#hong kyung-pyo

[movies-and-theater]

Parasite (2019)

Director Bong Joon-ho

[filmy420]

Parasite (2019)

[movienized-com]

Onueldo Sarangseureobgae

Onueldo Sarangseureobgae (Serie 2023) #ChaEunwoo #ParkGyuyoung #JoAnyoung #KimYiKyung #LeeHyunwoo #JungYoungjoo Mehr auf:

Serie / 오늘도 사랑스럽개 / A Good Day To Be A Dog Jahr: 2023- (Dezember) Genre: Comedy / Fantasy / Romantik Hauptrollen: Cha Eun-woo, Park Gyuyoung, Jo An-young, Kim Yi Kyung, Lee Hyun-woo, Jung Young-joo, Yoon Hyun-Soo, Kim Min-Seok, Ryu Abel, Hong-pyo Kim, Hae-Jun Kim, Kim Yi-Kyeong, Lee Seo-El … Serienbeschreibung: Eine unvorhersehbare Fantasy-Romanze einer Frau, die unter einem Fluch lebt, der…

[ospguenolelorho]

Parasite (2019) Cinematography article review

These are the points I took from the article '‘Parasite’: Shooting Bong Joon Ho’s Social Thriller Through the Lens of Class Divide' by Bill Desowitz, publish on IndieWire the 15th November 2019.

Hong Kyung-pyo talks about how the amount of natural light differs between the two families.

The Park's house is spacious and has generous sunlight to light it. Even when dark, they have soft high-end indoors lighting.

In contrast, the Kim's house can never see the sun directly due to being a semi-basement. Like the secret basement, the Kim's house is lit with low-end greenish fluorescent.

Ascending and descending

Hong talks about the transition between different spaces using stairs. From the rich Park environment to the poor environment of the secret basement and the Kim's house. Hong says: 'Walking up some stairs, you become infinitely elegant, while walking down another, you fall endlessly or enter into an ominous mood.'

The first time Ki-woo walks to the Park's house, he's literally blinded by the sun as is the audience.

The transition down is most clearly seen in the downpour sequence. The rain seems ethereal and romantic from the Park's window. But the further down the characters go, the more it becomes a deluge.

Hong and Bong used a variety of techniques to enhance any source of water and make the downpoor look stronger.

The shots in this sequence make use of backlighting water streams or rain to outline it and make it pop from the background.

There are people throwing buckets of water left and right in the street. Although the action seems diegetically useless, adds some sort of violence and enhances the feeling of flooding to the scene.

Bubbling of water on the streets, to water in movement to the shot.

[030615]

Unit 5 Reflective Journal - Lim Lin Year 1 Production Arts for Screen

For the final unit of this year, we had to recreate a shot from a movie using blender, then using green screen add ourselves into the scene.  Parasite (2019) was chosen in the end as modelling the flood scene is an interesting challenge and I wanted to try recreating the different elements seen in this shot, especially the lighting effects and water. 

For research, I rewatched the movie to find shots that can be used as references from different angles then added these images as reference for the first block out so that the model is proportional to the actual set.

However, many issues were encountered as the focal length used to match closely with the corridor caused the water in the background to appear distorted from the camera view, not matching the reference well. 

For the second attempt, I added the reference image in the camera view background instead of a plane so it would easier to check the perspective of the environment. I also stuck to using a 65mm lens as from an interview from Kyung-Pyo Hong, the cinematographer for Parasite, that was what was used for the filming of the movie. Using this focal length, the water level aligned with the reference image.  

The main drawback of this lens was the distortion in the background, as the corridor was too long and the items at the back have to be scaled heavily to match with the camera view, but I kept using this since the horizon line of the water is more important and the items in the back are mostly hidden from the view. Using weighted normals helped to give the corridor more accurate shading, which would then be useful for the lighting setup. 

I then moved on to modelling the props, starting with the ceiling lights. From a different scene in the movie, the white light came from a ceiling light with one fluorescent tube and the second was a spherical lamp in front of the door. 

