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The Liberty League: 48-Hour Superhero iClone Film

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Ruben Ybarra – 3D Animator / Writer / Director

Ruben Ybarra

When most of us think of superhero films, we imagine months, if not years, of planning, production, and polish. But for filmmaker Ruben Ybarra and his girlfriend, the challenge was to create one in just 48 hours. Enter a hilariously unconventional superhero parody, THE LIBERTY LEAGUE, a villain so powerful he can control anyone’s mind… except for one “hero” whose brain is so empty he’s completely immune.

Armed with iClone, Unreal Engine, and a running list of gags, Ruben raced against the clock to bring this wild idea to life. The result? A short film that not only placed 2nd citywide in the 48 Hour Film Project, but also picked up Best FX and earned festival recognition along the way.

In this interview, Ruben talks about how the story came together, the tools that saved precious hours, and the lessons he’s learned about speed, collaboration, and creativity under pressure.

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Hey Ruben. Can you tell us about the short film you created? What’s the story, and how did you approach the superhero genre within such a tight time frame?

The story is a simple superhero parody. Once we got the genre, I had a few ideas floating around, and then I thought, hey, how about there’s a villain that is so powerful at controlling people’s minds that he defeats the Justice League heroes in minutes. However, they have a new interim team member who is so dumb that his mind can’t be controlled because it’s basically empty.

When I pitched it to my girlfriend and one of my friends, who I’ve written a ton of films with, we all chuckled and knew there would be room to put in funny bits to hash out a full story. I wrote the script with my girlfriend, and we had a blast. We figured out a simple beginning, middle, and end to the story. At that point, we throw everything we can at the wall and see what sticks as far as gags and bits. Once we have a few things that make us laugh, you rank them and quickly knock out the parts that either take too long to develop or aren’t as funny. Then we put the pieces together logically, where the gags make the most sense.

It’s pretty simple: if it makes us laugh, we’ll keep it. If only one of us is laughing… then the idea is cast aside.

What tools in iClone helped you animate so quickly under a 48-hour deadline?

The first is the crazy ease of animation in iClone. You have mocap as an option, the ability to drag and drop pre-made, professional, hand-keyed animations onto the timeline, transitions to blend between animation clips, and then fine-tune with key framing. It can’t get simpler than that.

“The crazy ease of animation in iClone is what makes everything possible under a 48-hour deadline. You can drag and drop professional hand-keyed animations, blend them seamlessly, layer in mocap, and fine-tune with keyframing — it honestly can’t get simpler than that.”

Ruben Ybarra – 3D Animator / Writer / Director

I use iClone’s AccuFACE plugin for facial mocap and Perception Neuron Studio for body mocap. It works seamlessly with iClone. It’s so simple to apply mocap to multiple characters in a scene. Even faster if they’re sitting, since I can mask their lower bodies and just record my upper body. I’ll usually complete all the mocap animation for the film in less than 2 hours.

I’m especially fond of the handmade cartoon animation series that Reallusion has released. Even if the animation isn’t exactly what you need, there are bits in one that fit perfectly and bits of another that work well. It’s as simple as splitting stock animations into pieces, cobbling them together, and adding smooth transitions. That’s some of the real power within iClone — I can mix and match different stock animations to get close to what I want, then polish it with keyframing. Simple tools like hand gestures to hold items are so fast and easy to use.

“It’s so simple to apply mocap to multiple characters in iClone. With AccuFace and Perception Neuron Studio working through Motion Live, I can animate an entire film’s performances in just a couple of hours.”

Ruben Ybarra – 3D Animator / Writer / Director

Another massive timesaver is the iClone to Unreal Live Link and Character Creator setup with Unreal. I’ve been using it since the early days when syncing assets was tricky, and materials weren’t always consistent. I even missed deadlines on a few films back then because Unreal was always an adventure with last-minute problems.

Now all I can say is WOW! It just works. I have my sets in Unreal per scene, transfer landmark items like walls and floors into iClone, so I know where to place my actors, and animate everything in iClone without even looking at Unreal. There’s zero chance I could make a film in Unreal on a 48-hour deadline without the iClone/Unreal link. Unless maybe the film was about two characters lost in a cave in total darkness! I kid… I kid…

What made your film stand out, and how did iClone save you from major headaches during the project?

