This is the diagram of my own pipeline, utilizing CC5 and 3rd-party software:

1. HD base, morphs, & ActorMIXER 

Character Creator 5 provides two HD base bodies: Aaron (male) and Ariana (female). Since Sardon is a male character, I chose Aaron as my starting point. The HD base allows for the mesh to be subdivided back and forth depending on usage.

I began with a concept sketch, which served as my primary reference throughout the process. As this was a solo project, I allowed myself to iterate freely and adjust the design organically.

Starting from the base body, I adjusted the height to 194 cm (6’3″) and added muscles using the HD Body morphs (Modify > Morphs > HD Body). 

I did not replace the base skin textures (except for an added hairline). Instead, I added body hair, stubble and eyebrows from the Content Browser. I also slightly adjusted the skin hue towards red and olive tones (Modify > Textures > Select Body > Activate Skin Colour > Adjust). 

For the face, I used ActorMIXER to establish a rough foundation for head shape, ears and eye placement. I intentionally left finer facial details for later. Once satisfied, I ensured the model was set to SubD0, selected it, and sent it to ZBrush via GoZ using the default options.

2. Reshaping the face in ZBrush with GoZ 

If you are not planning to make significant changes to the body, you can safely send the character in an A-Pose. If you intend to modify body proportions, sending a character with a T-Pose via GoZ Plus is required.

In ZBrush, I reshape the facial structure primarily using the Move brush, although other brushes can be used as needed. I recommend hiding the eyelashes during this process, as they tend to be visually distracting. Even if the eye area is altered, CC5 provides tools to correct this later.

For characters that require heavier detail, such as deep wrinkles, scars or damage, I separate the workflow as follows. 

2.1 Reshaping only 

I keep the subdivision level relatively low, as only the lowest subdivision is sent back to update the base mesh. The main tools I use are the Move brush and lasso masking to establish the overall form. Once satisfied, I select GoZ All (Tool > GoZ All) to send the mesh back to Character Creator. When CC5 reopens, I check the dialogue window. 

• Good outcome: the window displays “Update” at the top. Proceed as normal.
• Bad outcome: the window displays “Create Cloth” at the top. This indicates a mismatch. Possible fixes include:
  • Ensure the character in CC5 is still in SubD0 and unchanged in pose 
  • Make sure no additional SubTools were added in ZBrush 
  • Confirm that no meshes were renamed in ZBrush 
  • Try GoZ on the active subtool only 
  • Try GoZ+ (ZPlugin > CC GoZ Plus), disable all texture maps, set SubD0 and press All 

If none of these resolve the issue, this step may need to be redone, as some mismatches cannot be corrected. 

2.2 Skin sculpting 

For characters with more surface detail, I first complete the reshaping step above and confirm the base mesh updates correctly in CC5. I then return to the ZBrush file, delete unnecessary SubTools, usually keeping only the head unless body sculpting is required.

I subdivide the mesh to a higher resolution and sculpt wrinkles, scars, pores and other details. I strongly recommend working with layers for flexibility. Once sculpting is complete, I export the high-poly mesh (ZPlugin > FBX Import Export). 

From CC5, I export the character again in the same pose as an OBJ, including textures. This is used as the low-poly base for baking and texturing.

In Substance Painter, I import the low-poly OBJ and load the existing head and body textures as resources. I then bake using the high-poly FBX, adjusting the cage until there are no visible errors. I typically bake at 4K resolution and downscale later if required. 

In the texturing stage, I reapply the diffuse textures using fill layers and make adjustments. This is also where I define the hairline. Make sure to use the official Character Creator export preset for Substance Painter, available in the documentation: 

https://manual.reallusion.com/Character-Creator-4/Content/ENU/4.0/15_Substance_Painter/Exporting-Textures-from-Substance-Painter.htm

Back in CC5, I drag and drop the new texture maps into the corresponding slots (Modify > Textures). 

Tip: Update the wrinkle diffuse map as well (Modify > Expression Wrinkles > Textures), otherwise the standard textures may show through. 

3. Fixing and miscellaneous adjustments 

After updating the face, small mismatches can appear in the eyes, blinking or lashes. These can be corrected using: 

• Fix Eye Element (Modify > Attribute) 
• Correct Eye Blink (Character > Correct Eye Blink) 
• Correct Lashes (Character > Correct Lashes > Position > Correct Position) 

3.1 Optional custom eye texture 

I often replace the eye texture entirely. You can either use existing eye assets or create your own based on the CC5 eye shader. I export the diffuse texture and open it in Photoshop.

