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Film director Loïc Bramoullé, shares his tips on winning the 2024 Reallusion 3D Character Contest.
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Winner Select: Placing First in Stylized Animation with Face Tools and Blender Pipeline

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Loic Bramoulle

Hi, I’m Loïc Bramoullé, an art & film director from France. I’ve been working in game and animation studios in Paris since completing our graduation film at Melies School in 2010. Since 2015 I’ve been working mostly remotely as a freelancer, and in the last 3 years, I’ve been specializing in indie motion capture game cinematics with Blender.

Loic Bramoulle’s ArtStation

Since I first tested iPhone facial mocap with CC3-based characters. My latest freelance cinematic gig was for the upcoming Mars Attracts game , which was nearly the most viewed trailer at Gamescom on IGN’s channel.

I used AccuRIG for the two first custom characters, CC4 and iClone to mocap the astronaut’s scream with my iPad.

Project HellGal

With HellGal I wanted to see how I could push my mocap cinematic pipeline to be as seamless as possible. Essentially merging mocap recording and film editing, to avoid all the time lost rendering individual shots and only seeing the final film at the last moment. The main thing I used for that is the under-exploited Scene Strips in Blender, allowing you to do non-destructive video editing on 3d scene(s), meaning you can select and time your animations to create shots, without actually cutting your animations.

All my mocap clips were imported on a big 5000 frames timeline, and just like in a video editor I edited my final cut from that, in 3d, without rendering these 5000 frames in any way. The big advantage is that when rendering, only my ~1000 final cut frames were considered, versus having to render a huge amount of frames and discarding them in post-edit.

Character Design – Inspiration and Concepting

Creatively, my goal was to design a female mashup of the DOOM Guy and Hellboy, set against the backdrop of a BLAME!-inspired ancient structure. This concept had been on my mind for years, and this contest provided the perfect excuse to dedicate as much time as I could. For HellGal’s design, I gathered references on Pinterest and began sketching, focusing on close-ups of her face to refine her character. For the environment, I opted for a rapid workflow, imagining it on the spot and kitbashing directly in Blender while iterating on the shots and animation as I went along.

Starting with Character Creator (CC)

I usually start with Kevin or Camilla to already have everything setup, realistic features, and wrinkles, but I just have to symmetrize the mesh in CC4. As they are scanned, it’s not ideal to sculpt an entirely new design with these slight symmetry differences. CC4 mesh editing makes it easy to symmetrize the face, then all design sculpt layers in ZBrush or Blender can be perfectly clean, and asymmetry can still be controlled independently with another sculpt layer.

ZBrush Face Tools for Character Creator is really the go to solution to design not only a character’s face, but its expressions and even wrinkles along with it. And that’s key for convincing facial animation, it’s not just about the motion data and design, but the actual custom expressions that really enhance the performance’s believability, instead of being generic and making the character feel more flat.

I worked on the design in a very iterative way, meaning I started with CC4 morphs to start customizing Camilla, then did most of it via FaceTools. Which allowed me to seamlessly preview her design and facial expressivity back in CC4. But I’ve also kept doing slight design variations in Blender while I rendered the various iterations of the full animation. So I could still polish her design while seeing her in the final shots, with the final lighting and cameras.

Wrinkle editing in Character Creator (CC)

The default Wrinkles packed in CC4 are already perfect in many cases, but I did want to stylize and paint them myself, to match the handcrafted style I was after. So after customizing a bit the sculpt of the wrinkles via FaceTools, and once HellGal was imported in Blender via the pipeline addon, I created a PSD file where I had the 4 albedo texture: the base face color, and the 3 wrinkles color textures.

Painting textures
Painting face

Each time I painted over the face, I could update and refine the wrinkles simultaneously. By using Photoshop’s “File > Generate > Assets” feature, I enabled real-time saving for any layer ending with an extension (e.g., Layer_01.jpg). This meant I didn’t need to manually save textures—just open the PSD, paint, and let them auto-reload in Blender using the Auto-Reload addon. So I can essentially watch the final film, while seamlessly painting textures, her face and wrinkles for example.

Adding wrinkles

3DCoat for Body Sculpt

I love 3DCoat for its ease of use compared to ZBrush, offering an intuitive workflow that feels almost as natural as working in virtual reality. Starting with voxels allows you to shape designs without constant remeshing, and the space mouse navigation is flawlessly implemented. Adjusting brush size and intensity is seamless, unlike ZBrush, where you need to open menus for similar tasks. While 3DCoat may not match ZBrush in terms of professional, production-level refinement, it excels as a creative tool, akin to a “3D Photoshop”. It also provides full asset production capabilities, including retopology, UV mapping, baking, and surfacing tools. Performance-wise, it holds its own, enabling real-time sculpting on models with tens of millions of polygons.

I essentially just used basic tools to sculpt the whole body and horns, move, clay, a few alphas, and had a “sketchy” approach, where I just made the armor like if I was drawing it on paper, or in clay. Professional character artists use extremely more complex methods in Zbursh, relying on an array of tools, blocking out forms, retopologizing, sculpting with carefully picked alphas. Here I just wanted to be expressive and design all the details directly by sculpting, in one single step pretty much. For the surfacing I decided to use Substance Painter instead of staying in 3DCoat, to get higher details and more pre-made materials, also as a challenge to use UDIMs to have very high fidelity while still dealing with only one single material and texture set.

Animation: VR with Mocap Fusion & iClone

After extensive research into the pros and cons of various motion capture solutions, VR mocap stood out as the most intriguing option. It’s an underexplored approach, not tied to a single product but a mix of potential setups—some outdated, others entirely untested. Despite its complexity, the appeal lies in its optical tracking capability, offering millimeter-accurate motion rather than the approximations of inertial suits. For instance, when properly configured, raw foot motion can be flawless, keeping feet grounded even on uneven surfaces. In contrast, inertial suits rely heavily on post-processing to generate such data since accelerometers lack positional awareness in 3D space.

Another significant advantage is its cost-effectiveness. For under $1,000, a setup with three Vive trackers and a Quest 2 can provide full-body tracking, including basic finger tracking. The system can then be expanded with additional trackers for elbows, knees, and other joints. Mocap Fusion (available on Steam) further enhances this setup by interpolating shoulder and elbow motion effectively, minimizing the typical IK snapping seen in character animations.

After months of research, I settled on a setup using Mocap Fusion with three Vive Tracker 3.0 units (for feet and hips), two Vive Base Station 2.0 units, and a Meta Quest Pro with controllers for hand tracking. To bring my virtual environment into the process, I imported a blockout of my 3D scene into Mocap Fusion, complete with collision data. This allowed me to act out scenes in my living room while interacting with the actual 3D geometry from my Blender environment. Best of all, I could embody HellGal’s character in real-time, seeing the final results at full scale as soon as the recording ended.

Animation editing in iClone

I exported the mocap takes as FBX files and imported them into iClone, where I had also loaded my environment blockout. This allowed me to select specific takes, refine their placement within the scene, and perform initial mocap cleanup using the Edit Motion Layer tool. The eye mocap, recorded along with the body in Mocap Fusion, was complemented by facial animation and dialogue captured in iClone using Live Face.

