Choi Tae-young

Choi Tae-young (; 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]

Early life

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

Film

Web series

Accolades

Awards and nominations

References

1. ^ "2023 Golden Horse Master Class Lineup Announcement" (in zh-TW). goldenhorse.org.tw. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
2. ^ Nam, Do-young (May 19, 2022). "ko:[가봤다] 'K-콘텐츠' 디테일 살리는 'K-사운드'..."헐리우드와 차별화된 감수성"" [[I've been there] 'K-content' 'K-Sound' that saves details..."Sensitivity differentiated from Hollywood"] (in Korean). Tech M. Retrieved June 21, 2024.
3. ^ Andersen, Asbjoern (February 19, 2020). "Perfecting Parasite's award-winning sound - with Ralph Tae-Young Choi:". A Sound Effect. Archived May 27, 2024 at the Wayback Machine. Retrieved June 19, 2024.
4. ^ Shin, Jeong-seon (December 19, 2023). "ko: 봉준호의 사운드 파트너... "새로운 소리 만들기 위해 직접 좀비 성대모사도"" [Bong Joon-ho's sound partner... "Directly zombie vocal imitation to make a new sound"] (in Korean). Chosun Ilbo. Retrieved June 19, 2024.
5. ^ "AMPAS Invites 19 New Korean Members". Korean Film Biz Zone. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
6. ^ Park, Hye-myeong & Seo, Ji-hyeong (November 24, 2005). "ko: 사운드 디자인의 비밀 [5] - 사운드 디자이너 9인" [Secrets of Sound Design [5] - 9 Sound Designers] (in Korean). Cine21. Archived June 19, 2024 at the Wayback Machine. Retrieved June 10, 2024.
7. ^ "Digital Mixing Pioneer, Choi Tae-young, sound director", Vidioplus, Korea E&A, August 1, 2009, pp. 188–191
8. ^ Kang, Jun-wan (January 31, 2018). "ko:천만 영화 '숨은 공신' 고양 라이브톤" [Ten million movie 'Hidden Meritorious' Goyang Live Tone] (in Korean). Korea Economic Daily. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024. – via Daum.
9. ^ "ko: 이 시대 최고의 영화 사운드디자이너 최태영 감독을 만나다!" [Meet director Choi Tae-young, the greatest film sound designer of our time!] (in Korean). Seoul Hoseo Art. April 24, 2013. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
10. ^ Kim, Jae-beom (June 13, 2023). "ko: (인터뷰)'라이브톤' 최태영 대표 "K영화 소리의 비밀 다 공개하죠"" [(Interview) Choi Tae-young, CEO of 'Livetone', "Let's reveal all the secrets of the sound of K-movies"] (in Korean). News Tomato. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
11. ^ Cine21 Coverage Kwak Kyung-taek's film Typhoon: *"사운드 디자인의 비밀 [1]" [The Secret of Sound Design [1]] (in Korean). Cine21. November 24, 2005. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024. *"ko:사운드 디자인의 비밀 [2]" [The secret of sound design [2]] (in Korean). Cine21. November 24, 2005. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
12. ^ Hong, Jeong-won (June 8, 2007). "ko:'각설탕' 정광호 최태영, 대종상 음향기술상 수상" ['Lump Sugar' Jung Kwang-ho and Choi Tae-young won the Daejong Award for Sound Technology] (in Korean). Newsen. Archived June 21, 2024 at the Wayback Machine. Retrieved June 21, 2024. – via Daum
13. ^ "ko:'최종병기 활' 4D사운드 비밀 밝혀져 "MR 아닌 밴드 연주 같은 것"". 언론사 뷰. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024. – via Daum
14. ^ "ko:'미스터 고' 김용화 감독 "기술 드라마 모두 자신 있다"". Seoul Daily. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
15. ^ Cha, Ji-soo (June 2, 2017). "ko:우리나라 최고의 음향 전문가가 직접 경험한 메가박스 MX관!" [Megabox MX Centre experienced by the best sound experts in Korea!] (in Korean). Max Movie. Archived June 21, 2024 at the Wayback Machine. Retrieved June 21, 2024. – via Daum
