Matthew Chan-Piu has spent twenty years moving film and television from script to audience across East Africa. He now works full time on the infrastructure that carries it — websites, digital estates, and the security of the people who own them.
Chan-Piu has written, edited and produced for East African screens since the mid-2000s, with twenty-one credits across drama, documentary and long-form television. His work has run on DStv Pearl Magic and UBC in Kampala, and on independent productions in Tanzania and beyond.
Few filmmakers in the region are ever taught how a finished film earns. Chan-Piu works on that half of the business — moving completed work across territories and platforms, and teaching producers the mechanics of licensing, windowing and digital release.
For organisations he takes the website, the security posture and the social presence as a single engagement rather than three separate ones. For individuals the work begins earlier: establishing what is already exposed, and closing it. The security practice in full →
Produced by Google's Lighthouse audit against seven live sites — the six client sites below and this one — on mobile, 25 September 2026. All seven returned the same three figures.
Performance is deliberately absent. It is a timing measurement on a simulated throttled device, and it moved by up to 32 points between two runs of the same unchanged page. Any practitioner quoting a single performance figure has not run the test twice. Every number above can be reproduced at pagespeed.web.dev.
This site is held to the same tests. Measured on 25 September 2026, mobile: accessibility 100, best practices 100, SEO 100 — carrying Google Analytics and Microsoft Clarity, both of which cost points and are disclosed below — and an A+ from securityheaders.com, the same grade as each of the six client sites.
| Site | Sector | Headers | Access. | Best prac. | SEO |
|---|---|---|---|---|---|
| Serengeti StudiosNairobi · Africa, US, UK | Film & animation | A+ | 100 | 100 | 100 |
| Sports GurusAfrica's home of sport | Sports media | A+ | 100 | 100 | 100 |
| Abidha DinUganda's MDRT pioneer | Financial advisory | A+ | 100 | 100 | 100 |
| SolodifiedReal people raps only | Music | A+ | 100 | 100 | 100 |
| Coffee SafarisEvery bean has a story | Coffee & tourism | A+ | 100 | 100 | 100 |
| Gaure MdeeJournalist & traveller | Journalism & photography | A+ | 100 | 100 | 100 |
Readings from 25 September 2026: securityheaders.com and Google PageSpeed Insights, mobile. How each site reached them →
Client names withheld until launch.
Chan-Piu's security practice begins with a question most people have never been asked: what does a website learn in the moment you arrive? Below is the answer, computed inside your own browser.
You have not told this page anything. Every site you have visited today collected the same — and most of them kept it.
The readings above are computed inside your browser and are not sent anywhere. Separately and openly: this site runs Google Analytics and Microsoft Clarity, which set their own cookies and collect their own data — as most sites you use do, usually without saying so. That is rather the point. A digital footprint audit begins here and goes considerably further — see what it covers.
Chan-Piu first broadcast as a teenager, among the founding group of children on Capital FM's Capital Kids in Kampala in 1994, and on Sanyu FM's Sanyu Kids shortly afterwards. Two decades of writing and producing followed, for screens that moved from film stock to satellite to streaming inside a single career.
He released an album with his group Minority in 2003, and still builds and maintains the website of a fellow member who records to this day.
Born in Kasese in 1979, he belongs to the generation that watched distribution collapse and rebuild twice — first as physical media gave way to broadcast, then as broadcast gave way to the network. He kept pace because in this region keeping pace was never optional.
The through-line is transmission. Radio was a signal. Film was a signal moved across territories under licence. Security is the same problem returning in a third form, with the stakes shifted from an audience to an account.
He is a cinephile and an audiophile, which he puts more plainly: he cares how it was shot, and how it was mastered.
Chan-Piu works with production companies, businesses and individuals from Kampala — on film and rights, on websites and digital estates, and on finding out what the internet already holds on you. Enquiries are answered within a day.