To finalize the workflow, I combined everything in Blender. This approach let me independently adjust the timing of body motion, facial animation, and audio while simultaneously refining the edit. By working this way, I could fine-tune shots, dialogue, and actions independently, ensuring they aligned seamlessly during the editing process.

Here are some iClone features I found particularly useful. Motion Direction Control helped accurately position mocap clips in space, while Motion Correction proved invaluable for fixing sliding feet and refining the character’s pose during foot contacts. This ensured a more polished and grounded animation.

One standout feature I utilized more extensively this time was AccuLips. It generates phoneme-based animations directly from dialogue audio and script, storing them in dedicated phoneme morphs or shapekeys. After fine-tuning these settings in iClone for a natural look, the entire AccuLips layer can be exported and edited further in Blender. In Blender’s graph editor, these phoneme animations remain separate from facial mocap shapekeys, allowing adjustments like smoothing or amplifying specific phonemes. This separation was especially helpful for achieving a more natural lip sync, particularly with tricky sounds like “B” and “P,” which iPhone-based mocap doesn’t always handle perfectly.

Blender Pipeline

I added all my animation exports from Mocap Fusion and iClone as strips in the NLA Editor, both for body and facial animations. This setup allowed me to edit each take individually and choose the best segments when actions were repeated during mocap. To refine shot composition and camera animation, I used camera markers, iterating directly within the scene. Between shots, I left ample empty space on the timeline and imported the 3D scene as a clip in the Video Sequence Editor (VSE) within a second scene in the same Blender file.

This approach enabled me to cut the timeline and retain only the portions of each shot I wanted, while simultaneously playing back the final cut. It also allowed iterative refinement across all aspects of the project—animation, cinematography, lighting, and editing—within a single file.

By integrating the entire pipeline into one workspace, I streamlined the process, avoiding the fragmentation and inefficiencies of traditional workflows. Instead of producing individual shots and combining them later based on a storyboard or animatic, this method felt more cohesive, like polishing a single, unified object. From character creation in CC4, mocap editing in iClone 8, to crafting cinematography and the final edit in Blender, the process became far more fluid and efficient. Here some really powerful addons I have tested for this project:

  • HairTool: Easy to learn, with a robust library to kickstart any hairy or furry needs. Fully compatible with CC4.
  • Wobbly Wiggler: Perfect for adding physics-based dynamics. Unlike most tools, it allows simulation not just for tails or ears but also for body bones like the spine, arms, and even fingers—enabling simultaneous animation and simulation.
  • Octa Render: Soon out of beta, Octa Render has been a lifesaver for several projects. With rendering costs reduced by 60x compared to traditional methods, it makes high-quality animation both affordable and competitive with Unreal. Its simplicity is unmatched—a true one-click solution.

My Experience with Blender AutoSetup

The new AutoSetup significantly streamlines the process of sending characters and their animations into a Blender file with a single click. Compared to version 1, which required updates from GitHub, the new dedicated panel and button make the workflow far more intuitive and efficient. I plan to explore further how this setup supports seamless back-and-forth adjustments between CC4 and Blender, allowing for sculpting and customization of character proportions using Blender’s modeling and sculpting tools. This offers a strong alternative to relying solely on ZBrush with GoZ for detailed character modifications.

Here is a really good tutorial on using Blender as an alternative to Zbrush for customizing a character’s design and expression, and one-click synching back to CC4 with GoZ: https://www.youtube.com/watch?v=mgUTZ4GeItQ

The foundation of the character is built entirely in CC4, including the full facial expression set, the wrinkle system, body proportions, and even the Rigify auto-rig for final adjustments in the camera view. CC4 handles all the heavy technical work, allowing me to concentrate purely on artistic customization to align the character with my design vision.

My Thoughts and Suggestions

CC4 truly excels when users not only master its automated features to create characters that closely match their vision but also add a final layer of personal, handcrafted design. This could involve sculpting details in ZBrush or Blender and authoring textures in Photoshop or Substance, giving the character a unique and traditional touch. By developing a custom pipeline that integrates Reallusion tools into your workflow, you can fully own the creative process.

The seamless one-click integration of CC4/iC8 with industry-standard rendering apps like Unreal Engine, Unity, Blender, and Cinema 4D elevates it as a serious production tool. It eliminates countless tedious production steps, offering artists a significant technical advantage and streamlining the workflow.

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Winner Select: Revolutionizing Miniature Model Creation with AccuRIG

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As a seasoned miniature model maker, David specializes in crafting intricate characters for tabletop games like Dungeons & Dragons. His submission, “Fairy Ranger”, earned him recognition in the 2024 Reallusion 3D Contest for Best AccuRIG Characters. By combining meticulous detail with the innovative use of Reallusion’s tools AccuRIG, David creates dynamic, poseable models that captivate a loyal following of wargamers and miniature collectors.

Miniature Model Creator – David (Atlanticus)

David’s journey into 3D artistry began after years of working in visual effects for film and TV. Inspired by his passion for tabletop gaming, he transitioned to designing 3D printable miniatures, blending his fine art background with digital sculpting techniques. “I create characters for board games and painters, with sizes ranging from 32mm to 75mm, focusing on dynamic poses and intricate details”, he shares.

Check David’s Artstation

Increasing Efficiency

The introduction of Reallusion’s tools, particularly Character Creator AccuRIG and ActorCore, transformed David’s workflow. This efficiency has enabled him to produce a new character every month for his growing subscriber base.

“Previously, posing in ZBrush would take hours, tweaking every joint and finger manually. With AccuRig, I can rig a character in just 5–10 minutes, load animations, and create multiple poses in under an hour.”

David (Atlanticus) – Model Creator

David learned about the 3D contest through Reallusion’s newsletter and saw it as an opportunity to push his skills. “The contest requirements aligned perfectly with what I was doing—creating dynamic poses and expressions”, he remarks.

Leveraging Reallusion’s tools, he brought Fairy Ranger to life with expressive facial animations and four unique poses.

The Business of Miniatures

David runs a subscription-based business on Patreon where enthusiasts can access his monthly character packs for as little as $5. Each pack includes five poses and weapon options, catering to both gamers and collectors. Despite the competitive nature of the miniature market, David’s unique designs and efficient workflow make him stand out.

Looking Ahead

David plans to expand his repertoire by exploring creature creation, a challenge he finds both exciting and rewarding. He continues to refine his techniques through professional courses and the integration of Reallusion tools, aiming to scale his business by collaborating with freelance artists to produce even more intricate models.

David’s innovative approach to miniature creation demonstrates how Reallusion’s tools can empower artists to achieve professional results with remarkable efficiency. His journey serves as an inspiration for creators looking to blend traditional artistry with empowering technology in their workflows.

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3D artist Kay John Yim shares his tips and tricks of his winning entry - The Playful Deity from the 2024 Reallusion 3D Character Contest.
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Winner Select: A Modern Twist on Inari Folk Dance | Houdini, iClone & Character Creator

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Kay John Yim porfile pic

Kay John Yim

I have long dreamed of creating an animated personal project based on a Japanese deity. As I am deeply inspired by Japanese culture, particularly its traditional attire and mythological lore. Inari Okami, beyond being the deity of prosperity and agriculture, is wrapped in numerous legends and mysteries. This rich variety of lore makes her personality, behavior, and appearance particularly open to artistic interpretation and design.

