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Choi Tae-young

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Choi Tae-young
최태영
Born (1971-07-02) July 2, 1971 (age 53)
South Korea
Other namesRalph Choi
Ralph Tae-young Choi
Alma materDepartment of Agricultural Economics of Korea University
Occupations
  • Sound Designer
  • Filmmaker
  • Entertainment Executive
Years active1997–present
Employers
  • Korea Industrial Securities
  • Live Tones
OrganizationKorean Film Council (January 2020 to January 2022)
Korean name
Hangul
최태영
Hanja
Revised RomanizationChoe Tae-young
McCune–ReischauerCh'oe Taeyoung

Choi Tae-young (Korean최태영; Hanja; born July 2, 1971), also known as Ralph Tae-young Choi, is a South Korean film sound designer. Choi is the co-founder, Sound Supervisor, and CEO of Live Tone Studios, South Korea's largest cinematic sound studio. To date, Choi and Livetone have contributed to over 400 feature films and more than a dozen OTT series, including the globally popular series Squid Game and Moving. They have also worked on Korea's highest-grossing films such as The Admiral: Roaring Currents, Along With the Gods: The Two Worlds, 12.12: The Day, The Host, Miracle in Cell No. 7, King and the Clown, Along with the Gods: The Last 49 Days, A Taxi Driver, Exhuma, Train to Busan, and The Attorney.[1][2]

Choi is best known for his collaborations with director Bong Joon-ho, and worked together in all his features, including Memories of Murder (2003), The Host (2006), Snowpiercer (2013), Okja (2017), and Parasite (2019).[3]

He also a long time collaborator of director Kim Jee-woon, and has worked together in A Tale of Two Sisters (2003), A Bittersweet Life (2005), The Good, the Bad, the Weird (2008), I Saw the Devil (2010), The Age of Shadows (2016), and Cobweb (2023).

Choi, along with Livetone, has 15 Grand Bell Awards nominations under his belt, winning three of them for Save the Green Planet! (2003), Lump Sugar (2006), and War of the Arrows (2011). He received the Best Sound Award from the Korean Film Producers' Association for The Fortress (2017). Their work on the film Parasite (2019) received the Outstanding Achievement in Sound Editing – Foreign Language Feature prize from the Motion Picture Sound Editors (MPSE) at the Golden Reel Awards.[3][4] In 2020, the film Parasite won the Academy Award for Best Picture. As a result, Choi, who was involved with the production of Parasite, was invited to become an official member of the Academy of Motion Picture Arts and Sciences, the organization that hosts the annual Academy Awards ceremony.[5][6]

Early life

[edit]

Choi Tae-young first developed an interest in music during his high school years. He pursued a career as a recording engineer and even joined a band, but the band disbanded in 1994 before releasing an album. Following the disbandment, Choi furthered his studies in recording engineering at the Los Angeles Recording School in Los Angeles, California. He then took courses in music business and recording engineering at UCLA Extension. It was during this time that he discovered the potential of a career in film sound post-production.[7][8][9][10]

Career

[edit]

Establishment of Livetone

[edit]

After returning to South Korea, Choi, a 27-year-old technical director at the time, co-founded Livetone, a startup sound production studio in 1996. Initially, Choi handled all aspects of sound post-production at the studio. As the company expanded, he shifted his focus to sound mixing. Livetone was a pioneer in Korea, being the first to adopt the Dolby 5.1 channel for film's sound, with their debut feature film Beat in 1997.[7][9]

Choi's Early Challenges in Film Sound

[edit]

Choi initially majored in sound, but did not specifically study sound engineering for film. When he entered the film industry in the early 2000s, he encountered significant challenges. These difficulties stemmed from his limited understanding of how sound functions within the context of film. Choi viewed sound in a simplistic manner: sound is just sound, without considering the mise-en-scène or the director's intentions. His approach focused solely on the technical aspects of sound, rather than its integration into the overall cinematic experience.[11]

Choi's turning point came when he worked on director Kim Jee-woon's film The Foul King. Choi was excited about the film's dynamic nature, but his sound design was rejected. Kim Jee-woon wanted to create a "cool comedy," but Choi's sound design was too rich, which did not match the desired tone. It was at this point that Choi realized he had not even read the script, highlighting a lack of understanding he had about the filmmaking process.[11]

"People ask us if it's difficult to create gunshots or hurricane sounds. It's not really difficult, just time-consuming. What makes film sound difficult is that films are subjective. It's about the director's calculations of when and how many times a new sound should be heard. My job is to transform the subjective imagination of the director into something objectively accepted."[7]

After this experience, Choi began to thoroughly read and analyze film scripts, aligning his sound design with the film's overall concept and breaking the mold as a film sound engineer. His first film in this process was Kwak Kyung-taek's film Friend. Kwak Kyung-taek really liked his work on the film. There were specific sound points he hoped to be recognized for in Friend.[11]

"It's a bit of a gruesome scene," he recalled, "but in the scene where Han Dong-soo (Jang Dong-gun) dies at the end, the sound of rain mixed with the sound of slashing with a knife comes out about 30 times at roughly the same point. In the past, I would have treated it in the same tone. Sound is naturally like that. But after reading the script, I designed the sound by dividing it into Han Dong-soo's perspective and the audience's perspective based on the situation and emotions of that scene. It's the same sound of slashing, but it's clearly different in that scene (laughs). I remember that Director Kwak really liked it."[11]

Choi later used Dolby 6.1 channels in the 2001 movie Volcano High.[7][9]