From a technical standpoint, we stood out because the only limitation on telling our story was our imagination. I was able to put literally everything I wanted into the film. When writing the script, my girlfriend would have an idea for a gag and ask, “Can you animate that?” The answer was always, “Yep, I sure can.” Thanks Reallusion!

iClone really saved me everywhere. I needed cartoon-style facial animation; AccuFACE handled it. I needed characters talking quickly; just add audio files, and you’re done. I needed to animate a bunch of characters on the screen fast. Mocap and iClone Motion LIVE took care of it.

What used to be a nightmare in Unreal was syncing animation to audio. In iClone, audio naturally works perfectly in renders, but Unreal doesn’t take iClone audio. With iClone Timecode sync, all I have to do is render in Unreal and match the same audio file I used in iClone inside Premiere. Viola! They’re in perfect sync. That makes the final edit extremely fast, since I’ve already done 99% of my camera cuts in iClone.

What did you learn about speed and decision-making during a time-crunched project like this? Any tips for keeping momentum?

You have to sacrifice perfection for “good enough.” You can spend hours upon hours just in camera work, making a scene near perfect, but you’ll never finish. Keep it simple and keep moving forward. Make a schedule and stick to it. If you are falling behind in time, that means you’ll need to sacrifice time for the other events you still have yet to do. Also, the story is key. Even if the animation is a little rough, as long as the story is a good one, the audience will go along for the ride.

Your film placed 2nd citywide, won Best FX, and got Festival Recognition. What did that success feel like after such a fast and furious project?

From Friday to Sunday, I literally had 2 hours of sleep. I remember thinking, I can’t do this to my body. It isn’t worth it. After the awards and hearing the audience’s reaction at the screening, we signed up for another one. It was beyond rewarding. Working with and sharing this with someone you love is just the icing on the cake. We’re excited for the next one.

What advice would you give to someone new to 3D animation or anyone thinking of trying a speed animation challenge?

Reallusion has some fantastic tutorials. Learn the basics, then give yourself a simple project — animate just one full scene. Force yourself to finish it. Inevitably, you’ll hit challenges you can’t figure out, but instead of giving up, turn to the internet. The Reallusion forums are AMAZING. The “UE 5 Reallusion Tips and Tricks” thread has saved me so many times I can’t even begin to count. Use those resources, find the technical solutions, and finish your project.

If you’re preparing for a speed challenge, the same principles apply. Keep the story small enough that you can animate it quickly, three or so sets, a limited cast of characters, nothing sprawling. Prebuild generic sets and premake characters you know you’ll use. It’s no different than scouting film locations or casting actors ahead of time. And give yourself a dry run. Set aside a weekend, pull a random genre, character, prop, and line of dialogue, and see if you can hit the deadline. If you miss the mark, recalibrate and try again until you know where the time sinks are.

What’s one iClone feature that you think every new user should learn first, and why?

The basic animation technique of using stock motions, cutting/splicing them together, and incorporating the edit motion layer tools to create totally different and unique animations. It is one of the simplest and most powerful ways to use iClone. Once you master this, you can honestly make any character animation your heart desires.

“One of the most powerful techniques in iClone is cutting and splicing stock motions together, then refining them with Edit Motion Layer tools. Once you master that workflow, you can honestly make any character animation your heart desires.”

Ruben Ybarra – 3D Animator / Writer / Director

What’s next for you in animation? Any future projects, goals, or lessons from this experience that you’ll carry forward?

We just completed the Houston 48Hr Film Project with a fun Vampire Sitcom Film. We feel good about it, so we’ll wait to see what the judges think and maybe shop it around the film festival circuit. We plan to submit the Superhero film to more film festivals as well. We signed up for another 48Hr Festival in mid August to no rest for the weary!

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Follow Ruben Ybarra

Facebook:
https://www.facebook.com/groups/1684100315159672/user/1592285587

YouTube:
https://www.youtube.com/@alphaflightfilms64/videos

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Master the ZBrush to Character Creator 5 Pipeline: Get the “Veyra” Masterclass Free with Your CC5 Trial

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Elevate your character production by unifying ZBrush and Character Creator 5 (CC5) with Oscar Fernandez, the ZBrush master. Known for his renowned series “Master of the Orc” and “Master in ZBrush for 3D Printing,” Oscar now brings his expertise to a revolutionary CC5 x ZBrush pipeline.