Three years ago, when I first began learning Character Creator 3, I attempted to create a version of Inari Okami. At that time, my skills and knowledge were limited, preventing me from fully realizing my vision. I took this contest as an opportunity to revisit the character from scratch. This allows me to gauge how far I have progressed in CG character creation.

Kay John Yim’s ArtStation

Starting with Character Creator (CC)

The entire project spanned approximately two months, with the customization of the CC base character taking only a day. It’s a relatively quick process compared to the project’s overall timeline, made possible by Character Creator 4’s morph sliders.

A valuable tip I discovered is that you can input values that exceed the morph slider’s default range. This revelation effectively removed many limitations I had previously encountered in the creation process!

Character Creation: Inari Okami

Traditional Japanese attire follows precise rules governing design, wearing methods, and hairstyles, which would have required extensive research to recreate. Therefore, I chose to create a modern interpretation of the deity (kimono, 3d hairstyle and movements) while preserving key traditional Japanese elements (kimono fabric pattern).

I designed her hairstyle, eye contact, and expressions to convey a playful personality, offering a contemporary twist on the traditional deity’s representation.

Lookdev

Animation Posing in iClone

I began by selecting an appropriate rhythm featuring Taiko drums. Then, I chose complementary ActorCore motions that fit with both the beat of the music and the deity’s personality. To achieve the aesthetic of a filmed dance performance, I established a fixed camera position early in the process. I also focused my editing efforts solely on elements visible within this frame.

Character animation editing in iClone

Additionally, I utilized iClone’s “Look At Camera” function to maintain consistent eye contact between the deity and the audience. This creates a more engaging experience. I primarily used the “Edit Motion Layer” function, manually creating keyframes to seamlessly blend one movement into the next. So I can transition between multiple Actorcore Motions.

Clothing in Marvelous Designer & Houdini

The final aesthetic required approximately 3-4 weeks of iterative refinement. In my experience and workflow, I have found that garments that look decent in the Marvelous Designer viewport do not always translate to final renders, particularly when animating complex garments like kimonos. To address this challenge, I developed a mini “pipeline” connecting Marvelous Designer, iClone, and Houdini.

Garments exported from Marvelous Designer would automatically conform to four different character poses in Houdini. I then rendered these variations using Redshift to evaluate multiple aspects of the design: its fit on the character, behavior under various lighting conditions, and material properties. This procedural approach enabled me to comprehensively assess each design iteration before committing to a final design for cloth simulation.

Marvelous Designer: making the kimono

Although it can be tempting to use low particle distances to high fidelity garments in Marvelous Designer, I recommend maintaining a higher particle distance to optimize performance. The priority should be establishing a strong silhouette while keeping the garment’s mesh as lightweight as possible. When working with cloth simulation specifically, efficiency is best achieved by perfecting the base simulation before adding realistic details such as cloth thickness, buttons, and stitches. This approach streamlines the workflow and allows for better control over the final result (I personally recommend cloth simulations in Houdini as it is a lot more controllable; MD can be unpredictable and frustrating when it comes to cloth simulation).

I converted all garments to quad meshes and maintained a particle distance of 10 or higher before exporting them to Houdini for Vellum cloth simulation. The simulation took over 40 iterations before achieving satisfactory results. Many of my early attempts failed due to fabric catching in the character’s armpits or fingers. This led to an iterative workflow where I would export the problematic simulated cloth as Alembic files into iClone, using them as reference points to edit the character animation and resolve these collision issues.

Testing the cloth

Render Composition in Houdini

One of the primary yet subtle effects throughout the animation was the ground-level fog, which emulated the atmospheric haze commonly used in stage productions to enhance drama and mystique. I created this effect in Embergen, importing the character animations as Alembic files to serve as collision objects interacting with the fog. This added both depth and a layer of secondary movement that complemented the character animations.

VFX fog in Houdini

Another primary effect appears towards the end of the animation: a shockwave + fire spread on the Kimono created by combining an Embergen simulation with cloth PyroFX simulated in Houdini. While Houdini excels at complex object interactions and offers unparalleled iteration efficiency, Embergen is much quicker for simulating effects that do not require detailed external object interactions.

I simulated the shockwave independently in Embergen, then exported it as both VDBs and particles (Alembic) into Houdini. The cloth PyroFX involved a hybrid approach using both SOP solver and Axiom solver. I used an SOP solver to isolate specific point groups from the kimono sleeves and direct their upward spread. These transitional point groups were then fed into the Axiom Solver to generate the final pyro simulation.

VFX shockwave in Houdini

To optimize rendering efficiency within deadline, I exported each animation frame as Redshift Proxies once the animations were finalized. This significantly reduced iterative and final rendering time while preserving the flexibility to refine materials and lighting. I used Fox Renderfarm to render more than half of the final frames. This further expedite final rendering times and reduces strain on my local workstation.

Working with Character Creator

Although the primary judging criteria was animation, I dedicated half of the project time to character design. During this phase, I concentrated on creating still renders to establish my character’s personality and background before even considering the animation. I believe that investing time in refining the character is ultimately more productive, as it helps inform the movements and expressions needed to create a compelling final animation.

I encourage anyone interested in Character Creator to jump right in. Unlike many other programs (such as Houdini or Blender), which require a certain level of familiarity with the interface before you can start using them effectively, Character Creator is highly artist-friendly and requires minimal learning to use well—especially for those with any prior 3D experience.

3D artist Kay John Yim shares his tips and tricks of his winning entry - The Playful Deity from the 2024 Reallusion 3D Character Contest.

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Click through to learn more about the winners’ portfolios and judge comments
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Angel Alonso’s Dark Explorers Content for Character Creator

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Angel Alonso – Character & Environment Designer | Storyboard Artist | Animator | Digital FX Specialist

Angel Alonso: A Mastermind in Animation

Angel Alonso is a distinguished figure in the animation industry, boasting an extensive career spanning over three decades. Since 1990, he has worked in various aspects of production, including character and environment design, storyboarding, 2D/3D animation, and digital effects. Angel has contributed to over 17 feature films and 50 television series, including works for studios like Warner Bros., Disney, and Universal Studios.

His versatility extends to artistic direction and technology development. From traditional animation to experimental shorts, Angel has consistently pushed the boundaries of creative storytelling. Notably, his passion for science fiction has been a recurring theme throughout his career.

“Both Character Creator and iClone are programs in constant evolution. Their development includes regular updates and improvements, making the process of character creation and animation accessible to all levels of user experience. I can confidently say that, over the past few years, there are 3 or 4 indispensable tools in my content creation process, and without a doubt, these two programs are an essential, if not the primary, part of my projects.”

Angel Alonso – Character & Environment Designer | Storyboard Artist | Animator | Digital FX Specialist

The Vision Behind Dark Explorers

Angel Alonso’s latest project, the Dark Explorers content pack for Reallusion’s Character Creator and iClone, reflects his enduring fascination with sci-fi and retro-futuristic aesthetics. The pack is tailored for independent animators seeking high-quality assets for dystopian, horror, or post-apocalyptic narratives.