A separate blender file was used to model the pantry items, as I wanted to use an image reference to model the props easier.  

On the main blender file, the floating objects were modelled. I used the main file for these since the space between the objects was important and it will be difficult to readjust after appending. 

Later that week we were given studio time to record the green screen footage. The image below was the old block out used as reference for the lighting. The cupboard and clothes in the foreground were also modelled before I redid the scene, I would later on append those to the new file. 

Other than the blender scene, I also wanted to create a prop to look like the one the actor in the movie was holding. Using paper mache and acrylic paint, this was made over a cardboard box. I used a picture from the set as reference for its shape. The colour and overall shape was not exact, but I decided to leave as such since it will not be obvious in the actual footage. 

After the greenscreen was recorded with the help of the technicians, we were taught how to do compositing on blender.

While the process of modelling small items shown in the scene was straightforward, texturing required some guesswork and research on Korean brands seen in the picture. I was not able to match the same product but found items that looked similar from a distance. For the textures of these props, I used images of related products online, either from the same brand or items that resemble packaging that I cannot recognise from the photo. 

To model other props such as the light switches and ornaments, I used other scenes from the movie as reference for modelling and made simple shapes that have the same properties as the actual items. 

For the clothes hanging in the foreground and background, I sculpted the shape then used base colours which matched the reference more in the rendered view. As high contrast settings were used for the render, the base colours of the textures used have to be light for them to not appear too saturated or dark in the final render. This also applies to the walls, ceiling, and other large spaces. 

This also affected the reflectiveness of certain props such as the frame seen on the left, as adding a glass pane or lowering the roughness of the image texture would result in the object appearing too dark. Hence, I decided to instead opt for increasing the roughness for the value to match with the reference image. 

The pipes and cables on the ceiling were then added, along with furniture blurred in the background. I did not add much detail for the obscured props since it was hard to see, and I plan to add depth of field to blur the background. For the view from the door, I used the reference image as texture for the plane. 

To recreate water shown in the scene, an ocean modifier is added onto a plane. This was the hardest part of the environment as it was not an accurate fluid simulation but was more suitable for this project. To make the objects float on its surface, each prop had constraints to a different plane with the shrink wrap modifier applied. The influence of the constraint was also lowered so the floating of the props appeared less erratic in the animation. 

Various area lights were added across the environment to replicate the cross shape seen in the reference. The radius, strength and colour were done using trial and error to find settings that give the closest result. When setting up the material for the water, the viewport render worked but after using the recommended render settings the scene lighting was heavily affected. I struggled a lot with the material setup as during the first attempt at rendering, the water looked like this image below. 

Many changes had to be made, such as redoing the water material, adjusting the scale of the ocean, and changing various settings that caused the simulation to be too rigid. The water setup I first used was based on a YouTube tutorial I watched for the material for the second unit, but it caused many issues with the scale of the noise texture, so a quicker method with principled BSDF was used instead.  

This was the setup used to match the render closest to the viewport. The size of the ripples was caused by the ocean modifier, but after adjusting it the floating objects’ speed was too fast and the animation looked unnatural, so the constraints were adjusted accordingly afterwards. After adjusting the water texture, I began timing the flicking of the lights based on the greenscreen footage. 

Depth of field was also added to the camera to replicate the blurred background seen in the reference. While this helped to make the background resemble the scene closer, I also should have put less detail on objects that are obscured by the effect, such as the pills in the foreground and washing liquid in the background. 

Final touches were then made to the scene by adding more image textures to the items and fixing the bevel of the cupboard for sharper lighting. More lights were also added to the environment to correct dark spots that were not shown in the reference. 

Afterwards, sound effects of a thunderstorm were added to the video with Premiere Pro as well as the VFX breakdown. Overall, I was able to learn a lot about VFX and postproduction and thought this was a fulfilling conclusion for our first year. After watching the render, I feel the water physics and chroma key could be further improved, as so I would continue looking into different features of 3d modelling in the following year. 

