Interview with Gryun Kim – 3D Motion Designer & Art Director

Introduction

Hi Gryun, thank you for joining us! Could you start by telling us about your background and what sparked your interest in 3D motion design and art direction?

Hello, my name is Gryun Kim. To share an interesting fact first, my name “Gryun” is purely Korean, and it literally means “someone who draws very well.” Both of my parents were art teachers, and many of my family members are artists, so I naturally grew up surrounded by art.

However, since elementary school, I’ve believed strongly that digital art created through computers would become very prominent in the future. I started with web design when I was young, moved on to creating games in middle school, and later studied visual graphics in university.

Even though I explored various fields, my ultimate goal has always been “interactive art.” However, at the time, interactive art was still a relatively unfamiliar and underdeveloped field in Korea. While searching for ways to express my ideas, I discovered 3D motion graphics. I found it fascinating how this medium allowed me to convey my stories freely within space and time. From that moment, I decided to pursue a career as a 3D motion graphic designer, and fortunately, I had the chance to grow by working on many projects with great companies and talented people.

Your portfolio showcases a passion for TV commercials and title sequences. What drew you to specialize in this area, and how has your journey evolved over time?

During university, I actively experimented with interactive art, but at one point, I decided to first sharpen my skills and become an expert specifically in 3D animation and visual graphics. After entering the industry, most of my early work involved TV commercials. Although working on advertisements greatly improved my technical skills, deep down, I always had a desire to create something more artistic and cinematic.

When I first saw the title sequence from the movie “Se7en” during my college days, I was incredibly impressed, and it left a lasting impact on me. Later, after joining Giantstep, I had an amazing opportunity to work with director Heebok Lee on the project Homage to “Skyfall” title sequence, which reignited my passion for title sequences. Unfortunately, there weren’t many title sequence projects available at the company afterward, so I continued developing personal projects on my own to stay connected to this area.

Then one day, Elastic, the renowned company behind the famous Game of Thrones title sequence—which was my dream company—contacted me after seeing my personal work. Joining Elastic allowed my passion for title sequences to reach an entirely new level.

Specialization & Work

You’ve worked on notable projects like the title sequence for “The Last of Us” and the PyeongChang 2018 Opening and Closing Ceremonies. Could you walk us through your creative process for such high-profile projects, from initial concept to final execution?

On these large-scale projects, my role was primarily as a designer and animator. Within the director’s overall vision, my job was to enhance each scene creatively and visually. Having worked in studios with intense workloads, I developed a very fast workflow, enabling me to create multiple concepts efficiently.

Usually, I prepare about three different creative directions for each task: Idea A follows exactly what the director requests, Idea B incorporates my own thoughts into the director’s initial request, and Idea C is completely different and more experimental, reflecting my personal creativity. Presenting these diverse concepts allowed me not only to fulfill directors’ expectations but also enabled some of my unique ideas to be adopted. This approach contributed greatly to the overall quality and creativity of our final results, and it also helped me grow immensely as an artist.

One of the most memorable projects from my time at Giantstep was definitely the Homage to “Skyfall” title sequence, directed by Heebok Lee. I remember clearly the moment it was finally released online—it was a cold winter day, and I was literally shivering from excitement (and probably also from the cold) as I watched the final piece.

This project meant so much to me because it pushed me beyond my limits and significantly accelerated my growth. Working alongside such an outstanding director made me eager to perform at my absolute best. Even when working late hours, I felt genuinely happy and motivated. Whenever I gave 200% effort, director Lee had the remarkable ability to elevate the work to 500% or even 1000% through his guidance and direction. It was an incredibly rewarding and valuable experience for me personally and professionally.

Technical Workflow & Tools

Your work involves creating detailed motion graphics and visual effects. How do you approach UV mapping in your projects, and what tools do you find most effective for this process?

To be completely honest, I used to avoid UV mapping as much as possible because it’s a time-consuming task, and I wasn’t confident in it. Previously, my workflow involved mainly purchasing pre-made modeling assets to maintain efficiency.

However, I realized that UV mapping was essential if I wanted full control over the design and details of my work. At studios, I often relied on help from colleagues who specialized in UV mapping. But recently, while working on personal projects such as the Shin Ramyun artwork and the Cupcake project, I decided it was finally time to overcome this personal “UV trauma.”

That’s when I discovered Rizom UV. The first time I tried Rizom UV, it was truly eye-opening. The tool felt very intuitive, allowing me to quickly and efficiently unwrap UVs exactly how I wanted. It gave me confidence and even made UV mapping enjoyable. Now, rather than avoiding it, I embrace UV mapping as an integral part of my workflow.

