July 1, 2026

An Interview with Animator Kim Eunho, Director of the 「Soyongdori」 Music Video

「Soyongdori」 뮤직비디오 감독 김은호 작가와의 인터뷰 — 「Soyongdori」 (2026) Directed by Kim Eunho (@keh99_ho)

Would you believe it if someone said they made an animated music video alone? 「Soyongdori」 is an animated music video that captures Azikazin Magic World’s music and characters, along with experiences shared with friends, one scene at a time. The director of this music video is Kim Eunho, an animation artist from Korea. As a fan of Azikazin Magic World, he had been drawn to the way the team continues to work across music, games, and other activities. Then the Azikazin team reached out to him directly with a collaboration proposal, and Kim Eunho completed the animated music video as a one-person production.

Making sure experiences with friends do not remain only as memories, but are held on screen like moments that truly existed. MACA asked Kim Eunho about how he first began animation, the production process behind 「Soyongdori」, the sensibility needed by indie animators, and his future work.

Text: MACA Interview
Photos: Courtesy of Kim Eunho
Coordination: Azikazin Editorial Team

MACA

Hello. Please briefly introduce yourself.

Kim Eunho

Hello, I’m Kim Eunho, an animation artist. I really love making animation. I recently left my job and became a freelancer.

MACA

I am curious about the starting point of your work as a whole. When you first began making animation, were there any works or experiences that had a particular influence on you?

Kim Eunho

In middle school, I came across an animation tool called EasyToon and started drawing with it. Back then, it was so much fun to turn funny images or things I imagined into animations, upload them to the EasyToon Cafe, and see people’s reactions. I made around 200 short GIFs for fun during middle school, and I think that sense of play is still with me now.

MACA

Was there a period when you felt your skills grew the most?

Kim Eunho

It was when I was working at an animation company while also making my own animation. At work, I steadily produced animation to match a set style, and when I got home, I decompressed by freely working on 2D animation or digital painting. On my commute or while working, I would imagine a new project, then go home and realize it. Doing that like a habit helped me grow quite a bit. To sum it up, it is about completing short projects that are fun to you. It is fine if they include parts you want to practice.

MACA

Where do you usually draw inspiration or references for color from? Do you have a way of collecting and organizing them?

Kim Eunho

I often look at drawings I like, and I save them on my phone so they catch my eye often. When I see impressive light or a memorable scene, I take photos frequently. I use a program called PureRef to spread out the references and sketches I need, and I save separate files for each project. I like that I can see the images all at once.

Real-life scenes that became references for the animation

MACA

What do you think is the sensibility that only an animated music video can convey?

Kim Eunho

I think that in animated music videos, music and animation make each other feel more real. Azikazin Magic World is a group with special characters and a world of its own, so I think that effect works even more strongly for them.

「Soyongdori」 (2026) Directed by Kim Eunho (@keh99_ho)

MACA

How long did it take to complete 「Soyongdori」? In particular, what were the most difficult parts of the one-person production process?

Kim Eunho

The difficult parts were the lack of time, not having experience making a longer animation, and a lack of stamina. It took about three months while I was working a full-time job. To make a video I would not feel disappointed in as a one-person production, I found solutions such as using the sky and falling snow to make use of empty space while reducing the detail in the backgrounds, and keeping the movement alive while using fewer frames overall.

Handycam-style direction in 「Soyongdori」

MACA

Although your works are 2D animation, the camera movement feels very vivid, almost as if the footage had actually been filmed. What kind of experience, sensibility, or skills did you need in order to use the camera so effectively?

Kim Eunho

To express memories with friends as if they had really happened, I thought of home videos. I wanted the awkward camera movement and imperfect compositions to make viewers feel as if they had shared those memories too. My habit of taking photos and my experience working as a 3D animator helped me recreate that live-action feeling. On my commute, I would photograph places where it felt like Jujubee and Tra→Kids! might be, and some scenes were drawn with those references in mind.

MACA

What do you think is the most necessary skill or virtue for an indie animator, especially a one-person animation creator?

Kim Eunho

I think you need to enjoy making animation, or to keep being interested in it. Everything else seems to differ from person to person.

MACA

One-person production has a high degree of freedom, which also seems to leave endless room for revision. At what point do you decide that a work is “complete”?

Kim Eunho

I set a limit on what can be expressed within the production period, such as whether the movement works in a way that suits the project, whether the cuts connect naturally, whether the finishing touches are acceptable, and whether the colors work well together. Within that limit, I do my best. If it still feels okay after playing it back repeatedly, after leaving it for a while and coming back to it, or after moving it to a phone and playing it there, I decide that it is complete. If I am unsure, I also show it to people around me. Toward the end of the music video work, when I started to notice beats in the music that I had not consciously been aware of during playback, and when I could watch it smoothly all the way through, I felt that it was almost finished.

MACA

Have uploads of your work on social media or personal projects ever led to actual career opportunities? If so, could you describe how those opportunities came about?

Kim Eunho

There have not been many yet, but most of the work I have done came from people contacting me through social media. A job offer from CookieRun: OvenBreak. A commission for a music video for Hololive’s Todoroki Hajime. The collaboration with Azikazin Magic World also happened through social media. Sometimes it starts with a DM and then they send an email, and sometimes they email me directly from the beginning.

「【Original】ちゃちゃもにゃ/轟はじめ」 (2025) Directed by Kim Eunho (@keh99_ho)

Animator Kim Eunho recently wrapped up four years of work on the CookieRun team.

MACA

Is there any kind of work you would like to try later, or a body of work you would like to build over the long term?

Kim Eunho

Not yet. I feel like I should have one, though. Each time an animation I want to make comes to me spontaneously, I enjoy making it and work hard on it. As I make things, it seems like something else I want to do comes up again.

Kim Eunho, animator (Instagram / X (Twitter) / keh99428@naver.com)
* This interview was published through MACA Interview in July 2026.
** Thank you to the MACA Interview team for allowing simultaneous publication on the Azikazin Magic World website.
*** Original interview: “A Special Interview with Director Kim Eunho” https://www.instagram.com/maca.interview/

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5 comments

도레핀 마을의 발명왕

작가인터뷰까지…ㅠ최고가아닐수없여유

July 2, 2026 at 4:18 am Reply
도레핀 마을의 발명왕

소용돌이뽀에버입니다

July 2, 2026 at 4:18 am Reply
도레핀 마을의 귀염둥이 관찰자

멋져요 너무 조아요! 뮤비 보구 아지카진이 더더 좋아졌어요!

July 2, 2026 at 2:18 pm Reply
도레핀 마을의 지도 애호가

개쩌시는분이잖아?

July 3, 2026 at 1:35 am Reply
도레핀 마을의 늦잠꾸러기

ㅠㅠ

July 3, 2026 at 2:23 pm Reply

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