“I’ve always been captivated by retro-futurism and the themes it encompasses,” Angel shares. “I wanted to create something versatile that animators could use across various genres—from classic post-apocalyptic adventures to eerie dystopian tales.”

Unlike traditional content packs that focus on family-friendly or generic themes, Dark Explorers carves out a unique niche. It diverges from the norm, offering a richly detailed aesthetic inspired by darker, more complex worlds.

“I wanted to break away from the typical family and friend packs that dominate the market. This pack is a step forward—offering more defined anatomies and an array of elements to build immersive environments.”

“Science fiction inspires me because it allows for endless possibilities. It’s a canvas where imagination knows no limits, blending reality with the unknown.”

Angel Alonso – Character & Environment Designer | Storyboard Artist | Animator | Digital FX Specialist

Key Features of the Dark Explorers Content Pack

The Dark Explorers pack stands out for its artistic depth and versatility. Key features include:

  • Highly Detailed Models: From intricately designed character outfits to atmospheric props, the pack ensures a high level of realism.
  • Retro-Futuristic Aesthetics: Drawing from classic sci-fi inspirations, it blends vintage design elements with futuristic motifs.
  • Dystopian and Horror Themes: Ideal for dark, gritty animations, it supports stories ranging from eerie to action-packed.
  • Customizable Elements: Animators can mix and match assets to craft unique characters and settings.
  • 2.0-Level Quality: Angel describes this as “a more refined, second-generation approach,” ensuring polished models and textures.

“This isn’t just another content pack,” Angel notes. “It’s a toolkit for creators to construct entire worlds, allowing their imaginations to run wild.”

Angel’s Workflow: Crafting Dark Explorers

Angel’s creation process for Dark Explorers reflects his meticulous attention to detail and mastery of 3D tools.

  1. Conceptualization
    Angel began with a clear vision rooted in retro-futurism and sci-fi lore. “I sketched ideas that balanced utility with artistry—elements that would evoke curiosity and wonder,” he says.
  2. Modeling and Texturing
    Using tools like Character Creator and iClone, Angel sculpted characters and props with lifelike textures and intricate geometries. He emphasized defined anatomies and detailed finishing touches, elevating the assets above conventional packs.
  3. Experimentation with Styles
    While developing Dark Explorers, Angel explored alternate approaches, including comic-book-inspired and stop-motion aesthetics. These experiments, he reveals, are “ongoing tests for future projects, aiming for a painted or puppet-like visual style.”
  4. Optimization for Versatility
    Angel ensured that the pack’s elements could seamlessly integrate into various animation workflows. Each asset underwent rigorous testing to guarantee compatibility and user-friendliness.

“Since I discovered Character Creator, my approach to creating characters changed radically. It seamlessly integrated into my creative process, offering great versatility with its powerful tools. Overnight, I realized that incorporating it into my workflow not only sped up production but also significantly enhanced the control and quality of my characters.”

Angel Alonso – Character & Environment Designer | Storyboard Artist | Animator | Digital FX Specialist

Future Prospects and Experimentation

Beyond Dark Explorers, Angel is already venturing into new territories. His current experiments involve simplified designs reminiscent of children’s books, comic art, and stop-motion animation. These projects aim to deliver a more illustrative aesthetic, achieved through innovative techniques.

“For now, these are just trials,” Angel reveals. “But I’m excited about the potential. It’s about expanding my creative toolkit and offering animators fresh, unconventional styles.”

Angel Alonso’s Dark Explorers content pack is more than a collection of assets—it’s a reflection of his decades-long expertise and passion for storytelling. By combining retro-futuristic themes with meticulous craftsmanship, the pack provides animators with powerful tools to bring their visions to life.

Whether you’re crafting a dystopian saga or a post-apocalyptic thriller, Dark Explorers is a gateway to richer, more immersive narratives. As Angel puts it, “This pack is my contribution to a community that thrives on creativity and innovation. I can’t wait to see the worlds animators build with it.”

Explore the Unknown with the Dark Explorers Content Pack

Unleash your imagination with the Dark Explorers content pack, a meticulously designed collection blending realistic stylized visuals with detailed anatomy and stunning finishes. Perfect for creators seeking adventure-driven narratives, this pack introduces a group of fearless investigators on a mission to uncover dark events and strange phenomena.

Discover Angel Alonso’s realistic comic style characters in his Featured Content Developer store at Reallusion:

https://www.reallusion.com/contentstore/FeaturedDeveloper/profile/#!/Angel-Alonso/iClone

Follow Angel Alonso

Artstation:
https://www.artstation.com/angelitoon

Deviantart:
https://www.deviantart.com/angelitoon

Instagram:
https://www.instagram.com/angelitoonxd

Facebook:
https://www.facebook.com/angel.alonso.94849

YouTube:
https://www.youtube.com/@angelalonso3266

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Michael Corr of Solis Animation offers insights into the making of Rare Americans' The Machine music video, detailing how tools like Character Creator, iClone, and Unreal Engine 5 helped bring this unique small-team production to life.
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Rare Americans Debuts “The Machine” Music Video | Character Creator, iClone & Unreal LiveLink

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Michael Corr of Solis Animation offers insights into the making of Rare Americans’ The Machine music video, detailing how tools like Character Creator, iClone, and Unreal Engine 5 helped bring this unique small-team production to life.

Michael Corr of Solis Animation

Hi, I’m Michael Corr, a tech artist at Solis Animation in Toronto, Ontario, Canada. For over seven years, I’ve had the privilege of creating incredible worlds with a talented crew whose creativity has pushed me further than I could have ever imagined in the animation industry. Here’s a brief overview of my journey and the amazing people I’ve worked with:

Solis Animation, founded in 2010 by siblings Lou and Les Solis, specializes in 2D “tradigital” animation. Over the years, they’ve worked on notable projects like Comedy Central’s Ugly Americans and Moonbeam City, as well as Gord Downie’s The Secret Path for CBC. I was fortunate enough to join the team during the production of Gary and His Demons, where I was tasked with creating 3D environments and background art for its first season. One of our major successes was achieving a unique aesthetic by blending lush 3D backgrounds with dynamic 2D animation. This accomplishment led to me becoming a more integral part of the team, contributing to many rewarding projects over the years.

Brittle Bones Nicky
Brittle Bones Nicky
Brittle Bones Nicky
The Secret Path
Gary and his Demons
S(Kids)

A key highlight of my early career was my background work on the music video for Brittle Bones Nicky, by Vancouver-based band Rare Americans. The video has since garnered over 90 million views on YouTube, marking a significant milestone for me and the team. Additionally, I’ve had the opportunity to help develop and refine a production pipeline using Unreal Engine, which has evolved from UE4 to the current version, UE5. Working alongside the talented team at Solis Animation has been an incredibly rewarding experience, and I look forward to many more years of creative collaboration.

