My name is Warwick Hays and I’ve been creating content for Cartoon Animator for many years now. I am a featured content developer on the Reallusion’s Content Store and I love combining 2D with 3D assets to make things a little different.
How Mixed Up Pixels discovered animation solutions with Photoshop, Cartoon Animator and After Effects.
Hi, I’m Chris and I wanted to show how you can use Cartoon Animator and After Effects as an ideal pipeline to create broadcast quality children’s animations, in the same genre as Peppa Pig, Hey Duggie, and lots of other hugely successful shows.
I’ve worked in Home Entertainment for 15+ years, in both the US and the UK, and worked on projects for Warner Brothers, Disney, BBC, Paramount, and many other studios. The most time of which being at Abbey Home Media who was the UK’s leading independent home entertainment company for lots of well-known children’s shows, Care Bears, Topsy and Tim, Peter Rabbit, Sooty, Horrid Henry, Fireman Sam and more.
Working on these brands gave me a good grounding on what children want, what needs to be included, along with what works.
01: Character design and stories.
The design of your characters needs to fit the branding of your show and suit the target audience. Everything I make is for preschool children, so, for characters:
- Keep them colourful
- Use bold colours (sometimes soft pastel colours can work too)
- Big eyes (which are a great way to show expressions)
- Shapes – have a lot of shapes, it keeps the characters simple looking, and that works well
- Don’t over-design, especially the background – try and keep the characters simple, but keep the background even simpler
And for the stories, try to include:
- Education elements
- Friendship and empathy
These always seem to be a popular combination for children and parents too.
I use Cartoon Animator to animate. Although I’ve used After Effects for over 15 years, the character rigging, DUIK / Joysticks / sliders and more have always confused me. Others might say how easy they are to use – but for me, I just couldn’t get them to work correctly!
The reasons why I think Cartoon Animator is by far the best software are simple:
- Easy to use
- Universal character skeletons (easy to rig)
- Smooth pipeline
- Ready-made motions
- Free templates
- Lots of tutorials
I love designing content for children, coming up with stories and brands, but I can’t animate. With Cartoon Animator, that’s no problem at all. The reason being, there are lots of ready-made motions that you can use and have an animated sequence in no time. You can of course keyframe your own motions, or use motion capture in Cartoon Animator. But, one of the beautiful things about Cartoon Animator is the ability to use ready-made motions that can be easily retargeted to different characters, each with its own different body shape and size.
03: Leverage the combination of Photoshop, Cartoon Animator and After Effects
The pipeline I use is:
Design in Photoshop, animate in Cartoon Animator, and then export the project to After Effects via the plugin to do the final compositing. This makes the workflow quick and creative.
Cartoon Animator has a pipeline where you easily rig mostly in the design process using their universal character skeletons – and it’s easy to understand. For example, you can take one character and quickly update your design to make additional characters. In short, it takes away a lot of technical confusion and keeps the creativity fun.
As mentioned earlier, I’ve used After Effects for many many years and it was great when Reallusion added the plugin where you can export from Cartoon Animator to After Effects for additional compositing. All of this means you can easily create a broadcast-quality children’s series in no time.
04: Characters and Animation
Right out of the box, Cartoon Animator comes with a selection of templates, humans, and quadruped characters. My main tip here is to study the templates and other characters, see how they are put together, and really study joints and bones to see how they bend a move. Once you understand this, you’re good to go – and can start designing.
Pre-school children are used to seeing things that are cute, so, my style is to keep it cute, simple, and appealing.
05: Make use of plugins
One massive highlight of Cartoon Animator is that there are always new features being added, new plugins made available to help with animation (face motion capture, leap motion plugins for hand animation), and plugins for full-body motion capture.
As mentioned earlier, the After Effects plugin is a huge addition – simply click the AE button and then import the .Json file via the After Effects plugin, and all your characters will be brought in as separate sequences, backgrounds, elements, and audio. In After Effects you can then add additional elements – lighting, shadows, footage, anything that really helps you create your animation. It really does help you polish off your final video to get it to broadcast quality.
Before starting in the world of 3D, Cris studied sculptural techniques for 2 years in art school. After her studies, she decided to follow her dream and took a Master’s Degree in Video Game Art and Design at U-TAD, Spain. Now she works in a company as a 3D Modeler.
