film listing on IMDb
MY ROLE / SCRIPT SUPERVISOR

Clear references for the editor.

A clear continuity record helped connect decisions on set with the edit. My notes tracked scene and take details, dialogue changes and the director’s preferred takes, giving the editor a practical guide when reviewing the footage. Continuity discussions with the director and relevant crew also gave the team a chance to address mismatches before moving to the next setup.

Film stills.

Browse all four images.

PEANUT / SHORT FILM
03 / EXPERIMENTAL PHOTOGRAPHY · PRODUCER

University of the Arts London: Experimental Fashion Photography

A fashion photography series using the honeypot ant as a metaphor for the individual within a collective. As producer, I worked with the makeup artist and art department on the visual direction, organised the team and coordinated preparation and the shoot.

EXPERIMENTAL PHOTOGRAPHY
04 / BUSINESS RESEARCH · VIDEO REPORT PRODUCER

The Everyday Kitchen

Research Team Member & Video Report ProducerPhotography: The Everyday Kitchen · Instagram
697Customer survey responses
2 focus groups11 participants in total
8 team membersBusiness research & video presentation
THE BRIEF

How can an artisan business grow?

The Everyday Kitchen is a sourdough doughnut and coffee business in Regina. Our team investigated how it could expand while preserving product quality and the founders’ control of the business.

Customer surveys, focus groups, store observations and conversations with the founders and other bakery operators helped us examine both the customer experience and day-to-day operations.

THE RESEARCH

A clearer question for expansion.

Our research shifted the focus towards demand forecasting and product availability. Customers valued the doughnuts and community, but stockouts, long queues and unclear menus limited their experience.

We recommended a staged digital approach connecting pre-orders, live menu availability, loyalty and better sales forecasting. These were recommendations developed through the research project.

MY CONTRIBUTION / FILM + BUSINESS

Turning business research into a film.

Finding a clear way to present the research became part of the project. I proposed a video storytelling report, bringing film production experience into the team’s business presentation. The structure and script gave the eight-member team a shared direction for filming, and the final edit brought their footage and narration together into one cohesive report.

The innovation was in the format: visual storytelling guided the audience through the business, the customer evidence and our recommendations.

TEAM RESULT

The overall research project earned the highest grade in the class.

The research in video.

THE EVERYDAY KITCHEN
05 / MORE WORK · REAL-TIME CINEMATICS

Unreal Engine Filmmaking.

Virtual cinematography, lighting, scene building and animation in Unreal Engine.

UNREAL ENGINE · GRADUATION FILM

Echo Lure

A graduation film created in Unreal Engine by a team of two. I worked on the story, built scene assets and developed the lighting and cinematic sequences.

MY CONTRIBUTION

Asset building and scene assembly, lighting, Sequencer, Take Recorder, virtual cinematography, and script and story development.

UNREAL ENGINE · SEQUENCER STUDY

Sequencer & Take Recorder Study

A learning exercise in Sequencer and Take Recorder using a nighttime driving scene. I recorded vehicle movement from simulation and worked with camera attachment, focal length and camera shake to build cinematic shots.

SKILLS PRACTISED

Vehicle control and simulation, Take Recorder, focal length, vehicle-mounted cameras, a Perlin-noise camera shake blueprint and volumetric fog.

UNREAL ENGINE · ANIMATION STUDY

Character Animation Study

A learning exercise in character animation and Sequencer using a martial arts scene. I practised animation retargeting, attached cameras to the character’s rig and used the Time Dilation track to experiment with slow motion.

SKILLS PRACTISED

Animation retargeting, Post Process Volume, character-attached cameras, a dolly zoom and the Time Dilation track. I researched and adjusted the rendering settings to resolve a slow-motion issue.

UNREAL ENGINE
06 / LIGHTING & SCENE RECREATION · UNREAL ENGINE

Lighting Studies in Unreal Engine.

Film references paired with my Unreal Engine scene recreations. Each study includes a breakdown of the lighting setup.

INTERIOR / ARTIFICIAL LIGHT

Rogue One: A Star Wars Story

Blueprint activation, Rect Light and volumetric fog for the lightsaber reveal.

EXTERIOR / ARTIFICIAL LIGHT

John Wick

MetaHuman character setup, emissive neon, volumetric spotlights and an overhead rim light.

INTERIOR / NATURAL DAYLIGHT

Better Days

A daylight key with Rect Lights for warm background colour and a 45-degree fill.

