2. Q. Can you tell us about Marvel? Thunderbolts And your role in this project?
P. Thunderbolts Is a new Marvel Studios movie, behind which many creative teams have been developed Cow meat (2023), a Netflix targeted that hilariously and fondly sought the lives of Korean -American outsiders. Success of Cow meatWhich included a strong Korean American production team, including writer Lee Song Jin, affected, it seems that it has affected ThunderboltsGive it the sensitivity of Eastern visual and rhetoric. I participated in the composing team, and as a Korean, I was proud to participate in such a global project.
A memorable part of my work was when the director asked our team to imagine the visual representation of Bob Reynolds’ role. I was significant in the last way of this order. In addition, I was responsible for almost every shot in the film’s first stinger (post credit scene)-it was a particularly meaningful experience how these scenes are known in the amazing universe.
3. Q. What are your thoughts about recent advancements in AI technology? What does AI mean for you as a creator?
P. I see AI as a magical tool that increases the creative possibilities of artists. It offers a wide array of references, allows the faster concept of imaginary images, and helps to achieve detail in the process. However, I am sure that when it comes to the depth and intentions of the Creator, AI still has limits. Although there is still scope for growth, AI is undoubtedly becoming an essential tool that increases the origin and expression of creative ideas.
4. Q. We have heard that you have recently tested the toning plus. What is the most standing?
P. Yes, the thing that impressed me about the toning plus was that it’s not just another AI tool – it’s a The platform of creating content based on storytelling. It is especially useful for developing 3D -based story boards and pre -visualization. The ability to control the character, adjust the camera angles, and to write scenes at the layout level is extremely intuitive. I am currently discussing some customized features with the Tunus Cooier team, and I am sure that the device has a great deal of ability in the early stages of direct action and dynamic production.
5. Q. Do you have any future plans or long -term goals?
P. Personally, I am hoping that my work will enhance the visual effects and preparation. I am sure that with the help of technologies like AI, we have reached the point where high quality visual content can be manufactured with fewer people and small budgets. Using AI tools to raise the creative process, I’m also working on a screenplay recently. After all, I want to be a creator who accepts experiences and technical evolution. I hope the media will cooperate with the advanced AI tools prepared by professionals, and will help more creators alive their unique imagination.
🎓 🎓Education
- Hangak University, Seoul, South Korea
- In the Major Film and animation
- In the double major Sculpture
💼 💼Professional Summary
Dongjin is a VFX artist, CG generalist, and Hollywood -based visual director in Korea. Currently he is associated with her Satyandari StudiosWhere he contributes to high -end visual impact and composite for films and series.
🎞 🎞Key project
- Mercury Studios’ Thunderbolts (2025) – composing artist; Post Credit Stinger of the film played a key role in the visual development of Bob Rynolds
- Rebel Moon: Part One/Two (2023) -Science -Fi Epic Directed Jack Snder, developed by Netflix
- Yellowstone – Television Series to be critically praised by Paramount
- Circle studios (Las Vegas) -Amphlex Dome -based media experiments supported in VFX pipeline
🛠🛠Fields of skill and skills
- Visual Effects Composite and CG Pipeline Development
- Story boarding and pre -visualization to tell cinema story
- Integration of emerging technologies such as content creation AI (eg, toning plus)