Cris found iClone as a catalyst for speedy production. Let’s see her story with Reallusion iClone, Character Creator and Unreal Pipeline.
“The Character Creator Tool allows you to have many unique ‘actors’ for the development of your scenes. This app is perfect for professional studios, as it not only has a myriad of utilities, but is also compatible with various motion capture suits, providing studios with endless possibilities. In short, an excellent tool for your program library.”
Cris Marchal / 3D Modeler
USD workflow and integration into NVIDIA’s 3D collaboration and simulation platform simplifies digital human creation and animation.
Reallusion announces a new path for production with the release of the Character Creator 3 Connector for NVIDIA Omniverse™. The new connector adds a complete digital human creation pipeline to the Omniverse Create and Omniverse Machinima applications. Experience the tools now and see it live during NVIDIA GTC, April 12 – 16. At the show, Reallusion will present exclusive sessions, demonstrate, and answer questions about Character Creator Digital Humans for Omniverse. For further information, demos, downloads, and video tutorials for Character Creator 3 and Omniverse visit https://www.reallusion.com/character-creator/nvidia-omniverse/
Accessible Digital Humans for Everyone
Digital humans and character motions are in constant demand for Media and Entertainment professionals, while the need for digital humans is rising within Architecture, Engineering, and Construction (AEC), Manufacturing, Higher Education, and Gaming industries. The common problem has been that character assets are traditionally costly to produce and daunting for non-professionals. Reallusion solves the digital human dilemma with the Character Creator 3 Connector for Omniverse.
The CC3 Connector adds the power of a full character generation system with motions and unlimited creative variations to Omniverse. Professionals of any skill level can leverage the tools to create digital humans for projects with efficiency and without the need to outsource or forego digital humans due to cost or human resource challenges. Enable rapid character creation, choose animations from a vast library of motion capture, or add and edit custom motion with iClone. Transfer characters and motions from Character Creator with the Omniverse Exporter for a solution that is easy to learn and deploy digital humans for Omniverse Create and Omniverse Machinima.
Get Collaborative with Photorealistic Simulation
NVIDIA Omniverse is an open platform built for virtual collaboration and real-time physically accurate simulation. Complex visual workflows of creators, designers, and engineers are transformed as users and teams connect design tools, assets, and projects for collaborative iteration in a virtual world.
Universal Scene Description (USD) Opens Digital Humans with Character Creator 3 Connector
The fundamental representation of assets in Omniverse is Pixar’s open-source Universal Scene Description (USD). USD is much more than a file format and not only just a format for import and export. USD represents rich scene content with an API that enables complex property inheritance, instancing, layering, lazy loading and a wide variety of other key features. Thanks to the USD and Omniverse Nucleus service technology our tools can enable live collaboration with other applications very effectively in NVIDIA Omniverse.
Build a Diverse Workforce of Digital Humans
The Character Creator design process provides ultimate flexibility for building a variety of avatars that can truly represent the client’s workforce, in a digital format that reflects their cultural diversity. Character Creator Headshot, SkinGen, and Smart Hair all allow for detailed character definition from head to toe. Reallusion is connecting the complete character creation process to Omniverse.
Character Creator Digital Humans Populate Omniverse Simulations
Character Creator 3 and Omniverse in combination help a variety of industries to access and deploy characters as task performers, virtual hosts, or citizens for simulations and visualizations. AEC can generate digital people to inhabit and interact with designs and buildings, Manufacturing can simulate workforce and training, Educators and researchers can generate digital humans for AI, XR and video game projects. Reallusion is supporting the next generation of digital human solutions for key industry simulation partners and technologies.
Creating Realism for Real-time Digital Humans in Omniverse
Character Creator digital humans can be chosen from a library or custom creation can begin with highly-morphable, fully-rigged bases allowing creators of all skill levels a way to easily design characters from scratch for Omniverse projects. Morphing controls and sliders for face and body make detailed designs possible for an unlimited number of character options for Omniverse.
Creating digital doubles and likenesses is possible without modeling or outsourcing with the Headshot plugin for Character Creator. Through the simplicity of transforming a single photo into a 3D head, CC3 Headshot can build a custom digital human face in minutes.
Design characters with head and face sculpting features that are guided by an easy-to-follow GUI overlay to illustrate the interactive morph regions. Sculpt and shape the body with an extensive list of body morph sliders to fine-tune every section of the character’s shape and size. Achieving realistic or stylized results is possible to match any Omniverse project.
