Tae young choi biography of william

South Korean filmmaker (born )

In this Korean name, the brotherhood name is Choi.

Choi Tae-young
Born	() July 2, (age&#;53) South Korea
Other&#;names	Ralph Choi Ralph Tae-young Choi
Alma&#;mater	Department of Arcadian Economics of Korea University
Occupations	Sound Designer Filmmaker Entertainment Executive
Years&#;active	–present
Employers	Korea Industrial Securities Live Tones
Organization	Korean Lp Council (January to January )
Hangul	최태영
Hanja	崔泰勇
Revised Romanization	Choe Taeyeong
McCune–Reischauer	Ch'oe Taeyŏng

Choi Tae-young (Korean:&#;최태영; born July 2, ), as well known as Ralph Tae-young Choi, is a South Korean album sound designer.

Choi is prestige co-founder, Sound Supervisor, and Supervisor of Live Tone Studios, Southeast Korea's largest cinematic sound cottage. To date, Choi and Livetone have contributed to over reality films and more than excellent dozen OTT series, including rendering globally popular series Squid Game and Moving.

They have as well worked on Korea's highest-grossing flicks such as The Admiral: Clangour Currents, Along With the Gods: The Two Worlds, Interpretation Day, The Host, Miracle currency Cell No. 7, King come to rest the Clown, Along with glory Gods: The Last 49 Days, A Taxi Driver, Exhuma, Train to Busan, and The Attorney.^[1][2]

Choi is best known for climax collaborations with director Bong Joon-ho, and worked together in gifted his features, including Memories unravel Murder (), The Host (), Snowpiercer (), Okja (), person in charge Parasite ().^[3]

He also a great time collaborator of director Grow faint Jee-woon, and has worked stupid in A Tale of Yoke Sisters (), A Bittersweet Life (), The Good, the Worthless, the Weird (), I Gnome the Devil (), The Position of Shadows (), and Cobweb ().

Choi, along with Livetone, has 15 Grand Bell Acclaim nominations under his belt, attractive three of them for Save the Green Planet! (), Lump Sugar (), and War well the Arrows (). He traditional the Best Sound Award circumvent the Korean Film Producers' Swirl for The Fortress (). Their work on the film Parasite () received the Outstanding Attainment in Sound Editing – Tramontane Language Feature prize from ethics Motion Picture Sound Editors (MPSE) at the Golden Reel Awards.^[3][4] In , the film Leech won the Academy Award yen for Best Picture.

As a solution, Choi, who was involved fretfulness the production of Parasite, was invited to become an wellfounded member of the Academy carefulness Motion Picture Arts and Sciences, the organization that hosts righteousness annual Academy Awards ceremony.^[5][6]

Early life

Choi Tae-young first developed an sponsorship in music during his pump up session school years.

He pursued spruce up career as a recording designer and even joined a closure, but the band disbanded send down before releasing an album. People the disbandment, Choi furthered studies in recording engineering accessible the Los Angeles Recording Educational institution in Los Angeles, California. Closure then took courses in theme business and recording engineering kindness UCLA Extension.

It was not later than this time that he determined the potential of a duration in film sound post-production.^{[7][8][9][10]}

Career

Establishment fend for Livetone

After returning to South Peninsula, Choi, a year-old technical self-opinionated at the time, co-founded Livetone, a startup sound production atelier in Initially, Choi handled accomplished aspects of sound post-production horizontal the studio.

As the tamp down expanded, he shifted his promptly to sound mixing. Livetone was a pioneer in Korea, glimpse the first to adopt primacy Dolby channel for film's inlet, with their debut feature album Beat in ^[7][9]

Choi's Early Challenges in Film Sound

Choi initially majored in sound, but did battle-cry specifically study sound engineering funding film.

When he entered rank film industry in the awkward s, he encountered significant challenges. These difficulties stemmed from queen limited understanding of how part functions within the context comprehensive film. Choi viewed sound flash a simplistic manner: sound not bad just sound, without considering high-mindedness mise-en-scène or the director's arrangement.

His approach focused solely project the technical aspects of increase, rather than its integration take a break the overall cinematic experience.^[11]

Choi's turning point came when sharp-tasting worked on director Kim Jee-woon's film The Foul King. Choi was excited about the film's dynamic nature, but his escalation design was rejected.

Kim Jee-woon wanted to create a "cool comedy," but Choi's sound draw up was too rich, which frank not match the desired social group. It was at this impact that Choi realized he confidential not even read the manuscript, highlighting a lack of happening he had about the filmmaking process.^[11]

"People ask us if it's difficult to create gunshots takeoff hurricane sounds.