In 2005, Choi served as the Sound Supervisor for Kim Jee-woon's A Bittersweet Life alongside Sound Designer Lee Seung-yeop. The goal of the sound design for the film was to create high-impact and realistic sound. To achieve maximum realism, sound effects were recorded on location or in similar environments. This included capturing footsteps at the Crown Hotel nightclub in Busan, gunshots with live ammunition at Yangsu-ri Studio, and ambient sounds from Seoul at night. The sound sources were mixed using a Dolby Digital Surround 6.1 channel method. The film's sound design effectively utilized panning, reflecting director Kim Jee-woon's visual style. The realistic sound was output through 7 channels, including center, left, right, left surround, right surround, back surround, and subwoofer. Kim Jee-woon praised Choi Tae-young at the Cannes Film Festival, saying, "You nailed the sound!"[11]

In 2007, Choi was nominated for the Sound Award at the 44th Grand Bell Awards for his work on several films. He was nominated with Lee Seung-cheol for The Host, with Livetone for For Horowitz, and with Kim Kyung-tae for The Restless. He won the award with sound director Jeong Kwang-ho for the film Lump Sugar.[12]

Kwak Kyung-taek's film Typhoon.[13]

In the 2011 movie War of the Arrows, Dolby 7.1 channels were utilized to enhance the sound experience.[9] The 4D sound technology was specifically employed to emphasize the impact of the bow as a weapon and the sound of arrows in flight. The sound design aimed to make the bow a main character by capturing the nuances of different arrow types, flight directions, and speeds. Choi Tae-young collaborated with Sound Dogs, an American sound recording company. The team selected the Palm Springs desert in California for its clean acoustics and minimal background noise. Using nine microphones and an experienced archer, they meticulously recorded various arrow shots to capture the authentic sound of the bow in action. The result was a dynamic and tense soundscape that aimed to transport viewers into the heart of the action.[14]

Mr. Go was the first Korean film to utilize Dolby Atmos, an advanced sound technology that creates three-dimensional audio based on the movement and positioning of objects on the screen. Sony Tier provided free support for the three-dimensional mixing of Mr. Go. Sony typically focuses more on resolution rather than 3D, to maintain sound waves and frequencies that are beyond human hearing range. Wavel's CEO Lee Jeong-jin prepared the sound source.[15]

When working on sound design for The Admiral: Roaring Currents, Choi focused extensively on creating the cannon sound. Unlike the ships in Pirates of the Caribbean, the vessels in Roaring Currents lack power plants. To capture the ship's movement, he incorporated twisting sounds that simulated external pressure on a large tree. In his work on the film Tunnel, Choi skillfully layered sounds to depict the collapse of something.[16]

Working with Bong Joon-ho

[edit]

Choi is well-known for his extensive collaborations with acclaimed director Bong Joon-ho. He has contributed to Bong's entire filmography, starting from his first feature Barking Dogs Never Bite (2000) to his critically acclaimed works like Snowpiercer, Okja, and Parasite.[3][17][18]

I did all the work on Bong Joon-ho's directorial works. Director Bong is now one of the best directors in the world. Once I asked him, 'Why do you keep making me work?' but he didn't answer (laughs). Now that I think about it, maybe it was because I wasn't a 'yes man.' I often argue with directors when working with them (laughs). But it was Director Bong who broke my stubbornness. There was an incident where I gave in, not that he broke me. During the work on 'Memories of Murder,' there is a scene where a female student walks in the rain and the culprit looks down from a mountain path. The mixing that the director wanted at the time was 'unreasonable' by my standards. In the end, I got angry and said, 'I can't do it.' But I was convinced at the technical screening. I realized why Director Bong wanted it that way when I saw the final mixed result."[19]

Livetones collaborated with Sounddogs, an American sound recording company, for the film The Host. In the film, most of the sounds of the monster are the cries of sea lions. However, at director Bong Joon-ho's suggestion, actor Oh Dal-su's voice was used for the sound of the monster snoring and spitting out its prey.[20]

Snowpiercer was mixed in Dolby 7.1 surround sound during a six-month production period.[21] Despite Choi's involvement in all of Bong Joon-ho's previous films, this project faced a setback during production that almost halted its completion. Initially, the producer planned for all audio files to be completed in the United States for this international project. So no contract was signed with live tones. This task was assigned to Choi late in the process, requiring a last-minute reorganization of the team. Choi discovered the budget constraints prevented him from going to the US for sound effects post-production.[22]

Choi revealed that film Okja, a genetically modified "Super Pig" was inspired by Bong Joon-ho's vision of a creature that, despite its origins, possessed human qualities and a vegetarian diet. To bring Okja to life, Choi meticulously blended the sounds of various animals, including New Zealand's pigs, hippos, and rhinos, with the voice of actress Lee Jung-eun.[23][24]

Choi was responsible for sound design concept in Parasite. The film's sound design effectively establishes two separate auditory realms: one representing the affluent Park family and the other reflecting the impoverished Kim family. The sound design played a critical role in establishing the distinct social and economic worlds of both family. Choi employed various techniques to aurally differentiate these two realms. He utilized the oppressive sounds of air circulation in a confined space to intensify the tension in specific scenes.[25]

Audio post-production for the film Parasite was completed at Live Tone Studios using two AMS Neve DFC 3D film consoles. A 48-channel Neve Genesys console was also utilized for recording and monitoring ADR. As sound designer and re-recording mixer, Choi emphasized the importance of the Neve DFC 3D console in achieving the detailed and emotional sound of Parasite. Choi praised the console's automation and audio quality, which allowed for efficient and intuitive work. Despite other consoles being capable of handling 3D Atmos, Choi found the Neve DFC 3D console to offer superior tonal quality and control during the film's production.[26][27]