16. ^ Sound Director Choi Tae-young: * "ko:[제작기] 최태영 음향감독, "스크린만의 리얼 사운드가 있다"" [[Producer] Sound Director Choi Tae-young, "There is a real sound unique to the screen"] (in Korean). Cine21. June 12, 2019. Archived June 10, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "ko:[<기생충> 제작기⑦] 최태영 음향감독, "스크린만의 리얼 사운드가 있다"" [[<Parasite> Making machine⑦] Sound Director Choi Tae-young, "There is a real sound unique to the screen"] (in Korean). Cine21. June 12, 2019. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024. – via Naver
17. ^ Lee, Nikki J. Y. & Stringer, Julian. "From 'Screenwriting for Sound' to Film Sound Maps: The Evolution of Live Tone's Creative Alliance with Bong Joon-ho". The New Soundtrack. 8 (2). Edinburgh University Press. ISBN 9781474439374. Archived June 25, 2024 at the Wayback Machine. Retrieved June 25, 2024. – via core.ac.uk.
18. ^ "ko:(인터뷰)'라이브톤' 최태영 대표 "K영화 소리의 비밀 다 공개하죠"". www.newstomato.com. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
19. ^ "ko:설국열차에 호랑이, 사자, 원숭이가 탔다?". ET News. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024. – via Daum
20. ^ "崔太永Ralph CHOI Tae-young" (in zh-TW). www.goldenhorse.org.tw. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
21. ^ Okja * Ahn, Eun-jae (September 29, 2021). "ko:'라이브톤' 최태영 대표 "옥자 슈퍼돼지, 하마+코뿔소 다양한 동물 목소리 채집해"" ['Liveton' CEO Choi Tae-young "Okja Super Pig, Hippo + Rhino Collect Various Animal Voices"] (in Korean). Sports Seoul. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024. * Ahn, Eun-jae (September 29, 2021). "'라이브톤' 최태영 대표 "옥자 슈퍼돼지, 하마+코뿔소 다양한 동물 목소리 채집해"" ['Liveton' CEO Choi Tae-young "Okja Super Pig, Hippo + Rhino Collect Various Animal Voices"] (in Korean). Sports Seoul. Archived June 10, 2024 at the Wayback Machine. Retrieved June 10, 2024. – via Naver
22. ^ "ko:"'옥자'는 생선 안 먹는 청학동 내성적인 여자 돼지"" ["'Okja' is an introverted female pig in Cheonghak-dong who doesn't eat fish"] (in Korean). Hankook Ilbo. August 26, 2017. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
23. ^ May, Steve (May 17, 2021). "AMS Neve: "Post COVID there will always be a place for the larger studios, those with a legacy..."". Audio Media International. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
24. ^ Sillitoe, Sue (February 26, 2020). "AMS Neve Helps Parasite Deliver Exceptional Sound Quality". Mixonline. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
25. ^ "Keeping the Score". Hearing Aid. Archived June 25, 2024 at the Wayback Machine. Retrieved 2024-06-25.
26. ^ "ko:[스페셜] 봉준호 감독의 제작기" [[Special] Director Bong Joon-ho's production machine] (in Korean). Cine21. June 12, 2019. Archived June 10, 2024 at the Wayback Machine. Retrieved June 10, 2024.
27. ^ "ko:[ 제작기] 최태영 음향감독, "스크린만의 리얼 사운드가 있다"" [[Proder] Choi Tae-young, sound director, "There is a real sound unique to the screen"] (in Korean). 씨네21. June 12, 2019. Archived June 10, 2024 at the Wayback Machine. Retrieved June 10, 2024.
28. ^ "ko:양진모 편집감독이 말하는, 할리우드 편집감독들이 가장 좋아한 장면은?" [What is Yang Jin-mo's favourite scene from editor-in-chief in Hollywood?] (in Korean). Cine21. February 21, 2020. Archived July 19, 2024 at the Wayback Machine. Retrieved June 10, 2024.
29. ^ "ko:오스카를 컬러풀하게" [Oscar colourful] (in Korean). 씨네21. July 3, 2020. Archived June 10, 2024 at the Wayback Machine. Retrieved June 10, 2024.
30. ^ Tangcay, Jazz (January 20, 2020). "'1917,' 'Jojo Rabbit' and 'Parasite' Lead Golden Reel Awards for Sound Editing". Variety. Archived June 18, 2024 at the Wayback Machine. Retrieved June 18, 2024.
