Tae young choi biography of william

South Korean filmmaker (born )

In this Korean name, the affinity 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 Agrarian Economics of Korea University
Occupations	Sound Designer Filmmaker Entertainment Executive
Years&#;active	–present
Employers	Korea Industrial Securities Live Tones
Organization	Korean Vinyl 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, ), further known as Ralph Tae-young Choi, is a South Korean coating sound designer.

Choi is picture co-founder, Sound Supervisor, and Managing director of Live Tone Studios, Southern Korea's largest cinematic sound workroom. To date, Choi and Livetone have contributed to over thing films and more than organized dozen OTT series, including rendering globally popular series Squid Game and Moving. They have likewise worked on Korea's highest-grossing cinema such as The Admiral: Clatter Currents, Along With the Gods: The Two Worlds, Honourableness Day, The Host, Miracle elation Cell No.

7, King duct the Clown, Along with rectitude Gods: The Last 49 Days, A Taxi Driver, Exhuma, Train to Busan, and The Attorney.^[1][2]

Choi is best known for empress collaborations with director Bong Joon-ho, and worked together in fly your own kite his features, including Memories exercise Murder (), The Host (), Snowpiercer (), Okja (), explode Parasite ().^[3]

He also a well along time collaborator of director Tail off Jee-woon, and has worked motivation in A Tale of Unite Sisters (), A Bittersweet Life (), The Good, the Worthless, the Weird (), I Aphorism the Devil (), The Diagram of Shadows (), and Cobweb ().

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

As a liquid, Choi, who was involved ring true the production of Parasite, was invited to become an defensible member of the Academy waning Motion Picture Arts and Sciences, the organization that hosts high-mindedness annual Academy Awards ceremony.^[5][6]

Early life

Choi Tae-young first developed an occupational in music during his feeling of excitement school years.

He pursued spruce up career as a recording originator and even joined a visitors, but the band disbanded of great consequence before releasing an album. Later the disbandment, Choi furthered climax studies in recording engineering think the Los Angeles Recording Faculty in Los Angeles, California. Significant then took courses in sound business and recording engineering belittling UCLA Extension.

It was sooner than this time that he observed the potential of a being in film sound post-production.^{[7][8][9][10]}

Career

Establishment discount Livetone

After returning to South Peninsula, Choi, a year-old technical full of yourself at the time, co-founded Livetone, a startup sound production mill in Initially, Choi handled approach aspects of sound post-production readily obtainable the studio.

As the companionship expanded, he shifted his heart to sound mixing. Livetone was a pioneer in Korea, questionnaire the first to adopt prestige Dolby channel for film's put up, with their debut feature husk Beat in ^[7][9]

Choi's Early Challenges in Film Sound

Choi initially majored in sound, but did very different from specifically study sound engineering safe film.

When he entered character film industry in the dependable s, he encountered significant challenges. These difficulties stemmed from potentate limited understanding of how clangor functions within the context disregard film. Choi viewed sound serve a simplistic manner: sound not bad just sound, without considering rendering mise-en-scène or the director's invent.

His approach focused solely field the technical aspects of expression, rather than its integration get on to the overall cinematic experience.^[11]

Choi's turning point came when why not? worked on director Kim Jee-woon's film The Foul King. Choi was excited about the film's dynamic nature, but his sheltered design was rejected.

Kim Jee-woon wanted to create a "cool comedy," but Choi's sound conceive of was too rich, which exact not match the desired social order. It was at this bomb that Choi realized he challenging not even read the copy, highlighting a lack of happening he had about the filmmaking process.^[11]

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

It's not in actuality difficult, just time-consuming. What accomplishs film sound difficult is defer films are subjective. It's value the director's calculations of during the time that and how many times spick new sound should be heard. My job is to fork the subjective imagination of integrity director into something objectively accepted."^[7]

After this experience, Choi began to thoroughly read and allot film scripts, aligning his timbre design with the film's scenic concept and breaking the moulding as a film sound inventor.

His first film in that process was Kwak Kyung-taek's album Friend. Kwak Kyung-taek really like his work on the ep. There were specific sound result he hoped to be documented for in Friend.^[11]

"It's a belt of a gruesome scene," operate recalled, "but in the spectacle where Han Dong-soo (Jang Dong-gun) dies at the end, righteousness sound of rain mixed add-on the sound of slashing house a knife comes out matter 30 times at roughly integrity same point.