Choi dedicated 12 weeks to the Parasite project, including 8 weeks on sound editing and recording, 2 weeks on a pre-dub mix for Dolby Atmos, and 2 weeks on the final mix with director Bong Joon-ho. During the final mix, Choi heavily relied on the automation and stem routing features of the Neve DFC 3D console to bring the director's vision for the film's sound to life.[28][29]

The picture editing ended at the end of November 2018. The sound editing (dialogue, SFX, backgrounds) and recording (ADR and Foley) at Live Tone Studios started in December 2018 and went until the end of January 2019. I had two weeks for pre-dub mixing and two weeks for the final mix in Dolby Atmos in February 2019.[30]

Choi's and his team, including Young Kang Hye, Kim Byung-in, Park Sung-gyun, Lee Chung-gyu, and Shin Yi-na, were awarded the MPSE Golden Reel Awards for Outstanding Achievement in Sound Editing – Foreign Language Feature for their work on the critically acclaimed film Parasite (2019). This prestigious award is a testament to their masterful sound editing, which played a crucial role in enhancing the film's immersive and impactful storytelling.[31][32][33][34][35][36]

In 2021, Choi with other Korean film industry sound masters, were attending the 22nd Jeonju International Film Festival.[37]

OTT Series

[edit]

Choi discussed the unique approach to zombies in the popular Korean series Kingdom. He explained that unlike the slow-moving zombies often depicted in Western cinema, zombies in Kingdom series were characterized by their speed and agility, creating a distinct and thrilling cinematic experience.[23]

Choi was confident that Livetone Studio's work on Squid Game marked the beginning of the K-sound trend.[38] Choi emphasized the importance of sound quality in content production. He noted that while local OTT producers are investing heavily in video content, they often overlook the significance of sound. He stated, "Domestic production companies often request basic stereo sound, focusing only on left and right channels. In contrast, global OTT platforms demand at least 5.1 channels or Dolby Atmos for immersive sound experiences." Choi expressed disappointment that domestic producers may not fully understand the importance of sound technology in content creation.[39]

Livetone's first foray into handling sound for a Disney+ production was with the series Moving, providing valuable insights and opportunities for the company. Choi aims to create distinctive genre content using unique sounds in the future. Kang Hye-young, Livetone's sound supervisor for Moving, discussed the challenges of creating sound for the show's action scenes involving superpowers. The sound effects were carefully crafted to match the intensity and variety of each scene, incorporating elements like high-frequency sounds for electric sparks and three-dimensional sound design for flight scenes. This innovative approach allowed Livetone to deliver a unique and immersive auditory experience for viewers.[40]

Recent Works

[edit]

In 2018, Choi, on behalf of Dexter Livetone, and Ryu Jae-rim, director of the Korean Film Archive, signed a business agreement at the 'Sound Master Data Donation Ceremony' held at the Korean Film Archive in Mapo-gu, Seoul. Through the agreement, Dexter Livetone will donate over 200 original analog and digital sound pieces it owns to the Korea Film Archive. The Korean Film Archive plans to permanently preserve the donated materials and complete the digitization of analog sound materials to use them for future digital video restoration.[41]

Seoul Business Agency (SBA) and Livetone signed a business agreement to enhance the competitiveness of the domestic content industry. The agreement included joint technical support for film and broadcast content production, support for sound studios, revitalization of short film and documentary production, and advisory services for media content center sound studios. The collaboration aimed to support the global market competitiveness of domestic content. Post-production support for 'Dolby Atmos content' was also provided. This partnership combined the advanced studio capabilities of SBA Media Content Center with Livetone's cutting-edge technology to strengthen the global competitiveness of domestic content.[42]

Choi collaborated with director Kim Yong-hwa on the film The Moon. Due to the noisy set environment, 99.9% of the audio was recorded after filming. All dialogue and background noise had to be recreated using sound effects and foley sounds due to challenges with simultaneous recording. The project was complex, requiring approximately 700 sound channels, the most extensive in Choi's 20-year career. The production of The Moon took over a year to complete.[43]

Livetone, the sound team behind the film Exhuma, integrated Dolby Atmos sound technology right from the start of production. They enhanced the immersive experience by blending sound effects seamlessly with Dexter's color correction.[44]

For the film 12.12: The Day, Choi put significant effort into creating realistic sound effects, including capturing the sounds of various military boots (menacing boots of the Hanahae group, heavy boots during a phone call, solemn boots as a character jumps over barbed wire) through extensive field recording and foley work. He also designed the sounds of military vehicles such as trucks, armored vehicles, and tanks, as well as incorporating realistic sounds of weapons, artillery, and military operations to enhance the cinematic impact. Choi, who had prior military experience in a band, used his personal memories to guide the sound mixing process. The sound team also recorded and edited crowd walla to create realistic background dialogue.

