Issue link: https://digital.copcomm.com/i/1512183
M OT I O N P I CTU R E S O U N D E D I TO R S 121 in Korea and I participated as a sound recording engineer and was also one of the founders. There were four people in total, consisting of three sound engineers and one studio manager. I worked in the roles of sound effects editor, foley recordist, ADR recordist, and re-recording mixer at the time, and the main equipment I used was the Euphonix CS2000 48ch for the mixing console, doing 5.1 mixes for theaters, and I used six Sony PCM800 recorders as the equipment to record premixes of DX, MX, EFX, Foley, and BG's. One Pro Tools system was used in the mixing room for sound editing. I have since worked as chief sound engineer and CTO and am currently CEO of Live Tone, responsible for all sound work and studio operations. Live Tone now consists of two big studio facilities, Ilsan Studio and Sangam Studio, and a team of 21 people, so it has grown a lot. PA: From your website it looks like it's now a really big facility with a couple of mix stages, Foley stage and ADR stage? Do you have a crew that helps you on all your movies and what do you look for when finding great people for your team? RTY: Ilsan Studio is now using the AMS Neve DFC 3D console and three Pro Tools systems (256ch playback/64ch Recording) and has one mix stage for mixing 5.1/7.1 mixes for cinema, where Bong Joon- ho's Snowpiercer and Okja were mixed in 7.1. There is a large ADR stage using the AMS Neve Genesys console, a Foley stage, two 5.1 sound editing studios and one Dolby Atmos sound design studio. Sangam Studio has one Dolby Atmos mix stage for cinema with AMS NEVE DFC 3D console and three Pro Tools (384ch playback/128ch Recording), where we mixed Bong Joon-ho's Parasite. There are two Home Entertainment Dolby Atmos mix stages, one small ADR studio, and nine sound editing studios. Of the 21 people on staff, 19 of them are sound engineers, me included, who are working on the sound themselves, and then one studio manager and one technical support engineer. The team includes three sound supervisors and mixers, and we work on both movies and global streaming content. We also worked on Netflix's Squid Game and are now getting ready to work on the sound of Squid Game 2. Most engineers who work here are hired after they graduate and are often students I taught in the university when doing lectures there. When I hire my crew, I mainly consider their creativity and creative approach to sound rather than technology. They can learn skills here in the studio and have experience, but I think they should have some insight into the nature of sound. PA: Korean movies have become a big phenomenon in the Western world during your career. Do you feel like there's been a change for the Korean film business? And has it changed the way you work? RTY: Yes, that's right. Things have developed a lot over the last 20 years because of the films of