How to Recreate Lee Byung-Hun as Front Man from Squid Game in 3D
Learn how Jamie Chang made the 3D recreation of Lee Byung-Hun, the actor who played the Front Man in Squid Game, how the work behind the sculpt and textures was done to achieve a fantastic level of likeness.
Introduction
Hello, I am Jamie Chang, and I have been working in the game industry as a character artist for nearly 20 years. I majored in Fine Arts in Korea and have always been deeply interested in portraying people, whether through traditional painting or digital work.
Around the time I was in school, 3D software was emerging, and the game industry was rapidly growing, which sparked my interest in computer graphics. I minored in Visual Design and studied 3D software, which naturally led me into the game industry.
My first project was an Xbox 360 title called Mobile Suit Gundam: Operation Troy, developed in collaboration with Bandai Japan. After that, I participated in various projects across FPS, RPG, and mobile games, following the evolution of the Korean game industry. Later, I moved to Canada and recently started working at Ubisoft on Assassin’s Creed Shadows, where I created one of the main protagonists, Naoe, as well as several golden character heads. Working on the AC Shadows project was one of the most exciting and enjoyable highlights of my career.
Lee Byung-Hun
While looking for a subject to study likeness, I realized that there were relatively few works focused on Asian faces. At the time, Squid Game was gaining international popularity, so I saw this project as an opportunity to both introduce a respected Korean actor and study likeness in a meaningful way.
Modeling
To achieve a successful likeness, collecting a wide range of references and studying the subject is essential. Whenever possible, I recommend using not only still images but also video references. Videos often reveal subtle forms that are difficult to see in photos and help identify missing details that improve the overall likeness.
My sculpting workflow alternates between ZBrush and Maya. In ZBrush, I adjust the facial shapes and refine the character’s features in detail. Then, in Maya, I review the render results under a precise camera setup and make further corrections. To increase accuracy, I import reference images as image planes in Maya and use the 3D paint tool to mark key facial features directly on the mesh. These textures are then used in ZBrush to further develop the forms. This process also serves as a guide for XGen eyebrow and hair grooming. You can find the texture in the following directory: project/sourceimages/3dPaintTextures/scene/.
The eyes are composed of the sclera, iris, pupil, caruncle, and tear line. The iris is a high-poly piece, re-sculpted based on Texturing XYZ displacement maps.
For the hair, I sculpt the overall volumes in ZBrush and then generate hair guides in XGen based on those volumes.
Skin details are applied directly in ZBrush using Texturing XYZ displacement textures, usually by blending two different maps for each feature. I prefer applying them in ZBrush rather than using shaders because it allows me to adjust and emphasize specific areas more easily.
Outfit
For the outfit, I first gather reference images and analyze the garment patterns. I then create the clothing in Marvelous Designer. After adjusting the base body shape in Unreal Engine, I import it as an avatar body for the garment simulation. Once the Marvelous Designer mesh is finalized, I perform retopology and bring it into Maya, using the mesh transfer Attributes tools to convert it into a high-poly version. Finally, I move into ZBrush to add additional sculpted details and refine the overall look.
Since the retopologized mesh created in Marvelous Designer and the high-poly mesh imported with a low particle distance share the same UV layout, shape transfer occurs when identical UV coordinates are used. After increasing the polygon density of the retopologized mesh through multiple smoothing operations, applying Maya’s Transfer Attributes tool cleanly projects fine details onto the optimized mesh.
Retopology
For retopology and texturing, I used the XYZ head mesh as my sculpting base. After completing the sculpt, I used the Wrap tool in FaceForm to accurately reposition the XYZ source, ensuring that the displacement maps align perfectly with the model. Using this method, I was also able to generate the albedo and utility textures with precise alignment.
Texturing
The texturing workflow begins with setting up a reference rendering scene. I import the XYZ model into Maya and use the provided hdri_studio_center texture as the lighting source. This allows me to compare the rendered model with reference photos under the same lighting conditions. While reviewing the renders, I create and refine the albedo, roughness, and specular maps to ensure that the textures match the references accurately. After that, I apply the shaders to the final sculpted mesh and make additional adjustments while evaluating the final output.
For texturing, I primarily use Texturing XYZ textures. Previously, I worked with Mari’s node-based workflow, but recently I’ve switched to Substance 3D Painter for greater convenience and flexibility. The most challenging part of the process is the endless cycle of rendering, reviewing, and adjusting, but it is essential to achieve a realistic and accurate result.
Lighting & Rendering
I used the lighting setup from Cave Academy’s Lighting (Maya Character Look Dev and Lighting Rig 1003) to create the turntable renders. For the main images, I designed a custom lighting setup aimed at clearly showcasing the character’s forms rather than establishing a specific mood. I typically combine key, fill, and rim lights to define the shapes and add subtle depth.
Main_front view_lighting
turntable_lighting
Most post-production work is minimal – I usually handle effects like Depth of Field directly in Maya. ACES color conversion is done in the free program DaVinci Resolve to ensure consistent color management across all renders.
Conclusion
The main challenge was managing personal work alongside my job. It was often difficult to find the energy to work after long days at my full-time job, and there were times when I had to pause the project for several months due to schedule changes. Repeated revisions and refinements also required patience and focus.
The most enjoyable part was seeing the character gradually approach the likeness I was aiming for – it’s very rewarding to watch the model come to life.
For tutorials, I recommend Scott Eaton’s anatomy class for understanding human anatomy, and Kris Costa and Şefki Ibrahim's courses for full character creation guidance.
