Choi Tae-young
From Wikipedia, the free encyclopedia
Ralph Tae-young Choi
- Sound Designer
- Filmmaker
- Entertainment Executive
Choi Tae-young | |
|---|---|
최태영 | |
| Born | July 2, 1971 South Korea |
| Other names | Ralph Choi Ralph Tae-young Choi |
| Alma mater | Department of Agricultural Economics of Korea University |
| Occupations |
|
| Years active | 1997–present |
| Employers |
|
| Organization | Korean Film Council (January 2020 to January 2022) |
| Korean name | |
| Hangul | 최태영 |
| RR | Choe Taeyeong |
| MR | Ch'oe T'aeyŏng |
Choi Tae-young (Korean: 최태영; born July 2, 1971), also known as Ralph Tae-young Choi, is a South Korean film sound designer the co-founder and CEO of Live Tone Studios. As South Korea's largest cinematic sound post-production facility, Live Tone has contributed to over 400 feature films and numerous high-profile streaming series, including 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 particularly noted for his long-term collaborations with visionary directors. He has provided the sound supervision for Bong's feature filmography, including Memories of Murder (2003), The Host (2006), Snowpiercer (2013), Okja (2017), and Parasite (2019).[3] His extensive work with Kim Jee-woon spans two decades, from A Tale of Two Sisters (2003), to his work such as, 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 received 15 Grand Bell Award nominations, winning three for Save the Green Planet! (2003), Lump Sugar (2006), and War of the Arrows (2011). His international recognition grew significantly with Parasite (2019) for which he won one MPSE Golden Reel Award for Outstanding Achievement in Sound Editing. In 2020, Choi was invited to join the Academy of Motion Picture Arts and Sciences (AMPAS).[4][5]
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. However, the band disbanded in 1994 prior to releasing any album. He subsequently studied recording engineering at the Los Angeles Recording School in Los Angeles, California and took courses in music business and recording engineering at UCLA Extension. During this period, he identified film sound post-production as a career path.[6][7][8][9]
Career
Career beginning and establishment of Livetone
After returning to South Korea in 1996, Choi co-founded Livetone, a sound production studio. Initially handling all post-production tasks, Choi later specialized in mixing as the company grew. Livetone pioneered Dolby 5.1 channel film sound in Korea with Beat in 1997.[6][8]
Choi began his career without formal training in film-specific sound engineering, initially focusing on high-fidelity technical reproduction. During the production of The Foul King (2000), director Kim Jee-woon rejected Choi's initial sound design for being technically over-refined and failing to match the film's comedic tone. Following this, Choi adjusted his methodology to prioritize script analysis and the director's subjective intent. In the climactic sequence of Kwak Kyung-taek's Friend (2001), Choi implemented his new approach by differentiating the sonic texture of repeated stabbing sounds. He varied the audio by alternating between the protagonist's internal perspective and the audience's external perspective, a departure from the standard practice of maintaining a consistent tone for foley effects.[10] Later that year, Choi implemented Dolby 6.1 channel audio for the production of Volcano High.[6][8]
Choi later stated that while the technical creation of complex sound effects is a routine task, the primary challenge of film sound lies in its subjectivity. He defines his role as translating a director's imagination into an objective audio experience through the precise timing and placement of sound.[6]
For Kim Jee-woon's A Bittersweet Life (2005), Choi and sound designer Lee Seung-yeop utilized field-recorded audio to achieve a realistic soundscape. The team captured location-specific ambient sounds in Seoul and used live ammunition at Yangsu-ri Studio for ballistic authenticity. The film was mixed in Dolby Digital Surround EX (6.1).[10] During this period, Choi also served as the sound supervisor for Typhoon (2005).[11]
At the 44th Grand Bell Awards in 2007, Choi received Sound Effect Award nominations for four of his projects: The Host, For Horowitz, and The Restless, and Lump Sugar. He won the award for Lump Sugar alongside his partner, Jeong Kwang-ho.[12]
For the 2011 film War of the Arrows, Choi utilized a Dolby 7.1 surround mix. He collaborated with the American foley firm Sound Dogs to record ballistic audio in the Palm Springs desert, chosen for its low ambient noise. Using a nine-microphone array and a professional archer, the team recorded variations in the sonic profile of arrows based on trajectory and velocity. This audio was later integrated with 4D sound technology for theatrical screenings.[13]