31. ^ Giardina, Carolyn (January 19, 2020). "'Ford v Ferrari,' '1917' Collect Wins at MPSE Golden Reel Awards". The Hollywood Reporter. Archived January 26, 2020 at the Wayback Machine. Retrieved June 18, 2024.
32. ^ "ko:영화 음향 분야 거장들, 전주서 강연" (in Korean). 한국농어촌방송. April 28, 2021. Archived June 10, 2024 at the Wayback Machine. Retrieved June 10, 2024.
33. ^ Shin, Dong-min (May 19, 2022). "ko:사운드 엔지니어 장인이 말하는 기생충·오징어게임 성공, 'K-사운드' 있었다" [The sound engineer craftsman talked about the success of the parasite and squid game, 'K-Sound'] (in Korean). www.cnet.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 21, 2024.
34. ^ "ko: K-사운드를 세계에 알리다 라이브톤 최태영 대표이사_avMIX 2023년 08월호" (in Korean). 모아진닷컴. Archived June 21, 2024 at the Wayback Machine. Retrieved June 21, 2024.
35. ^ "ko:조인성이 난다...한국 히어로물 '무빙' 어떻게 제작됐나". Newsis. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024. – via Daum.
36. ^ Kim, Tae-hyoung (March 20, 2018). "ko:[포토] 한국영상자료원, 사운드마스터자료 기증식" (in Korean). Edaily. Archived June 21, 2024 at the Wayback Machine. Retrieved June 21, 2024. – via Daum
37. ^ Park, Dong-seon (October 1, 2019). "ko:서울산업진흥원-라이브톤, '콘텐츠 제작 활성화' 업무협약 체결" [Seoul Industry Promotion Agency-Livetone signed a business agreement to 'activate content production'] (in Korean). ET News. Archived June 21, 2024 at the Wayback Machine. Retrieved June 21, 2024. – via Daum
38. ^ "ko:[인터뷰] '소리로 구현한 우주의 리얼리티', 최태영 음향감독이 말하는 '더 문' 제작기" (in Korean). 씨네21. August 4, 2023. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
39. ^ "ko:덱스터스튜디오 자회사 라이브톤, 영화 '파묘'로 백상예술대상 예술상 수상" (in Korean). 뉴스핌. Archived June 10, 2024 at the Wayback Machine. Retrieved June 10, 2024.
40. ^ "ko:덱스터, '서울의 봄' 색보정 참여...묵직하게 재현한 1979년 그날". EDaily. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024. – via Daum.
41. ^ "ko:['서울의 봄'을 들여다봄③] 민머리 분장→색보정·음향...숨은 공신들". The Fact. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024. – via Daum.
42. ^ Park, Dong-seon (July 17, 2023). "ko:수퍼톤, 라이브톤과 '음향기술 개발' MOU 체결...K콘텐츠 제작기반 강화" [Superton signed an MOU with Liveton for 'sound technology development'... Strengthening the production base of K content] (in Korean). 미래를 보는 신문 - 전자신문. Archived June 21, 2024 at the Wayback Machine. Retrieved June 21, 2024.
43. ^ "ko:덱스터, '외계+인' 2부 시각효과 참여...영화적 체험 극대화". EDaily. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024. – via Daum.
44. ^ Livetone Works 1997 to 2000 * "Livetone Works 1997". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 1998". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 1999". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2000". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024.
45. ^ Livetone Works 2001 to 2010 * "Livetone Works 2001". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2002". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2003". www.livetone.co.kr. Archived June 25, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2004". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2005". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2006". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2007". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2008". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2009". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2010". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024.
