Samson de Guzman is the Multimedia Editor at Prestige Hong Kong. Working in freelance has helped Samson explore diverse aspects of videography. By honing his strengths in content creation through projects for Prestige Hong Kong, he has also partaken in various campaigns across BurdaLuxury Hong Kong, including Lifestyle Asia Hong Kong. Driven by the passionate people around him, he works through the editorial field with confidence and a strong vision.
As an Assistant Multimedia Editor, how would you describe your role, and how does it differ from your previous positions?
I’d say it’s new and refreshing that I get to be my own editor using another medium. I’ve been here a year and half but it feels like ten years. [As for the difference], it’s hard to say as this is my first full-time job, but compared to my previous freelance job; I have more access to people in the industry and a team which handles other aspects, which I didn’t have during my time in freelance.
What are some specific storytelling techniques or formats you love working with?
We don’t have a fixed format or template but we try to see the general mood of what we’re shooting – if we’re going [leaning] to the branded side, we would check what type of work the brand has done before.
What would you say would be your favourite project or campaign you’ve worked on?
We shot something for Audemars Piguet back in June – they didn’t want a commercial look, they wanted a unique, yet traditional look, so we included a ‘Sex in the City’ concept, which was thought up by our salesperson and manager. We tried to visualise how to make it work without being too corny. Our video team in Hong Kong helped us push the visuals in new ways while abiding with guidelines. I’d consider this the biggest milestone – but apart from that, just meeting new people and getting to see their story – seeing how I can reinterpret their story into a video for good feedback is a nice milestone to look forward to. A person I interviewed in Hong Kong answered a similar question to this that stuck with me, he said: “Working with all the big brands is cool, but the most meaningful thing you can do is push what you want to do, no matter how small or big”.
How has working here shaped your perspective as a creative?
Everyone in our line of field is weird in their own way, which is a good thing. I noticed there are oddballs in people we usually have to cover, but usually those are the ones who are [constantly] innovating. It’s quite interesting to see their point of view and how I can apply it to my own way of thinking. I’m quite fortunate that everyone in the team is just as passionate, or even more passionate than I am.
How does Prestige Hong Kong stand out in the digital space, based on your experience as media editor?
We’re not the biggest named publication, but I’d say we’re in the gap in between, which is an advantage as we have more leeway in trying new things and going for new directions for what we curate. As we’re setting our own standard, we can make the choice to add less conventional work. I think people from different fields are taking notice of that.
What three words would you use to describe being part of BurdaLuxury Hong Kong?
I’d say vivid, committed, wholesome.
Who were some of your biggest influences growing up?
I – like many people – am gonna say my parents as well. I found out a bit later that we weren’t the most privileged: they worked very hard to take care of me and my sister so well that I thought we didn’t have any problems. There was a point where we were struggling, but I never felt it and always remained positive. It grew on me and it’s a mood I try to carry every time I meet a new person – I try to bring that same energy as much as possible.
What would you say is the best part of your role?
I get to eat good, while filming good.
Why BurdaLuxury?
I realise the other publications don’t have their version of Lifestyle Asia, which I help out with sometimes. We bring our own sense of luxury to the table, but we remain relatable.
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Note:
The information in this article is accurate as of the date of publication.
