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In 1996, four college friends filed leave of absence with a firm determination. They registered a company and started earning money while learning the trade. This was the genesis of EON Digital Film. CEO JUNG Seong-jin and three other friends were triggered by learning CG techniques from PARK Kwan-woo, one of the pioneers in Korean CG industry, who is famous for his earlier works including The Fox With Nine Tails(1994). For these aspiring graphic design students, the world of CG spanning to the screen was a fantasy in itself. Entrapped by fascinating world of CG for cinema, they completed their first work in film, Ghost in Love(1999), which soon became the representation of CG technology in the Korean cinema '90s.

"In retrospect, it's nothing special. However, at the moment of its release, it wowed the audience with cutting-edge CG technologies that were not prevalent in Korean cinema,” says JUNG. “There weren't many Korean film with CG cuts. It was a groundbreaking work, only The Soul Guardians(1998) managed to outshadow it.

 

EON Digital Film has established its technical capabilities since the very early years of CG technology in Korean film industry. The company's key staff can be called the 1.5 generation of Korean CG Industry, as they are the apprentices of the first generation. They have accumulated over 70 titles in their filmography since their beginning in the late ‘90s. EON Digital Film is very much part of the history of Korean CG industry. Take Off, the company's recent work, once again proved its high level of CG technology with another strong CG-based film Haeundae. Obviously, the company is enjoying their heydays.

 

JUNG proudly says Take Off, a smash hit grossing more than 8.5 million receipts, is the company's most prized work thus far. “Take Off means a lot to the company. It is not only the biggest top-grossing film that we worked on as the primary studio, but also the work that EON Digital Film utilized every techniques and tools that we have accumulated since our beginning. From weather change scenes in Antarctic Journal to digital character in Old Boy and others, such as crowd simulator.”

 

Take Off includes over 1,000 CG cuts, which is the record in Korean film history, a dramatic development since past decade. Back then, typical film with CG had only 5-6 cuts at best. It was not easy to make such leap, however. The entire CG cuts for the films are usually completed within 3-4 months. It was almost impossible, but about 30 staffs of the company soldiered on. Under normal condition, the task would require a dedicated team of more than 90 staff members. It was the passion for the film that made the impossible possible. Also, the project was completed with the help of the company's proprietary software for real-time rendering with raw film source during initial composition, which was designed a year ahead for the film's principal photography.

 

After the successful collaboration with Take Off, JUNG has another issue. Despite successful outputs the company has brought in the industry, working conditions of the company's staffs are not yet fair. And unfortunately, Korean film industry cannot cover the high costs of CG specialists. That's why JUNG casts his eyes toward another market: Hollywood.

                                                                                Marine Boy                                                          Take Off

"Clearly demonstrated by VFX of Take Off and Haeundae, the level of Korean CG technology can compete with studios in Hollywood. Speaking by numbers, Korean companies are fairly capable of taking over up to 80 percent of capability that Hollywood companies used to offer. Strictly saying, we can cover Hollywood B-movie market.”

 

How could a Korean CG company be successful in Hollywood? According to JUNG, it is all about “a game of taking up the niche market.” “In actuality, based on the same level of quality, Korean CG specialists cost less than that of Hollywood.” Right now is an appealing time for Korean CG specialists to move in on Hollywood productions suffering from heavy budget reduction due to recession. It is a winwin game: for Hollywood productions, it is a chance to cut costs and for Korean CG companies, it is the chance to expand its business to Hollywood.

 

 JUNG says, "EON Digital Film may not be able to take over CG works for Hollywood's blockbusters. However, by showing our technical capabilities over time, the company will be able to enter a wider market. Until then, the company will never stop developing its potentials. That's the goal for now.”

 

His ultimate goal for EON Digital Film is similar to Peter Jackson's Weta Studio. Beginning with 10-member staff, Weta Studio has grown to compete with ILM and Digital Domain. Owing to the company's success, the entire New Zealand film industry has also made a rapid growth. Of course, it is Peter Jackson who stands at the center of this success by bringing Lord of the Rings to his country. However, it is level of Weta's technology during its earlier years, not Jackson's support, which triggered JUNG's ambition.

 

"Before taking over the Lord of the Rings trilogy, the level of Weta's technical capabilities was underestimated by Hollywood standard. But the company showed what it could achieve. Of course, they must work really hard for taking over such an enormous project. Then, why not us? We are now standing on the same path that Weta walked on previously. Even the situation at hand seems to be brighter for us than what Weta had to face. Starting from taking up niche market, we will have our day soon." As the company's name signifies an eternity, will the dreams and passions of EON Digital Film stay forever? The answer will be clear when the company's neverending efforts finally meet its goal of becoming the next Weta.