| Choi Tae-young | |||||||||||
| Native Name Lang: | ko | ||||||||||
| Other Names: | Ralph Choi Ralph Tae-young Choi | ||||||||||
| Birth Date: | 2 July 1971 | ||||||||||
| Birth Place: | South Korea | ||||||||||
| Alma Mater: | Department of Agricultural Economics of Korea University | ||||||||||
| Years Active: | 1997–present | ||||||||||
| Organization: | Korean Film Council (January 2020 to January 2022) | ||||||||||
| Module: |
| ||||||||||
Choi Tae-young (; 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 , Along With the Gods: The Two Worlds, , The Host, Miracle in Cell No. 7, King and the Clown, , 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.[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]
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]
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.
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.[10]
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.
"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."
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.
"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."Choi later used Dolby 6.1 channels in the 2001 movie Volcano High.
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!"
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.[11]
Kwak Kyung-taek's film Typhoon.[12]
In the 2011 movie War of the Arrows, Dolby 7.1 channels were utilized to enhance the sound experience. 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.[13]
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.[14]
When working on sound design for , 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.[15]
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.[16] [17]
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."[18]
Livetones collaborated with Sound Dogs, 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.[19]
Snowpiercer was mixed in Dolby 7.1 surround sound during a six-month production period.[20] 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.[21]
Choi revealed that the 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 pigs, hippos, and rhinos, with the voice of actress Lee Jung-eun.[22] [23]
Choi, 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 famil.
The sound design in the 2019 film Parasite, directed by Bong Joon-ho, played a critical role in establishing the distinct social and economic worlds of the affluent Park family and the impoverished Kim 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.[24]
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.[25] [26]
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.[27] [28]
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.[29]Choi's and his team, including Young Kang Hye, Byung-in Kim, Sung-gyun Park, Chung-gyu Lee, and Shin i Na, were awarded the MPSE Golden Reel Award 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.[30] [31] [32] [33] [34] [35]
In 2021, Choi with other Korean film industry sound masters, were attending the 22nd Jeonju International Film Festival.[36]
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, Kingdom's zombies were characterized by their speed and agility, creating a distinct and thrilling cinematic experience.
Choi was confident that Livetone Studio's work on Squid Game marked the beginning of the K-sound trend.[37] 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." CEO Choi expressed disappointment that domestic producers may not fully understand the importance of sound technology in content creation.[38]
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.[39]
In 2018, Choi Tae-young, on behalf of Dexter Livetone, and Ryu Jae-rim, director of the Korea Film Archive, signed a business agreement at the 'Sound Master Data Donation Ceremony' held at the Korea 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 Korea 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.[40]
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.[41]
Choi Tae-young 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 Tae-young's 20-year career. The production of The Moon took over a year to complete.[42]
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.[43]
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.[44]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.[45]
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.[46]
Choi stated about his work in, "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."[47]
| Title | Director | Notes | Ref. | |||
|---|---|---|---|---|---|---|
| English | Original | |||||
| 2002 | Three – "Memories" |
| Kim Jee-woon | Sound Dept.-Sound Mixer/Sound Designers | [48] | |
| 2009 | Five Senses of Eros — Segment His Concern | 오감도 | Sound Supervisor/Re-recording mixer | [49] | ||
| 2013 | One Perfect Day | 사랑의 가위바위보 | Kim Jee-woon | Re-recording Mixer/3d Sound Supervisor | [50] [51] [52] | |
| The X | 더 엑스 | Kim Jee-woon | Sound, Re-recording Mixer/3D Sound Supervisor | [53] | ||
| 2020 | Untact | 언택트 | Kim Jee-woon | Executive Supervisor | [54] [55] |
| Title | Director | Role | ||
|---|---|---|---|---|
| English | Korean | |||
| 1997 | Beat | 비트 | Kim Sung-su | Sound department |
| 고수 | Kim Chun-sik | Sound Recording | ||
| 모텔 선인장 | Park Ki-yong | Sound Recording | ||
| 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 | |
| 찜 | 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 | Korean: [[:ko:킬러들의 수다|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 | 폰 | 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 | |