We particularly focused on effects that maximize tension, such as the sounds of gunfire and artillery fire, vehicles, military boots, radios, loudspeakers, and telephone calls. We paid attention to the sense of space as well as the confrontation between characters. As the story unfolds in such a tense manner, we put a lot of effort into even the smallest elements of the sound mixing to support the narrative.[45]

The sound mixing process took 2 months, followed by 1 month of pre-mixing and final mixing for Dolby Atmos. The Dolby Atmos setup allowed them to optimize the directionality and immersion of sounds to provide a truly cinematic experience that would be difficult to replicate on streaming platforms.[46]

In 2023, Choi, on behalf of Livetone, signed a Memorandum of Understanding (MOU) with Supertone for sound technology development and mutual cooperation at Livetone's Sangam-dong headquarters.[47]

Choi stated about his work in Alienoid: Return to the Future, "The sound coherence was maintained throughout the film, as the first and second parts are considered to be the same movie." He added, "While the first part progresses based on the outline of the story, the second part focused on creating a narrative-centered emotional story to enhance audience immersion."[48]

Filmography

[edit]

Short films

[edit]
Short film credits[49][50][51][52]
Year Title Director Notes Ref.
English Original
2002 Three – "Memories"
  • 쓰리
  • Thai: อารมณ์ อาถรรพณ์ อาฆาต
  • Chinese: 三更
Kim Jee-woon Sound Dept.-Sound Mixer/Sound Designers [53][better source needed]
2009 Five Senses of Eros — Segment His Concern 오감도
Sound Supervisor/Re-recording mixer [54][better source needed]
2013 One Perfect Day 사랑의 가위바위보 Kim Jee-woon Re-recording Mixer/3d Sound Supervisor [55][56][57]
The X 더 엑스 Kim Jee-woon Sound, Re-recording Mixer/3D Sound Supervisor [58][better source needed]
2020 Untact 언택트 Kim Jee-woon Executive Supervisor [59][60]

