AI filmmaker and Creative Director with 15+ years of hands-on experience as a 3D modeler and CG artist at major VFX studios, working across feature films, animation and games. I bridge generative AI with classical VFX craft to hold shot-level quality where AI pipelines fall short.
I create MONO MARS, an AI hybrid short-form character series where the hero character is built and rendered in 3D, then combined with AI-generated environments and motion—maintaining a single character identity across 20 episodes. I currently build LoRA + ControlNet character-consistency pipelines in a major studio’s AI R&D Lab.
My AI short film “Faces of the Unknown” has been selected by 8 international AI film festivals, including the AI Film Awards Cannes 2026, the Seoul International AI Film Festival 2025, the Hollywood AI Short Film Awards 2026 and the Las Vegas AI Film Festival.
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Direction and 3D modeling for the Hankook Tire iON campaign film, produced around Hankook’s role as the official tyre supplier of Formula E.
I directed the piece and built the CG assets: the Formula E race car and tyre hero models, the environment set, and the hard-surface detailing that carries the product close-ups. Shot design, camera language and edit rhythm were handled alongside the asset work, so the CG was built to serve the cut rather than the other way round. Maya, ZBrush, Substance Painter and Nuke.
Vehicle and environment modeling for the Olympus theme cinematic of KartRider (Crazyracing KartRider), Nexon’s long-running kart racing title.
I modeled the karts and the environment sets for the piece: hard-surface kart builds with clean panel breaks and readable silhouettes at speed, plus the Olympus-themed track architecture and set dressing. Everything was built to hold up under fast camera moves and stylised game-cinematic lighting, using Maya, ZBrush and Substance Painter.
Character modeling for BTS TinyTAN, the official animated character IP of BTS, featured in the “Dynamite” clip released on the BANGTANTV channel.
I built the 3D character models to a stylised, production-ready standard: clean topology for animation, consistent proportions across the full character set, and shading that holds up in close-up under the show’s flat, high-key look. The work was delivered inside a broadcast-grade pipeline using Maya, ZBrush and Substance Painter.
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