(Modify > Textures > Eyes). I photograph my own eye using flash, cut out the iris and pupil, remove reflections, and adjust the shape. Since the texture is mirrored, this cleanup is essential. I then adjust the colour as needed. For Sardon, I used a hazel tone.

4. Creating clothes, hair, and armour 

Before creating clothing, I strongly recommend setting up a modified A-Pose.

The main improvement over the default A-Pose is using splayed hands. These can be found here (Content > Animation > Gestures). Sculpting gloves becomes significantly easier, and texture baking produces fewer errors due to better cage wrapping between fingers.

I also mirror the pose (Modify > Motion Pose > Edit Pose > Mirror), as the default A-Pose is slightly asymmetrical.

Once complete, I save the pose to my custom library for later use. (Content > Custom > Animation > Pose > Save).

I then export the full character as an OBJ using the current pose. 

4.1 Marvellous Designer

I usually start clothing in Marvelous Designer as it allows me to create patterns and folds. I import the OBJ and recreate patterns either from reference or from scratch. I keep complexity in check and decide early whether details are better handled in MD or sculpted later in ZBrush.

Often, I bring garments directly into ZBrush as high-poly meshes for further sculpting, then later retopologize in Maya or TopoGun. This requires more welding but can still be efficient depending on the garment type. 

Tip: Technically speaking, you could export your CC5 Character with motion to simulate a catwalk with realistic cloth movement. 

4.2 ZBrush

In ZBrush, I import both the SubD0 and SubD2 body meshes as sculpting references. For armour, my workflow typically follows this sequence: 

(Mask with lasso > Extrude zero thickness > Unmask > Mask by border > Invert mask > Soften mask > Polygroup > ZRemesher (half or same, with polygroups) > Extrude > Bevel or further edits using ZModeler.) 

Some pieces benefit from quick retopology in Maya before refining further in ZBrush, especially armour that requires clean edge flow. For ornaments, I strongly recommend using IMM brushes instead of alphas. IMM brushes create real geometry rather than projected detail, resulting in cleaner bakes. They also do not require extremely high subdivision levels. 

4.3 Maya 

In Maya, I create hair cards using GS CurveTools (Paid Plugin for Maya). After importing the character, I delete unnecessary geometry, such as the body and teeth, and begin setting up materials.

I mark the hairline in Photoshop or Substance Painter to guide placement and darken the scalp where hair emerges. Since I was satisfied with CC5’s hair shader, I reused its textures instead of switching to XGen or Fibershop. I add a temporary hairstyle in CC5, export the diffuse and opacity textures, and reuse them in Maya. 

For hair materials, I assign a Lambert shader, load the textures, and enable Alpha Is Luminance on the opacity map. In Viewport 2.0, I enable depth peeling at the highest quality. 

Tip1: For debugging hair layers, duplicate the material and apply high contrast rainbow colours to the diffuse texture inside Photoshop. 

Hair shader using the Bucket tool:

Tip: To test hair, export it as an OBJ file, open a clean Maya scene, combine and smooth it if needed, and then export it again. In CC5, adjust the transform if necessary and apply the hair shader using the Bucket tool.

5. Import back into CC5

Once clothing, hair, and armour are retopologized, UVed, and textured, I import them into CC5 as props (Create > Prop). 

Tip: Import related items in batches rather than combining everything into one object. 

If an offset occurs on import, you can either correct it via (Modify > Attribute > Transform) or adjust the character pose to match (Modify > Motion Pose > Edit Pose). If the meshes appear blocky, ensure that you smooth the edges before exporting from Maya.

6. Setting up textures and materials

With all meshes in place, I assign materials (Modify > Textures) by dragging and dropping from the file browser. I leave normal and displacement maps until last, as they prompt additional options.

To elevate the flat faulds (layered plating around the waist), I created a custom mask for the displacement. With tessellation level on max, multiplier at 0.5 and grey scale value at 0 (Black = noelevation).

Tip: If physics are planned, ensure simulations are enabled (At the top row > “Rigid body simulation” and “Soft cloth simulation”).

7. Technical art 

To ensure custom meshes conform to the character correctly, they must be bound to the skeleton and weighted properly. Select the mesh and assign a parent bone (Modify > Attribute > Attach). If the bone is difficult to select, click on any body part. Then use the dots inside the panel to choose from the list.

Once parented, the object will move along but not deform. Select it again and use “Transfer Skin Weights”. Choose the appropriate clothing type. Defaults work for most items, but shoes and gloves should not use the default setting. For the Sabatons, I had to combine them with the actual leather shoe beforehand, as your character can only wear one pair of shoes. 