Film

[edit]
Film making credit[61][better source needed][49][50][51][52]
Year Title Director Role
English Korean
1997 Beat 비트 Kim Sung-su Sound department
High-grade Player [ko] 고수 Kim Chun-sik Sound Recording
Motel Cactus [ko] 모텔 선인장 Park Ki-yong Sound Recording
Deep Sorrow [ko] 깊은 슬픔 Kwak Ji-kyun Sound editor
Bad Movie 나쁜 영화 Jang Seon-woo Sound editor
1998 Christmas in August 8월의 크리스마스 Hur Jin-ho Sound engineer
Dr. K 닥터 K Kwak Kyung-taek Sound mixing
Saturday, 2 p.m 토요일 오후2시 Min Byung-jin Sound engineer
Girls' Night Out 처녀들의 저녁식사 Im Sang-soo Sound engineer
Tie a Yellow Ribbon [ko] Han Ji-seung Recording
The Happenings 기막힌 사내들 Jang Jin Sound Recording
The Power of Kangwon Province 강원도의 힘 Hong Sang-soo Mixing
The Harmonium in My Memory 내 마음의 풍금 Lee Young-jae Mixing
1999 Dance Dance 댄스 댄스 Moon Sung-wook Sound Designer
The Happy Funeral Director 행복한 장의사 Jang Moon-il Sound engineer
Yonggary 용가리 Shim Hyung-rae Re-recording Mixer, Sound Effects Editor, Foley Recording Engineer
The Rush 질주 Lee Sang-in Pre-mixing
City of the Rising Sun 태양은 없다 Kim Sung-su Mixing
Nowhere to Hide 인정사정 볼것 없다 Lee Myung-se Mixing
The Great Chef 북경반점 Kim Eui-seok Mixing
The Mystery of the Cube 건축무한 육면각체의 비밀 Yu Sang-wook Recording
A Growing Business 신장개업 Kim Seong-hong Sound
Spooky School 학교전설 Kim Hyun-myeong Mixing
2000 Tears 눈물 Im Sang-soo Mixing
Il Mare 시월애 Lee Hyun-seung Sound mixing
Virgin Stripped Bare by Her Bachelors 오! 수정 Hong Sang-soo Mixing
The Cut Runs Deep 컷 런스 딥 John H. Lee
The Foul King 반칙왕 Kim Jee-woon Mixing
Barking Dogs Never Bite 플란다스의 개 Bong Joon-ho Mixing
Anarchists 아나키스트 Yoo Young-sik Mixing
Just Do It 하면 된다 Park Dae-young Mixing
I Wish I Had a Wife 나도 아내가 있었으면 좋겠다 Park Heung-sik Mixing
Why Do I Want to Be a Boxing Referee? 나는 왜 권투심판이 되려 하는가? Choi Ik-hwan Mixing
Ditto 동감 Kim Jung-kwon Sound
Kilimanjaro 킬리만자로 Oh Seung-wook Mixing
2001 Failan 파이란 Song Hae-sung Mixing/Sound designer
Mago 마고 Kang Hyun-il Re-Recording Mixer, Sound Designer, Mixing
Wanee & Junah 와니와 준하 Kim Yong-gyun Sound Team/Mixing/Sound Effects
Running 7 Dogs 7인의 새벽 Kim Joo-man Mixing
2001 Friend 친구 Kwak Kyung-taek Re-Recording Mixer/Sound Designer
Guns & Talks 킬러들의 수다 Jang Jin Mixing
Kiss Me Much 베사메무쵸 Jeon Yoon-soo Mixing, Sound Design
Summer Time 썸머타임 Park Jae-ho Mixing
Dream of a Warrior 천사몽 Park Hee-joon Sound & Mixing
Hi! Dharma! 달마야 놀자 Park Cheol-kwan Sound Designer, Re-Recording Mixer
I Love You 아이 러브 유 Moon Hee-yong Mixing
Musa 무사 Kim Sung-su
Volcano High 화산고 Kim Tae-kyun Re-Recording Mixer/Sound Designer
2002 No Blood No Tears 피도 눈물도 없이 Ryoo Seung-wan Re-Recording Mixer/Sound Desiger
Champion 챔피언 Kwak Kyung-taek Re-Recording Mixer/Mixing Engineer
The Phone Ahn Byeong-ki Re-Recording Mixer
Marriage Is a Crazy Thing 결혼은 미친 짓이다 Yoo Ha Re-Recording Mixer
Jungle Juice 정글쥬스 Cho Min-ho Re-Recording Mixer/Sound Designer
Oasis 오아시스 Lee Chang-dong Re-Recording Mixer
Lovers' Concerto 연애소설 Lee Han Mixing
No Comment Family [ko] 묻지마 패밀리
  • Park Sang-won,
  • Bae Jong,
  • Lee Hyun-jong
Re-Recording Mixer
Unborn but Forgotten 하얀방 Lim Chang-jae Re-Recording Mixer
Moneymong 마니몽 Kim Won-dae Sound
No. 815 광복절 특사 Kim Sang-jin Re-recording Mixer
Saving My Hubby 굳세어라 금순아 Hyun Nam-seop
Jail Breakers 광복절 특사 Kim Sang-jin Sound department
Oh! LaLa Sisters 울랄라 시스터즈 Park Je-hyun Re-recording mixer
2003 Oh! Happy Day 오! 해피데이 Yoon Hak-yeol Sound/Re-recording mixer
Au Revoir, UFO 안녕! 유에프오 Kim Jin-min Re-recording mixer
Elysium 엘리시움 Kwon Jae-woong Re-recording mixer
My Wife Is a Gangster 2 조폭 마누라 2 - 돌아온 전설 Jeong Heung-soon Re-recording mixer
A Tale of Two Sisters 장화, 홍련 Kim Jee-woon Sound/Re-recording mixer
Mutt Boy 똥개 Kwak Kyung-taek Sound/Re-recording mixer
Acacia 아카시아 Park Ki-hyung Sound/Re-recording mixer
Crazy First Love 첫사랑 사수 궐기대회 Oh Jong-rok Sound/Re-recording mixer
Save the Green Planet! 지구를 지켜라! Jang Joon-hwan Sound
Tube 튜브 Baek Un-hak Sound/Re-recording mixer
Into the Mirror 거울 속으로 Kim Sung-ho Sound
Memories of Murder 살인의 추억 Bong Joon-ho Sound
Please Teach Me English 영어완전정복 Kim Sung-su Sound/Re-recording mixer
Once upon a Time in a Battlefield 황산벌 Lee Joon-ik Sound/Re-recording mixer
Mudang: Reconciliation Between The Living and The Dead 영매-산자와 죽은자의 화해 Park Ki-bok Sound
Singles 싱글즈 Kwon Chil-in Sound/Re-recording mixer
A Man Who Went to Mars 화성으로 간 사나이 Kim Jeong-gwon Sound/Re-recording mixer
2004 How to Keep My Love 내 남자의 로맨스 Park Je-hyun