In an exclusive collaboration with Libel Academy, we are offering the complete “The Making of Veyra” masterclass—a premium $60 USD value—absolutely FREE when you sign up for the Character Creator5 (CC5) Trial.

This is your chance to achieve efficiency and professional-grade results without struggling with manual retopology and weight painting. Instead, let Character Creator5 do the heavy lifting for you.

Why “Veyra” is the Must-Watch Tutorial for Your Pipeline

This series isn’t just about making a cool creature; it’s about mastering a professional ecosystem. Oscar Fernandez demonstrates how to unify ZBrush and Character Creator 5 (CC5) into a single, powerhouse workflow.

  • Sculpt with Freedom: Use ZBrush for world-class anatomy, armor, and organic detailing.
  • Rig with Speed: Leverage CC5’s auto-rigging and total compatibility to bring your sculpts to life in minutes.
  • Optimized Exporting: Learn precise workflows to ensure your high-poly details translate perfectly to functional assets.
  • Professional Efficiency: Designed for artists who need high-end results without the traditional technical bottlenecks.

20 Chapters of Expert Instruction

This comprehensive course guides you through every facet of the Veyra project—from the initial CC5 base mesh to the final rendered masterpiece.

  1. Before You Begin
  2. CC5 Base Mesh
  3. Basic Facial Structure
  4. Basic Body Structure
  5. Helmet & Horns
  6. Armor Pieces
  7. Creating Clothing
  8. Creating Ornaments
  9. Basic Wing Structure
  10. Refining Anatomy
  11. Detailing The Hands
  12. Detailing The Horns
  13. Helmet Ornaments
  14. Detailing The Wings
  15. Detailing The Armor
  16. Preparing For Export To CC5
  17. Texturing Accessories
  18. Sending Accessories To CC5
  19. Final Render
  20. Workflow For 3D Collectibles

Claim Your Free Masterclass Today

Stop letting technical hurdles slow down your creativity. Learn how to bridge the gap between sculpting and animation with the industry’s most efficient tools.

  1. Download and Start your Character Creator Trial HERE.
  2. Check Your Inbox: You will receive a follow-up email immediately after registration. The link to the tutorial will be embedded in this email.
  3. Unlock Your Training: You can then access the private link of The Making of Veyra tutorial series.

Product Release

Headshot 3 is Coming: Pre-launch Offer Live Now!

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We are excited to announce that Headshot 3 for Character Creator 5 is officially arriving this April. To mark this next leap in digital human creation, Reallusion is kicking off a special pre-launch offer starting today.

To significantly improve the accuracy of 3D head creation from images, Reallusion has invested extensive effort in training a proprietary AI model designed specifically for high-precision facial reconstruction. This custom-built engine ensures a level of detail and likeness that sets a new industry standard.

New Key Features of Headshot 3

1. Prompt to 3D Model

To obtain neutral-expression facial images suitable for constructing 3D head models, Headshot 3 includes an integrated AI Image Generation tool. Simply enter a text prompt to generate optimized front, side, and full-body photos. These images can then be automatically converted into an accurate 3D model. This streamlined workflow removes the need for tedious reference collection and enables the rapid creation of production-ready assets.

2. Higher Accuracy Across All Demographics

Headshot 3 delivers much more precise generation results tailored to specific ethnicities and ages. Whether you are creating a digital double or a unique character, the AI ensures a faithful representation of diverse human features.

3. Intuitive Bezier Controls

To achieve an even more faithful digital double, you can refine the front and side profiles with intuitive Bezier controls. This allows for granular adjustment of the head shape to match your reference perfectly. When combined with CC5 characters, this feature allows users to precisely define eyelid structures, refine mouth curves, and align the flow of laugh lines to achieve greater facial likeness.

4. Professional Lens Correction

Built-in lens correction compensates for distortion in source photos. This ensures that the generated 3D head maintains correct proportions, even when working with photos taken from different focal lengths.

5. Automatic Texture Enhancement

The new De-light function intelligently removes shadows and highlights from source photos to produce a clean albedo texture for accurate rendering. It can also generate roughness and normal maps automatically, giving users a full PBR texture set for more realistic results.

6. Advanced 3D Brush & Masking

The 3D mask brush allows users to remove unwanted blemishes and photo artifacts, such as stray hair or eyelashes captured from the source image, while enabling edits on selected texture channels or across all channels at once.