SkinGen is an ultra realistic human skin generator and layer system for creating skin and special skin characteristics from entire looks complete with makeup. Stack and customize layered skin editing, micro normal details and advanced settings for color, age and cosmetics.
Massive Character Assets & Motions for USD
Choose animation for Character Creator characters to use in Omniverse by selecting motions from the ActorCore 3D motion marketplace or creating and editing motion and mocap with iClone. The ActorCore motion library offers single motion purchases and volume motion pack discounts. All Character Creator characters are fully compatible with iClone motions and may be transferred with the character USD for Omniverse.
Clothing and accessories finally equip the look for your Omniverse project. Select from an assortment of clothing options, edit and customize, or shop the available content from a myriad of fashion options. Full custom clothing can be produced through compatibility with Pixologic Zbrush, Clo3D Marvelous Designer, Blender, and various Autodesk applications.
Free Omniverse Character and Motion Resource (USD, MDL)
Get a first-hand experience of the Character Creator digital humans with these free assets that make it simple to try without the need to download or install any applications. These free files are reflective of the USD and NVIDIA Material Definition Language (MDL) output you can achieve with any CC3 creation for Omniverse.
Link to Reallusion OV landing page http://www.reallusion.com/character-creator/nvidia-omniverse/
Download Character Creator 3
Get the tools to create Omniverse-ready digital humans. Download a full evaluation trial of Character Creator to design custom characters with ease. Learn from free video training to get started with creating digital humans for Omniverse. https://www.reallusion.com/character-creator/
Download Omniverse and the CC3 Connector
Get started by downloading the launcher for NVIDIA Omniverse and Character Creator Omniverse Connector. Use the Omniverse Exporter from Character Creator 3 to export and transfer any CC3 character and motion as USD to Omniverse. https://www.nvidia.com/en-us/omniverse/
Uploading your content to the Reallusion 2D Marketplace
Once you have your first content ready to upload to the 2D Marketplace you will need to download and install the Content Uploader from https://developer.reallusion.com/submit.html . This page also has more detailed information. If you have any questions about this process, please email our 2D Community Manager at firstname.lastname@example.org .
New York creative team completed the challenge in 5 weeks during lockdown.
A challenging project
The creative team at Brooklyn, NY-based Hi From the Future (HFTF) found the challenge of the Covid-19 lockdown to come just as their music video for “Find a way” by Duckwrth was taking shape. The HFTF Team met with the client over lots of group video calls and enlisted realtime technology from Reallusion and Epic to remotely collaborate over a 5 week production, completing the job and launching the official music video under unusual conditions.
Mark Rubbo, creative director and co-founder of HFTF discusses the project for Duckwrth and details the complete behind the scenes process in a video (above) with partner Elliot Higgins and the rest of the HFTF Team. All the communication and production were all finished in remote team collaboration.
Character Creator, iClone and the iClone Unreal Live Link are essential to HFTF’s productions. This pipeline enabled the team to quickly build the characters combining HFTF’s current Zbrush pipeline, and the team successfully built the 4 main characters with ease.
Building the characters
The pipeline does not require the artist to rig the character from scratch, and the Character Creator made avatars can be sent to iClone for immediate animation. Character likeness was created with a CC3 and Zbrush workflow, along with Xgen for hair. Through a series of early virtual workshop sessions with Duckwrth, the team collaborated entirely remotely in order to visualize each aspect of the animated concept, from the overall guiding story arc and structure, down to the details of each artist’s wardrobe.
“We have been using the Reallusion suite for over a year now, and have integrated them seamlessly into our CG real-time pipeline in conjunction with Unreal Engine.”– Mark Rubbo, creative director and co-founder
Collaborating with the artist online
In addition to the broader creative sessions, the HFTF Team also held live performance capture sessions with each of the four artists, which proved valuable on many levels.
The final result
The HFTF Team were able to capture animation reference and blendshape data specifically related to the story arc and actions of the video. The sessions also served as a way for the HFTF Team to experience the personalities and mannerisms of each artist directly.
Lastly, by having a remote yet direct human connection between the artists and creative team, these sessions provided a common ground to bridge the technical and design language of the team with the perspectives and motivations of the artists and record label.