In 2021, Solis Animation and Rare Americans co-founded Crooked City Studios, an animation production studio focused on the art of storytelling with animation and music. This partnership led to even more detailed and innovative content, all of which has been a very rewarding experience that I’m quite proud to be a part of.

Using Character Creator

Let’s go over the making of the animated segments in The Machine, a music video by Rare Americans, which utilized Reallusion’s software paired with Unreal Engine 5.

The concept for the music video was created by the band. The protagonist would escape his mundane life by logging into virtual reality to join his friends in lavish affluence. We were responsible for handling the VR segments, which we were going to achieve with animation. The Director, Lou Solis, worked closely with the band to flesh out the concept and determine what was needed for the animated segments. Lou created animatics (timed storyboards) for each animated scene. Once these animatics were approved by the band, Lou and I reviewed each segment to determine the best approach to achieve the right aesthetic for this virtual reality world within the parameters of our budget and schedule.

Meet the lead characters Demaris, Mugasha and Hank

Three main environments were needed: a club, a stadium basketball court, and a Miami-like freeway. Four main characters along with some crowds and secondary characters were also required. The four main characters were based on real-life actors who appear in the live-action segments of the music video. To work within our tight turn-around time, I suggested using iClone 8 and Character Creator 4 and rendering finals in Unreal Engine 5 to then be sent off to our compositing team. We had already been exploring with Reallusion’s software for the pre-viz and development of a short film, so we decided to put in practice these tools to create The Machine.

I was provided with photo references for each of the main characters along with outfit references. To help the viewer quickly associate each actor with their VR counterpart, it was decided to distinguish each character by the main color of their attire: one in pink, one in yellow, and one in green.

First, I needed a few stylized template characters because many characters needed to follow the same kind of look for consistency or visual harmony. Clubs have a lot of people dancing in them, and the stadium requires the most characters. This required using Character Creator 4 to stylize these templates in male and female categories. 

Setting texture map in Character Creator

Motion Editing in iClone

Once all of the character designs were completed and approved by the director and the band, I moved on to iClone 8 to start animating scenes. Lou Solis and I reviewed the animatic (timed storyboard) to determine which Reallusion stock motion capture animations would best fit each scene. Each stock animation would serve as a base template that we ended up modifying and blending back together with relative ease thanks to iClone 8’s timeline features.

Vocal scene – animatic
Interview scene – animatic
Car drive – animatic
Final vocal scene
Final interview scene
Final car drive scene

iClone 8 offers numerous features designed to speed up workflow. The Edit Motion Layer is user-friendly and it helped me immensely with detailed movement edits. Face Key provides a large amount of expressions to choose from, adding significant character and life to animations. Create Script enables users to type in words that animate the character’s mouth movements automatically. These tools saved me many hours of work while animating.

Editing expressions in iClone

Reallusion’s extensive motion capture library in iClone 8 allowed me to blend quick movements seamlessly. By utilizing idle animations, I ensured that the characters always had some form of movement, eliminating any stiffness. This blend of idle stances with walking loops resulted in more dynamic and interesting animations that went beyond the original motion capture. Additional loops provided by Reallusion included various movements that I could fit into my timeline by cutting the original animations into parts. This flexibility in editing added depth to the characters’ interactions, making them more lifelike.

This blending capability along with the ability to lock the characters’ eyes in the correct directions enhanced the overall animation quality. iClone 8 made it possible to synchronize eye movements with other actions, which made the characters’ performances feel natural. This attention to detail ensured a unified style of animation, bringing all four characters together cohesively. The tools provided by iClone 8 significantly streamlined the animation process, allowing for more creative freedom and efficiency.

Animation Integration: From iClone to Unreal Engine with Unreal Live Link

Since we didn’t capture any behind-the-scenes footage of The Machine at the time, here is an accurate recreation of how this music video was handled and is mainly focused on the use of Reallusion’s software. Hopefully, the following sections will give you an understanding of how it all came together using Character Creator 4, iClone 8 and Unreal Engine 5.3.

Editing in Unreal

When activating the Live Link, I could effortlessly connect iClone with Unreal, enabling me to send characters, cameras and other assets seamlessly between the two programs. This feature eliminated the need for manual transfers, ensuring all elements were properly aligned in both environments.

Scene aligned with Unreal Engine. This made animation editing in iClone simple.

Additionally, the ability to bake all animations to Sequencer and generate Level Sequences directly in Unreal meant that my iClone timeline worked perfectly in Unreal without any additional adjustments. This integration not only improved efficiency but also made the revision process much simpler, allowing me to focus more on creative aspects rather than technical details. Overall, Unreal Live Link was a game changer in my workflow, providing a smooth and efficient way to handle complex animation projects.

The iClone Unreal Live Link plugin significantly streamlines the workflow, allowing creators to seamlessly transfer complex scenes from iClone to Unreal Engine. This integration ensures that all the data is quickly organized and aligned with the Unreal environment, making the process efficient and flawless.

Game changer: iClone Unreal Live Link Plugin

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Featured Story

Animating with ActorCore, iClone, Motorica & ElevenLabs AI Tools

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Alejandro de Pasquale – Motion Graphic Artist / 3D Animator / Filmmaker / Content Creator

Alejandro de Pasquale

Since the age of 9, Alejandro de Pasquale embarked on a creative journey, crafting his first rudimentary comics and discovering his fervent passion for storytelling. With each passing year, Alejandro honed his creativity, delving into diverse tools and skills to encapsulate narratives across a spectrum of challenges.

From scripting movies to producing motion graphics for various enterprises, Alejandro explored the avenues of storytelling, eventually finding his true calling in breathing life into characters and immersive 3D worlds. It was through the transformative power of software like iClone and Character Creator (CC) that Alejandro delved into the world of 3D animation, discovering new dimensions to his storytelling prowess.

In this animation, and in just five days, Alejandro crafted a compelling animation using ActorCore fight sequences, Motorica motion assets, and iClone’s AccuLips for facial animation. Paired with AI voices and sound effects from ElevenLabs, his project showcases how leveraging diverse tools enables the creation of high-quality animations under tight deadlines.

Wound Film

In discussions with the Motorica team, Alejandro decided to pursue animations evoking a classic test feel. Subsequently, he opted to utilize one of their animation options featuring an injured person navigating an escape route within a scenario sourced from the Unreal Marketplace. However, his ambition extended beyond this initial concept.

Once again, Alejandro aimed to accomplish everything within a tight timeframe of five days, leveraging available resources. For animations, he utilized the following:

  1. ActorCore: Only requiring one fight sequence, he chose to purchase a couple of assets from an ActorCore online library. This flexibility is one of the advantages offered by ActorCore, allowing users to acquire specific assets without committing to an entire package.
  2. B2 Attack Front Kick and Fall Kickout Motorica: These animations were employed to animate the route of the fleeing woman.
  3. Character creation involved using free resources provided by Character Creator, with slight modifications made to the Akika and Eddy characters.
  4. Facial animation was achieved in iClone using AccuLips.

AI voices were sourced from Eleven Lab, while music and sound effects were obtained from Epidemic Sound.