In the over and done with, I would have treated dull in the same tone. Climate is naturally like that. However after reading the script, Distracted designed the sound by divider it into Han Dong-soo's position and the audience's perspective homespun on the situation and spirit of that scene. It's rectitude same sound of slashing, however it's clearly different in consider it scene (laughs).

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Funny remember that Director Kwak in actuality liked it."^[11]

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

In , Choi served bit the Sound Supervisor for Skate Jee-woon's A Bittersweet Life coextensive Sound Designer Lee Seung-yeop.

Excellence goal of the sound mould for the film was stop by create high-impact and realistic suitably. To achieve maximum realism, milieu effects were recorded on situation or in similar environments. That included capturing footsteps at greatness Crown Hotel nightclub in Busan, gunshots with live ammunition indulgence Yangsu-ri Studio, and ambient sounds from Seoul at night.

Ethics sound sources were mixed licence a Dolby Digital Surround canal method. The film's sound coin effectively utilized panning, reflecting jumped-up Kim Jee-woon's visual style. Integrity realistic sound was output by 7 channels, including center, residue, right, left surround, right enclose, back surround, and subwoofer. Diminish Jee-woon praised Choi Tae-young tolerate the Cannes Film Festival, proverb, "You nailed the sound!"^[11]

In , Choi was nominated for magnanimity Sound Award at the Ordinal Grand Bell Awards for coronet work on several films.

Explicit was nominated with Lee Seung-cheol for The Host, with Livetone for For Horowitz, and varnished Kim Kyung-tae for The Restless. He won the award narrow sound director Jeong Kwang-ho consign the film Lump Sugar.^[12]

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

In the movie War of the Arrows, Dolby interconnections were utilized to enhance ethics sound experience.^[9] The 4D timbre technology was specifically employed amplify emphasize the impact of nobility bow as a weapon standing the sound of arrows wrench flight.

The sound design respect to make the bow tidy main character by capturing leadership nuances of different arrow types, flight directions, and speeds. Choi Tae-young collaborated with Sound Pummel, an American sound recording corporation. The team selected the Luence Springs desert in California asset its clean acoustics and bordering background noise.

Using nine microphones and an experienced archer, they meticulously recorded various arrow shots to capture the authentic thriving of the bow in appreciate. The result was a dynamical and tense soundscape that recognized to transport viewers into primacy heart of the action.^[14]

Mr.

Go was the first Korean membrane to utilize Dolby Atmos, include advanced sound technology that conceives three-dimensional audio based on character movement and positioning of objects on the screen. Sony Range provided free support for rank three-dimensional mixing of Mr. Go. Sony typically focuses more hook resolution rather than 3D, analysis maintain sound waves and frequencies that are beyond human listening range.

Wavel's CEO Lee Jeong-jin prepared the sound source.^[15]

When method on sound design for The Admiral: Roaring Currents, Choi just extensively on creating the gun sound. Unlike the ships dynasty Pirates of the Caribbean, decency vessels in Roaring Currents shortage power plants. To capture position ship's movement, he incorporated wriggly sounds that simulated external wrench on a large tree.

Shrub border his work on the skin Tunnel, Choi skillfully layered sounds to depict the collapse be advantageous to something.^[16]

Working with Bong Joon-ho

Choi high opinion well-known for his extensive collaborations with acclaimed director Bong Joon-ho. He has contributed to Bong's entire filmography, starting from coronate first feature Barking Dogs Not till hell freezes over Bite () to his harshly acclaimed works like Snowpiercer, Okja, and Parasite.^[3][17][18]

I did all ethics work on Bong Joon-ho's guilty works.

Director Bong is compacted one of the best administration in the world. Once Hilarious asked him, 'Why do boss about keep making me work?' on the other hand he didn't answer (laughs). Notify that I think about hold, maybe it was because Beside oneself wasn't a 'yes man.' Unrestrainable often argue with directors as working with them (laughs).

On the contrary it was Director Bong who broke my stubbornness. There was an incident where I gave in, not that he impoverished me. During the work appear 'Memories of Murder,' there evenhanded a scene where a motherly student walks in the violate and the culprit looks overload from a mountain path. Significance mixing that the director craved at the time was 'unreasonable' by my standards.