With the animated characters built with iClone, and the 3D environment built in Unreal Engine, the HFTF Team even made a TV game prototype based on this project. The team was glad that remote collaboration was actually executable, and it was all made possible with iClone Unreal Pipeline. Realtime collaboration with Reallusion tools and pipeline for Unreal Engine can be incorporated into a variety of productions.
For more information on Reallusion tools and to get a 30 free trial, visit: https://www.reallusion.com/iclone/live-link/unreal-engine/download.html
John is a Chartered Architect and CGI Artist based in London, specializing in architectural visualization. He is always looking and trying different softwares/plug-ins and different workflows to up his quality and efficiency. Due to COVID lock-down from 2020, he challenged himself to post weekly/bi-weekly CG art online by using new tools. This was how he discovered the Character Creator.
“Character Creator is very user-friendly, as I was able to pick it up just from simply examining the user interface without watching any tutorials. Being part of a small team/ indie artist, time is always of the essence – and being able to create, pose and texture all in one package has been a huge time-saver and therefore extremely valuable.”
John Yim – Chartered Architect / CGI Artist
Q. Hello John, we noticed that you are proficient with many 3D tools, is it because of the needs in architectural projects? Can you give us a little background about yourself?
I am a Chartered Architect and CGI Artist based in London, specializing in architectural visualization.
Growing up in Hong Kong, I always have an extreme admiration for people working in the film and game industries, for all the surreal photographic and photo-realistic CG contents they produce.
I first got to CG rendering back when I was studying architecture in University, where everyone had to present architectural concepts with abstract or Photoshopped renderings in addition to conventional 2D drawings. Softwares like Rhino, AutoCAD and Revit were essential tools of trade within the architectural industry, tools that I have been using for over 6,7 years until I struggled with the limitations of rendering packages available (for CAD/construction-oriented softwares). That was when I started to look into DCCs like Cinema4D and Houdini, which led to a whole new world of possibilities and options in CG rendering and modeling.
Working in a small team at my workplace, I have the luxury of constantly testing and switching among different softwares and plug-ins, as there is no fixed CG pipeline. I picked Cinema4D & Redshift as my primary rendering/modeling tool initially for their stability and ease of use, but I never stopped looking and trying different softwares/plug-ins and different workflows to up my quality and efficiency.
Having to spend more time at home due to the COVID lock-down in 2020, I challenge myself to learn new softwares and post weekly/bi-weekly CG art online, treating this as an opportunity to expand my portfolio and to find an audience that resonates with my style and interests.
Q. As an Architect Artist, what are the most interesting and challenging parts of your work?
The most challenging part is crafting a CG render that is aesthetically pleasing, informative and photorealistic, while the most interesting part is seeing a concept turned into reality.
In the architectural industry, projects could be briefly categorized into 3 main stages – concept design, technical design & construction. A lot of people (my younger self included) perceive Architect as one who designs a building from scratch – from the form of the building to the shape of the windows, from lighting to furniture – whereas in reality the role of an Architect is more about coordinating than conjuring designs out of thin air. For instance, in the majority of architectural projects, almost all building components are off-the-shelf products (with a handful of exceptions that involve bespoke furniture etc.), all planned and coordinated to fit together harmoniously in fulfilling the client’s brief.
I work at the forefront of concept design – specifically coordinating client briefs, survey drawings and sketches from Senior Architects, and translating them into CG still renders or animations. These CG renders would be then used for marketing, design development discussions and eventually construction. This is much like solving a jigsaw puzzle with all edge pieces – a challenging and iterative process that could last from a week to as long as 2-3 years.
It is extremely interesting to follow through a project from concept to construction, and it is the most rewarding moment to see the completed project in real-life that looks almost identical to my CG renders.
Q. How did you find out about the Character Creator?
I found out about Character Creator while in search of an optimal workflow to create custom 3D people.
It is common practice to Photoshop or populate scenes with stock 3D people within the “archviz realm”, but I have avoided either method for a very long time. I personally find the former too time-consuming as it is non-procedural, and the latter lacking in customization (posing & clothing etc).
I first stumbled upon “PIFUHD” earlier last year, an AI tool that generates rough 3D human from photo. When used in combination with ZBrush, it is one of the most efficient and flexible ways to quickly create and populate CG scenes with a decent-looking 3D crowd from a distance. However it is still technically a non-procedural workflow, and the AI-generated mesh could be hit-or-miss.