This project exemplified Alejandro’s ability to creatively combine various resources to achieve a cohesive and compelling animation within a limited timeframe.

https://actorcore.reallusion.com/3d-motion

Follow Alejandro de Pasquale

https://www.alerender.com

https://www.youtube.com/user/alerendersoc

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https://www.instagram.com/alerender_ae

https://www.artstation.com/alerender

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3D character artist Jorge Ayala shares his tips and tricks of making the winning entry - Alchemist Astin from the 2024 Reallusion 3D Character Contest.
Featured Story

Winner Select: How a Character Artist Claimed First Place in Stylized Design

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Jorge Leonardo Ayala Arias

My name is Jorge Ayala. I started my career in graphic design, but I started taking some basic 3D courses in 2017. I found it fascinating what could be done, although at that time I didn’t have the vision of being in the role of a 3D Character Artist. During the pandemic, I delved deeper into this world and started creating pieces focused on characters.

The most important point came in 2021 when everything made more sense. I realized that I enjoyed and had fun working in 3D. At that time, I was working as a freelancer, and one afternoon, while I was telling a friend about the projects I had developed for competitions and the classes I had taken, she sent me a job offer she saw on Facebook. I thought, “I have nothing to lose by trying”. Two days later, I received a response saying they liked my portfolio and wanted to do an interview. I ended up getting the offer and began my journey in the 3D industry.

Jorge’s ArtStation

3D Character Concept – Alchemist Astin

This concept is by concept artist Hans Chen, and it caught my attention immediately when I saw it. The vibrant colors and tones captivated me, but it was his dazzling accessories that truly sparked my interest. I immediately began to analyze what I could do with this character. It would be fascinating to bring each element of the character to life!

I imagined the bottles on his back bouncing as he ventured, his shirt moving with each step, and the shoelaces swaying back and forth. Even the detail of his hair couldn’t go unnoticed; I felt that adding movement to this seemingly static aspect would give it greater relevance, adding an interesting realism to his entire design.

The setting led me to envision a futuristic steampunk world, somewhat similar to the aesthetic of the movie Mortal Engines. In terms of style, I drew inspiration from a combination of references such as Spiderverse, Arcane, and the recent animated film Teenage Mutant Ninja Turtles: Mutant Mayhem.

When developing the character’s personality, I envisioned him as someone with multiple facets—a scientist who experiments not only with his creations but also with his own body. This character carries strange creatures with him, like plants with eyes and organs preserved in jars, along with his experimental liquid. To reach that point, I imagined that his mind must be somewhat unbalanced, which is reflected in the renders and appearance of the character, showcasing different facets or personalities.

Starting with Character Creator (CC)

This was the first time I used the CC Toon Base, as I had previously worked mainly with realistic meshes. Upon using it, I discovered that it offered a significant advantage: the stylized features were more defined, which provided a great starting point for further defining the details and adjusting them to the needs of my project, becoming a valuable resource for character development.

I spent two or three days getting used to using these Expression Morph Sliders in Character Creator. Experimenting and pushing everything to the limit, trying different configurations to see which ones were useful and which ones were not.

GoZ and SubTools

Using GoZ has been an important tool for me, as it allows me to export and re-import the model in record time, making my workflow much more efficient. By maintaining the subdivision levels in ZBrush and preserving the rigging in Character Creator, I can work seamlessly between both platforms.

The process involves selecting the base mesh in CC4 and exporting it to ZBrush via GoZ. In ZBrush, I start detailing, adjusting, and moving the mesh to refine it. Then, I send it back to CC4 to check that everything is in order and that the visualization is correct. If necessary, I can re-send it to ZBrush to continue updating the model and adding accessories, clothing, weapons, or any other details the character requires.

The best part is that when I return to CC4 using GoZ, the accessories are already anchored to the character, allowing me to adjust the weights for each one and ensure they work correctly during movement tests.

Cloth Making

I use ZBrush for cloth making, although Blender is also a good option; it all depends on the artist and which tool they feel most comfortable with. I prefer ZBrush because it provides me with versatility throughout the process. From the initial sculpting to polishing objects, creating shapes with ZRemesher, extrusion, subdivision, and adding finer details. Additionally, the variety of brushes in ZBrush allows me to add details like wrinkles and other textures, making it my preferred choice for this program

Here are some tips to make your character’s personality stand out. I have a procedure when making the cloth. First, I mask the part I need to develop from the base model, for example, the shirt. By extracting it, I obtain a general shape that helps me refine and save time on its base. I can rely on basic geometric shapes, like cylinders or squares, to start modeling the structure. Then, I simply extrude and control the edges and holes.

Additionally, I use the Dynamic option when I have these shapes made with low geometry and have control over the edges. This allows me to visualize my polished model without the need for millions of polygons. Once I feel the shape is appropriate, I apply DynaMesh, giving me subdivisions to start detailing. This way, I can achieve very polished shapes, and it can also be used for hard surface modeling.

Accessories

I like to develop the accessories completely unless the project has specific time constraints or other requirements. I always prefer to create them from scratch because it allows me to continuously improve my skills through practice and development. I started by developing a general blocking of this accessory:

  • Blanket: For the top part, I took a plane and adjusted it vertically, using the Dynamic option (run the simulation) so that it would collide with the sphere. From there, I began to extrude and add details.
  • Side Grids: I used symmetry to ensure that both sections were identical. I relied on Boolean operations to create the perfect holes. I developed each layer with a cylinder, scaling some faces to achieve a conical shape, and then arranged it according to the blocking.
  • Bottles: I started with basic shapes like cylinders and spheres, using a low subdivision. After that, I merged the shapes and polished the details.
  • Ropes: I developed them using cylinders and the ZModeler for the coiled shapes. I generated the UVs and created the pattern using Noise Surface.
  • Sphere and Liquid: I used two spheres, one on top of the other, with different scales to simulate the liquid.
  • Pipes: I used the Curve Tube brush, adjusting the width and radius of the brush. I began to define the path and then made adjustments to ensure it looked as I wanted, moving it as necessary.

Animation Preparation in Blender

Once I had the entire model, I used the Blender Addon in CC4 to export it in Pose T.

Then in Blender, I applied the CC Pipeline to import the model. At this point, I have the complete model and the main bones. I place the skeleton in edit mode, and with the accessories correctly positioned, I start adding the necessary bones for each action, logically considering which parts require movement. I assign bones to the bottles, hair, ropes, and the long part of the shirt. Afterward, I export the model again as FBX using the CC Pipeline.

Next, I return to a new project in CC4 and import the model using the Blender Pipeline in Pose T. With the Characterization option, I pair the bones so that CC4 recognizes the skeleton and the new bones. Then, I begin to determine if they will be Spring Bones, assign weights, and ensure they are visible. (Tip: To reintegrate the character into CC4 and ensure the skeleton works correctly, it is essential to always keep it in Pose T.) Otherwise, when importing it in Pose A, the Characterization part will not be recognized.

Tip: Always in Pose T!

In Blender, I only installed the CC Pipeline plugin, which helps me maintain the same format that CC4 can read correctly. This avoids potential errors during the export and import process. Once set up, I start adding the necessary bones for the model. It is very easy to exchange the model between these two programs, as the plugins maintain the rigging properties. This allows us to add or remove accessories as needed without altering the functionality of the model.