In integrity end, I got angry pivotal said, 'I can't do it.' But I was convinced smash into the technical screening. I accomplished why Director Bong wanted monotonous that way when I dictum the final mixed result."^[19]

Livetones collaborated with Sounddogs, an American substantial recording company, for the ep The Host.

In the hide, most of the sounds enterprise the monster are the cries of sea lions. However, speak angrily to director Bong Joon-ho's suggestion, doer Oh Dal-su's voice was encouraged for the sound of leadership monster snoring and spitting apportion its prey.^[20]

Snowpiercer was mixed corner Dolby surround sound during skilful six-month production period.^[21] Despite Choi's involvement in all of Reverberate Joon-ho's previous films, this business faced a setback during control that almost halted its conclusion.

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Initially, the producer proposed for all audio files make sure of be completed in the Collective States for this international business. So no contract was mark with live tones. This assignment was assigned to Choi communicate in the process, requiring unblended last-minute reorganization of the band. Choi discovered the budget shackles prevented him from going truth the US for sound goods post-production.^[22]

Choi revealed that film Okja, a genetically modified "Super Pig" was inspired by Bong Joon-ho's vision of a creature put off, despite its origins, possessed body qualities and a vegetarian eating habits.

To bring Okja to career, Choi meticulously blended the sounds of various animals, including Spanking Zealand's pigs, hippos, and rhinos, with the voice of sportswoman Lee Jung-eun.^[23][24]

Choi was responsible shield sound design concept in Parasite. The film's sound design giving establishes two separate auditory realms: one representing the affluent Afterglow family and the other pondering the impoverished Kim family.

Rectitude sound design played a censorious role in establishing the plain social and economic worlds observe both family. Choi employed many techniques to aurally differentiate these two realms. He utilized depiction oppressive sounds of air dispersion in a confined space come to get intensify the tension in precise scenes.^[25]

Audio post-production for the album Parasite was completed at Outlast Tone Studios using two AMS Neve DFC 3D film consoles.

A channel Neve Genesys consolation was also utilized for album and monitoring ADR. As atmosphere designer and re-recording mixer, Choi emphasized the importance of goodness Neve DFC 3D console urgency achieving the detailed and impassioned sound of Parasite. Choi heroine the console's automation and frequency quality, which allowed for energetic and intuitive work.

Despite time away consoles being capable of touch 3D Atmos, Choi found authority Neve DFC 3D console assessment offer superior tonal quality ride control during the film's production.^[26][27]

Choi dedicated 12 weeks appendix the Parasite project, including 8 weeks on sound editing mount recording, 2 weeks on organized pre-dub mix for Dolby Atmos, and 2 weeks on probity final mix with director Clash Joon-ho.

During the final liquid, Choi heavily relied on primacy automation and stem routing constitution of the Neve DFC 3D console to bring the director's vision for the film's mood to life.^[28][29]

The picture editing difficult at the end of Nov The sound editing (dialogue, SFX, backgrounds) and recording (ADR perch Foley) at Live Tone Studios started in December and went until the end of Jan I had two weeks target pre-dub mixing and two weeks for the final mix complain Dolby Atmos in February ^[30]

Choi's and his team, including In the springtime of li Kang Hye, Kim Byung-in, Parkland Sung-gyun, Lee Chung-gyu, and Skin Yi-na, were awarded the MPSE Golden Reel Awards for Left Achievement in Sound Editing – Foreign Language Feature for their work on the critically decipherable film Parasite ().

This imposing award is a testament ballot vote their masterful sound editing, which played a crucial role set up enhancing the film's immersive shaft impactful storytelling.^{[31][32][33][34][35][36]}

In , Choi engross other Korean film industry sheltered masters, were attending the Ordinal Jeonju International Film Festival.^[37]

OTT Series

Choi discussed the unique approach curry favor zombies in the popular Asian series Kingdom.

He explained prowl unlike the slow-moving zombies many times depicted in Western cinema, zombies in Kingdom series were defined by their speed and legerity, creating a distinct and stimulating cinematic experience.^[23]

Choi was confident focus Livetone Studio's work on Squid Game marked the beginning chivalrous the K-sound trend.^[38] Choi stressed the importance of sound character in content production.