| 묻지마 패밀리 |
| 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 | 령 | 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 | Korean: [[:ko:거룩한 계보|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 | ||
| 어머니는 죽지 않는다 | Hah Myung-joong | |||
| 날아라 허동구 | Park Gyu-tae | |||
| Shadows in the Palace | 궁녀 | Kim Mi-jung | ||
| 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 | Korean: [[:ko:강철중|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 | Korean: [[:ko:굿모닝 프레지던트|굿모닝 프레지던트]] | Jang Jin | ||
| 킹콩을 들다 | Park Gun-yong | Sound Supervisor | ||
| Chaw | 차우 | Shin Jung-won | Audio Post Production | |
| Handphone | 핸드폰 | Kim Han-min | ||
| 2010 | 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 | |
| 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 | ||
| 명량 | Kim Han-min | |||
| Perfect Proposal | 은밀한 유혹 | Yoon Jae-gu | ||
| 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 | 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 | 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 | ||
| 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 | 꾼 | Jang Chang-won | ||
| 2018 | Psychokinesis | 염력 | Yeon Sang-ho | |
| 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 | ||
| 신과함께: 인과 연 | Kim Yong-hwa | |||
| Love+Sling | 레슬러 | Kim Dae-woong | ||
| 인랑 | Kim Jee-woon | |||
| Take Point | PMC: 더 벙커 | Kim Byung-woo | Mixing, sound | |
| Swing Kids | 스윙키즈 | Kang Hyeong-cheol | ||
| 2019 | 사바하 | Jang Jae-hyun | ||
| Parasite | 기생충 | Bong Joon-ho | ||
| The King's Letters | 나랏말싸미 | Jo Chul-hyun | ||
| 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 | |
|
| 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 | ||
| 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 | |
| 서울의 봄 | Kim Sung-su | Sound Supervisor/Re-Recording Mixer | ||
| 2024 | 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 | |
| Title | Role | Director | |||
|---|---|---|---|---|---|
| English | Korean | ||||
| 2020 | Kingdom | 킹덤 | Sound supervisor | Park In-je | [56] |
| 2021–2024 | Squid Game | 오징어 게임 | Hwang Dong-hyuk | ||
| 2021 | Dr. Brain | Dr. 브레인 | Kim Jee-woon | ||
| 2021 | The Silent Sea | 고요의 바다 | Choi Hang-yong | [57] | |
| 2022 | A Model Family | 모범가족 | Kim Jin-woo | [58] | |
| 2022 | Juvenile Justice | 소년 심판 | Hong Jong-chan | [59] | |
| 2023 | Black Knight | 택배기사 | Cho Ui-seok | [60] | |
| Mask Girl | 마스크걸 | Kim Yong-hoon | |||
| Moving | 무빙 | Park In-je | [61] | ||
| 2024 | The Bequeathed | 선산 | Yeon Sang-ho | ||
| Hierarchy | 하이라키 | Bae Hyeon-jin |
| Year | Category | Recipient(s) | Result | |||
|---|---|---|---|---|---|---|
| 12th Asian Film Awards | 2017 | Best Sound | The Fortress Choi Tae-young | [62] [63] | ||
| 51st Asia-Pacific Film Festival | 2006 | Best Sound Effects | The Host Choi Tae-young | [64] | ||
| 58th Asia-Pacific Film Festival | 2013 | Best Sound Effects | Snowpiercer Choi Tae-young | [65] | ||
| 60th Baeksang Arts Awards | 2024 | Technical Award | Exhuma Kim Byung-in (Sound) | [66] [67] | ||
| 11th Chunsa Film Art Awards | 2003 | Technical Award | Once Upon a Time in a Battlefield Choi Tae-young | |||
| 16th Chunsa Film Art Awards | 2008 | Technical Award | The Chaser Choi Tae-young | |||
| 20th Chunsa Film Art Awards | 2015 | Technical Award | Choi Tae-young | |||
| 40th Grand Bell Awards | 2003 | Best Sound Effects | Save the Green Planet! Livetones Choi Tae-young | |||
| 41st Grand Bell Awards | 2004 | Best Sound Effects | A Tale of Two Sisters Choi Tae-Young Kang Kyung-han | [68] | ||
| 42nd Grand Bell Awards | 2005 | Best Sound Effects | A Bittersweet Life Kim Kyung-taek, Choi Tae-young | [69] | ||
| Antarctic Journal Kim Young-mun Choi Tae-young | ||||||
| 43rd Grand Bell Awards | 2006 | Best Sound Effects | Typhoon Jung Kwang-ho, Choi Tae-young | [70] | ||
| King and the Clown Kim Tan-young Choi Tae-young | ||||||
| 44th Grand Bell Awards | 2007 | Best Sound Effects | Lump Sugar Jung Kwang-ho, Choi Tae-young | [71] | ||
| The Restless Kim Kyung-taek Choi Tae-young | ||||||
| For Horowitz Ryu Hyeon Choi Tae-young | ||||||
| The Host Lee Seung-chul Choi Tae-young | ||||||
| 48th Grand Bell Awards | 2011 | Best Sound Effects | War of the Arrows Choi Tae-young | [72] | ||
| The Yellow Sea Choi Tae-young | ||||||
| 54th Grand Bell Awards | 2017 | Best Technical Award | Pandora | [73] | ||
| 1st Korean Film Awards | 2002 | Sound Award | Volcano High Live Tone | [74] | ||
| 2nd Korean Film Awards | 2003 | Acoustic Award | A Tale of Two Sisters Choi Tae-young, Kang Kyung-han | [75] | ||
| Sound Award | Memories of Murder | [76] | ||||
| Tube | ||||||
| 4th Korean Film Awards | 2005 | Sound Award | The Wig | [77] | ||
| Antarctic Journal | ||||||
| 5th Korean Film Awards | 2006 | Best Sound | The Host Choi Tae-young | [78] | ||
| 7th Korean Film Awards | 2008 | Best Sound | The Good, the Bad, the Weird Kim Kyung-taek, Choi Tae-young | [79] [80] | ||
| 8th Korean Film Awards | 2010 | Sound Award | A Bittersweet Life Kim Kyung-taek, Choi Tae-young | [81] | ||
| Technology Award | [82] | |||||
| 2nd Korean Film Producers Association Awards | 2015 | Sound Award | The Throne Choi Tae-young | |||
| 4th Korean Film Producers Association Awards | 2017 | Sound Award | The Fortress Choi Tae-young | [83] | ||
| Motion Picture Sound Editors Golden Reel Awards | 2020 | Feature - Foreign Language | Parasite
| [84] [85] |