Character Animation in iClone

To make a believable character animation, a few techniques were deployed in iClone. I already had some supporting animations in CC4, where I had to adjust certain positions due to the overlapping of some parts of the model. When I sent it to iClone, I was able to blend the different animations to create fluid movements and smooth transitions, allowing me to create a more believable and high-quality presentation.

In this project, iClone made it easy for me to mix animations in record time, which I highly recommend. Another interesting feature is the MD (Motion Director) or to me as Manual Device Control, which allows you to guide the direction of movement using the mouse or a game controller, making it easier to move the character and achieve the desired path. I find this to be an important aspect of the software.

Blender Pipeline: Final Composition and Eevee Render

It is essential to have everything well-named and organized. This applies to all aspects of the work, as failing to do so will result in having many items in the scene, making it a nightmare to figure out which is which.

I created a folder for each pose, in which I included all the personalized material specifically for that pose: cameras, angles, and lighting. This way, I maintained order and made it easier to exchange and adjust according to the new ideas that came to mind, all in the same file with different poses.

I used Grease Pencil to generate outlines and toon-style details, as my textures were geared towards a hand-painted style. This resulted in a good combination that enhanced the model.

  • Lighting: I started with some basic lights to achieve a well-lit and presentable appearance for the character. From there, I experimented and modified the lights according to the tone I wanted to give. I used reference photos to replicate the lighting and make adjustments. I primarily worked with Area Lights and HDRI.
  • Final Edit: I exported my renders as PNGs and performed the final composition by adding backgrounds and textures in Photoshop and applying effects that enhance the pose image. I adjusted the contrast and brightness to add more richness to the render.

My Experience with Blender AutoSetup

The experience of using Blender AutoSetup was satisfactory, as it is very easy and intuitive to use. Additionally, it considerably reduces the processes since it keeps the rigging of my character enabled when returning it to CC4. It helped me a lot that I already had Ambient Occlusion (AO) and other features activated, which I had to enable manually in previous versions. Additionally, ray tracing in Eevee helped enhance the images.

Closing Thoughts

It was the beginning of everything because once I adjusted the first mesh, I had a clear path toward where I wanted to take my model. In a way, I already had a visual style very close to the final one, with many stylized features that allowed me to guide the other pieces toward that style. Regarding material management, I could decide whether I wanted a stylized PBR style that CC4 showed me and compare it in Blender with my hand-painted textures.

When selecting your character, it’s important to analyze which additional elements, such as accessories, can enhance its functionality, making it stand out even more.

Time is a fundamental factor. We must not take for granted that we have a long deadline, as difficulties may arise along the way. As the deadline approaches, we may find ourselves under pressure because we weren’t prudent with our time, and we may not be able to apply the desired quality or even finish the project. Therefore, time management is very important.

It is a great help to advance faster in your projects in every way. Moreover, it adds value since we often leave the model static. With all the tools CC4 offers, we can enhance our art in record time without sacrificing quality. This allows us to bring movement to the model and easily export it to different platforms.

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Click through to learn more about the winners’ portfolios and judge comments
Product Release

iClone 8.52: A Major Leap for Professional Animation Editing

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iClone 8.52 delivers a highly anticipated update for professional animation editing, packed with groundbreaking features driven by user feedback. Despite its numerical step from 8.51, this release introduces transformative tools to elevate animation workflows.

Key New Features:

We extend our heartfelt thanks to Martin Mejzlik and Milan Dolezal, acclaimed contributors to the Mafia game series, who advocated for enhancements like non-destructive editing, improved curve performance, and motion trails. Their insights, rooted in extensive industry experience, have been pivotal in shaping this release.

Additionally, renowned 3D expert and YouTuber askNK emphasized the importance of integrating advanced curve filters, inspired by MotionBuilder, to facilitate high-quality motion capture (mocap) data cleanup. iClone 8.52 now empowers animators with these professional-grade tools.

Overview of iClone 8.52 new features

AccuPOSE: Revolutionizing Natural 3D Posing

AccuPOSE, an AI-powered innovation utilizing deep learning models trained on ActorCore’s extensive motion database. AccuPOSE understands human movement across countless scenarios, enabling users to create highly natural poses with minimal effort. Beyond hand-key animation, this technology plays a vital role in connecting motion clips, refining motion layers, and dramatically simplifying mocap data cleanup.

  • Control Full Body Movement: Achieve full-body transformations merely from minimal inputs. AccuPOSE’s real-time body pose estimation guarantees natural postures during editing. 
  • Pose-Driven Gestures: Arm adjustments naturally drive wrist movements and hand gestures, generating authentic human behaviors with minimal effort.

Check out demo on product page

Fully Controllable AI Guidance

To work in harmony with AI technology, controllability is a huge factor. The real brilliance of AccuPose lies in its unmatched flexibility and precision. You have the power to decide which parts of the body the AI adjusts and which parts remain untouched. This allows you to fine-tune every movement to your exact needs.

  • Precision & Freedom: By applying Transformation and Rotation constraints to selected joints, designers can control AI pose suggestions with precision and flexibility.
  • Constraints & Lock: Utilize T/R Constraints to maintain manual control flexibility. Use the Lock feature to securely fix the end effectors in place.
  • AI Suggestion: You can specify which part of the body the AI should provide suggestions for, while preserving the desired sections by using locks and move/rotate constraints.
  • Mirror: The Mirror feature ensures that AI-generated poses for hands or legs maintain symmetry with mirrored postures during any adjustments.

Check out demo on product page

Seamless Integration with Existing Works

Getting started with AccuPose is straightforward. Simply open the tool, select an AI behavior model, and transform any pose effortlessly with the guidance of natural posing techniques.

  • Works with Normal Poses: Transform existing poses into AccuPoses with selected behaviors, and experience the precision of natural posing with customizable IK constraints.
  • Clip Layer Editing: By incorporating AI-assisted layer keys, users can effectively enhance motion velocity in selected motion clips.
  • Keyframing from Library: Easily add dynamic poses from the AccuPOSE to arrange keyframes on the timeline, optionally filling in custom in-betweens and curves for smooth transitions. 

Check out demo on product page

Accelerate All Key Animation Workflow

Curious about how AI-assisted posing can enhance your workflow? It’s incredibly adaptable and can be applied wherever setting keyframes is needed, making it a valuable tool across various creative tasks.

  • Handkey Animation: Driven by deep-learned human motions, the posing suggestion enhances the efficiency of quality keyframe posing and supports the creation of compelling animation styles.
  • Connecting Clips: The intelligent posing feature simplifies the process of filling in missing poses between motion clips, creating more natural transitions.
  • Mocap Correction: The natural AI posing capability can effectively solve the mocap challenges such as shoulder stiffness, motion distortion, and even enhances animations with realistic hand gestures.
  • Curve & Trajectory: iClone’s motion curve and motion trail functions empower animators to refine keyframe timing and spatial trajectories, ensuring high-quality animation outcomes.

Check out demo on product page

Download AccuPOSE CORE Free and Subscribe INFINITY for All 

3D Posing with the assistance of AI might sound exciting itself, but AccuPOSE is way more than that. It comes with a big library of AI-training models that answer your diverse scenario demands. 

