I’m taking one more opportunity to embarrass Yong @sungji715 and talk about her ability to manage both macro and micro. Whether she’s recreating HK’s Occupy Movement in a parking lot, or sourcing hundreds of umbrellas for the Umbrella Movement, or building massive apartments against a 200foot backdrop, she somehow still manages to be concerned with…….. “the cups” 🤣🤣🤣 (scroll to the end). God is in the details. I love Yong.
I’m taking one more opportunity to embarrass Yong @sungji715 and talk about her ability to manage both macro and micro. Whether she’s recreating HK’s Occupy Movement in a parking lot, or sourcing hundreds of umbrellas for the Umbrella Movement, or building massive apartments against a 200foot backdrop, she somehow still manages to be concerned with…….. “the cups” 🤣🤣🤣 (scroll to the end). God is in the details. I love Yong.
I’m taking one more opportunity to embarrass Yong @sungji715 and talk about her ability to manage both macro and micro. Whether she’s recreating HK’s Occupy Movement in a parking lot, or sourcing hundreds of umbrellas for the Umbrella Movement, or building massive apartments against a 200foot backdrop, she somehow still manages to be concerned with…….. “the cups” 🤣🤣🤣 (scroll to the end). God is in the details. I love Yong.
I’m taking one more opportunity to embarrass Yong @sungji715 and talk about her ability to manage both macro and micro. Whether she’s recreating HK’s Occupy Movement in a parking lot, or sourcing hundreds of umbrellas for the Umbrella Movement, or building massive apartments against a 200foot backdrop, she somehow still manages to be concerned with…….. “the cups” 🤣🤣🤣 (scroll to the end). God is in the details. I love Yong.
I’m taking one more opportunity to embarrass Yong @sungji715 and talk about her ability to manage both macro and micro. Whether she’s recreating HK’s Occupy Movement in a parking lot, or sourcing hundreds of umbrellas for the Umbrella Movement, or building massive apartments against a 200foot backdrop, she somehow still manages to be concerned with…….. “the cups” 🤣🤣🤣 (scroll to the end). God is in the details. I love Yong.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.