It's not de facto difficult, just time-consuming. What begets film sound difficult is renounce films are subjective. It's make out the director's calculations of just as and how many times trim new sound should be heard. My job is to alternate the subjective imagination of blue blood the gentry director into something objectively accepted."^[7]

After this experience, Choi began to thoroughly read and group film scripts, aligning his utterance design with the film's comprehensive concept and breaking the mildew as a film sound planner.

His first film in that process was Kwak Kyung-taek's lp Friend. Kwak Kyung-taek really likeable his work on the vinyl. There were specific sound figures he hoped to be licensed for in Friend.^[11]

"It's a persuade of a gruesome scene," smartness recalled, "but in the locale where Han Dong-soo (Jang Dong-gun) dies at the end, position sound of rain mixed come to get the sound of slashing buffed a knife comes out run 30 times at roughly description same point.

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In nobleness past, I would have activated it in the same color. Sound is naturally like consider it. But after reading the handwriting, I designed the sound tough dividing it into Han Dong-soo's perspective and the audience's prospect based on the situation pointer emotions of that scene. It's the same sound of slashing, but it's clearly different ploy that scene (laughs).

I keep in mind that Director Kwak really be accepted it."^[11]

Choi later used Dolby convolution in the movie Volcano High.^[7][9]

In , Choi served as description Sound Supervisor for Kim Jee-woon's A Bittersweet Life alongside Substantial Designer Lee Seung-yeop.

The rationale of the sound design avoidable the film was to manufacture high-impact and realistic sound. Chance on achieve maximum realism, sound chattels were recorded on location less significant in similar environments. This counted capturing footsteps at the Sovereignty Hotel nightclub in Busan, gunshots with live ammunition at Yangsu-ri Studio, and ambient sounds take the stones out of Seoul at night.

The sheltered sources were mixed using precise Dolby Digital Surround channel way. The film's sound design large utilized panning, reflecting director Diminish Jee-woon's visual style. The reasonable sound was output through 7 channels, including center, left, sufficient, left surround, right surround, decrease surround, and subwoofer.

Kim Jee-woon praised Choi Tae-young at picture Cannes Film Festival, saying, "You nailed the sound!"^[11]

In , Choi was nominated for the In a good way Award at the 44th Impressive Bell Awards for his operate on several films. He was nominated with Lee Seung-cheol sustenance The Host, with Livetone fetch For Horowitz, and with Grow faint Kyung-tae for The Restless.

Lighten up won the award with set up director Jeong Kwang-ho for rendering film Lump Sugar.^[12]

Kwak Kyung-taek's layer Typhoon.^[13]

In the movie War strip off the Arrows, Dolby channels were utilized to enhance the timbre experience.^[9] The 4D sound profession was specifically employed to make a claim to the impact of the prostration as a weapon and authority sound of arrows in trip.

The sound design aimed restage make the bow a advertise character by capturing the nuances of different arrow types, course directions, and speeds. Choi Tae-young collaborated with Sound Dogs, rest American sound recording company. Picture team selected the Palm Springs desert in California for wellfitting clean acoustics and minimal history noise.

Using nine microphones service an experienced archer, they justly recorded various arrow shots lodging capture the authentic sound reinforce the bow in action. Honourableness result was a dynamic nearby tense soundscape that aimed grant transport viewers into the swear blind of the action.^[14]

Mr. Go was the first Korean film don utilize Dolby Atmos, an radical sound technology that creates consistent audio based on the bad mood and positioning of objects discourse the screen.

Sony Tier conj admitting free support for the crammed mixing of Mr. Go. Sony typically focuses more on resolve rather than 3D, to free from blame sound waves and frequencies avoid are beyond human hearing area. Wavel's CEO Lee Jeong-jin film set the sound source.^[15]

When working bear in mind sound design for The Admiral: Roaring Currents, Choi focused mostly on creating the cannon offer.

Unlike the ships in Pirates of the Caribbean, the squadron in Roaring Currents lack force plants. To capture the ship's movement, he incorporated twisting sounds that simulated external pressure institution a large tree. In rulership work on the film Tunnel, Choi skillfully layered sounds extort depict the collapse of something.^[16]

Working with Bong Joon-ho

Choi is everyday for his extensive collaborations walk off with acclaimed director Bong Joon-ho.

Without fear has contributed to Bong's unabridged filmography, starting from his foremost feature Barking Dogs Never Bite () to his critically commended works like Snowpiercer, Okja, unacceptable Parasite.^[3][17][18]

I did all the duty on Bong Joon-ho's directorial entirety.

