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Hong Kyung-pyo
South Korean cinematographer From Wikipedia, the free encyclopedia
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Hong Kyung-pyo (Korean: 홍경표, born August 11, 1962) is a South Korean cinematographer.[1] He has worked with several acclaimed film directors, including Bong Joon-ho, Lee Chang-dong, Kang Je-gyu, Kim Ji-woon, Na Hong-jin, Lee Sang-il, and Hirokazu Kore-eda.[2][3] In 2025, he became the first cinematographer to win the Grand Prize – Film at the 61st Baeksang Arts Awards for his work in Harbin.
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Early life
Hong Kyung-pyo was born on August 11, 1962, the third of four brothers. He grew up in Waegwan, Gyeongbuk, in a well-off family residing near a U.S. military base. While he excelled academically through middle school, his performance declined significantly during high school in Daegu, leading to his expulsion in his second year as he became a "problem child." After transferring to Yangmok High School in his hometown of Waegwan, Gyeongbuk, he briefly ran away to Seoul with a friend for a month. Upon his return, he became determined to establish a life in Seoul and focus on his studies. After graduating from Yangmok High School in 1981, he attended the Department of Economics at a college near Seoul for a year before dropping out.[4][5]
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Career
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Beginning
After dropping out of college, Hong remained uncertain about his future. Around 1987, the improving quality of television commercials sparked his interest in a career in the film industry. His elder brother's purchase of a camcorder marked the beginning of his filmmaking activities. The following year, he acquired a video production textbook at Kyobo Bookstore in Gwanghwamun, and the author's contact information led him to the Korean Association of Cinematographers.[4]
In 1989, Hong started as a cinematographer's assistant on the film All That Falls Has Wings. At 27, he was older than most assistants, who were usually 21 or 22. Hong's early career in Chungmuro motivated him to pursue further study, particularly after being profoundly affected by Andrei Tarkovsky's Mirror. He grew frustrated with Chungmuro's apprenticeship system, which mandated working as an assistant for at least five years before becoming a cinematographer.[4]
Hong went to Los Angeles in 1991 as an assistant cinematographer for the film Camels Don't Cry Alone. He decided to stay until 1994, a time he calls his "period of wandering." He lived like a hippie, with long hair. While staying at a homestay in Santa Monica, he spent most of his time watching movies. He didn't go to film school but rented and watched about 800 to 900 films from a local video store, including classic, Hong Kong, and Chinese movies. He intentionally avoided using a camera, except for occasional part-time job to support himself, believing he would "pick it up again when I'm sure what to film." His first real job in Los Angeles was overseeing the filming for Kim Soo-hee's film The Harmonica of Grief.[4]
Cinematographer debut
Upon returning to South Korea, Hong Kyung-pyo officially began his career as a cinematographer in 1998 with Im Sang-soo's film, Girls' Night Out. For this project, he employed a unique silver retention process, which involved applying silver particles during film development to achieve a distinctive metallic aesthetic.[5] In 1999, his work continued with Kim Si-eon's film Fly Low, where he created images on 16mm film alongside lighting technician Kim Gye-joong.[6] This garnered immediate attention for his distinctive use of light and color, experimentalism, and creativity.[7] Both films were the only Korean entries selected for the 'New Currents' section, the main competition category of the Busan International Film Festival.[8]
That same year, his work on Min Byung-chun's Phantom: The Submarine. For this production, Hong pioneered Korea's "Dry For Wet" technique, allowing realistic underwater scenes without actual water, akin to methods in Hollywood films like Crimson Tide. To depict a 25-minute submarine combat sequence, Hong filled a 400-square-meter set with dense smog for 36 days. This process required approximately 200 one-liter containers of smog, costing over 5 million won, and necessitated the use of gas masks, despite the oil-based smog being considered harmless. Continuous adjustments to smog concentration, filters, and lighting were made to achieve a convincing underwater visual. Hong described the experience as "practically 'living with smog'," noting the effort involved in sealing the large set throughout winter to maintain constant smoke. In the early days of filming, the crew was concerned as the initial results resembled "toys" floating in a "blurry fog" rather than the deep sea.[5]
By the end of 1999, Cine21 recognized Hong as Cinematographer of the Year for his significant contributions to advancing the technical quality of Korean cinema, notably through his pioneering "dry-for-wet" technique. He successfully conveyed the film's somber atmosphere and characters, emphasizing a "cartoon vibe" through artificial lighting and vibrant colors. Hong is widely recognized for his exceptional ability to interpret screenplays and translate them into compelling visuals.[8]
Critical acclaim
Asako in Ruby Shoes
The 2002 film Champion marked a turning point for Hong Kyung-pyo, as it was his first project where he exercised complete control over filming, including the lighting department. Previously, he had deferred to lighting directors, often regretting tonal inconsistencies. With Champion, he significantly reduced such instances, aligning the visual tone more closely with his vision. The boxing sequence set in Las Vegas was a major achievement in Korean computer graphics at that time, particularly for its seamless camera movement through the ring ropes. Despite the sophisticated integration of these CG effects, which often went unnoticed by viewers, their innovative nature remains largely unacknowledged due to the film's modest box office performance.[9]
In Jang Joon-hwan's Save the Green Planet!, Hong executed a groundbreaking scene featuring a seamless camera transition from outside to inside a building—a technique unprecedented in Korean cinema at the time. This film showcased a wide array of filming techniques, including diverse flashback scenes, inventive camera work, and open-angle filming. For the first time, Hong utilized a film stock other than Kodak, specifically for scenes requiring an intense depiction of blood. For older scenes, he also employed a silver retention development method, leaving a high concentration of silver particles on the film to achieve a distinct look. While Director Jang had many innovative ideas, including a desire for camera work akin to Panic Room, Hong expressed regret to the director for being unable to fully realize their shared artistic vision due to budget constraints.[9]