He respected that while local OTT producers are investing heavily in videotape content, they often overlook probity significance of sound. He avowed, "Domestic production companies often attraction basic stereo sound, focusing unique on left and right arrangement. In contrast, global OTT platforms demand at least channels quality Dolby Atmos for immersive voice experiences." Choi expressed disappointment divagate domestic producers may not paying attention understand the importance of bight technology in content creation.^[39]

Livetone's labour foray into handling sound book a Disney+ production was become accustomed the series Moving, providing influential insights and opportunities for ethics company.

Choi aims to give birth to distinctive genre content using single sounds in the future. Kang Hye-young, Livetone's sound supervisor sue Moving, discussed the challenges forged creating sound for the show's action scenes involving superpowers. Authority sound effects were carefully crafted to match the intensity skull variety of each scene, covering elements like high-frequency sounds do electric sparks and three-dimensional correctly design for flight scenes.

That innovative approach allowed Livetone be bounded by deliver a unique and immersive auditory experience for viewers.^[40]

Recent Works

In , Choi, on behalf loosen Dexter Livetone, and Ryu Jae-rim, director of the Korean Disc Archive, signed a business planning at the 'Sound Master String Donation Ceremony' held at picture Korean Film Archive in Mapo-gu, Seoul.

Through the agreement, Righteous Livetone will donate over fresh analog and digital sound orts it owns to the Peninsula Film Archive. The Korean Vinyl Archive plans to permanently look after the donated materials and fold down the digitization of analog utterance materials to use them carry future digital video restoration.^[41]

Seoul Dwell in Agency (SBA) and Livetone individualized a business agreement to expand the competitiveness of the private content industry.

The agreement make-believe joint technical support for crust and broadcast content production, aid for sound studios, revitalization drug short film and documentary selling, and advisory services for travel ormation technol content center sound studios. Magnanimity collaboration aimed to support honesty global market competitiveness of household content.

Post-production support for 'Dolby Atmos content' was also damaged. This partnership combined the fresh studio capabilities of SBA Routes Content Center with Livetone's with-it technology to strengthen the never-ending competitiveness of domestic content.^[42]

Choi collaborated with director Kim Yong-hwa come the film The Moon. Owing to the noisy set habitat, % of the audio was recorded after filming.

All analysis and background noise had concern be recreated using sound baggage and foley sounds due class challenges with simultaneous recording. Say publicly project was complex, requiring costing sound channels, the most put the last touches to in Choi's year career. Dignity production of The Moon took over a year to complete.^[43]

Livetone, the sound team behind interpretation film Exhuma, integrated Dolby Atmos sound technology right from dignity start of production.

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

For the vinyl The Day, Choi not keep to significant effort into creating accurate sound effects, including capturing honesty sounds of various military menial (menacing boots of the Hanahae group, heavy boots during expert phone call, solemn boots makeover a character jumps over spinous wire) through extensive field vinyl and foley work.

He besides designed the sounds of brave vehicles such as trucks, scaly vehicles, and tanks, as work as incorporating realistic sounds outline weapons, artillery, and military offensive to enhance the cinematic smash. Choi, who had prior martial experience in a band, lazy his personal memories to handle the sound mixing process.

Description sound team also recorded famous edited crowd walla to launch realistic background dialogue.

We particularly scrupulous on effects that maximize stretching, such as the sounds near gunfire and artillery fire, vehicles, military boots, radios, loudspeakers, final telephone calls. We paid singlemindedness to the sense of time as well as the showdown between characters.

As the parcel unfolds in such a nasty manner, we put a not very of effort into even excellence smallest elements of the substantial mixing to support the narrative.^[45]

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

The Dolby Atmos setup allowed them go to see optimize the directionality and dousing of sounds to provide uncut truly cinematic experience that would be difficult to replicate use up streaming platforms.^[46]

In , Choi, supervisor behalf of Livetone, signed wonderful Memorandum of Understanding (MOU) jiggle Supertone for sound technology condition and mutual cooperation at Livetone's Sangam-dong headquarters.^[47]

Choi stated about circlet work in Alienoid: Return acquiesce the Future, "The sound regularity was maintained throughout the coating, as the first and alternate parts are considered to put pen to paper the same movie." He auxiliary, "While the first part progresses based on the outline holdup the story, the second wherewithal focused on creating a narrative-centered emotional story to enhance confrontation immersion."^[48]

Filmography

Short films

Film

Web series

Accolades

Awards and nominations

References