The 2013 film Mr. Go was the first South Korean production to use Dolby Atmos. This object-based format allowed individual sounds to be manipulated as independent objects within a three-dimensional space. The project involved a collaboration with Sony PCL for 3D mixing and high-resolution audio. To manage the spatial positioning of digital characters, Choi worked with Wavell CEO Lee Jeong-jin to develop sound sources compatible with the Atmos environment.[14]
For The Admiral: Roaring Currents (2014), Choi developed specialized audio for the film's naval vessels. To simulate the movement of ships without power plants, he incorporated twisting sounds that mimicked external pressure on large trees. In his work on Tunnel (2016), Choi utilized layered audio to depict the structural collapse of the film's central setting.[15]
Collaborations with Bong Joon-ho
Choi has served as the sound designer for every feature film in Bong Joon Ho's career, a partnership that began with Barking Dogs Never Bite (2000).[3][16][17] During the production of Memories of Murder (2003), Choi moved away from standard industry mixing protocols to adopt a more conceptual approach requested by the director. This change involved the use of layered environmental audio and specific rain foley to create a non-traditional sonic atmosphere.[18]
For the 2006 film The Host, Choi and Live Tone collaborated with the American sound recording firm Sound Dogs to develop the creature's sonic profile. The final audio was a hybrid construction using primary vocalizations derived from sea lion recordings. At the request of the director, Choi integrated human vocal elements provided by actor Oh Dal-su for specific character sounds. These human-sourced recordings were used for the creature's snoring and the noises associated with it consuming prey.[19]
The 2013 science fiction film Snowpiercer, an international co-production, was mixed in Dolby 7.1 surround sound over a six-month period.While original plans called for the audio to be finalized in the United States, sound supervision was reassigned to Choi and Live Tone late in the production cycle. This shift required a reorganization of the sound team to accommodate the film's global release schedule. Due to budget constraints and the expedited timeline, the sound effects and final post-production were completed at Live Tone's facilities in South Korea rather than at an American studio.[20]
For the 2017 film Okja, Choi developed the vocalizations for the titular genetically modified creature using a hybrid foley technique. The creature's sonic palette was constructed by layering high-fidelity recordings of pigs, hippopotamuses, and rhinoceroses captured in New Zealand. These animal sounds were blended with human vocal tracks provided by actress Lee Jung-eun to facilitate the creature's characterization.[21][22]
Audio post-production for Parasite was conducted at Live Tone Studios over a twelve-week period beginning in December 2018. The schedule included eight weeks for sound editing and recording, two weeks for pre-dubbing, and a two-week final mix in Dolby Atmos completed in February 2019.[3]
The studio's mixing workflow centered on two AMS Neve DFC 3D digital film consoles, utilizing their stem routing and automation systems to manage the film's spatial requirements. This technical setup allowed for the precise placement of sound objects within a three dimensional field to contrast the environments of the two central families. For the Park residence, the soundscape focused on clean, expansive acoustics, while the Kim family's apartment utilized low frequency environmental noise and air circulation sounds to suggest a confined space.[23][24][25]
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).[26][27][28][29][30][31]
In 2021, Choi with other Korean film industry sound masters, were attending the 22nd Jeonju International Film Festival.[32]
Streaming series and films
With the rise of global OTT platforms, Choi has become a vocal advocate for elevating South KoChoi has advocated for the adoption of global audio standards in the South Korean industry, noting the requirement for 5.1 Surround or Dolby Atmos delivery on platforms such as Netflix and Disney+.[33] In the Netflix series Kingdom, Choi developed a distinct sonic identity for the "K-zombie," focusing on aggressive, high-velocity foley to differentiate them from the slower-paced archetypes of Western cinema.[21] Choi noted that the success of Squid Game (2021) established a "K-sound" trend, proving that high-fidelity audio is essential for the global viability of Korean content.[34]
In 2023, Livetone handled the sound supervision for the Disney+ original series Moving. Under the direction of sound supervisor Kang Hye-young, the studio developed a specialized sonic palette for the show's diverse superpowers. This included high-frequency synthesized layers to represent electrical currents and complex three-dimensional panning for flight sequences. This project marked Livetone's first full-scale collaboration with Disney+, further integrating the studio into the global streaming production ecosystem.[35]
