CREATV: 30 Years Bringing Vietnam’s Story to the World’s Screens

When Othello Khanh arrived in Vietnam during the full solar eclipse of October 1995, the film, TV & ad industry was under a state monopoly. 30 years later, the business he founded upon his arrival – The CREATV Company – played a leading role in putting Vietnam on the global stage as a premier filming destination. Here's the remarkable story of Vietnam’s meteoric rise and the friends and supporters who helped make CREATV what it is today.

“I came to thirty years ago to be part of Vietnam’s national reconstruction – and now it’s been achieved.”

1. From Pioneer to Market Leader (1995-2005).

Arriving in 1995, Ho Chi Minh City was a cultural shock for Othello Khanh. “I remember landing in a city with barely a car in sight,” he recalls. “The streets full of what seemed like millions of cyclos and Chinese-made bicycles. Even more remarkable: this continuous, fluid flow of leg-propelled vehicles never stopped at any intersection and barely had functioning brakes, yet there was never a collision. Just like water, the symbol of the Vietnamese people and nation, the drivers had to go with the flow.”

It recalled Aesop’s Fable, The Oak and the Reed. The oak breaks because it's rigid and the reed endures because it bends with the wind. Ancient wisdom that Othello would apply to his entrepreneurial mindset.

Othello comes out of a media, advertising, television and film background, first in France, then in Mexico and briefly California where his debut film Ballads Without a Face screened at LA’s AFI Festival in 1995. The national infrastructure (let alone media ecosystem for television, and music videos) was a challenge in itself. Yet, the state-controlled studios managed to provide propaganda programs to a population of 72 million at the time.

What’s also remarkable is that in 1990s Vietnam, there were no brands or advertising billboards. “You had existing products: soap... water. Early attempts at promoting them were poorly received. People thought if a product had to be pushed, there was a problem with it. So, public perception of the first advertisements for ‘good’ products was negative.”

In 1995, the GDP of Vietnam was 21 billion US dollars, ranked 60^th place among the world’s economies. Othello sought out to film the electrification of the nation. “The spontaneity of everyday life in this dynamic, emerging nation drove me to get out there – camera and recording equipment in hand – and witness something that would never be seen again.”

In the industry at the time, most of the production (especially post) had to be done in Thailand, Singapore, Japan or Korea. As brands and agencies needed a quality “guarantee” they felt there was no choice but to take everything overseas. The government knew the opening of the country meant they’d have to institute some reforms.

“There were one or two other foreigner producers who took all the productions overseas,” Othello recalls of those days. “Either they’d take their talent overseas or fly in the director and DoP from abroad to shoot on location in Vietnam, then bring the footage back for post-production in their country of origin.

Coming to Vietnam, I’d committed to be part of the national reconstruction. I recognized a niche in the market and took the decision to create my company to open shop and offer international standard production services – fully made in Vietnam. I rounded up my competitors to join CREATV, as allies rather than competition.”

By 2000,The CREATV Company was able to provide international standard production in Vietnam. From a one room apartment, the business expanded to a villa in downtown Ho Chi Minh City with several cutting rooms, sound and 3D. “At the time, there were daily power cuts, but this is when we were contracted to document the installation of the first gas-to-power project that would solve the blackouts and bring electricity on a scale to power the country’s industrialization.” This project would last almost 20 years.

“We were still in the pre-broadband days of the internet when connections were still going through phone lines. Communication was primarily face-to-face and via printed media. We had a bible for production houses: the Kemps Film, Television and Commercial Production Services Handbook.” Dating back to the dawning of television’s Golden Age in 1956, as a print directory, the guide made its first move into digital presence with the launch of the first Kemps website in 1998. The industry knowledge was at the reader’s fingertips since, but there was no information about Vietnam in the guide at that time.

“Two of our biggest supporters in this era were AsiaLIFE Magazine and The Word (which, sadly, is no more). This is when we started using mobile phones but meeting people was still a random encounter at the right place and time.”

2. Training the new generation of producers as well as creating the competition (2005-2015)

In ten years, CREATV became the market leader by 2005. The Company moved from an old-school Indochina-style villa to a new space in District 4: a full studio with sound stage and all that international-standard productions of the day required. “Thanks to my visionary partner Mark Hoffman, we were ahead of the curve pivoting from analog. We had computers, hard drives and digital cameras nobody else could get their hands on – let alone operate. Globally, computer technology was developing fast and we had invested in the first prosumer non-linear editing suites to finish the projects here. We may have passed Y2K without a glitch; however, those systems weren’t very stable and rendering a 30 second commercial could take up to a week”, Othello jokes.

“With the blessings of the Government of Vietnam, who has been supportive of us from Day 1, our company produced hundreds of hours of programs and commercials.With up to eight TV commercials per month as the TV programs – all done in-house from casting, wardrobe, hair & makeup, camera department – we trained an army of producers and PAs. At one point, we had up to 12 producers, each taking care of their own project, working with their directors to deliver to our clients.” The striking power of The CREATV Company was at its peak, having honed a recipe for success with our range of diverse clients and efficient budgeting systems.