After binding all items, test deformation using the debug animations in the playbar. These include full-body and more limb-focused movements (Animation player > motion > Body rig).

Tip: You can pause the animation or even pose to get your mesh where you need it to be for testing. You can return into A or T pose at any time. 

Weight painting adjustments are usually necessary, especially for armour. This mode can be performance-heavy, so save the scene frequently. Armour often needs rigid behaviour, but to save time, I often focus on parts close to joints like the pauldron and couter armor pieces. I then check to which bone I can assign 100% of the weights to, to make sure I get the least deformation and most natural movement. 

Here is what I changed:

• Pauldron: 100% clavicle bone 
• Couter: 100% elbow share bone 
• Tassets: 100% waist bone 
• Poleyn: 100% knee share bone 

If you have imported any clothing items or armour that covers any body part, you can select it and enable the option to “hide body mesh” (Modify > Attribute >). Then click on the body parts which you want to make invisible. 

Tip: Do not delete the mesh where that information is stored. I recommend creating a “Dummy mesh”, which you can rename to “Do not delete”. I gave my character piercings on his chest, which I named “disappiercing” so I always know which mesh I can select to change the hidden body parts.

8. Setting up a render 

8.1 Pose and Express 

With everything prepared, I begin posing. This is where character personality really comes through. Choose a well-lit atmosphere and start posing (Content > Stage > Atmosphere).

Tip: If performance drops, switch from High to Quick mode temporarily. (Top bar) 

Save poses to the Custom tab for iteration. I usually refine each pose three to four times, checking from all angles to make sure the pose is readable and has no clipping. In the Expressions tab, I experiment with facial expressions to match the character’s personality and save those as well. For Sardon, I chose a proud sneer. 

8.2 Lighting 

I prefer full control over lighting, so I create custom light sets based on existing HD presets (Content > Stage > Atmosphere > CC5 HD).

A strong fill light, clean rim lights, and controlled shadows are key. Good lighting can elevate a model, while poor lighting can undermine even strong work. You can add custom lights to your scene via (Create > Light >). In the modify panel, you can change the attributes to fit your needs. 

Tip: Introduce subtle temperature variation between lights, such as a warm fill and cooler rim light for greater contrast.

8.3 Turntable 

For my portfolio, I always include turntables. Both digital and physical turntables can be used. CC5 allows you to rotate the scene, character or lights independently. I usually render one light turn and one character turn and combine them in DaVinci Resolve .

9. Rendering 

In the render settings (Ctrl + 3), I disable the background to allow transparent output. Open the render layout (Ctrl + 5) to access all of the controls for exporting. You can always add other windows like the playbar via (Window > ). 

9.1 Images 

I render my shots in Ultra HD as PNG files with maximum anti-aliasing. Post-processing is handled in Photoshop. Camera focal lengths usually sit between 80 and 105 mm, with depth of field disabled. You can find the camera settings by selecting them in the Scene tab. For action shots, I use a lower focal length for added dynamism. 

Tip: Very high focal lengths can cause viewport artefacts. Reduce the value until they disappear.

9.2 Videos 

I render videos in standard HD MP4 format: one light-only turntable and one character turntable. Speed and direction can be adjusted in the turntable settings. If you want to add a turntable to your scene, click on the icon in the playbar.

10. Post-processing in Photoshop 

I organise renders using Artboards for clarity. The size is the same as the renders (3840 x 2160). Once everything is placed, I begin final adjustments.

I selectively sharpen high contrast areas using the sharpen brush rather than applying a global filter. Dodge and burn to enhance depth, emphasising rim lights and toning down overly bright areas to fake additional shadow.

I rarely colour correct, unless necessary or to boost certain areas of interest.

10.1 Secret metal trick 

For metal-heavy assets, duplicate the layer and apply a Curves adjustment. Push the curves up and down until a strong colour variation appears, then merge and reduce opacity. Mask the layer and paint the effect selectively. This adds subtle richness and variation to metal surfaces. 

11. Summary 

This concludes my complete Character Creator 5 workflow and how I integrate it into my broader character pipeline. I am very happy with how Sardon turned out, and I look forward to my next character project, where I want to go deeper into the advanced tools. If you want to see more breakdown shots and renders, you can view my portfolio here: 

ArtStation: https://www.artstation.com/evanyla 

80LV Talent: https://80.lv/talent/p/evasophieevanyla-cringle 

LinkedIn: https://www.linkedin.com/in/eva-sophie-cringle-295367183/ 

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