[agendaculturaldelima]

   #ProyeccionDeVida

🎬 “PARÁSITOS” [Parasite / Gisaengchung]

🔎 Género: Intriga / Comedia / Drama / Thriller / Familia

⌛️ Duración: 132 minutos

✍️ Guión: Bong Joon-ho y Han Jin-won

🎼 Música: Jung Jae-il

📷 Fotografía: Hong Kyung-pyo

🗯 Argumento: Tanto Gi Taek (Song Kang-ho) como su familia están sin trabajo. Cuando su hijo mayor, Gi Woo (Choi Woo-sik), empieza a dar clases particulares en casa de Park (Lee Seon-gyun), las dos familias, que tienen mucho en común pese a pertenecer a dos mundos totalmente distintos, comienzan una interrelación de resultados imprevisibles.

👥 Reparto: Lee Sun-kyun (Park Dong-Ik), Cho Yeo-jeong (Yeon-kyo), Park So-dam (Ki-jung), Choi Woo-shik (Ki-woo), Park Seo-joon (Min), Song Kang-ho (Kim Ki-taek), Jung Ji-so (Da-hye), Park Myung-hoon (Geun Se), Jang Hye-jin (Choong sook), Lee Jung-eun (Moon-gwang) y Jung Hyeon-jun (Da-song).

📢 Dirección: Bong Joon-Ho

© Productoras: Barunson, CJ Entertainment, TMS Comics, TMS Entertainment, CJ E&M Film Financing & Investment Entertainment & Comics

🌎 País: Corea del Sur

📅 Año: 2019

📽 Proyección:

📆 Martes 04 de Junio

🕗 8:00pm.

🎦 Cine Caleta (calle Aurelio de Souza 225 - Barranco)

🚶‍♀️🚶‍♂️ Ingreso libre

🙂 A tener en cuenta: Prohibido el ingreso de bebidas y comidas. 🌳💚🌻🌛

[somebaconlover]

Burning (2018)

Directed by Lee Chang-dong

Cinematography by Hong Kyung-pyo

Starring Yoo Ah-in, Steven Yeun and Jeon Jong-seo

"Do you know Bushmen in the Kalahari Desert, Africa It is said that Bushmen have two types of hungry people. Hungry English is hunger, Little hungry and great hungry. Little hungry people are physically hungry, The great hungry is a person who is hungry for survival. Why do we live, What is the significance of living? People who are always looking for these answers. This kind of person is really hungry, They called the great hungry."

[sesiondemadrugada]

The Wandering Moon (Sang-il Lee, 2022).

[speakingparts]

PARASITE [2019, Bong Joon Ho] Black-and-White Edition 2020

[boardchairman-blog]

**Shots of the Movie**

Parasite (2019)

Director: Bong Joon-ho Cinematographer: Hong Kyung-pyo

[cinemgc]

Gisaengchung (2019, KR)

 • Dirección: Bong Joon-ho

 • Guion: Bong Joon-ho, Han Jin-won

 • Fotografía: Hong Kyung-pyo

 • Cast: Park So-dam

[scenesandscreens]

Parasite (2019)

Director - Bong Joon-ho, Cinematography - Hong Kyung-pyo

"You know what kind of plan that never fails? No plan. No plan at all. You know why? Because life cannot be planned."

[drinkingdownthepoison]

Lee Chang-dong, Beoning, 2018

[ryanmeft]

Movie Review: Parasite

It’s a crying shame that the ad campaign for Bong Joon-ho’s Parasite put such emphasis on the idea of the movie’s mesmerizing tonal shifts. Like your first Kurosawa or your first time in a new city, this is an experience that is best if you have absolutely no idea what you’re in for. It’s a class satire, and a family drama, and a mystery, and frankly I’ve already said too much. It is one of those films that cannot be adequately reviewed, because the best things written about it will come years after the fact. If you haven’t seen it, stop reading now.