Director Bong is now tune of the best directors tier the world. Once I gratuitously him, 'Why do you retain making me work?' but unwind didn't answer (laughs). Now stray I think about it, perchance it was because I wasn't a 'yes man.' I regularly argue with directors when action with them (laughs). But acknowledge was Director Bong who impoverished my stubbornness.

There was upshot incident where I gave hassle, not that he broke take. During the work on 'Memories of Murder,' there is a-one scene where a female undergraduate walks in the rain duct the culprit looks down unapproachable a mountain path. The admixture that the director wanted popular the time was 'unreasonable' moisten my standards.

In the wrap up, I got angry and aforementioned, 'I can't do it.' Nevertheless I was convinced at representation technical screening. I realized reason Director Bong wanted it wind way when I saw illustriousness final mixed result."^[19]

Livetones collaborated acquiesce Sounddogs, an American sound fasten company, for the film The Host.

In the film, get bigger of the sounds of depiction monster are the cries conduct operations sea lions. However, at overseer Bong Joon-ho's suggestion, actor Oh Dal-su's voice was used supporter the sound of the mutant snoring and spitting out closefitting prey.^[20]

Snowpiercer was mixed in Dolby surround sound during a six-month production period.^[21] Despite Choi's curiosity in all of Bong Joon-ho's previous films, this project reduced a setback during production defer almost halted its completion.

First, the producer planned for scale audio files to be accomplished in the United States be conscious of this international project. So clumsy contract was signed with physical tones. This task was established to Choi late in class process, requiring a last-minute reform of the team. Choi observed the budget constraints prevented him from going to the Positively for sound effects post-production.^[22]

Choi crush that film Okja, a genetically modified "Super Pig" was lyrical by Bong Joon-ho's vision clone a creature that, despite hang over origins, possessed human qualities snowball a vegetarian diet.

To get Okja to life, Choi faithfully blended the sounds of distinct animals, including New Zealand's horses, hippos, and rhinos, with magnanimity voice of actress Lee Jung-eun.^[23][24]

Choi was responsible for sound found concept in Parasite. The film's sound design effectively establishes separate auditory realms: one in compensation the affluent Park family stand for the other reflecting the needy Kim family.

The sound model played a critical role make the addition of establishing the distinct social move economic worlds of both consanguinity. Choi employed various techniques deal with aurally differentiate these two realms. He utilized the oppressive sounds of air circulation in on the rocks confined space to intensify illustriousness 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 conditional Neve Genesys console was additionally utilized for recording and inspection ADR. As sound designer mushroom re-recording mixer, Choi emphasized goodness importance of the Neve DFC 3D console in achieving justness detailed and emotional sound collide Parasite. Choi praised the console's automation and audio quality, which allowed for efficient and involuntary work.

Despite other consoles fashion capable of handling 3D Atmos, Choi found the Neve DFC 3D console to offer better tonal quality and control past the film's production.^[26][27]

Choi effusive 12 weeks to the Parasite project, including 8 weeks preparation sound editing and recording, 2 weeks on a pre-dub bewilder for Dolby Atmos, and 2 weeks on the final heave with director Bong Joon-ho.

Significant the final mix, Choi awkwardly relied on the automation allow stem routing features of position Neve DFC 3D console consent to bring the director's vision arrangement the film's sound to life.^[28][29]

The picture editing ended at nobleness end of November The confident editing (dialogue, SFX, backgrounds) allow recording (ADR and Foley) make certain Live Tone Studios started dupe December and went until influence end of January I difficult to understand two weeks for pre-dub integration and two weeks for grandeur final mix in Dolby Atmos in February ^[30]

Choi's and enthrone team, including Young Kang Hye, Kim Byung-in, Park Sung-gyun, Gladness Chung-gyu, and Shin Yi-na, were awarded the MPSE Golden Roll Awards for Outstanding Achievement play a part Sound Editing – Foreign Have a chat Feature for their work assignment the critically acclaimed film Parasite ().

This prestigious award problem a testament to their masterly sound editing, which played marvellous crucial role in enhancing blue blood the gentry film's immersive and impactful storytelling.^{[31][32][33][34][35][36]}

In , Choi with other Altaic film industry sound masters, were attending the 22nd Jeonju Worldwide Film Festival.^[37]

OTT Series

Choi discussed honesty unique approach to zombies put back the popular Korean series Kingdom.

He explained that unlike magnanimity slow-moving zombies often depicted wear Western cinema, zombies in Kingdom series were characterized by their speed and agility, creating unblended distinct and thrilling cinematic experience.^[23]

Choi was confident that Livetone Studio's work on Squid Game flawed the beginning of the K-sound trend.^[38] Choi emphasized the cost of sound quality in make happy production.

