Work
In every case here, the obvious problem was not the real one.
Personal projects
Enrollment campaign
June 3 to 29, 2026My elementary alma mater, a private grade school in Parañaque. One operator, end to end.
The job.
The school needed enrollment inquiries for the school year 2026 to 2027 intake. One operator and three weeks of production, from first post to final report.
What was found.
Parents were not dropping off from lack of interest. Reading the full inbox showed conversations going quiet at a single point: right after tuition and fees were shared, especially when a family asked about scholarships or financial aid and there were none to point to. That is an affordability barrier, not an awareness problem, and it changed what the school needed to fix next.
What was made.
23 pieces in three weeks: 16 posts, 3 videos and the enrollment posters, plus reply templates for the inbox. Targeting was built off the school's actual bus service catchment rather than a radius around the pin, and held tight against Meta's pressure to broaden it. The boosts ran through Ads Manager rather than the Boost button, which preserved the campaign objectives and kept the organic social proof on the posts. Kickoff primer, content calendar, approval deck, mid-campaign report and final report all landed on schedule.
What happened.
105,841 unique people reached, from roughly 186,000 impressions. 127 parent inquiries arrived in Messenger, and 77 inquiry threads were compiled and handed over for follow up. Of the six boosted pieces, the enrollment poster converted strongest.
The honest note.
The inquiry volume could have been reported as 106% of goal. Inquiries are not enrollments. The report was reissued as a reach and inquiry report with the drop-off point marked. That cost a flattering headline and bought a set of numbers the school board could trust.
From the final report
Home Credit Philippines
Employer work, described at the depth of the public resume and no deeper.
Motorcycle expo, Cebu
Home Credit's first motorcycle expo presence. Three days, 456 financing leads from a display-only booth with no stock on the floor. Picked up midway with no handover; rebuilt the plan four agencies bid against.
Marketplace listings
Diagnosed why a retail partner's products were being rejected from the online marketplace and fixed the source data. All 42 relisted.
Video
Two pieces, six years of editing behind them. One argues a business case. One does not argue anything.
E-Commerce: The Greatest Inaction Bias
A documentary video essay on why Philippine micro-enterprises do not adopt e-commerce, built around NKaye Variety Trading, the family sari-sari store in Muntinlupa where Kyle was Assistant Manager.
During lockdown the store survived by taking orders across five channels at once: Messenger group chats, Facebook PMs, SMS, calls and walk-ins. It worked, and it created a manual order system that broke at every rush hour. Stock checked by hand. Prices computed by hand. Deliveries delayed, orders confused, customers unhappy.
The obvious fix is a single platform. Inventory, pricing, payment verification and delivery routing handled automatically. The video maps both flows side by side, the tangled one and the lean one, so the difference is visible rather than argued.
Then it asks the harder question: knowing all that, why do these stores still not switch? The answer is not access or cost. It is perceived complexity, risk aversion, and no clear line of sight to the long-term benefit. An inaction bias, not a technology gap.
Animated node trees map both order flows. Straight-to-camera exposition cut against documentary interviews, on-location footage of the store and e-trike deliveries, textured title cards for each bottleneck, sound design carrying the tonal shifts. Written, shot, motion-designed, edited and mixed by Kyle Luces. Self-commissioned.
Paraluman
An acoustic cover of the Adie song, performed and shot on the shoreline at golden hour. Shallow depth of field with the background falling to bokeh, warm rim light off the low sun, a teal and amber grade, macro inserts on the fretboard, and a mastered studio take synced to picture rather than beach audio fighting the wind. Presented as craft, not commercial work.
Director and Editor, Kyle Luces. Assistant Director, Romeo Grafil. Camera, Wilmar Masong. Assistant Camera, Jireh Belen. Camera and equipment, Oscar A. Luces Jr.