Films from Asia often focus on the plights of a working class that lives in conditions all but the worst-off U.S. citizens can’t compare to, and that’s true here. We zero in on a family of four living in a basement that passes as an apartment. The area they live in is a place where such spaces are piled on top of one another like broken blocks. Drunks piss right outside their window, which they leave open to get free pest control from the city cleaners. They work menial jobs, such as folding pizza boxes, to make ends meet. Kim Ki-taek (Song Kang-ho), the father, actively encourages his family in taking full advantage of any opportunities they can seize, because there is no other reasonable way to live. His wife Chung-sook (Jang Hye-jin) is skilled in cooking and cleaning with very few resources or space. His daughter Ke-jeong (Park So-dam) is a gifted artist, a talent with little application in a ghetto. His son Ki-woo (Choi Woo-shik) is smart enough to be in university, but that is of course a pipe dream.

That changes when Ki-woo’s friend Min-hyuk (Park Seo-joon) leaves for university and suggests Ki-woo pose as a university student to pick up the English tutoring he’s been doing with the daughter of some rich clients. They live in a house designed by a famous architect, who built himself an Eden in the same city where so many live in abject poverty: the yard is larger than the Kim’s entire house and each room is big enough for an apartment. The Park family that currently owns it lives as if their help is invisible. The daughter Da-Hye (Jung Ji-so) falls for her new tutor, while younger child Da-song (Jung Hyun-joon) runs around playing at his idea of American Indians (the Indians are both the good and the bad guys; there are no cowboys). Dong-ik (Lee Sun-kyun) runs an IT company, but it could be any type of company, as he’s never shown to do much besides be chauffeured around in expensive suits. When asked about his relationship to his wife (Cho Yeo-Jeong), he says “We’ll call it love”, but in other scenes, especially a rather sexually explicit one, they do seem to care for each other. That’s important, because there’s no denying both families in this film are human.

That’s important, because neither is ideal. Ki-woo initially takes the tutoring job in apparent good faith, and I thought I was watching a simple domestic drama, sort of like Downton Abbey in Korea, where the lives of both served and servant are examined. Then Ki-woo gets an idea: manipulate the family’s existing servants into being fired, then have his family take their place while hiding the fact they are all family. They’re also hiding the fact they aren’t technically qualified for the work. They set up fake headhunting services to convince the Parks they are hiring highly vetted professionals. Ki-jeong, who has some skill with art but mostly with forging, becomes the highly respected art teacher to young Da-song, reading about “art therapy” online and then faking her readings of hidden meaning in the child’s scribbles. Chung-sook, who spends her days keeping her own house, becomes a maid of long experience. Ki-taek, who can drive, becomes an expert driver who has served many wealthy clients. The family starts merely wanted jobs that aren’t folding pizza boxes for spare cash, but their ambitions grow, and soon Ki-woo has ambitions of marrying Da-hye so he can inherit the mansion and all the money, he begins to refer to it as their house.

I couldn’t feel really sorry for the Parks here. The movie has morphed at this point from a drama about domesticity to one about economic desperation, and the Parks are capable of being rooked by the Kims in the first place because of the value they place on status. The Kims, of course, are excellent at giving the family exactly what they want, and no one would be likely to question that they are what they claim to be. The illusion of high class is as valuable here as the real thing. At the same time, the Kims grow greedy themselves. They are not, it must be noted, striking any bold blows for equality among the masses, but for advancement among themselves. After all, they got other poor people fired and turned out on the streets to claim their positions. This is not a simple story of outcast lower class heroes sticking it to arrogant rich overlords; neither family is shy about using and abusing others to get what they want. The standout performance here is by So-dam, whose character proves to be the most adept at manipulation.

The thing about stepping on others is they are very likely to step on you back. The movie seems at this point to be about a really clever con job, until one of the former servants (Lee Jung-eun) returns begging a favor. At this points the film morphs yet again. The Parks have gone on vacation, and the servant catches the Kims in the act of using the house (and the booze and food) as if it were their own, reveling in the possible excesses of being wealthy. Since the former housekeeper also has a secret, the movie becomes both a comedy of errors (naturally, the Parks have their vacation spoiled and return early) and a vicious satire on…well, on many things. Power. The limits of ambition. Class struggles. The idea of being trapped by wealth rather than freed by it. The layers of subtext here are so many that it may take years to dissect them all.

