I have been working in the industry for 10 years in feature films and commercials at many of the major visual effects companies in Korea including Macrograph and Mofac.

Besides managing VFX teams through tight deadlines and control of final output, my main career is designing a look development so that concept art with characters and background could be physically produced in other parts. By organizing the simple idea to be applied specifically, I have managed the whole process and communicated with other departments.

Also, in the pre-production, I have suggested a key visual with realistic shading and lighting and a realistic design to directors in the scenario step to see the materialized output quickly, so I have assisted to match the final output. These works have been used as materials to win in the bidding stage when companies compete in the scenario stage. Furthermore, these results have brought clients from movies mainly, dramas, and advertisements, and I have participated in these projects to make cinematic trailers and animations.

In the last two years, while working on an animation called Golden Panda, I worked with 3D artists from rough design to final design to lead the final stage. During the work, I should put all the talents that I had over the past time. At first, I had worked in Maya and Claris-based renders, however, on working on the episode, due to the financial deterioration, I was asked by my company to change the production method to Unreal. This was a situation that 3 people had to complete the concept, layout, lighting, and finals with close to 75 shots and these people were the first time to use Unreal. This process had taken about 3.5 months including R&D.

In the process of managing artwork and key layouts and leading to the final step of the work, I was concerned about how to understand the people of various parts and lead to the final step. To hand over the shoot to the co-worker, I had worked dressing and lighting from the level design. We drew the work of the Unreal level design that can draw the output directly from my hand from concept to the end. Unreal steps, including concept, dressing the background, and making the lighting quickly, were the same as suggesting and making the environment with traditional matte painting.

In the past few years, as the matte painting supervisor, I have communicated based on my experience that finds out each person's inclinations and merits and motivates co-workers. From these works, I have learned the success and failure to deal with my teammates. Moreover, I have taught students at the Matte Painting Academy and have supervised them to reach their desired goals with communication what the individual wants to produce results.

I love the animated look that twists the realistic environment and creates the result together with beautiful characters and background. It is obvious to communicate to studios what scenes cannot be made, but I have a strong desire to make all content styles what clients want. To make the perfect of all images, I have been working with the responsibility of challenging and doing well no matter what kind of scenes. I would love to work with you.