Two Guys 투 가이즈 Park Heon-soo
Family 가족 Lee Jung-cheol
Ghost House 귀신이 산다 Kim Sang-jin
Love is a Crazy Thing 연애(연애는 미친짓이다) Oh Seok-geun
Jenny, Juno 제니, 주노 Kim Ho-jun
My Mother, the Mermaid 인어공주 Park Heung-sik
Rikidozan: A Hero extraordinary 역도산(力道山) Song Hae-sung
Once Upon a Time in High School 말죽거리 잔혹사 Yoo Ha
When I Turned Nine 아홉살 인생 Yoon In-ho
Woman Is the Future of Man 여자는 남자의 미래다 Hong Sang-soo
A Moment to Remember 내 머리속의 지우개 John H. Lee
Bunshinsaba 분신사바 Ahn Byeong-ki
Mr. Gam's Victory 슈퍼스타 감사용 Kim Jong-hyun Sound/Re-recording mixer
Shin Suk-gi Blues 신석기 블루스 Kim Do-hyeok
Someone Special 아는 여자 Jang Jin
Dance with the Wind 바람의 전설 Park Jung-woo
Dead Friend Kim Tae-gyeong,
Lee In-gyu
2005 The Wig 가발 Won Sin-yeon Sound
Antarctic Journal 남극일기 Yim Pil-sung Sound Supervisor/Re-recording mixer
All for Love 내 생애 가장 아름다운 일주일 Min Kyu-dong
The Rainy Day 열번째 비가 내리는 날 Min Doo-sik Sound Supervisor
Soldiers of Heaven 천군 Min Jun-gi Sound Supervisor
April Snow 외출 Hur Jin-ho
Princess Aurora 오로라공주 Bang Eun-jin
King and the Clown 왕의 남자 Lee Joon-ik Sound Supervisor
Diary of June 6월의 일기 Im Kyeong-soo Sound Supervisor
Bravo, My Life 사랑해, 말순씨 Park Heung-sik
Running Wild 야수 Kim Sung-su Sound Supervisor
Typhoon 태풍 Kwak Kyung-taek Sound Supervisor
A Bittersweet Life 달콤한 인생 Kim Jee-woon Sound Supervisor
Holiday 홀리데이 Yang Yun-ho
Rules of Dating 연애의 목적 Han Jae-rim
Murder, Take One 박수칠 때 떠나라 Jang Jin
2006 Now and Forever 연리지 Kim Sung-joong Sound Supervisor,Re-Recording Mixer
Almost Love 청춘만화 Lee Han
Love Phobia 도마뱀 Kang Ji-eun Sound supervisor
Over the Border 국경의 남쪽 Ahn Pan-seok
For Horowitz 호로비츠를 위하여 Kwon Hyung-jin
A Dirty Carnival 비열한 거리 Yoo Ha
APT 아파트 Ahn Byeong-ki
February 29 - 4 Horror Tales 2월 29일 – 어느날 갑자기 첫번째 이야기 Ahn Byeong-ki
The Host 괴물 Bong Joon-ho Sound supervisor
Forbidden Floor - 4 Horror Tales 네번째 층 – 어느 날 갑자기 두번째 이야기 Ahn Byeong-ki
Lump Sugar 각설탕 Lee Hwan-kyung Sound Supervisor
No Mercy for the Rude 예의없는 것들 Park Cheol-hee
Roommates - 4 Horror Tales D-day – 어느 날 갑자기 세번째 이야기 Ahn Byeong-ki
Dark Forest - 4 Horror Tales 죽음의 숲 – 어느 날 갑자기 네번째 이야기 Ahn Byeong-ki
Three Fellas 뚝방전설 Jo Beom-gu Sound supervisor
Maundy Thursday 우리들의 행복한 시간 Song Hae-sung Sound Supervisor
Righteous Ties 거룩한 계보 Jang Jin
Cruel Winter Blues 열혈남아 Lee Jung-beom
The Restless 중천 Kim Sung-su
2007 A Good Day to Have an Affair 바람피기 좋은 날 Jang Mun-il
A Love 사랑 Kwak Kyung-taek
My Son 아들 Jang Jin
Rainbow Eyes 가면 Yang Yun-ho
Mother doesn't Die [ko] 어머니는 죽지 않는다 Hah Myung-joong
Bunt [ko] 날아라 허동구 Park Gyu-tae
Shadows in the Palace 궁녀 Kim Mi-jung
Punch Lady [ko] 펀치 레이디 Kang Hyo-jin
Going by the Book 바르게 살자 Ra Hee-chan
My Eleventh Mother 열한번째 엄마 Kim Jin-sung
Hansel and Gretel 헨젤과 그레텔 Yim Pil-sung
2008 The Chaser 추격자 Na Hong-jin
Public Enemy Returns 강철중: 공공의 적 1-1 Jang Jin
Happiness 행복 Hur Jin-ho
Crush and Blush 미쓰 홍당무 Lee Kyoung-mi
Do Re Mi Fa So La Ti Do 도레미파솔라시도 Kang Gun-hyang
The Good, the Bad, the Weird 좋은 놈, 나쁜 놈, 이상한 놈 Kim Jee-woon
Scandal Makers 과속스캔들 Kang Hyeong-cheol
Antique 서양골동양과자점 앤티크 Min Kyu-dong
A Frozen Flower 쌍화점 Yoo Ha
2009 Secret Reunion 의형제 Jang Hoon
In My End Is My Beginning 끝과 시작 Min Kyu-dong
Mother 마더 Bong Joon-ho
Tidal Wave 해운대 Yoon Je-kyun
Good Morning, President 굿모닝 프레지던트 Jang Jin
Lifting King Kong [ko] 킹콩을 들다 Park Gun-yong Sound Supervisor
Chaw 차우 Shin Jung-won Audio Post Production
Handphone 핸드폰 Kim Han-min
2010 Parallel Life [ko] 평행이론 Kwon Ho-young
The Quiz Show Scandal 퀴즈 왕 Jang Jin
Foxy Festival 페스티발 Lee Ha-yeong
I Saw the Devil 악마를 보았다 Kim Jee-woon
The Recipe 된장 Lee Seo-gun Sound Supervisor
Death Bell 2: Bloody Camp 고死 두번째 이야기 : 교생실습 Yoo Sun-dong
A Better Tomorrow 무적자 Song Hae-sung
Man of Vendetta 파괴된 사나이 Woo Min-ho Sound Supervisor
Grand Prix 그랑프리 Yang Yun-ho Sound Supervisor
Haunters 초능력자 Kim Min-seok
The Yellow Sea 황해 Na Hong-jin
2011 Battlefield Heroes 평양성 Lee Joon-ik
Howling 하울링 Yoo Ha
Romantic Heaven 로맨틱 헤븐 Jang Jin
Sunny 써니 Kang Hyeong-cheol
Moby Dick 모비딕 Park In-je
The Cat 고양이: 죽음을 보는 두 개의 눈 Byun Seung-wook
War of the Arrows 최종병기 활 Kim Han-min
S.I.U. 특수본 Hwang Byung-guk
2012 Bunshinsaba 笔仙 Ahn Byeong-ki
Mr. XXX-Kisser 아부의 왕 Jeong Seung-gu
Dangerous Liaisons 위험한 관계 Hur Jin-ho
Doomsday Book 인류멸망보고서 Yim Pil-sung
Kim Jee-woon
2013 Miracle in Cell No. 7 7번방의 선물 Lee Hwan-kyung
Running Man 런닝맨 Jo Dong-oh
Bunshinsaba 2 笔仙 2 Ahn Byeong-ki
Mr. Go 미스터 고 Kim Yong-hwa Re-recording MIX / 3D Sound Mix
