A New Chapter for Virtual Idols: The Making of PLAVE
- 🛸테라정복라쓰고🛸
- Oct 6, 2025
- 7 min read
Updated: Nov 2, 2025
This is the translation from the October 2025 interview with VLAST key staff in singles.
It is for reference only; the original Korean version prevails in case of discrepancies. Copyright for the original Korean version is owned by singles.
Meet PLAVE— the virtual idol that's redefining the scene. In an exclusive sit‑down, we caught up with VLAST's Chief Technology Officer Lee Hyunwoo (HW) and Lead Look Development (Look Dev) Artist Lee Yesong (YS), the two visionaries who have devoted countless hours to charting the next frontier for PLAVE's universe.
Written by Editor KIM Hwa-yeon (literation)
Translated by @plli_in_terra
The recent surge in PLAVE's popularity indeed sparks growing curiosity towards VLAST. So, what kind of company is VLAST?
HW: Based on Unreal Engine, an integrated development platform for real-time content like games, film and VR/AR, we are an entertainment company that uses motion-capture technology to present virtual idols. Unlike a traditional entertainment agency, most of VLAST's work is rooted in production and technology. The company did not set out to create a virtual idol; it began simply wanting to make content with game‑engine tools. Starting with cinematic videos, we soon tapped the real‑time motion capabilities and began experimenting with virtual live performances. That is how we ended up here.
How did you feel when you first heard about the plan to create a virtual idol?
YS: To be honest, I felt uneasy at first. The term "virtual idol" evokes a very specific image, right? So I was skeptical. We built the system and ran a live test with Yejun, our first member. After watching it, I saw its potential: "This can work." I was not alone; the whole team felt the same way. From that moment on, we threw ourselves into the project without hesitation.
We are curious about what each of you is responsible for.
YS: Look Dev artists primarily work with lighting. The mood and flow of a space change depending on how it is lit. We shape the overall visual style while keeping the artist's emotional arc and story in mind. To enhance the final quality, we handle environment lighting for scenes, as well as rendering and compositing within the Unreal 3D pipeline. When needed, we also create simple shaders and visual effects—such as flashing neon signs, sparks, or flame particles—that bring a scene to life. As we oversee aesthetics and add that final sense of vitality, I was fortunate to be heavily involved in the concert staging for the Asian tour "DASH: Quantum Leap". In my dual role as Look Dev artist and director, I helped plan the show and produce the stage.
HW: Contrary to common belief, a CTO's role extends far beyond technical development alone. My responsibility lies in envisioning the broader strategic landscape, identifying essential technologies, and steering our directional roadmap. The technical demands of PLAVE's operations are extensive. While integrating technology into a game engine is critical, hardware components like live-streaming infrastructure also require meticulous consideration. By assessing current gaps and anticipating long-term needs, I establish a clear technological framework. Teams then execute development aligned with this vision.
YS: Things that made you wonder "why do we need this?" at the time often turn out to have reasons as time goes by. Even when many people oppose the idea, we always explain its necessity, push forward with it, and prove the rationale behind it.
What was the most innovative change?
HW: When working on projects like music videos or those that did not require frequent costume changes, there wasn't a major inconvenience. Surprisingly, it was incredibly time-consuming when we tackled static images like photocards as each cut demanded a different outfit. Sometimes staff spent more time than expected just searching through every image to change the clothes. Those who had specific outfits they wanted to use struggled to find them each time. To be honest, I initially just thought we needed some kind of costume system to solve this issue. But before I could propose it, the production team had already started building their own website. (Laughs) At first, it was simply an idea for a site to archive costumes and make them easily accessible. Then I thought, "If we could assemble clothes on a webpage like a shopping cart and bundle them with a single URL, we can apply those looks directly to Unreal Engine work" That is how the costume fitting-room system was born. I just added one extra feature to it.
PLAVE has remarkably grown since their debut. Which moment stands out most to you?