Headshot 2 vs Headshot 3

A comparison of head shape accuracy between Headshot 2 and Headshot 3, using the same source image for automatic head generation.

Exclusive Pre-Launch Offers Live Now

To celebrate the upcoming release, we are pleased to offer special entry points for every creator. Whether you are beginning your journey or upgrading your studio pipeline, there is a dedicated path for you:

A. New Users (Don’t own Headshot 1 or 2 yet)

Purchase Headshot 2 now for $129 (Special Offer) and get Headshot 3 for FREE at launch! This offer is available from now until the official April release.

B. Existing Users (Own CC5 + Headshot 1 & 2)

Current Headshot 1 & 2 owners can secure Headshot 3 for a Loyalty Upgrade price of only $99! This special pricing will be available starting on launch day in April.

C. Get the Full Suite (For non-CC5 users)

Don’t have Character Creator 5 yet? Pick up the CC5 + Headshot 2 Bundle during this pre-launch period to secure the best pricing and ensure your pipeline is ready for the Headshot 3 revolution.

Special Bonus for All Users

To show our appreciation for our community, all three types of users will receive 100 AI Image Generations (Note: The pricing and details for Reallusion AI Generations will be officially announced once the service is ready.)

How it Works

  1. Purchase: Buy Headshot 2 during the pre-launch period (now through April).
  2. Automatic Enrollment: Your Headshot 3 license will be automatically added to your Reallusion account.
  3. Launch Day (April): Simply open the Reallusion Hub to install Headshot 3 and start creating immediately!

→ Learn more in Store FAQ

*Note: Headshot 3 requires Character Creator 5 (CC5) to operate. If you don’t have CC5 yet, it’s the best time to upgrade to CC5 now!

We can’t wait to see the stunning characters you’ll create with the combined power of Headshot and AI!

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Featured Story

Actor Capture Brings Raphael to Life with Motion Capture for Director John Likens

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When director and creator John Likens set out to reimagine Raphael in a darker, grittier cinematic world, he wasn’t interested in nostalgia alone. He wanted intensity. Weight. Brutality. A version of the Teenage Mutant Ninja Turtles grounded in shadow, steel, and subway grit — something long-time fans have been hungry to see on the big screen.

The result? A high-impact action short centered on Raphael battling The Foot in a dimly lit underground station — a film that surpassed 2 million views on YouTube within its first few weeks.

At the heart of that realism: performance-driven motion capture from Actor Capture.

Building a Darker TMNT Universe

Likens had already built momentum with previous shorts spotlighting Donatello and Leonardo before embarking on his most visceral installment yet — Raphael. Known as the most volatile and physically dominant of the Turtles, Raphael demanded a fight sequence that felt raw, grounded, and punishing.

Likens collaborated with Oni Stunts and Fight Coordinator James Newman to design a brutal, tightly choreographed battle between Raphael and multiple Foot Soldiers. Every strike, counter, and environmental interaction was carefully mapped out before stepping into the volume.

With the fight language established, Likens turned to motion capture veterans Actor Capture to translate that choreography into digital performance.

From FBX to Fully Characterized Digital Fighter

The pipeline began with Likens delivering his Raphael and Foot Soldier FBX models to Actor Capture.
Using Reallusion Character Creator, the team characterized and prepared the models for animation, ensuring clean skeletal structures, proper retargeting setups, and compatibility with the capture system.

Quick motion tests were captured and sent back for creative approval — allowing Likens and Newman to evaluate performance timing, scale, and physicality before committing to the full shoot. Thanks to the efficiency of the Reallusion pipeline, turnaround was rapid. Once approved, Actor Capture moved into full production mode at its Atlanta studio.

Two Days Inside the Capture Volume

The action shoot brought together:

  • Director John Likens, Fight Coordinator James Newman, Stunt team from Oni Stunts, Performers including Alan Silva, Bee Xiong, Joshua Davidson, and Tony Sre, and the Actor Capture technical crew.
  • Inside a volume powered by 40 optical motion capture cameras and a 13×25 LED wall, the team recorded the entire fight sequence. The LED wall provided immersive lighting reference and spatial awareness, while the optical system ensured high-fidelity body tracking — crucial for preserving the nuance of stunt-driven choreography.
  • Performances weren’t just about combat — they were about character. Raphael’s aggression had to feel personal. The Foot Soldiers had to move with disciplined precision. Subtle weight shifts, pauses between blows, and grounded landings all contributed to the realism that fans responded to.