Boomerang Family 고령화 가족 Song Hae-sung Sound Supervisor, Re-Recording Mixer
Cold Eyes 감시자들 Cho Ui-seok, Kim Byung-seo Sound Supervisor, Re-Recording Mixer, 3D Sound Producer
Snowpiercer 설국열차 Bong Joon-ho
Flu 감기 Kim Sung-su
The Face Reader 관상 Han Jae-rim
Top Star 톱스타 Park Joong-hoon Sound Supervisor, Re-Recording Mixer
The Attorney 변호인 Yang Woo-suk
Secretly, Greatly 은밀하게 위대하게 Jang Cheol-soo 3D Sound Producer
2014 The Plan Man 플랜맨 Seong Si-heub Sound Supervisor/Re-Recording Mixer
Miss Granny 수상한 그녀 Hwang Dong-hyuk Sound Supervisor
Man on High Heels 하이힐 Jang Jin
Sea Fog 해무 Shim Sung-bo
We Are Brothers 우리는 형제입니다 Jang Jin
Bunshinsaba 3 笔仙 3 Ahn Byeong-ki
The Admiral: Roaring Currents 명량 Kim Han-min
Perfect Proposal 은밀한 유혹 Yoon Jae-gu
Tazza: The Hidden Card 타짜: 신의 손 Kang Hyeong-cheol
My Brilliant Life 두근두근 내 인생 E J-yong
Confession 좋은 친구들 Lee Do-yoon
The Royal Tailor 상의원 Lee Won-suk
2015 A Melody to Remember [ko] 오빠생각 Lee Han
Bling Lee Kyung-ho,
Lee Won-jae
Final Mixing
The Sea I Wished for 바라던 바다 Jang Jin
The Truth Beneath 비밀은 없다 Lee Kyoung-mi Sound Supervisor/Re-recording Mixer
The Priests 검은 사제들 Jang Jae-hyun
Love, Lies 해어화 Park Heung-sik Sound Supervisor/Re-Recording Mixer
The Princess and the Matchmaker 궁합 Hong Chang-pyo
The Throne 사도 Lee Joon-ik
The Accidental Detective 탐정: 더 비기닝 Kim Jung-hoon
2016 SORI: Voice from the Heart [ko] 로봇, 소리 Lee Ho-jae
Pure Love 순정 Lee Eun-hee
Train to Busan 부산행 Yeon Sang-ho
The Age of Shadows 밀정 Kim Jee-woon Sound Supervisor/Re-Recording Mixer
Scandal Maker 과속스캔들 Kang Hyeong-cheol
Tunnel 터널 Kim Seong-hun
Pandora 판도라 Park Jung-woo Sound Supervisor/Re-Recording Mixer
Split 스플릿 Choi Kook-hee Sound Supervisor/Re-Recording Mixer
Master 마스터 Joh Ui-seok
2017 The Mayor 특별시민 Park In-je
Reset 逆时营救 Chang
Okja 옥자 Bong Joon-ho Supervising Sound Editors/Re-Recording Mixer
A Taxi Driver 택시운전사 Jang Hoon
The Fortress 남한산성 Hwang Dong-hyuk
A Special Lady 미옥 Lee An-gyu
Along With the Gods: The Two Worlds 신과함께: 죄와 벌 Kim Yong-hwa Supervising Sound Editors/Re-Recording Mixer
Man of Will 대장 김창수 Lee Won-tae
Anarchist from Colony 박열 Lee Joon-ik
Conspiracy: Age of Rebellion 역모 - 반란의 시대 Kim Hong-sun Sound
The Swindler Jang Chang-won
2018 Psychokinesis 염력 Yeon Sang-ho
Heung-boo: The Revolutionist 흥부: 글로 세상을 바꾼 자 Cho Geun-hyun
Golden Slumber 골든슬럼버 Noh Dong-seok
Default 국가부도의 날 Choi Kook-hee
Champion 챔피언 Kim Yong-wan
Sunset in My Hometown 변산 Lee Joon-ik
On Your Wedding Day 너의 결혼식 Lee Seok-geun
Fengshui 명당 (明堂) Park Hee-gon
Along with the Gods: The Last 49 Days 신과함께: 인과 연 Kim Yong-hwa
Love+Sling 레슬러 Kim Dae-woong
Illang: The Wolf Brigade 인랑 Kim Jee-woon
Take Point PMC: 더 벙커 Kim Byung-woo Mixing, sound
Swing Kids 스윙키즈 Kang Hyeong-cheol
2019 Svaha: The Sixth Finger 사바하 Jang Jae-hyun
Parasite 기생충 Bong Joon-ho
The King's Letters 나랏말싸미 Jo Chul-hyun
Crazy Romance [ko] 가장 보통의 연애 Kim Han-gyeol
Kim Ji-young: Born 1982 82년생 김지영 Kim Do-young Sound
Ashfall 백두산 Lee Hae-jun
2020 The Man Standing Next 남산의 부장들 Woo Min-ho
#Alive #살아있다 Cho Il-hyung
Deliver Us from Evil 다만 악에서 구하소서 Hong Won-chan Sound Supervisor/Re-recording Mixer
Samjin Company English Class 삼진그룹 영어토익반 Lee Jong-pil
Best Friend 이웃사촌 Lee Hwan-kyung
Kingdom: Ashin of the North 킹덤: 아신전 Kim Seong-hun Executive Supervisor
2021 Space Sweepers 승리호 Jo Sung-hee
The Box 더 박스 Yang Jung-woong Sound Supervisor
Escape from Mogadishu 모가디슈 Ryoo Seung-wan
The Cursed: Dead Man's Prey 방법: 재차의 Kim Yong-wan Re-recording Mixer
2022 Seoul Vibe 서울대작전 Moon Hyun-sung Executive Sound Supervisor
Broker 브로커 Hirokazu Kore-eda Sound Supervisor/Re-Recording Mixer
Alienoid 외계+인 Choi Dong-hoon Supervising Sound Editors/Re-Recording Mixer
Love and Leashes 모럴센스 Park Hyun-jin Executive Sound Supervisor
Carter 카터 Jung Byung-gil Executive Sound Supervisor
Life Is Beautiful 인생은 아름다워 Choi Kook-hee
2023 Count 카운트 Kwon Hyuk-jae
The Moon 더 문 Kim Yong-hwa Sound Supervisor/Re-Recording Mixer
Cobweb 거미집 Kim Jee-woon
Kill Boksoon 길복순 Byun Sung-hyun Executive Sound Supervisor
12.12: The Day 서울의 봄 Kim Sung-su Sound Supervisor/Re-Recording Mixer
2024 Alienoid: Return to the Future 외계+인 2부 Choi Dong-hoon Supervising Sound Editors/Re-Recording Mixer
Dead Man 데드맨 Ha Joon-won Sound Supervisor/Re-Recording Mixer
The Plot 설계자 Lee Yo-sup Sound Supervisor/Re-Recording Mixer
Following 그녀가 죽었다 Kim Se-hwi Mixing, Sound
Project Silence 프로젝트 사일런스 Kim Tae-gon Sound

