What do The Berlin File, Snowpiercer, Stoker and Hwayi: A Monster Boy share in common? The answer is 4th Creative Party, a post-production company which was founded in September 2009. LEE Jeonhyoung, a CEO/VFX Supervisor of the outfit, has worked on computer graphics and visual effects (VFX) on about 90 films since he founded EON Design House in 1995, and he has worked with directors like PARK Chan-wook, Bong Joon ho, CHOI Dong-hoon and KIM Sung-soo. Furthermore, he has extended his production services to TV series, advertisement, music videos and animation, and then he took over the computer graphics company AZworks, becoming a big player in the VFX market. “I am dreaming of a new creation, not perfection. Now I am aiming to establish a digital studio,” said LEE, while looking at the present and future of Korean VFX technology.

 

I have worked on almost all of PARK Chan-wook’s films since Oldboy (2003). He is rational and cool-headed, even though his movies are emotional. I love to work with PARK, because it is always interesting and fulfilling. Moreover I got used to working with him after such a long time. I have also been working with directors CHOI Dong-hoon, KIM Sung-soo and Bong Joon ho. No Tears for the Dead by LEE Jeong-beom, The Target by director CHANG and Big Match from CHOI Ho are all new works that are about to be released. In addition, I am working on new projects including Veteran by RYOO Seung-wan, LEE Haejun’s My Dictator, Assassination (W/T) by CHOI Dong-hoon and Kwon Beop (W/T) from PARK Kwang-hyun.

 

It can be better understood as a visual effect, instead of looking at it just as post-production work. We start working on projects prior to script development, not merely on the completed rolls of film, as most people imagine. We take part in the full process to add our technologies and ideas into the film. Neo’s bulletdodging scenes in The Matrix (1999) could only be made possible due to the corresponding technology and participation of a VFX company from the beginning. We participate in projects from pre-production all the way through to post-production. Manpower is more significant than computer graphics in this field. Even a magician cannot practice magic with nothing. Solid design in pre-production and production is needed for the magic to take form in the post-production stage.

 

 

The most important thing is being active when dealing with films. We are focusing on creativity as well as visualizing what directors think. Creativity sprouts when we are active, but passive attitudes can only result in rigid thoughts. Smart directors select the best of VFX supervisor’s ideas. VFX is a plan for a solution, not an answer in and of itself. We suggest ideas and plans to directors, and looking for solutions is something we have to do together. There is nothing more tedious than trying to solve a fixed answer.

 

We are not aiming for the perfect picture. ‘Perfection’ is a dream because it is a subjective definition. Being competitive isn’t just trying to satisfy your supervisors. There are no right or wrong answers in film, it’s not like mathematics. The creators’ identity must be prevalent, thus we aim for creativity instead of perfection. We often ask our artists to think differently and express themselves in a distinct manner. Of course, in order to do this, we have to communicate well with directors during preproduction and filming so that we are able to complete our VFX work. We would like to think of ourselves as directors in postproduction.

 

I learned a lot while I participated in the production of Stoker, as I gained a substantial amount of practical knowledge from working with global staff. From time to time there have been some outsourcing projects from global VFX agencies, however, we are the first to directly participate in an international project from Korea. What we confirmed from this opportunity is that our capability has become quite advanced. Currently, a number of proposals are coming in from China. From my personal point-of view, there will be a Korean wave of technology within five years. Though the Korean wave of actors and music came first, it is only natural that technology will be the next to spread out. The tech industry is advanced in China and Singapore, but this is mostly because of American corporations. On the other hand, Korean companies have technical skills and know-how that we have grown and nurtured ourselves. The reason Korea is preferred over American companies is that we have a better understanding of Asian sentiments. Unfortunately, support from the Korean government is still a bit weak. If relevant departments could build the groundwork, the Korean wave of technology could come even earlier.

 

I first established the company when I was 26-years-old. Although I started with three or four employees, the pressure I’ve felt has always been the same. However, from a certain point, the pressure started to become a stimulant. I do get stressed out, but I enjoy the feeling of satisfaction when I overcome obstacles, and importantly I feel happy when I see the outcomes. I have wanted to work at the hub of the movie industry, and I feel pride from the fact that I’m doing it now.

 

For the artists of 4th Creative Party, I tell them to work for themselves, not for the company. 4th Creative Party comprises artists with an individual brand and they come together as a whole to form value. If the brand is strong enough, people will come to us. Even though we are wearing the uniform of our company, individual capability is more important. While it is often said that the working environment for film staff is very poor, the situation in the VFX industry is a little better. Nonetheless, getting started in the industry is still very difficult. A company is not a place to teach, but a place to work together. At our company, we do our best to reward those who display strong abilities after five years. Other companies covet some of our employees, and it would be a great loss if they left our company.

 

What is the final goal for 4th Creative Party?

 

I think we still have a long way to go. Currently, we are planning to build a Digital Cinema Studio that can utilize VFX technology to create any media such as animation, movies, videogames and so on. We would also like to develop content with this intensive technique.

 

First of all, you need to be talented in many fields. Since you need to work with exacting directors, sensitivity is required. You also need to have an understanding of technology. Majoring in this field is important, but it is more important to make an effort to learn. In the end, people who make an effort distinguish themselves from others. Additionally, you need the ability to react instantly in this field. Anyone can manage to work in scenarios that they have been trained for. However, film sets are full of unpredictable variables. The problem is usually ignorance, not inability. You need to be able to figure out the exact solution to problems. When you pretend that you know something you don’t, there will be bigger problems.

 

By LEE Jung-hyun(Contributing Editor)