The same control applied to a selected joint can yield entirely different results depending on the chosen AccuPOSE model, giving users absolute control over the character’s AI reactions.

AccuPOSE is a free plugin for iClone 8.52, all users will have access to the CORE Library, it supports fundamental human body movements like stand, sit, walk, kneel, lie, prone, etc. 

For those seeking advanced features, the INFINITY expansion offers an extensive library of over 1,000 AI-trained poses across 41 genres, along with continuous updates. 

Important Update:

Effective January 6, AccuPOSE INFINITY moves to a one-time purchase ($149 USD). All previous subscribers can switch to the perpetual license at no cost.

Learn more

Elevates Motion Editing to Pro Level

The iClone 8.52 release brings four highly acclaimed professional animation features, voted by animators as essential to their workflows. These tools are meticulously crafted to serve as the foundation of daily productivity.

  • Motion Trail

The motion trail feature enables professional animators to visualize trajectories for selected joints. It supports real-time editing of keyframes directly on the trail or within the curve editor, providing an efficient approach to managing motion paths and animation timing. Additionally, users can adjust the path range and customize the trail’s color to improve control and visualization.

Check out demo on product page

  • Non-Destructive Editing

Users can now break motion clips without worrying about losing data, as cut-out portions remain recoverable. Additionally, for clips edited with motion layer keys, our non-destructive approach retains all layer data for further editing. 

Check out demo on product page

  • Curve Filters 

Several new filter options are added. These include tools that remove jitters while preserving motion details, fix peak noise, reduce keys for bezier spline editing, and smooth selected tracks seamlessly. In addition, we have introduced a preview mode to enable users to observe filtered results in real time while adjusting parameters for greater precision.

Check out demo on product page

  • Curve Performance Enhancement

Motion Curve performance has been significantly enhanced for intensive editing across multiple tracks. Users can now enjoy near-instant responsiveness when selecting, moving, copying, pasting, or deleting keys in extended curve sequences.

Check out demo on product page

Related Sources:

AccuPOSE Tutorials

Check out iClone 8.52 new features

iClone 8.52 release note

Learn more about iClone 8

Online manual

FAQ

Featured Story

How a ZBrush Artist Speeds Up Rigging and Posing with Character Creator AccuRIG

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Kevin Beckers

Hi, I’m Kevin Beckers, also known as Tycane3D. I’ve been working in 3D for many years, starting my professional career in 2007 with a company in Amsterdam. There, I focused on product visualization for clients like Miele and Philips, interior archviz, and even some exciting projects for the Dutch Air Force.

During this time, I developed my character creation skills, and in 2018, I transitioned to a full-time freelance character artist role. Since then, I’ve collaborated with many companies, including Wooga, Colorbleed, and Axis. Working with Axis, I had the pleasure of bringing Randy Bishop’s characters to life in 3D for their “A Christmas Carol” movie. It’s a shame that they are no longer around.

Kevin’s ArtStation

Posing a character is never easy

For me, character creation is the most enjoyable part of working in 3D. I’ve done professional work in product visualization and interior archviz, but nothing compares to creating unique or quirky characters.

One challenging aspect of character creation is the posing stage. While there’s nothing inherently wrong with posing, the methods can be frustrating. If you’ve modeled your character in an A or T pose, your options are limited: you can either invest significant time in rigging or use more direct tools like ZBrush’s transpose features. For me, using the transpose tools feels tedious and slow, making it harder to experiment with different poses since each adjustment takes considerable effort.

Rigging & posing with Character Creator

For simpler characters, posing isn’t too difficult. But when dealing with multiple layers, it can become a real challenge. Fortunately, Character Creator 4 (CC4) simplifies the process considerably. CC4 allows you to build entire characters and includes a powerful autorigger that handles details like fingers, along with a GoZ bridge for seamless integration. Within minutes, your character can be fully rigged, enabling forward and inverse kinematics for intuitive posing. This setup makes posing not only faster but also encourages creativity and experimentation.

To use CC4 with ZBrush, start by installing CC4 and enabling the GoZ option. Before diving in, I recommend downloading Reallusion’s free plugin, ZBrush Pose Tools, which is handy even if you’re not using CC4. Available on their website, this plugin offers a few helpful features, like rescaling your model to accurate humanoid proportions. Simply choose a preset length or input a custom value, and it will adjust your model’s scale in ZBrush. This ensures that when you import it into other 3D software, the model will have consistent sizing.

ZBrush Pose Tools

The plugin also allows you to easily store multiple poses within a single ZBrush file. Simply click “record new pose,” give it a name, and it will create a layer on each of your subtools labeled with that name. Afterward, you can select “edit current pose,” set those layers to “record,” and any adjustments you make to your model will be saved to that layer. Once you’re satisfied with the pose, hit “save,” and it will stop recording on all layers. This makes it simple to create new poses, with each one stored in its own layer for easy access.

Once the pose layer is set to recording mode, I hide any parts of the character I don’t want rigged. For this particular character, I avoid rigging flowy cloth parts, as I plan to pose them manually or use Maya’s nCloth for simulation. After that, I hit GoZ, which opens CC4. I leave the settings as they are in the pop-up panel, and just like that, your model is transferred into CC4, ready for further adjustments.

GoZ pop up pannel

Auto rig your character in minutes with AccuRIG

To rig your model, find “Accurig” in the sidebar on the right, which opens the Accurig panel. Simply hit “Create guides“, and after a few seconds, it will generate guides based on your model. Sometimes, they need a bit of adjustment, so make sure the guides are in the right spots.

You’ll see a helpful thumbnail at the top right showing the ideal positions, so try to match those. Once you’re satisfied with the guide placement, hit “build skeleton“, and it will build the actual rig, including finger bones. You can adjust these if they’re slightly off, and when you’re happy with them, click on “bind skin”. That’s it—your model is now rigged.

Your model is now rigged!

From here, you can use Character Creator’s extensive motion library to add animation or select a pose. There’s even a collection of “gestures” for the hands, so you don’t have to manually adjust each finger. Alternatively, you can press “N” on your keyboard to enter posing mode, where you have full control over the rig and can manually pose your model using FK or IK.

left: collection of “gestures” for the hand; right: press “N” on your keyboard to enter posing mode

Once you’re happy with the pose, simply hit the GoZ button, make sure “relink” is set on all objects, select “send current pose”, and send it all back to ZBrush. It should update your model there, and with PoseTools still in recording mode, everything will be neatly placed into the pose layer. You can also export the model as an OBJ instead of using GoZ (which can be useful, as GoZ can be quirky at times) and manually load the models if needed. With my pose in ZBrush, I can further tweak and refine the model using the regular ZBrush tools. And that’s how I use Accurig for posing with Character Creator 4.

Conclusion

The speed at which you can get your character rigged and start posing using a proper rig in Accurig has been incredibly helpful. It not only makes the process easier, but also allows me to feel more creative, experiment freely, and have more fun. The added bonus of PoseTools, which lets me easily store multiple poses and rescale my characters, has made the character creation process that much easier.

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