YS: The "DASH: Quantum Leap" concert comes to mind as it is the most recent event. The KSPO, as a concert venue, carries a strong symbolic weight, and being deeply involved in the concert's planning made the experience especially significant. If our earlier promotional activities were essentially a stage to prove that PLAVE could pull off a performance on par with any idol, our focus now has shifted to revealing PLAVE's distinct identity in a clear, unmistakable way. From the outset, the concept was built on a determination to break the occasional bias against "virtual idols". Most importantly, it reflects our respect for PLAVE members as true artists who write their own songs and craft their own choreography. The title of the concept was born from that same perspective.
Could you elaborate on the concert in more detail?
YS: The concert is structured into three core chapters: PLAVE's challenges, adversity and their triumph over it, and the love between PLAVE and PLLIs. These elements are woven together through the unifying theme of "gravity". The most concentrated expression of this concept emerges in Part 1's VCR1, where PLAVE members skydive from a spaceship toward Terra (Earth in PLAVE's universe)—a perilous fall transformed into a leap of faith, empowered by the presence of PLLIs below. This scene symbolizes the journey as a preview of PLAVE's future musical evolution, opening with "Watch Me Woo!" to set the tone. Part 2 delves into the "depths"—the darkness and weight of the deep sea—representing struggles overcome through music and PLLI support. The finale in Part 3 embodies gravity's pulling force, culminating in the mutual love between PLAVE and PLLI as the core message: this gravitational bond is fundamentally about love.
Discussions have been sparked by the members' evolving hairstyles.
YS: We conducted extensive deliberations with our CEO regarding the hairstyles, a cornerstone of our visual identity and artistic signature. While mindful of potential fan reactions to such changes, we concluded that the timing was opportune to evolve our aesthetic while upholding our foundational essence. The decision to debut these transformations at the concert stemmed from its capacity to deliver the most impactful and immersive showcase. We actively incorporated members' feedback throughout the process, resulting in styles that harmonize artistic ambition with personal expression.
Did the on-site response meet your expectations?
YS: At the concert, I thought my eardrums were going to rupture (laughs). When we saw the revised hairstyle, the entire team erupted in screams. So, I had some anticipations, but the actual audience reaction surpassed my expectations.
The audience's passion surged to a feverish peak during another key instant.
YS: It was when we announced the encore concert at Gocheok Sky Dome in November, wasn't it? My wish is for this performance at Gocheok Sky Dome to crystallize into a big gift for our fans. Though the core narrative and structure will stay consistent, we are pouring our efforts into preparations to unveil new elements.
If you could share one teaser with fans eagerly awaiting the Gocheok Sky Dome concert, what would it be?
HW: We have dedicated significant effort to overhauling our live performance systems internally. It was a preliminary work to implement a multi-view for the online concert. In the previous concert, we already applied the upgraded system to capture a total of 8 channels simultaneously, including multi-view for each member. The technology is now fully stabilized, so the online viewing of the encore concert will also feature these multi-camera perspectives for each member. Please look forward to it. As for why we are embracing the virtual idol concept, we are crafting an application that will shout, "This is exactly why it has to be a virtual idol". It reflects our bold expansion into diverse engagement, empowering fans to experience our content in their own unique way.
It seems that your personal growth at VLAST has aligned with PLAVE's development. (How was it) when reflecting on your journey so far?
YS: It feels like time has flown by without me even noticing. Alongside the outstanding PLAVE members and staff (of VLAST), we have passionately worked toward the shared goal of "conquering PLAVE’s Terra". Sometimes I imagine that, looking back on these moments of creating PLAVE content at eighty, they will be cherished memories—like a scene from the iconic American animated series The Simpsons, which is famously meme-worthy.
HW: It feels as though we have condensed eight years' worth of experience into just four since starting our journey through MBC’s internal venture. Now, just in my early 30s, I have already accumulated more experience than my peers. As Ye-sung mentioned, it is heartening to witness everyone aligned in purpose, striving tirelessly to create tangible outcomes. Moreover, the progress we are making in expanding the horizons of what virtual idols can achieve is truly meaningful. These cherished moments stem from our shared passion and relentless efforts as a team.
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