https://douglasfilm.com/work/nk-brand-film/ https://douglasfilm.com/[object Object] NK — BRAND FILM Starting from product references rather than conventional location production, the film places industrial systems inside the environments where their purpose becomes dramatic: ships, fire, heavy machinery, aviation and even space. The scale and contrast of those worlds turn technical equipment into a cinematic brand language while preserving the sense of real-world application. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/deepfine-spatial-logistics-ces-2026/ https://douglasfilm.com/[object Object] DEEPFINE — SPATIAL LOGISTICS The film follows a warehouse as it becomes spatial data and then an operational interface. Scanning and 3D mapping establish the environment; smart glasses, picking guidance, labels and inventory tools move that intelligence into the worker’s hands; dashboards return the activity to a measurable system. Live action and interface graphics are designed as one continuous workflow rather than separate product demonstrations. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/seoul-arts-center-ii-winning-proposal/ https://douglasfilm.com/[object Object] SEOUL METROPOLITAN GOVERNMENT — SECOND SEJONG CENTER Architectural proposals ask viewers to understand many layers at once—site, massing, landscape, circulation, program and public experience. The film translates those layers from drawings and diagrams into a continuous spatial journey, moving between masterplan scale and interior experience so that the design logic can be understood as both a system and a place. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/hangil-eye-hospital/ https://douglasfilm.com/[object Object] HANGIL EYE HOSPITAL — HANGIL EYE HOSPITAL The film connects the hospital’s history to what patients encounter today: specialists, diagnostics, surgery, research and care. Archival material establishes continuity, while detailed medical cinematography brings the present into focus. The result is less a facility tour than a portrait of expertise accumulated over time. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/incheon-airport-aci-asq/ https://douglasfilm.com/[object Object] INCHEON INTERNATIONAL AIRPORT — ACI CUSTOMER EXPERIENCE & ASQ The terminal is treated less as a documentary location than as a designed visual world. Light moves through stylized airport spaces, connecting staff, passenger touchpoints and award milestones into one continuous motion system. The approach turns institutional recognition into a compact media-art experience rather than a sequence of certificates and captions. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/konan-ai-pilot/ https://douglasfilm.com/[object Object] KONAN TECHNOLOGY — AI PILOT The film uses a fighter-mission environment to make an abstract AI concept readable through action. Mission planning, reconnaissance, simulation and reinforcement-learning ideas are staged through aircraft imagery and layered interfaces, giving the viewer a sense of an intelligent system operating alongside the pilot without turning the film into a conventional software demo. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/konan-vision-ai/ https://douglasfilm.com/[object Object] KONAN TECHNOLOGY — VISION AI Built around an outdoor search-and-rescue scenario, the film translates computer-vision functions into situations that are immediately legible on screen: wide-area search, tracking, low-light conditions and partial occlusion. Live-action environments, drone imagery and restrained HUD/VFX layers keep the technology connected to the field rather than abstracted into diagrams. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/voice-phishing-accomplice-part-1/ https://douglasfilm.com/[object Object] KB FOUNDATION — VOICE PHISHING — ACCOMPLICE The story begins with something deliberately ordinary: a young person responding to an opportunity that appears legitimate. Meetings, instructions and small decisions gradually reveal a criminal structure underneath. By following the accomplice’s path rather than only the victim’s, the film shows how participation can happen incrementally—and where suspicion should begin. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/kb-voice-phishing-prevention/ https://douglasfilm.com/[object Object] KB KOOKMIN BANK — VOICE PHISHING PREVENTION Instead of presenting warnings as a checklist, the film places the audience inside the victim’s experience. A soldier’s everyday routine is gradually interrupted by calls, messages and escalating pressure, allowing the mechanics of the scam—and the emotional conditions that make it persuasive—to unfold as a narrative before the prevention message arrives. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/mpva-find-descendants/ https://douglasfilm.com/[object Object] MINISTRY OF PATRIOTS AND VETERANS AFFAIRS — FINDING THE DESCENDANTS The film avoids a conventional historical explainer and instead creates a restrained dramatic space around absence, memory and recognition. Actors, empty chairs and the names of independence activists turn an administrative search into a human encounter, letting the campaign’s purpose be felt before it is explained. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/korea-livestock-data/ https://douglasfilm.com/[object Object] KOREA LIVESTOCK DATA — LIVESTOCK DATA The film starts where the technology is used: inside real livestock environments. Cameras, sensors, laboratory work and veterinary practice are connected to dashboards and data so that the solution reads as a continuous care workflow rather than a collection of devices. The result balances field credibility with a clear explanation of the platform behind it. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/korea-livestock-data-malaysia/ https://douglasfilm.com/[object Object] KOREA LIVESTOCK DATA — MALAYSIA PROMOTION Created for an overseas market context, the film connects the disease and productivity challenges of livestock operations with a data-led care model. Farm footage, platform graphics and Korea–Malaysia collaboration imagery make the technology legible not only as software, but as a system designed to be adopted on real farms in a new market. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/lg-technology-ventures/ https://douglasfilm.com/[object Object] LG TECHNOLOGY VENTURES — TECHNOLOGY VENTURES The film moves between Silicon Valley, founders, portfolio companies and LG teams to make venture investment tangible as a network of people and technologies rather than a financial abstraction. Long-form interviews, workplace observation and concise graphics build a documentary view of how external innovation connects back into the wider LG ecosystem. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/aimo-autonomous-driving-solution/ https://douglasfilm.com/[object Object] AIMMO — AUTONOMOUS DRIVING SOLUTION Autonomous-driving AI depends on data that is difficult and expensive to collect, validate and organize. The film makes that invisible infrastructure visible through sensor vehicles, LiDAR and point-cloud imagery, difficult road conditions and a clear data pipeline. Real-world complexity is presented not as a backdrop, but as the raw material the service turns into usable training data. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/skt-sapeon-npu-farm/ https://douglasfilm.com/[object Object] SKT × SAPEON — NPU FARM Hardware infrastructure can be difficult to communicate without collapsing into specifications. This film keeps the subject human and operational: expert interviews establish why NPU infrastructure matters, while consistent blue-toned graphics map architecture, efficiency and AI-service use cases. The result connects semiconductor capability to the workloads it enables. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/ilsong-foundation-identity-02/ https://douglasfilm.com/[object Object] ILSONG FOUNDATION / HALLYM UNIVERSITY MEDICAL CENTER — IDENTITY SERIES 02 The film approaches institutional identity indirectly, using the evolution of recorded culture and memory as an editorial bridge into Hallym’s own history. Archive, photography, typography and music are layered to show change across generations while returning to the values that remain shared. The form is closer to a visual essay than a conventional chronology. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/armiq-data-transformation/ https://douglasfilm.com/[object Object] ARMIQ — DATA TRANSFORMATION Enterprise data migration can disappear behind acronyms and architecture diagrams. This film makes the process visible through a disciplined graphic language, moving from fragmented business data to conversion, integration and ETL workflows. A restrained navy, orange and yellow system keeps dense technical relationships readable without turning them into decorative graphics. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/angelswing-drone-data-solution/ https://douglasfilm.com/[object Object] ANGELSWING — DRONE DATA SOLUTION The film follows the data chain from the site outward: drones capture large-scale construction environments, the platform turns imagery into measurable 2D/3D information, and teams use that shared view for analysis and coordination. Interviews and real field footage keep the digital-twin message grounded in how projects are actually managed. https://douglasfilm.com/[object Object] https://douglasfilm.com/work/glocalize-directors-cut/ https://douglasfilm.com/[object Object] GLOCALIZE — GLOCALIZE Rather than explain localization through a conventional service list, the film builds momentum from the media people already live with—video, games, social platforms, broadcast, code and global culture. Rapid editorial transitions, typography and sound connect those fragments into a single idea: content becomes valuable when it can travel without losing its meaning. https://douglasfilm.com/[object Object]