From a Small Wacom Tablet to the Film Set: Tran Bao Han’s Journey in the Design Team of "Thank You for Staying Awake with Me"

Han’s journey into the film industry did not begin with a long-term plan, but rather through a chance collaboration. During a previous short film project, she was introduced to support Art Director Anh Lu in designing several props for the set. At the time, her responsibilities mainly involved preparing print-ready files based on artistic requirements and revising them through multiple rounds to ensure they aligned with the project’s overall creative vision. Following that experience, chị La later reached out again and invited Hân to join the design team of Thank You for Staying Awake with Me, where she took on the role of Graphic Designer for various printed materials used throughout the film’s settings.

From the Classroom to the Film Set

For a third-year student like Han, being part of a large-scale film project was an entirely new experience. “When I first accepted the opportunity, I did not expect the work to be this complex,” Han shared. “Every prop had to match the time period, the character’s personality, and even the lighting on set. Those were things I had never really thought about while studying in class.”

One of the biggest challenges she faced was designing vintage concert posters for scenes set in the early 2000s. “I had to do extensive research on the design style of that era — from typography and color palettes to layout composition. The Art Director had very high standards; every detail needed to feel historically accurate while still looking visually appealing on camera.”

The Design Team and Collaborative Spirit

Within the film’s design department, Han was not working alone. The team consisted of designers from various specialties — including props design, scenic art, and digital graphics. Although each person was responsible for a different area, everyone had to collaborate closely to maintain a cohesive artistic direction throughout the film.

“The most valuable thing I learned was how to communicate and collaborate within a large creative team,” Han explained. “At university, I usually worked on individual projects or in small groups. But on a film set, every design decision affects multiple departments — from the director and cinematographer to the lighting crew. I had to learn how to present ideas clearly, listen to feedback, and adapt quickly.”

The Most Memorable Moment

When asked about the most unforgettable moment during production, Han recalled the concert scene shoot — where all the posters and banners created by the design team were finally displayed on a real stage.

“Seeing my designs appear on the big screen under the spotlight was incredibly emotional,” she said. “It was the first time I truly realized that design does not just exist on a computer screen — it can become part of a story, part of an emotion.”

Her experience on set also introduced her to an entirely new perspective on graphic design: designing for physical spaces. “Graphic design for film is completely different from traditional print or digital design. You have to consider camera angles, lighting, and the audience’s viewing distance. Sometimes a very small detail on a poster can unexpectedly become the focal point of an entire scene.”

Behind-the-Scenes Experiences

From printed design files to their appearance on the big screen, the process involves many stages and the collaboration of numerous people. Han’s work was one link in that larger chain. Although this journey was not documented through personal behind-the-scenes footage, it was reflected in every detail that appeared within the film’s settings.

For a Graphic Design student, the experience provided Han with valuable real-world insight into how graphic design operates within a professional filmmaking environment — where every design must serve the space, the story, and the overall production timeline of the entire crew.