From Capture to Final Frame

After capture, the data was processed and cleaned in OptiTrack Motive, ensuring clean solves and accurate skeletal performance. The animation was then transferred into Maxon Cinema 4D for final animation refinement, lighting, and rendering.

For visualization during production, 3D models were also sent into Unreal Engine for mocap previs — allowing the creative team to see the action unfold in real time and make on-set decisions about pacing, framing, and choreography adjustments.

This hybrid workflow — optical capture, real-time visualization, and high-end 3D rendering — gave Likens cinematic control while preserving the authenticity of live performance.

Why It Resonated with Fans

The success of Raphael wasn’t just about nostalgia. It was about:

Performance authenticity driven by stunt professionals. High-end motion capture fidelity. Cinematic lighting and environment design. A grounded, mature tone many TMNT fans have long requested.

By blending live stunt choreography with advanced motion capture and digital animation tools, Actor Capture helped bridge the gap between indie fan film and theatrical-quality action.

A Glimpse of What Could Be

Likens’ trilogy of TMNT shorts demonstrates what’s possible when passionate storytelling meets production-grade performance capture. With over two million views and strong fan demand, Raphael proves there’s an audience ready for a darker take on the Turtles. And behind the digital shell and sais? Real performers. Real choreography. Real motion capture. Actor Capture didn’t just capture Raphael and The Foot. They brought them to life.

More About Actor Capture: www.ActorCapture.com

More about John Likens: www.JohnLikens.com

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Featured Story

How Three Developers Without an Art Team Built a Cinematic Horror Game

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Overview

Building a Cinematic Survival Horror Game Without AAA Resources

Creating a cinematic survival horror game is demanding under any circumstances. For indie developers working nights and weekends, it can feel almost impossible.

Dragon Level Studio — a three-brother team balancing full-time jobs — set out to build Connection: The Nightmare Within. Without a large animation team, without outsourced character artists, and without AAA budgets, they still delivered a game featuring fully voiced cutscenes, dynamic camera systems, and high-quality characters using Character Creator, iClone, and Unity Auto Setup.

The key question was not whether they could build the game. It was whether they could finish it.

The Team Behind Dragon Level

Dragon Level Studio is composed of three brothers based in LA, USA:

David – the eldest, with a cinematic background. He handles lighting, coding, and is also a music producer, shaping the game’s atmosphere both visually and sonically.

Armen – an engineer fluent in C#, which naturally led the team toward Unity as their engine of choice.

Paul – supporting across multiple areas and helping wherever production required. He also handled much of the playtesting, helping the team catch bugs earlier.

All three maintain full-time jobs while dedicating significant personal time to the game. Their motivation? A shared love of horror games, especially the classic era of survival horror.

That passion eventually turned into a serious production effort.

About the Game

Connection: The Nightmare Within

Connection: The Nightmare Within is a narrative-driven survival horror game inspired by classics such as Resident Evil, Silent Hill, and Alone in the Dark.

Players take on the role of Detective Stone, who becomes entangled in a shadow conspiracy while investigating a mysterious case. To uncover the truth, Stone uses experimental technology that allows investigators to enter the subconscious minds of criminals.

Inside these distorted mindscapes, players explore atmospheric environments, solve puzzles, and battle creatures that embody the fears and memories of the suspect. As the investigation progresses, fragments of the conspiracy begin to surface, gradually revealing a larger story hidden behind the crimes.

“Without a large animation team, without outsourced character artists, and without AAA budgets, they still delivered a game featuring fully voiced cutscenes, dynamic camera systems, and high-quality characters using Character Creator, iClone, and Unity Auto Setup.”

Dragon Level Studio – Game Development

Two Generations, Two Camera Philosophies

One of the game’s distinctive features is its camera system. Players can switch between a classic fixed-camera mode and a modern over-the-shoulder perspective. The idea actually originated from a creative disagreement between the brothers themselves. 

David preferred the cinematic tension created by fixed camera angles, which allow scenes to be carefully framed to control pacing and atmosphere. Armen, who is nearly 12 years younger, grew up playing FPS and modern action games and strongly preferred an over-the-shoulder perspective that gave players more direct control. 

Rather than forcing a compromise, the brothers decided to support both approaches and let players choose their preferred style. In the end, the hybrid system became one of the game’s distinctive features. As the team put it, “it turned out quite well.”