When I eventually needed a 3D human with higher fidelity, I was split among Character Creator, Poser and Daz Studio – all of which allow me to quickly create and pose a 3D character with a realistic silhouette. I ultimately picked Character Creator as I prefered the more user-friendly and modern interface.
“Although I initially only intended to use Character Creator as an archviz tool, Character Creator’s plugin “SkinGen” & “Headshot” piqued my interest, later leading me onto a “side quest” in creating photorealistic CG characters that could hold up to very close-up headshots.”
John Yim – Chartered Architect / CGI Artist
Q. Do you use Character Creator in your work, personal projects or both?
I use Character Creator in both my work and personal projects, but for different purposes.
For work, I use Character Creator Characters (CC Characters) whenever I need to add closeup people in my CG renders. The CC Character(s) serves as the antagonist in an architectural scene, to add a sense of scale and to convey the function of a particular space. I use CC Character(s) in combination with Marvelous Designer and my library of baked hair meshes to create realistic silhouettes that complement the architecture.
“The CC Character(s) essentially “animates” a scene that would otherwise look stale and dull, but does not distract the audience from the main focus (space/architecture).”
John Yim – Chartered Architect / CGI Artist
For instance, a public park would look unlively without people, in which case adding CC Characters would be time well spent. But on the contrary, a random CC Character “walking” inside a private residence would be distracting, not to mention the time and effort it takes to create a client CG double otherwise. In this case I would rather spend more time on refining the architecture than worrying about populating the scene.
For my personal projects, CC Character(s) serves as the protagonist – though not necessarily the main visual focus – that adds stories and narratives to a CG environment.
“The CC Character(s) help to make the final CG render more relatable and believable to the audience.”
John Yim – Chartered Architect / CGI Artist
I mostly use CC Character(s) in combination with Marvelous Designer & Ornatrix/Houdini for creating garment & hair-grooming respectively.
Q. Can you share with us your experience in using Character Creator?
I have used Character Creator for about 6 months since September 2020, on approximately 8-9 projects. I personally found it to be very user-friendly, as I was able to pick it up just from simply examining the user interface without watching any tutorials.
Being able to interactively modify and pose a character are the two most valuable features to me; SkinGen is a close second.
As a CG artist who does not know much about anatomy, having the ability to interactively create a character is a game-changer. This has opened up an infinite number of possibilities, as I am no longer reliant on photos (PIFUHD workflow) or stock 3D models to compose my CG art narrative.
Similarly, having the ability to pose a character without worrying about the actual technicalities of rigging allows me to focus completely on the artistic aspect. I have not utilized any of the pose presets, but I have built up and saved a custom library of poses that I could reuse on different characters down the line.
“Since my goal has always been creating the most photorealistic character as I possibly could from the get-go, SkinGen has saved me a lot of time by allowing me to procedurally texture the character within Character Creator, rather than utilizing 3rd party softwares (Substance Painter, R3DS Wrap etc.).”
John Yim – Chartered Architect / CGI Artist
Being part of a small team/ indie artist, time is always of the essence – and being able to create, pose and texture all in one package has been a huge time-saver and therefore extremely valuable.
Q. What’s your workflow?
For most of my personal projects, my workflow consists of the following:
- Researching and finding as much reference as possible;
- Modeling: I use Rhino & ZBrush for the majority of my architectural modeling, Speedtree for modeling trees and Houdini for procedurally modeling environment assets like rocks, generating variation of buildings etc.;
- Scene assembly & set dressing in Cinema4D;
- Character modeling with Character Creator, Marvelous Designer & Ornatrix;
- Rendering with Redshift.
Elaborating on my character creating process, I would first pose and model in Character Creator (CC) in reference to real faces & poses, then I would export the T-pose CC model to Marvelous Designer (MD) for fitting/designing the garment. After that I would export the posed CC model to MD as a morph target, finally exporting the posed garment & CC model to Cinema4D.
I usually do the hair-grooming in Cinema4D with the Ornatrix plug-in, but I have been exploring hair-grooming in Houdini as well for a more procedural & efficient workflow.
Ultimately all the CC textures are exported to Cinema4D and shaded/rendered with Redshift.
Q. In your opinion, what are the benefits / advantages of using Character Creator?
I think the main benefit of using Character Creator is that it empowers CG Artists with very little anatomy knowledge like myself to create believable CG Characters.