“As for me, after ten years of producing and directing local commercials, simplistic and without substance, I decided it was time to start writing and to make my own feature film as the government now allowed private companies to produce them.”

Out of this vacuum – from only state propaganda films to creative visions being allowed – emerged a competitive race for local film production. in which many lost their shirts or worse. “The commercial losses realized by some of the state-owned companies was so great that an op-ed asked what was to be done with those head of studios whose films had lost billions of dong in government funds. The writer suggested the firing squad. It was interpreted half-ironically, half with deadly seriousness.”

Despite all the upheavals of the early aughts, advertising in Vietnam was in its Golden Era. “The downside for us was that we’d created a monster in our competition. Many of our rival houses were full of former CREATV staff using skills we taught them to sell their services to the lowest bidder. We pursued a ‘high end’ client base not out of choice, but by necessity.”

Having created a product of international significance and solidified contacts in the local industry, it was time to get the word out about Vietnam’s astonishing locations and top-standard production services through the launch of the company website www.creatv.com.

“It was around 2015 when Clara Le, Commercial Director of The Location Guide reached out to me.”Othello recalls the instant connection he felt with Clara as a fellow European with Vietnamese roots. “We approach our work as an ongoing, evolving journey.”  “My first memory of speaking to Othello was over 25 years ago when I joined Shots magazine,” says Clara.“I reached out to Othello regarding increasing The CREATV Company exposure within the commercials industry when I… launched an independent Location Guide publishing company, The CREATV Company joined me on this journey, branching further into the film, tv as well as commercials industries.

I am extremely proud of being Vietnamese. And always been keen in increasing Vietnam’s exposure as a key filming destination. With extremely talented and reputable production services companies such as CREATV Company, production companies are finding it easier to film [there]. As I always tell all my production contacts, it is essential to partner with a trustworthy local service company in order to ensure a good shoot. With his many years’ experience, Othello knows the Vietnamese production landscape inside out [and] understands the system. Othello is a wonderful ambassador for Vietnam!”

3. Defining a niche in int’l production services, and still being the unparalleled service provider (2015-2025)

Around 2015, The CREATV Company relocated.“Even bigger and more advanced with huge soundstages and multiple cutting rooms,” Othello recounts of the new space. “A huge team with fresh blood. We were firing at full cylinders to supply the needs of the local market, yet, the writing was on the wall the market was killing itself.

We still had a card to play in International services. During the quarter century, we had created a brand that was known the world over, our winning results appreciated by our clients in Hollywood and Pinewood.”

A watershed moment came in 2015, when principal photography began on Kong: Skull Island (Warner/Legendary, 2017). It had been a long time since such a big-budget Hollywood film had set its sights on Vietnam, with starts like Samuel L. Jackson, Tom Hiddleston and Brie Larson – who had to leave early to accept her Oscar – in country.

The government opened its doors to the world and more specifically filmmakers and storytellers. “The Prime Minister's Office, The Ministry of Finance, Customs and Immigration, and The Ministry of Culture through its respective ICD's (International Cooperation Department) along with dozens of other Ministries and Departments contributed significantly to Kong’s filming success,” Othello recounts.

While Kong: Skull Island was set in a fictive South Pacific island, Vietnam (specifically, Ho Chi Minh City) was very much the intended setting of Disney’s Artemis Fowl. The 2020 sci-fi, fantasy film was based on a graphic anthology which imagined a magical vision of Saigon’s streets, brought vividly to life in the film. The scenes shot of location in Ho Chi Minh City – CREATV arranged everything for the one-week shoot – were very much wanted by the author Eoin Colfer and film’s Director Sir Kenneth Charles Branagh but unfortunately the studio saw it differently and the Vietnam scenes didn’t make the final cut.

From cooking to travel to reality – competition and dating – shows, Vietnam was (and continues to be) hot. CREATV continued its long-standing (since 2002!) facilitation of the Emmy Award winning The Amazing Race in Vietnam, Laos and Cambodia.

When show creators Bertram van Munster and Elise Doganieri set their sites on Asia for a new competition series, the result was Race to the Center of the Earth a gritty, thrilling sprint across Vietnam’s northern extremities – bordering China – down to Ha Long Bay, into Laos along the mighty Mekong River (from Luang Prabang to Pak Beng) and on to the Thai border.

In 2019, CREATV began its regular sponsorship of the Vietnam page of KFTV Guide – the aforementioned Kemps, Film, TV, and Video Production Guide. As of February 2025, KFTV has rebranded as Screen Global Production (SGP)  and The CREATV Company maintains a regular presence on SGP's website.

“I’ll always remember the naturally curious and unfailing positivity of Adam Todd, our point of contact from day one at SGP,” notes Othello. “We’re proud to represent Vietnam in its pages every year.”

“One of the largest international [production services] companies in Vietnam and Southeast Asia, CREATV exemplifies quality in the film and TV industry,” remarks Adam. “At SGP, our goal is to connect our extensive international audience with top-tier companies. We focus on enhancing our partners' visibility... CREATV [is] a prominent name on our platform — ranking as the number one search result for production service companies in Vietnam.”