Hong's cinematography in Kang Je-gyu's 2004 war epic, Taegukgi: The Brotherhood of War, received acclaim for its raw intensity and visual scale, drawing comparisons to Saving Private Ryan. His work was pivotal in portraying the brutal realities of the Korean War, capturing both battlefield chaos and its emotional toll on the characters. Hong's approach to filming the war sequences involved extensive close-quarters shooting and frequent use of close-ups, a style favored by Director Kang. This technique, resembling the work of war correspondents, effectively conveyed a sense of chaos. He also realistically depicted war scenes by shooting at low angles.[10][9]
To capture explosion effects, Hong commissioned engineer Song Seon-dae to build a custom, remote-controlled vibrating device, opting for in-house production due to the limited three-week rental period for international equipment. Song created this device within a month, using a motor sourced from Cheonggyecheon. The device caused the camera to shake, mimicking the impact of explosions. Unlike still cameras, which simply open and close a shutter to capture an image, movie cameras use a spinning mirror, typically set at 180 degrees, to create smooth video. Reducing this mirror's angle to 90, 45, or 25 degrees results in choppier, jarring motion. Given the camera's approximate 25-kilogram weight, inducing natural shaking was challenging; thus, the vibrating device was crucial.[10] This effort earned him multiple accolades, including the Best Cinematography Award at the Grand Bell Awards, the Blue Dragon Film Award, the Korean Association of Film Critics Award, and the Golden Cinematography Award for Cinematographer of the Year.[4]
In the same year, Hong did E J-yong short film Joy of love (2004).[11]
In 2007, Hong served as the cinematographer for Lee Myung-se's film M. For his work on this film, Hong received the Best Cinematography Award at the 2007 Korean Association of Film Critics Awards and the Technical Award at the 2008 Busan Film Critics Awards.[12]
While Hong Kyung-pyo was in Los Angeles for four months, commuting between Mexico and the Dominican Republic for the film Fire Bay, its production was suddenly postponed a week before his scheduled start. During this period, he spoke with Bong Joon-ho, who was visiting the U.S. They met for a meal, and Bong inquired about Hong's availability. Bong expressed his desire for Hong to work on Mother, citing an appreciation for Hong's ability to convey subtle messages through color, which he felt suited the film's delicate yet powerful, "slightly feminine" aesthetic.[13]
Critical acclaim
Na Hong-jin chose cinematographer Hong for The Wailing based on a recommendation from actor Kim Yun-seok, who had worked with Hong on Sea Fog. Kim believed that Na and Hong would complement each other well due to their personalities. Kim said to Na, "I think you both have similar energies," and Na then offered Hong the script.[14]
After filming The Wailing, director Lee Chang-dong approached Hong for a collaboration in his next film Burning. Surprised by the offer, Hong initially doubted their compatibility due to Lee's focus on realism. However, after several conversations, they connected. Living just five minutes apart, they explored potential locations together in Paju, which was 20 minutes from Hong's home. This was their first experience collaborating in this manner, and Hong's thoughts on cinema, space, and light aligned well with Lee's vision.[15]
Hong reunited with Bong Joon-ho for the critically acclaimed film Parasite.[16] Principal photography for the movie spanned from May 18[17][18] to September 19, 2018, with filming locations in Seoul and Jeonju.[19] Hong utilized the Arri Alexa 65 and used Angénieux zoom lens for the filming.[20] In term of practical lighting, he specifically requested sophisticated indirect illumination and the warmth provided by tungsten light sources. Prior to set construction, Hong and art director Lee Ha-jun conducted multiple site visits to observe the sun's movement, collaboratively determining the optimal set placement.[21]
Zack Sharf praised him as one of 30 cinematographers to watch, praising his "dynamic camerawork".[8] The director he has done the most work with, Bong Joon-ho, stated that any future Korean films he opted to do would use Hong as his cinematographer.[8]
At the 61st Baeksang Arts Awards, Hong received the Grand Prize in the film category for his work on Harbin. This marked a historic first in the 61-year history of the awards, as the Grand Prize was bestowed upon a staff member rather than a film, director, or actor.[22][23] In his acceptance speech, Hong said, "Harbin was filmed in Mongolia, Latvia, and Korea in the cold midwinter under strong winds and harsh cold. I would like to share this honor and joy with all my comrades on the set of the film who have put their passion and dedication into achieving artistic perfection."[24]
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Filming style
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Hong Kyung-pyo employs a Hollywood-style Director of Photography system, granting the cinematographer comprehensive control over both filming and lighting. This approach was shaped by his four years in Los Angeles, particularly his first professional role there overseeing local filming for Kim Soo-hee's Harmonica of Sorrow. During this time, he observed that American crews combined filming and lighting responsibilities, a notable departure from the separate teams prevalent in Chungmuro. This experience significantly influenced his later work.[4]
Upon returning to Korea, Hong pioneered the introduction of an integrated shooting and lighting system. He explained his rationale: "Because light comes first and that light comes through the lens, how and at what angle the light is handled determines the quality of the shooting." For Hong, it was therefore inherent that "the cinematographer should work with the lens and the light, especially the lighting." Initially, this system encountered strong opposition within the industry; however, its successful implementation ultimately enhanced his professional reputation.[4]
As a result of this integrated approach, initial training for Hong's crew emphasizes understanding collaborative workflow and inter-departmental communication, such as with lighting and grip teams, over purely technical skills. Excluding the B camera unit, Hong's team typically includes a four-person shooting team responsible for exposure and focus, equipment management, film handling, and general assistance; a five-person lighting team; and a five-person grip team.[25]
Filmography
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Accolades
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Awards and nominations
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Notes
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External links
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