In 2018, Choi (representing Dexter Livetone) and Ryu Jae-rim (Director of the Korean Film Archive) signed a landmark agreement at the Sound Master Data Donation Ceremony in Seoul. Under this pact, Livetone donated over 200 original analog and digital sound pieces for permanent preservation. The Archive has since integrated these materials into its digitization workflow to support future film restoration projects.[36] Additionally, Livetone partnered with the Seoul Business Agency (SBA) to bolster the domestic content industry. This collaboration utilized the SBA Media Content Center's infrastructure and Livetone's technical expertise to provide post-production support for short films, documentaries, and high-end Dolby Atmos productions.[37]
For the 2023 film The Moon, Choi collaborated with director Kim Yong-hwa on a highly technical audio reconstruction. Due to on-set noise interference, approximately 99.9% of the film's audio—including dialogue and ambient textures—was recreated in post-production using foley and sound effects. The project utilized roughly 700 sound channels, the largest scale in Choi's career, and required over a year of production.[38]
In Exhuma, Choi and the Livetone team integrated Dolby Atmos from the pre-production stage, coordinating sound design with Dexter Studios' color grading to maintain environmental consistency.[39]
For the historical drama 12.12: The Day, the sound team focused on period-accurate realism through extensive field recordings. Choi utilized foley work to distinguish the sounds of specific military equipment, including various types of boots, armored vehicles, and artillery. The mixing process consisted of two months of standard mixing followed by one month of specialized Dolby Atmos pre-mixing and finalization. Choi cited his personal background in a military band as a reference for the film's sonic spatiality.[40][41]
In 2023, Choi signed a Memorandum of Understanding (MOU) with Supertone to collaborate on sound technology research at Livetone's Sangam-dong headquarters.[42]
Regarding the Alienoid: Return to the Future franchise, Choi prioritized "sound coherence" to bridge the two installments. While the first film focused on establishing the narrative framework, the second part, Return to the Future, shifted toward a character-driven soundscape to emphasize emotional immersion.[43]
Filmography
Short films
| Year | Title | Director | Notes | Ref. | |
|---|---|---|---|---|---|
| English | Original | ||||
| 2002 | Three – "Memories" |
|
Kim Jee-woon | Sound Dept.-Sound Mixer/Sound Designers | [48][better source needed] |
| 2009 | Five Senses of Eros — Segment His Concern | 오감도 |
|
Sound Supervisor/Re-recording mixer | [49][better source needed] |
| 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][better source needed] | |
| 2020 | Untact | 언택트 | Kim Jee-woon | Executive Supervisor | [54][55] |
Film
| Year | Title | Director | Role | |
|---|---|---|---|---|
| English | Korean | |||
| 1997 | Beat | 비트 | Kim Sung-su | Sound department |
| High-grade Player | 고수 | Kim Chun-sik | Sound Recording | |
| Motel Cactus | 모텔 선인장 | Park Ki-yong | Sound Recording | |
| Deep Sorrow | 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 | 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 | 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 | |
| No Comment Family | 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 | 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 | 어머니는 죽지 않는다 | Hah Myung-joong | ||
| Bunt | 날아라 허동구 | Park Gyu-tae | ||
| Shadows in the Palace | 궁녀 | Kim Mi-jung | ||
| Punch Lady | 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 | 킹콩을 들다 | Park Gun-yong | Sound Supervisor | |
| Chaw | 차우 | Shin Jung-won | Audio Post Production | |
| Handphone | 핸드폰 | Kim Han-min | ||
| 2010 | Parallel Life | 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 | 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 | 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 | 꾼 | 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 | 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
| Year | Title | Role | Director | Ref. | |
|---|---|---|---|---|---|
| English | Korean | ||||
| 2020 | Kingdom | 킹덤 | Sound supervisor | Park In-je | [57] |
| 2021–2024 | Squid Game | 오징어 게임 | Hwang Dong-hyuk | [1] | |
| 2021 | Dr. Brain | Dr. 브레인 | Kim Jee-woon | [47] | |
| 2021 | The Silent Sea | 고요의 바다 | Choi Hang-yong | [58] | |
| 2022 | A Model Family | 모범가족 | Kim Jin-woo | [59][better source needed] | |
| 2022 | Juvenile Justice | 소년 심판 | Hong Jong-chan | [60][better source needed] | |
| 2023 | Black Knight | 택배기사 | Cho Ui-seok | [61] | |
| Mask Girl | 마스크걸 | Kim Yong-hoon | [47] | ||
| Moving | 무빙 | Park In-je | [62] | ||
| 2024 | The Bequeathed | 선산 | Yeon Sang-ho | [47] | |
| Hierarchy | 하이라키 | Bae Hyeon-jin | |||