“Throughout my 10-year career at SGP, I’ve had the pleasure of visiting Vietnam and the CREATV office multiple times,” says Adam. “The warm welcome I received during my visits was unparalleled and it’s clear why clients enjoy collaborating with them. Vietnam, especially Ho Chi Minh City, is truly a remarkable destination. It ranks among the best places I’ve ever visited and highlights why it’s a hub for film and TV production. I have no hesitation in recommending Othello and his team to my clients seeking to work [there]. This relationship has developed over many years, and I’m proud to consider them my friends.”

In 2022, Othello decided a major change in concept was needed. “After years of having thousands of square meters of facility and up to fifty staff, some downsizing was in order. No longer did we need a massive studio with editing systems for days. We just needed a more agile, smarter way of working. At the end of the day, the client would be would be there with their crews and execs on location. Sometimes a big problem can come to your rescue. The COVID-19 crisis allowed me to change our entire operational structure and rethink the way we were doing business.” 

CREATV’s first gig for this “new normal” was Netflix’s A Tourist’s Guide to Love, shot on location in Ho Chi Minh City, Hanoi, Danang and Ha Giang. The scout was done when COVID lockdowns were still in place. “Just as the film was released, we were contacted by one of our most trusted and valued clients, eager to restart a production they’d had to put on hiatus in 2020. It was showtime!”

The CREATV Company relocated to Thao Dien in An Khanh District, Ho Chi Minh City in a just over hundred square meter facility, but with the high-quality post-production and audio facilities that is a company signature. The team is basically a sales & marketing unit, adapting to a new normal where we can work from anywhere, anytime. CREATV sells locations in Vietnam, Laos, Cambodia and the Philippines to international clients. “We’ve delivered success after success through the decades and now don’t have to compete in our territories against other production companies.” 

Another platform that caught the attention of The CREATV Company was The Little Black Book [LBB]. “ I’d been following this website for some time,” says Othello. “We began contributing articles on the clean energy campaign in Vietnam we were then documenting before and during COVID. Although we focus more on locations and services in Asia, there’s something about LBB’s ecosystem that’s so upbeat and interactive. I find the personal flair and professionalism with which LBB Founder & CEO Matt Cooper approaches his work to speak volumes for the organization he helms. I could go on, but who better to explain LBBs’ mission and ethos than Matt himself.”

“At LBB we provide a space for companies all over the globe to be celebrated and written about in order to help them grow and achieve great business results. What started as a small idea is now one of the world’s largest [creative] platforms,” explains Matt.

“The CREATV Company’s profile has grown on LBB... now garnering thousands of views and having an echo effect. We’re committed to helping get more of the brilliant work we see [in Asia] the recognition it deserves. Stories like that of The CREATV Company are a testament to what we stand for.”

LBB’s Portraits of CREATV’s Associates series has been instrumental in giving credit to some of the company’s most vital supporters over the years. Starting with a profile on our Philippines-based partner Johanna Kirsten Lagman of Mandala Productions, who’s brought numerous international productions to our shores, the series continued with Kal Karman, a director and stills photographer whose work bridges fashion, film, and tech.

Portraits then gave full attention to Nick Wood and Sothit Ear, CREATV’s affiliates in Cambodia who offer their unique take on the country’s production industry. Then, LBB told the stories of two of Othello’s early mentors: Aerial Cinematographer Laurie K. Gilbert – whose steady lens and taste for high-flying camerawork was essential in the early days of documenting Vietnam’s energy revolution – and seasoned journalist Marc Laban, who broke CREATV into the world of news reportage.

"Our associates and affiliates across the region and even the world are part of our CREATVAsia Initiative, offering the region’s superlative location choices," says Othello. "LBB has been essential in helping us tell the story those with whom our success is intertwined.”

“Thirty years on,” Othello reflects, “the reason we stay above the competition is: our clients trust expertise honed by decades of experience as the market leader in our field.”

Competition is not just regional, but now extends to South America, where their rates are in line with Asia. “But we offer a competitive rate to those projects as well as security, political stability and world class locations for our clients. None of this would have been possible without the efforts of all who’ve supported us over the last three decades.”

Constantly evolving, Vietnam is Asia’s fastest growing economy with a GDP estimated to reach $510 billion and a population of 102.2 million. As of 2025, the country is ranked 32^nd globally, in effect, climbing nearly 30 ranks up the ladder: one for each year since 1995.

“One of the most interesting things,” Othello observes, “is that in 30 years, the local scene went from producing less than ten state funded films annually to hundreds of privately funded flicks - insipid content, romantic slapstick comedies and mindless horror. By a chance of fate, the biggest 2025 blockbuster hit was produced by a state studio and made so much money it’s now supporting a new generation of filmmakers with a roster of fully-financed historical films focusing on the roots of the Vietnam’s revolutionary struggle. The national reconstruction I came to be a part of has been achieved.”