張軼峰，桃園人，獨立影像工作者，曾任編導、攝影、剪輯、劇照、 美術等職，近年多擔任電影及劇集美術指導，參與製作涵蓋作者電影、社會寫實、歷史重建及類型商業電影。其作品屢獲肯定，包含以《最後的詩句》與《河鰻》獲頒金鐘獎及台北電影獎最佳美術設計，並以《一家子兒咕咕叫》、《眼淚》、《南方時光》、《奇蹟的女兒》、《功夫》等作品多次入圍金馬獎、台北電影獎與金鐘獎。

他的創作核心，在於考據場景的內在精神性。場景作為角色的第二層皮膚，一切痕跡都會折射出關於階級與權力關係的證據。透過對空間中物件與色彩的部署，與角色相互滲透後，進而揭示場域中人物的結構性處境。他反對過度的裝飾與形式性美學，試圖從潛藏於敘事之中的現實，尋找讓環境與角色內在情感緊密相扣的視覺策略。電影美術是在各種限制中尋找敘事潛力的過程。他仍在影像創作的道路上持續探索，試圖在光影與物件的縫隙中，挖掘更多關於人性的視覺可能性。

Eitzel Chang is an independent filmmaker from Taoyuan. With a background as a director, cinematographer and editor, he has dedicated his recent work to production design for film and television. His acclaimed work includes "The Last Verse" and "EEL", both of which earned him Best Art Direction at the Golden Bell Awards and Taipei Film Awards. His portfolio also features multiple nominations for "Coo-Coo 043", "Tears", "Before the Bright Day", "The Coming Through" and "Kung Fu".

At the heart of his work is the study of a scene's intrinsic spirit. Regarding the set as a character’s second skin, he believes every detail reflects the underlying reality of class and power. By deploying spatial elements and color, he creates a synergy between space and persona to unveil the character’s structural circumstances. He avoids over-decoration, opting instead for visual strategies that derive from narrative reality to forge a deep emotional bond between the setting and the character. For Chang, production design is a process of discovering narrative potential amidst various constraints. He continues to explore the path of image-making, striving to unearth more visual possibilities of humanity within the interstices of light, shadow, and objects.