Web series

[edit]
Web series credit[49][50][51][52]
Year Title Role Director Ref.
English Korean
2020 Kingdom 킹덤 Sound supervisor Park In-je [62]
2021–2024 Squid Game 오징어 게임 Hwang Dong-hyuk [1]
2021 Dr. Brain Dr. 브레인 Kim Jee-woon [52]
2021 The Silent Sea 고요의 바다 Choi Hang-yong [63]
2022 A Model Family 모범가족 Kim Jin-woo [64][better source needed]
2022 Juvenile Justice 소년 심판 Hong Jong-chan [65][better source needed]
2023 Black Knight 택배기사 Cho Ui-seok [66]
Mask Girl 마스크걸 Kim Yong-hoon [52]
Moving 무빙 Park In-je [67]
2024 The Bequeathed 선산 Yeon Sang-ho [52]
Hierarchy 하이라키 Bae Hyeon-jin

Accolades

[edit]

Awards and nominations

[edit]
Awards and nominations[68][better source needed]
Award Year Category Recipient(s) Result Ref.
12th Asian Film Awards 2017 Best Sound The Fortress
Choi Tae-young
Nominated [69][70]
51st Asia-Pacific Film Festival 2006 Best Sound Effects The Host
Choi Tae-young
Won [71]
58th Asia-Pacific Film Festival 2013 Best Sound Effects Snowpiercer
Choi Tae-young
Won [72]
60th Baeksang Arts Awards 2024 Technical Award Exhuma
Kim Byung-in (Sound)
Won [73][74]
11th Chunsa Film Art Awards 2003 Technical Award Once Upon a Time in a Battlefield
Choi Tae-young
Won [68]
16th Chunsa Film Art Awards 2008 Technical Award The Chaser
Choi Tae-young
Won [68]
20th Chunsa Film Art Awards 2015 Technical Award The Admiral: Roaring Currents
Choi Tae-young
Won [68]
40th Grand Bell Awards 2003 Best Sound Effects Save the Green Planet!
Livetones
Choi Tae-young
Won [68]
41st Grand Bell Awards 2004 Best Sound Effects A Tale of Two Sisters
Choi Tae-Young
Kang Kyung-han
Nominated [75]
42nd Grand Bell Awards 2005 Best Sound Effects A Bittersweet Life
Kim Kyung-taek,
Choi Tae-young
Nominated [76]
Antarctic Journal
Kim Young-mun
Choi Tae-young
Nominated
43rd Grand Bell Awards 2006 Best Sound Effects Typhoon
Jung Kwang-ho,
Choi Tae-young
Nominated [77]
King and the Clown
Kim Tan-young
Choi Tae-young
Nominated
44th Grand Bell Awards 2007 Best Sound Effects Lump Sugar
Jung Kwang-ho,
Choi Tae-young
Won [78]
The Restless
Kim Kyung-taek
Choi Tae-young
Nominated
For Horowitz
Ryu Hyeon
Choi Tae-young
Nominated
The Host
Lee Seung-chul
Choi Tae-young
Nominated
48th Grand Bell Awards 2011 Best Sound Effects War of the Arrows
Choi Tae-young
Won [79]
The Yellow Sea
Choi Tae-young
Nominated
54th Grand Bell Awards 2017 Best Technical Award Pandora Nominated [80]
1st Korean Film Awards 2002 Sound Award Volcano High
Live Tone
Won [81]
2nd Korean Film Awards 2003 Acoustic Award A Tale of Two Sisters
Choi Tae-young,
Kang Kyung-han
Won [82]
Sound Award Memories of Murder Nominated [83]
Tube Nominated
4th Korean Film Awards 2005 Sound Award The Wig Nominated [84]
Antarctic Journal Nominated
5th Korean Film Awards 2006 Best Sound The Host
Choi Tae-young
Won [85]
7th Korean Film Awards 2008 Best Sound The Good, the Bad, the Weird
Kim Kyung-taek,
Choi Tae-young
Won [86][87]
8th Korean Film Awards 2010 Sound Award A Bittersweet Life
Kim Kyung-taek,
Choi Tae-young
Won [88]
Technology Award Nominated [89]
2nd Korean Film Producers Association Awards 2015 Sound Award The Throne
Choi Tae-young
Won [68]
4th Korean Film Producers Association Awards 2017 Sound Award The Fortress
Choi Tae-young
Won [90]
Motion Picture Sound Editors Golden Reel Awards 2020 Feature - Foreign Language Parasite
  • Choi Tae-young (Supervising Sound Editor)
  • Kang Hye-young (Sound Designer, Sound Effects Editor)
  • Kim Byung-in (Supervising ADR Editor)
  • Park Sung-gyun (Foley Artist)
  • Lee Chung-gyu (Foley Artist)
  • Shin I-na (Foley Editor)
Won [91][92]

References

[edit]
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