46. ^ Livetone Works 2011 to 2020 * "Livetone Works 2011". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2012". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2013". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2014". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2015". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2016". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2017". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 8". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2019". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024. * "Livetone Works 2020". www.livetone.co.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 19, 2024.
47. ^ Livetone Works 2021 to present * "Livetone Works 2021". www.livetone.co.kr. Retrieved June 19, 2024. * "Livetone Works 2022". www.livetone.co.kr. Retrieved June 19, 2024. * "Livetone Works 2023". www.livetone.co.kr. Retrieved June 19, 2024. * "Livetone Works 2024". www.livetone.co.kr. Retrieved June 19, 2024.
48. ^ "KMDb - Three". www.kmdb.or.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 21, 2024.
49. ^ "KMDb - His Concern". www.kmdb.or.kr. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
50. ^ Lee, Eun-sun (April 11, 2013). "Main Poster for ONE PERFECT DAY Unveiled". Korean Film Council. Archived March 16, 2014 at the Wayback Machine. Retrieved 2013-05-20.
51. ^ Hong, Grace Danbi (April 10, 2013). "Park Shin Hye and Yoon Kye Sang Reveal Poster for Rock, Paper, Scissors of Love". enewsWorld. CJ E&M. Archived from the original on July 3, 2013. Retrieved 2013-05-20.
52. ^ "ko:[2013 PiFan] 사랑의 가위바위보 김지운 감독, 사랑의 서스펜스를 보여드리리" [[2013 PiFan] Rock Paper Scissors of Love Director Kim Ji-woon, I'll show you the suspense of love] (in Korean). 맥스무비. Archived May 14, 2023 at the Wayback Machine. Retrieved May 14, 2023.
53. ^ "KMDb - The X". www.kmdb.or.kr. Archived June 21, 2024 at the Wayback Machine. Retrieved June 21, 2024.
54. ^ "갤럭시폰으로 촬영한 김고은 주연 8K 영화 '언택트' 개봉" (in Korean). Yonhap News Agency. October 16, 2020. Archived April 5, 2023 at the Wayback Machine. Retrieved April 21, 2023.
55. ^ "ko: 8K로 찍고 8K로 보는 삼성 단편영화 '언택트'의 김지운 감독 인터뷰" (in Korean). 씨네21. October 26, 2020. Archived May 14, 2023 at the Wayback Machine. Retrieved May 14, 2023.
56. ^ "KMDb - 한국영화데이터베이스". www.kmdb.or.kr. Archived June 10, 2024 at the Wayback Machine. Retrieved June 10, 2024.
57. ^ "Netflix success is big business for Korean production companies". koreajoongangdaily.joins.com. October 10, 2021. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
58. ^ "More than just a collaborative relationship, we want to grow together" ... Dexter Studios DI Department, Livetone, and Netflix strengthen cooperative ties". www.dexterstudios.com. September 29, 2021. Retrieved June 19, 2024.
59. ^ "KMDb - A Model Family". www.kmdb.or.kr. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
60. ^ "KMDb - Juvenile Justice (Sonyeonsimpan)". www.kmdb.or.kr. Retrieved June 19, 2024.
61. ^ "Netflix series "Black Knight" rises to no. 1 in the global top 10 TV non-English category... Dexter Studios all smiles thanks to subsidiary Livetone's work on the series". www.dexterstudios.com. November 8, 2023. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
62. ^ "Dexter Studios uses its technology to work on Disney+ original series "Moving"... Perfect production of a K-action hero series". www.dexterstudios.com. November 8, 2023. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
63. ^ "KMDb - 최태영 수상정보" [KMDb - Choi Tae-young Award Information] (in Korean). www.kmdb.or.kr. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