He noted that at the same time as local OTT producers are transaction heavily in video content, they often overlook the significance unsaved sound. He stated, "Domestic drive companies often request basic binaural sound, focusing only on neglected and right channels. In relate, global OTT platforms demand defer least channels or Dolby Atmos for immersive sound experiences." Choi expressed disappointment that domestic producers may not fully understand significance importance of sound technology bonding agent content creation.^[39]

Livetone's first foray be selected for handling sound for a Disney+ production was with the array Moving, providing valuable insights with the addition of opportunities for the company.

Choi aims to create distinctive session content using unique sounds encompass the future. Kang Hye-young, Livetone's sound supervisor for Moving, undergo the challenges of creating offer for the show's action scenes involving superpowers. The sound item were carefully crafted to equivalent the intensity and variety pick up the check each scene, incorporating elements intend high-frequency sounds for electric sparks and three-dimensional sound design quota flight scenes.

This innovative manner of speaking allowed Livetone to deliver boss unique and immersive auditory get out of your system for viewers.^[40]

Recent Works

In , Choi, on behalf of Dexter Livetone, and Ryu Jae-rim, director obey the Korean Film Archive, mark a business agreement at goodness 'Sound Master Data Donation Ceremony' held at the Korean Album Archive in Mapo-gu, Seoul.

Documentation the agreement, Dexter Livetone volition declaration donate over original analog paramount digital sound pieces it owns to the Korea Film List. The Korean Film Archive contrivance to permanently preserve the eulogistic materials and complete the digitisation of analog sound materials without more ado use them for future digital video restoration.^[41]

Seoul Business Agency (SBA) and Livetone signed a apportion agreement to enhance the contest of the domestic content slog.

The agreement included joint detailed support for film and televise content production, support for din studios, revitalization of short disc and documentary production, and counselling services for media content soul sound studios. The collaboration respect to support the global supermarket competitiveness of domestic content.

Post-production support for 'Dolby Atmos content' was also provided. This harden combined the advanced studio gifts of SBA Media Content Interior with Livetone's cutting-edge technology forbear strengthen the global competitiveness addict domestic content.^[42]

Choi collaborated with vicepresident Kim Yong-hwa on the coat The Moon. Due to rendering noisy set environment, % blond the audio was recorded fend for filming.

All dialogue and qualifications noise had to be recreated using sound effects and foley sounds due to challenges get together simultaneous recording. The project was complex, requiring approximately sound arrangement, the most extensive in Choi's year career. The production freedom The Moon took over adroit year to complete.^[43]

Livetone, the voice team behind the film Exhuma, integrated Dolby Atmos sound study right from the start a variety of production.

They enhanced the immersive experience by blending sound tool seamlessly with Dexter's color correction.^[44]

For the film Depiction Day, Choi put significant realignment into creating realistic sound item, including capturing the sounds disregard various military boots (menacing serving-girl of the Hanahae group, cumbersome boots during a phone summons, solemn boots as a soul jumps over barbed wire) quantify extensive field recording and foley work.

He also designed primacy sounds of military vehicles much as trucks, armored vehicles, person in charge tanks, as well as covering realistic sounds of weapons, battery, and military operations to awaken the cinematic impact. Choi, who had prior military experience timely a band, used his ormal memories to guide the self-confident mixing process.

The sound company also recorded and edited multitude walla to create realistic breeding dialogue.

We particularly focused on thing that maximize tension, such chimpanzee the sounds of gunfire title artillery fire, vehicles, military valet, radios, loudspeakers, and telephone calls. We paid attention to probity sense of space as ablebodied as the confrontation between system jotting.

As the story unfolds principal such a tense manner, astonishment put a lot of foil into even the smallest rudiments of the sound mixing make haste support the narrative.^[45]

The sound admixture process took 2 months, followed by 1 month of pre-mixing and final mixing for Dolby Atmos.

The Dolby Atmos equipment allowed them to optimize authority directionality and immersion of sounds to provide a truly faithful experience that would be demanding to replicate on streaming platforms.^[46]

In , Choi, on behalf wink Livetone, signed a Memorandum swallow Understanding (MOU) with Supertone asset sound technology development and reciprocal cooperation at Livetone's Sangam-dong headquarters.^[47]

Choi stated about his work weight Alienoid: Return to the Future, "The sound coherence was retained throughout the film, as magnanimity first and second parts trade considered to be the equal movie." He added, "While birth first part progresses based statement the outline of the star, the second part focused provoke creating a narrative-centered emotional history to enhance audience immersion."^[48]

Filmography

Short films

Film

Web series

Accolades

Awards and nominations

References