Joon-ho and co-writer Han Jin-won approach all these things with a breathlessly rolling dark comedy, so that in seconds we go from laughing to horrified. That it all stays tonally true---that the movie never feels like it is cheating or taking shortcuts---shows remarkable control over material that could easily become chaos in less skilled hands. Credit for this needs to go also to cinematographer Hong Kyung-pyo and composer Jyong Jae-il. The former chose the site for the mansion, which was built for the film, with angles of the sun and other factors in mind, so that once the camera rolls each shot is perfectly placed. This becomes especially important during the finale, in which the locations of doors and stairways between which characters are moving become a visual poetry of their own. The latter reigns in the score when needed, and hits creeping notes when they are needed, balancing each scene. Characters move from floor to floor in ways that visually represent the divide between classes. It is notable that none of the upper class folks ever descend into the basement, which is the one area of the house that is not perfectly organized. The door to it leads to a darkened stairwell, whereas other areas are lighted, a cue as to how the high-powered CEO and his family see their servants.

I haven’t even begun to say everything I could about this film, and I suspect I won’t be able to do so for some time. The curse of reviews is that you must write them before your thoughts on a film are fully formed. I won’t pretend I fully understand the film, as I’m both not Korean and not smart enough, but I can safely say it’s a rare case where “You’ve never seen anything like this before” surely applies. It’s possible you never will again.

Verdict: Must-See

Note: I don’t use stars, but here are my possible verdicts.

Must-See

Highly Recommended

Recommended

Average

Not Recommended

Avoid like the Plague

 You can follow Ryan's reviews on Facebook here:

https://www.facebook.com/ryanmeftmovies/

 Or his tweets here:

https://twitter.com/RyanmEft

 All images are property of the people what own the movie.

[filmdiaryyyyy]

Parasite (2019)

Director: Bong Joon-ho Cinematographer: Hong Kyung-pyo Genre: Dark comedy / Thriller Country: South Korea Rating: 5/5

[agendaculturaldelima]

#ProyeccionDeVida

🎬 “BURNING [Buh-ning]” 💣👨😱

🔎 Género: Drama / Thriller

⏰ Duración: 148 minutos

✍️ Guion: Lee Chang-Dong y Jungmi Oh

📕 Historia: Haruki Murakami

🎼 Música: Mowg

📷 Fotografía: Hong Kyung-pyo

🗯 Argumento: Cuando hace una entrega, Jongsu (Yoo), un joven mensajero, se encuentra por casualidad con Haemi (Jun), una chica que vivía en su vecindario. La joven le pide que cuide a su gato durante un viaje a África. A su regreso, Haemi le presenta a Ben (Yeun), un joven misterioso y con dinero que conoció allí. Un día, Ben revela a Jongsu un pasatiempo muy extraño.

👥 Reparto: Steven Yeun (Ben), Jeon Jong-seo (Shin Hae-mi), Yoo Ah-in (Lee Jong-su), Moon Sung-keun (Lawyer), Ok Ja-yeon (Ja-yeon), Kim Shin-rok, Lee Bong-ryun (Hae-mi's Sister), Song Duk-ho (Logistics), Lee Joong-ok (Patrolman) y Bae Min-jeong

📢 Dirección: Lee Chang-Dong

© Productoras: Pine House Film, NHK & Now Films

🌎 País: Corea del Sur

📅 Año: 2018

📽 Proyección:

📆 Martes 23 de Abril

🕗 8:00pm.

🎦 Cine Caleta (calle Aurelio de Souza 225 - Barranco)

🚶‍♀️🚶‍♂️ Ingreso libre

🙂 A tener en cuenta: Prohibido el ingreso de bebidas y comidas. 🌳💚🌻🌛