64. ^ "Asian Film Awards 2018 nominations". South China Morning Post. January 11, 2018. Archived April 14, 2018 at the Wayback Machine. Retrieved June 17, 2025.
65. ^ "Asian Film Awards: 'Youth' Wins Top Prize From 'Demon Cat'". Variety. March 17, 2018. Archived March 17, 2018 at the Wayback Machine. Retrieved June 19, 2024.
66. ^ Yoon, Yeo-su (November 25, 2006). "'괴물' 아태영화제 3관왕 포함, 한국영화 6관왕" ['Monster' Asia-Pacific Film Festival, including 3 gold medals, 6 Korean films]. Newsen. Retrieved June 19, 2024. – via Daum
67. ^ "'설국열차' 아태영화제 미술상 그쳐..'범죄소년' 수상 불발" ['Snowland Train' Asia-Pacific Film Festival Art Award..' Crime Boy's non-award]. TV Report. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024. – via Daum.
68. ^ Lee, Seung-hoon (May 7, 2024). "ko:'무빙'→'서울의 봄' 대상..'파묘'는 4관왕 [제60회 백상예술대상][종합]" ['Moving' → 'Seoul Spring' Grand Prize..'Buried Grave' wins 4 awards [60th Baeksang Arts Awards] [Comprehensive]] (in Korean). Star News. Archived May 7, 2024 at the Wayback Machine. Retrieved May 7, 2024. – via Naver
69. ^ Hwang, So-young (April 8, 2024). "ko:60회 맞은 '백상예술대상' TV·영화·연극 후보 공개" [60th 'Baeksang Arts Awards' TV, Film and Theater Candidates Revealed] (in Korean). JTBC News. Archived April 8, 2024 at the Wayback Machine. Retrieved April 9, 2024. – via Naver
70. ^ List of 41st Grand Bell Awards Nomination and Winners
71. ^ List of 42nd Grand Bell Awards Nomination and Winners
72. ^ List of 43rd Grand Bell Awards Nomination and Winners
73. ^ List of 44th Grand Bell Awards Nomination and Winners
74. ^ List of 48th Grand Bell Awards Nomination and Winners
75. ^ List of 54th Grand Bell Awards Nomination and Winners
76. ^ "KMDb - 1회 2002년 대한민국 영화대상" (in Korean). www.kmdb.or.kr. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
77. ^ "최우수에 「살인의 추억」 - 한국 영화대상". mindan.org. Archived June 18, 2024 at the Wayback Machine. Retrieved June 18, 2024.
78. ^ "후보자(작) 소개 | 제 2회 대한민국 영화대상 | 만나면 좋은 친구 MBC" (in Korean). iMBC. Archived March 16, 2024 at the Wayback Machine. Retrieved June 18, 2024.
79. ^ "후보작(자) | 제 4 회 대한민국 영화대상 | 만나면 좋은 친구 MBC" (in Korean). iMBC. Archived June 18, 2024 at the Wayback Machine. Retrieved June 18, 2024.
80. ^ 스타뉴스 (November 19, 2006). "'괴물', 영화대상 음향상 수상" (in Korean). 스타뉴스. Archived June 18, 2024 at the Wayback Machine. Retrieved June 18, 2024.
81. ^ "'추격자' 대한민국영화대상 최다 노미네이트" (in Korean). YNA. November 7, 2008. Archived June 18, 2024 at the Wayback Machine. Retrieved June 19, 2024.
82. ^ 백, 혜영 (December 5, 2008). "'추격자' 대한민국 영화대상 휩쓸다" (in Korean). PD저널. Archived June 18, 2024 at the Wayback Machine. Retrieved June 18, 2024.
83. ^ "수상작(자) | 제8회 대한민국 영화대상 | 만나면 좋은 친구 MBC" (in Korean). iMBC. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
84. ^ "후보작(자) | 제8회 대한민국 영화대상 | 만나면 좋은 친구 MBC" (in Korean). iMBC. Archived June 19, 2024 at the Wayback Machine. Retrieved June 19, 2024.
85. ^ "THE FORTRESS Tops Korean Film Producers Association Awards". Korean Film Biz Zone. Archived June 18, 2024 at the Wayback Machine. Retrieved June 19, 2024.
86. ^ "The 67th Golden Reel Awards - Feature Nominees". Motion Picture Sound Editors. December 16, 2019. Archived from the original on December 17, 2019. Retrieved December 16, 2019.
87. ^ Giardina, Carolyn (January 19, 2020). "'Ford v Ferrari,' '1917' Collect Wins at MPSE Golden Reel Awards". The Hollywood Reporter. Archived January 20, 2020 at the Wayback Machine. Retrieved January 20, 2020.

External links

• Choi Tae-young at IMDb