EXTERIOR / NATURAL DAYLIGHT

Blade Runner 2049

Foreground and background Rect Lights, Exponential Height Fog and Post Process Volume.

LIGHTING STUDIES
07 / ABOUTKAT
BASED IN TORONTO

A creative eye.
A producer’s mindset.

I studied Film and Media Production at York University, with a focus on producing, and continued my education in the Master of Management Innovation & Entrepreneurship programme at Queen’s University’s Smith School of Business. I chose business studies to learn how to turn creative ideas into practical projects and to explore more career opportunities.

Through documentary and Unreal Engine projects, festival work and co-founding a tea shop business, I’ve gained experience in both creative work and operations. I want to bring my film and business backgrounds together in producing, film markets, distribution and festival operations, helping projects move forward and reach their audiences.

FILM & MEDIA

York University

Film and Media Production · Producing focus
BUSINESS & INNOVATION

Queen’s University

Smith School of Business
Master of Management Innovation & Entrepreneurship · Class of 2026
ABOUT
08 / BEHIND THE SCENES

Beyond the frame.

The coordination that helps creative work happen.

FESTIVAL & MARKET

Toronto International Film Festival

Market Operations Volunteer · 2026

Supported the Market team with event arrangements, venue operations and crowd management during TIFF 2026.

PRESS & INDUSTRY

Toronto International Film Festival

Press & Industry Volunteer

Volunteer experience supporting TIFF’s Press & Industry programme for media and film industry attendees.

ENTREPRENEURSHIP

Good Day Good Time Tea

Co-founder

Hands-on experience in market research, daily operations, supply chain coordination and product development.

BEHIND THE SCENES
09 / GET IN TOUCH

What’s next?

Have a role or project in mind?
I’d be happy to connect.

katnisswang99@gmail.com
Instagram · @katw.hyLinkedIn
GET IN TOUCH

Project video

Open video
Project Outsiders team on stage
LIGHTING STUDY / UNREAL ENGINE

Film reference
My Unreal Engine recreation

Lighting plan

Unreal Engine scene and light setup
Scene setup from my project notes
PHOTOGRAPHY SERIES / PRODUCER

University of the Arts London: Experimental Fashion Photography

Makeup & visual detail
The individual & the colony
CONCEPT

The individual within a collective

The concept follows a honeypot ant attempting to separate from its colony. It uses this biological metaphor to explore individual needs, collective expectations and the dependence that can make separation difficult.

The research considers how someone can be essential to a group while carrying an unequal share of its demands. Makeup, costume and an installation-like set translate this relationship into a surreal photographic world. The human figure becomes part of the colony’s visual language.

MY ROLE

Producer

I organised the team, managed preparation and coordinated the shoot on set. I also took part in developing the visual concept, working closely with the makeup artist and art department to connect the designs with the photographic narrative.

CREATIVE COLLABORATION
Discussed and developed makeup and production design with the creative team, relating the visual choices to the concept and planned photographs.
TEAM & PREPARATION
Organised the team and coordinated the work needed to prepare the shoot, keeping communication between the creative departments clear.
ON-SET COORDINATION
Coordinated the team and the progress of the shoot, helping the planned images and visual designs come together on set.
VISUAL DEVELOPMENT

From research to the image

Makeup & styling

The design references combine insect forms with fashion makeup. Graphic black markings, red accents and small white details extend across the face. The dark costume connects the human silhouette with the insect imagery.

Production design & props

The research explores a colony-like environment through fabric structures and suspended forms. Draped textiles, rope and sculptural surfaces shape the photographed space, while amber-filled insect props repeat the idea of stored resources around the figure.

Colour & texture

The selected photographs bring together warm amber tones, pale fabric and black clothing. Transparent props and textured materials provide contrast within the shared colour palette.

Photographic composition

The shot plan moves between wide views of the environment and close views of the body and face. This connects the character’s position within the space with the details of the makeup and props.

PHOTOGRAPHIC SCRIPT

The planned visual narrative

  1. 01 / Storage

    The character absorbs and stores resources within a space of suspended reservoirs. As the body fills, it begins to resist its role in feeding the group.

  2. 02 / Hiding

    A dry environment increases the colony’s dependence on its stored resources. The character seeks a hiding place and tries to withdraw from the group.

  3. 03 / Rupture

    The stored resource breaks and the colony consumes what is released. The script closes with the character’s collapse, returning to the cost of separation and dependence.

THE SERIES
Portrait within the fabric environment
Body, pose & fabric
Amber prop & makeup detail
The figure within the designed space