As an Architect by training, I had a fair amount of experience in composing CG environments, but I have zero knowledge in anatomy, nor do I think it is optimal to spend my time sculpting a CG character from scratch in ZBrush. As such most of my earlier works are pure architecture or pure landscape. Character Creator allows me to add realistic CG people into my CG environments, hence adding stories/narratives.
The other benefit is the procedural/non-destructive workflow that Character Creator embraces. Having the option to create and reuse a library of custom characters, custom poses and facial expressions etc. is a huge time-saver. It allows me to quickly iterate and make decisions on the best fitting character for a particular CG render.
Last but not the least, the SkinGen Premium Plug-in is also extremely efficient and therefore gives an advantage for individual CG artists to generate skin textures without the need of Substance Painter or Mari. I have been exploring a combination of R3DS Wrap and Texturing.xyz to add an extra level of face fidelity to my CC Characters as well, but unless I need a very closeup shot, I would stick to SkinGen most of the time.
Q. What can we expect to see from you?
I enjoy creating CG art with fantasy narratives the most – of which a large number of them are Japanese-themed – as I am heavily influenced by Japanese culture through anime and manga.
I also aim to create and post CG renders with more detailed and grandeur architecture in the coming months, since I have been learning and embracing a more procedural workflow. This could all be traced back to when I crossed paths with Houdini last year – it is by far the most challenging software I have ever used. Its user interface and workflow is so unique that it easily threw my initial perception of “3D” out of the window.
Houdini stands out among other DCCs in that it allows me to reuse and recycle a modeling procedure/history, so any work done in Houdini essentially functions like a “plug-in” or a bespoke software that could save myself time in the future.
Having used Houdini regularly for the past 6 month, I have since got a better grasp on proceduralism, and have carried the same concept through my use in other softwares as well (primarily Cinema4D & Rhino). My workflow is always a work-in-progress, but transitioning to a mostly procedural workflow has allowed me to create and iterate CG art more efficiently.
In the long run I am also planning to create and post more CG animations, just as I have recently plunged into learning CG compositing in Nuke.
Know more about John and his artworks:
Andee Antillon – the 3rd place winner in Digital Human Contest 2020, was invited by Nukeygara to share her workflow of using Akeytsu to bridge Character Creator and Marvelous Designer, on how to do posing and camera setting before rendering.
In this article, she details her workflow and shares a few tips about project management when building a pipeline involving the use of multiple creative software applications.
IMPORTING FROM CHARACTER CREATOR 3 INTO AKEYTSU
Start by creating your character with Reallusion’s Character Creator 3 (CC3). To export to Akeytsu you can choose the Unity or Unreal Engine 4 FBX preset. In my experience Unity gives better results.
After you’ve exported your character into akeytsu, you can pretty much work with the skeleton and skinning weights that you have. Additional IK-controls can be easily set for arms and feet through the Rig Atelier. This will later help me build a nice pose for Sienna.
As for blendshapes you’ll need to create controllers for them. For this I referenced SkySurfer’s facial rig. I also encourage you to take a look at the dedicated tutorial on blendshape controls. Once directional mouse controls have been set, you’ll find it really easy to sculpt a facial expression.
I would recommend removing the additional eye meshes (Eye occlusion and Tearline) that come with CC3 that are mostly there for render, since they have separated shapes for blink and other eye-related deformations.
–This article is originally published on the Akeytsu official website, and Reallusion is authorized the rights of reposting. For the full article, please visit the Akeytsu website.
Welcome! If you are new to Reallusion and are interested in any of the products you’ve seen at our virtual IWO booth then please see the coupon details below.
Sail the open seas, explore the beautiful islands and uncover treasures and indie games in the beautifully rendered islands of IWOCon! A stress-free interactive environment, where you can easily get information to an endless number awesome indie games, in a safe and stylized pirate-themed environment! https://www.indieworldorder.com/
IWOCon 2021 is a free indie game convention based on a stylized pirate theme. There is a collection of islands, each island hosting several booths. Conference attendees can select their avatar & travel around these islands, where they can explore different booths, watch trailers, get information on games and products, enter giveaways, & engage in extra activities, all while having a bit of light-hearted, pirate-themed fun!
Visit the Reallusion booth on the MAIN ISLAND !