My workflow as an artist can literally be divided into two eras: before and after discovering Rizom UV. The introduction of Rizom UV dramatically changed my workflow, especially in terms of efficiency and quality.

Having properly unwrapped and packed UVs is crucial for high-quality texturing, so I’ve developed a strategy: instead of unwrapping every object in the scene, I prioritize UV mapping for key objects that prominently appear in the camera view. This approach saves time significantly while ensuring high-quality final renders.

Additionally, I always keep the camera angle in mind during UV unwrapping. Ultimately, the quality of textures seen in the final render is the most important. By considering the camera perspective, I ensure the best possible UV layout and highest texture quality for the visible parts of each object.

Are there specific features in your chosen UV mapping tools that have significantly improved your workflow? How do they compare to other solutions you’ve used?

Since I mainly handle lighting and rendering in Cinema 4D, software compatibility is extremely important to me. Rizom UV provides a “C4D Link,” which simplifies the workflow between Rizom UV and Cinema 4D, making file exchange seamless and convenient.

One of the most challenging parts of UV mapping is defining precise UV seams. Compared to other tools I’ve used, Rizom UV offers a much more intuitive and user-friendly interface, making seam selection fast and straightforward.

In addition, the optimization and packing features in Rizom UV clarified many previously confusing concepts. Rizom UV also provides comprehensive and detailed tutorials online, enabling me to learn and apply essential UV techniques within just a day. All these advantages combined have significantly enhanced the efficiency of my workflow.

Breakdowns & Insights

Your project “Homage to ‘Skyfall’ Title Sequence” demonstrates your attention to detail and creativity. Could you provide insights into this project and the techniques you employed?

One particularly memorable scene from the Homage to “Skyfall” title sequence was a building emerging through layers of clouds. Capturing realistic interactions between the clouds and the building was crucial for achieving the detailed visual quality I was aiming for, and to accomplish this, I employed three distinct techniques.

First, I created realistic fog within a 3D simulation that interacted naturally with the building, allowing clouds to visibly swirl around and drag along the structure.

Second, I used an emitter positioned on the rooftop of the building to simulate additional cloud interactions. While this wasn’t a fully physical simulation, it allowed me to efficiently enhance the detail and movement of the clouds around the building.

Lastly, I exported the camera position data into After Effects and composited real fog footage into the scene. Using actual footage created an even greater sense of realism compared to purely computer-generated fog effects.

By skillfully combining these three methods, I was able to achieve an incredibly realistic and detailed final visual that genuinely captured the mood and atmosphere I envisioned.

Related links : watch the video here!

I’ve been working as a 3D artist for over ten years, but for a long time, I avoided serious UV mapping tasks. However, discovering Rizom UV completely changed my perspective, enabling me to overcome my hesitation and even build confidence in the process.

Recently, I’ve been combining Rizom UV with texture-painting software like Substance Painter, which has greatly enhanced my workflow. This integration allows for precise detailing that previously wasn’t possible when relying solely on traditional 3D materials.

Moreover, whenever I encounter difficulties or questions during my workflow, I actively utilize AI tools. For instance, if I get stuck, I simply take a screenshot of my workspace and ask AI-powered assistants for guidance, quickly receiving accurate solutions. I’ve found that intelligently using AI significantly accelerates learning and efficiently resolves technical challenges.

Based on my experience, I strongly advise artists not to worry about mastering everything from the start. Instead, identify essential tools, leverage their strengths, and proactively incorporate advanced technologies like AI into your workflow. This approach will rapidly and effectively improve your UV mapping and texturing skills.

Closing

Looking ahead, are there any exciting projects or new areas of expertise you’re eager to explore in the near future?

Since childhood, my ultimate aspiration has always been to create interactive art. My goal is to transform every activity I engage in into a form of art itself. Recently, during a seminar, I used a game engine to present my personal life story in the form of an interactive video game. I plan to continue experimenting in unique ways so that my everyday actions themselves become artistic experiences.

Specifically, I want to create interactive art that isn’t limited to telling just my personal stories, but rather invites audiences to weave their own narratives within my artwork. I envision building genuinely interactive experiences where audiences actively participate and shape the artwork, creating something meaningful together.

Additionally, I’m deeply passionate about exploring positive applications of AI in creative processes. Many people still feel uncertain about AI, but I want to demonstrate how fascinating and powerful AI can be when thoughtfully integrated into creative projects. My ongoing mission is to encourage and inspire others to discover and embrace their own artistic potential through AI-enhanced creativity.