Director ★ / Co-Director, Avatar Aang 🌊 🌎 🔥🌪️ Repped at Gotham ___ Jer. 29:11
California
Joined June 2009
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아바타 아앙 라스트 에어벤더가 한국에서 11월 4일에 티빙을 통해 서비스 됩니다! 아바타 팬분들은 다 모여라~!
It’s sad to see that such blatant racism and sheer ignorance still exist today
가만히 앉아서 술 마시고 있는데 대놓고 인종차별을 당함.
내 쪽을 보면서 눈을 찢는 시늉을 하더니,
손 높이를 바꿔가며 중국인, 한국인, 일본인은 다르다고 하더라.
세 번째까지 그러길래
“지금 나 보고 하는 거냐”고 물었더니
자기들끼리 또 웃음.
영상 소리 잘 들어보면 내가 “치노? 코레아노?” 하고 묻는데, 뒤에 있던 사람은 “일본인”이라고 하면서 쪼갬.
영상 찍을 때까지 계속 웃더니,
직원도 봤다는 얘기가 나오니까 갑자기 내 피부가 좋아서 그랬다는 식으로 둘러댐.
처음엔 한 직원도 저 사람들 편을 들었는데,
다른 여직원이 “나도 저 행동을 봤다”고 하니까 조용해짐.
그러면서도 나를 말리더라.
마지막에 나도 영상 찍으면서 손가락 욕을 했는데,
계속 웃던 할아버지가 그제야 정색하고 화냄.
이렇게 대놓고 당한 건 처음이라 나도 흥분했음.
유명해지고 싶다니 공유 좀 부탁함.
2002년, 디즈니가 2D 스튜디오 문을 닫았을 때.
주변: “이제 대세는 픽사야. 무조건 CG 파야 해. 무조건 3D 애니메이션이라고!”
나: “하… 지금 2D 애니 그리려고 학교 다니는 중인데…”
2009년, <아바타>가 3D 스크린의 시대를 열었을 때.
주변: “이제 영화는 무조건 3D야. 집에서도 다 입체 안경만 끼고 볼 텐데 뭘 망설여? 무조건 깊이감 나오는 35mm 카메라로 찍어야지!”
나: “나는 2D 애니를 연출하고 싶은데…”
2015년, 모바일, 콘솔, PC 게임들이 줄줄이 대박을 터뜨릴 때.
주변: “이제 대세는 게임 회사야! 게임 IP가 영화고 엔터고 싹 다 집어삼킬 거라니까? 무조건 게임 회사로 들어가!”
나: “그래도 2D 애니를 만들고 싶은걸…”
2019년, 세상 돈이 죄다 VR과 AR로 쏠리던 때.
주변: “이제 진짜 가상현실, 증강현실의 시대라니까! 온종일 VR 안경만 쓰고 살 텐데, 가상현실 콘텐츠를 선점해야 살아남아!”
나: “난 2D 애니 시나리오 쓰고 싶은데…”
그리고 2026년, AI의 시대.
주변: “이제 대세는 AI야! AI로 영상을 싸고, 쉽고, 빠르게 뽑아서 시장부터 먹어야 천하를 호령하지!”
나: “드디어 2D 애니 장편영화 한 편 완성했다! 야호!”
유행이 아니라 깊이 입니다.
성공이 아니라 행복일지 모르겠습니다.
Ever wonder why Tagah holds the staff in his left hand in Avatar Aang: The Last Airbender?
Early on, he appears strictly right-handed—bending with his right hand and framed alongside Aang as a trusted ally. But as the story unfolds and he takes up the staff, he settles into the frame distinctly left-handed. While the Avatar consistently wield their staff with the right, Tagah always favors the left. It is a precise, quiet detail, but once you spot it, you cannot miss it.
Historically, the left side carries a dark subtext—in Latin and French, it links directly to sinister, signaling ill omen, and Eastern traditions have often carried similar connotations. Throughout cinema history, directors have coded antagonists as left-handed not out of bias, but as a deliberate formalist device to set them in diametric opposition to the protagonist.
Tagah’s arc follows that visual grammar to the letter: tracking his shift from Aang’s right-handed ally into the left-handed villain. Whenever his true motives surface, his left hand takes over, until the pretense drops entirely and he stops hiding it.
Mapping an internal transformation through handedness is classic mise-en-scène. Beyond this setup, there are many more deliberate formalist touches run throughout the entire staging of the film.
Next time you revisit the movie, keep an eye out for these subtle visual cues just beneath the surface—it makes following the story that much more fun.
Around 1,300 AI short-form dramas are pouring out daily in China. But behind the boom, about 98% of production teams are reportedly losing money.
Steve 인창 Ahn retweeted
SE FILTRA EL DETRÁS DE ESCENAS DE AVATAR AANG THE LAST AIRBENDER 👀👀
Bueno no , pero algo así sería la situacion ...
Dejame el momento de la peli que te gustaría que muestre su "BTS"
#avatar #avataraang #avatarlaleyendadeaang #app #appacomics
Finally they believe Sokka’s stories
Character Layout for the end credits roll page, Avatar Aang 2026
Listening to his nephew’s stories
Character Layout for the end credits roll page in Avatar Aang movie 2026
One of the shots for Tagah’s first grand entrance.
We tried to put as much care as possible into the boards to ease the burden on our overseas animators and animation director, and to give them more accurate acting guides. Tagah is a particularly tricky character to draw, so he definitely got some extra attention compared to the others.
Avatar Aang 2026/ Storyboard
When I direct storyboards, I try not to rely just on my own head; I like having the right atmosphere around me to work. I usually listen to music that fits what the characters are feeling and look through a lot of reference photos of places with the right vibe. If it were a modern setting, I could just go check out real locations myself, but Avatar Aang is a fantasy with places you can’t really visit today.
So during the film production, I looked at a lot of photos of old, historic towns like Jiufen in Taiwan. I also spent a lot of time watching YouTube travel videos around Asia, as well as videos featuring different indigenous cultures—just to get an indirect feel for Republic City, Asian heritage, and diverse traditions.
Among all the places I saw, Chengdu and Lijiang in China really stood out to me as places I'd love to visit in person. They seem like neat places where the old and the new come together nicely. I'd love to take a trip out there sometime if I get the chance.
There was something special about drawing Aang bundled up in heavy winter clothes. Out of all the versions of Aang I drew, this sequence stays with me the most.
#avataraang #storyboard
