We’re excited to introduce you to the always interesting and insightful Shi Hyoung Jeon. We hope you’ll enjoy our conversation with Shi Hyoung below.

Alright, Shi Hyoung thanks for taking the time to share your stories and insights with us today. Are you happy as a creative professional? Do you sometimes wonder what it would be like to work for someone else?

Of course, there are times when I wonder what it would look like to have a regular job — a steady paycheck, predictable hours, weekends off. The only period in my life that resembled that kind of structure was during my military service in Korea. It wasn’t exactly a job since it was mandatory, but it had a solid routine: morning training, scheduled meals, designated breaks, and guaranteed sleep time. I remember feeling confined, yes — but also surprisingly clear-headed. There was something grounding about that rhythm. My body felt healthy. I had time to read, reflect, even write a little. That experience made me realize how important daily routine is — not just physically, but mentally as well.

Otherwise, most cinematographers are freelancers. We live by irregular projects, unpredictable hours, fluctuating income. Some days we skip meals; other nights we don’t sleep enough. One month can be completely free, and the next month can feel nonstop. It’s easy to lose your rhythm — physically and emotionally. The sense of stability or balance can disappear without warning. In those moments, I definitely feel the pull of a more regular life.

But here’s the thing: one of the things I love most about this job is that no scripts are ever the same. Every projects are different. Every team, every set, every challenge is different. Therefore, approaches needs to be different every project. This isn’t just true for me — it applies to every filmmaker. Even the most experienced director can’t predict whether their next film will succeed or not. That level of uncertainty can be stressful, yes, but it also keeps you awake — alert, adapting, evolving. It forces you to grow. And that, to me, is the part I can’t give up.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

I’m a cinematographer based between Los Angeles and Seoul. I started out studying filmmaking at the Korea National University of Arts and worked on Korean feature films for several years as a camera assistant — including Parasite. That was a formative time. I got to see how professional sets run, how cinematographers communicate and lead, and how much patience and trust the job really requires.

In 2021, I moved to LA to study cinematography at the AFI Conservatory, where I started exploring more personal and stylistic work. After graduation, I’ve worked on narrative films, branded content, and experimental shorts — both on digital and on film. I try not to confine myself to a single ‘style,’ but I care deeply about tone and emotional texture. I often say I’m a visual storyteller before I’m a cinematographer.

What sets me apart? I think it’s the balance I bring. On set, a cinematographer has to be an artist, a technician, and a leader — and I take all three roles seriously. I’m not trying to overpower the story with visuals. I want to support it — to help the audience feel something real. That’s what I’m most proud of: not just the images, but the intention behind them.

Looking back, are there any resources you wish you knew about earlier in your creative journey?

I wish I had learned more about money and business earlier on.

In my 20s, I focused entirely on the craft — storytelling, lighting, camera work. And while that foundations were essential, I now realize how much filmmaking is tied to business, finance, and the systems around us. Most films are funded by others. Every shoot is shaped by budget, time, and negotiation. Whether we admit it or not, we live in a capitalist society, and that reality affects everything we do as artists.

Art schools rarely teach us how to navigate the industry’s financial realities. To be fair, mastering filmmaking itself is already a huge challenge — there’s so much to learn about story, craft, and technique. But without some grasp of how money flows — budgeting, communicating value, creating sustainable conditions — it’s hard to keep going. It’s not just about money; it’s about making your work possible.

These days, I’ve started studying these things more intentionally — listening to economic podcasts, reading how other artists manage money, and learning how to better support the work I care about. I don’t see it as a contradiction to being an artist — I see it as part of the job.

How about pivoting – can you share the story of a time you’ve had to pivot?

The biggest pivot in my life happened in 2021, when I moved to Los Angeles.

At the time, things were going well in Korea. I had graduated from one of the top film schools and was steadily working on features as part of a strong camera team. I had a network. Some directors I’d worked with were starting to write their first films. From the outside, it looked like I had momentum.

But inside, I started to feel stuck in my comfort zone. Around the same time, I worked on international project, and that sparked something in me. I started imagining a life beyond the system I was in — a life where I’d have to rebuild, where I could meet different kinds of stories and storytellers. That’s when I decided to apply to AFI and relocate myself.

Contact Info:

• Website: https://shihyoungjeon.com
• Instagram: shihyoungjeon_setlife

Image Credits

My profile photo: shot by Peter McCollough