The Reality of Low-Budget Development

Building a cinematic horror game as a part-time team introduced two major constraints: time and budget.

Time

Since all three brothers maintained full-time jobs, development mostly happened at night and on weekends. This meant every part of the production pipeline had to remain efficient. Long iteration cycles, complex asset rebuilding, or repeated outsourcing revisions would quickly slow progress and threaten the completion of the project.

Cost

Character production quickly became one of the most expensive aspects of development. Initially, the team experimented with purchasing premade characters, but customization often required additional work, such as new shape keys, rig adjustments, and other modifications.

Outsourcing a base character might cost roughly $300, but once custom shape keys, full rigging, and additional adjustments are included, the total can easily rise by nearly $3,000 more.

For three protagonists, the cost could approach $10,000 USD — even before animation and revision cycles begin. For a small studio working part-time, that level of investment represented a significant financial risk.

That’s when they discovered Character Creator.

“Creating a cinematic survival horror game is demanding under any circumstances. For indie developers working nights and weekends, it can feel almost impossible.”

Dragon Level Studio – Game Development

Integrating Character Creator & iClone into the Pipeline

After discovering Character Creator, the team adopted it as the core of their character production pipeline. Characters were created and customized directly in Character Creator, with clothing assembled from assets in the Reallusion Content Store and Marketplace.

For animation, the team combined several sources. Body motion was captured using a Rokoko suit, while additional animations came from the Unity Asset Store and Mixamo.

Dialogue scenes were handled in iClone. After recording voice performances with actors, lip sync was generated in iClone before exporting the characters and animations to Unity using Auto Setup. This workflow allowed the small team to produce fully voiced cinematic cutscenes without relying on a large animation department.

Why Character Creator Worked for Them

1. Clothing & Rapid Styling

The Content Store allowed the team to quickly assemble believable outfits without starting from scratch.

For example, the detective’s clothing was built directly from store assets, drastically reducing design time. Using built-in styling features like the Conform to Body feature, garments automatically adjust to the character’s proportions, eliminating the need for time-consuming manual corrections.

For a small team with limited hours each week, this ability to style characters quickly made a significant difference.

2. Morph Precision

The protagonist was inspired by actor Josh Holloway. The team wanted a rugged facial structure with strong contours that conveyed experience and toughness.

Character Creator’s morph system allowed them to sculpt those features precisely within the same environment. Instead of exporting to a separate sculpting pipeline and iterating repeatedly, they could refine facial proportions directly until the character matched the vision they had in mind.

This greatly simplified the iteration process.

3. Mesh Editing Flexibility

When importing accessories such as belts or small props, Character Creator’s automatic conforming handled most of the fitting.

However, when finer adjustments were needed, the Mesh Editing tools allowed the team to quickly reshape elements without breaking the character pipeline. A belt could be narrowed or repositioned in minutes, avoiding additional modeling steps in external software.

This level of flexibility kept the workflow efficient.

4. Polygon Optimization for Real-Time Performance

Another advantage came during the optimization phase. Because the characters were built with high detail, not every polygon was necessary for real-time gameplay.

Using Character Creator’s polygon reduction tools, the team was able to significantly lower triangle counts while maintaining visual quality. Hair assets in particular benefited from this process — large amounts of geometry could be removed without noticeably affecting the final appearance.

This allowed the characters to remain visually strong while running smoothly inside Unity.

Auto Setup for Unity: Removing Technical Friction

None of the brothers comes from a traditional artist background. Shader setup and hair rendering in Unity initially led to disappointing results.

Unity Auto Setup has been significantly simplified:

  • Shader configuration
  • Hair material setup
  • Character integration

What had previously resulted in broken visuals became predictable and production-ready.

Measurable Impact

Character Creator and iClone affected three core areas:

Quality

They achieved character quality that matched their horror vision, elevating immersion. Most critically: Without CC and iClone, fully voiced cinematic cutscenes would likely not have been feasible.

Time

The team estimates they saved approximately seven months of development time, primarily by eliminating outsourcing cycles and iterative rework.

Cost

Instead of spending nearly $10,000 on character outsourcing alone, they maintained control within a structured pipeline.

What’s Next for Dragon Level?

After completing such an ambitious title, the brothers are evaluating a more focused scope for their next project. The experience of building Connection: The Nightmare Within provided something even more valuable than the finished game itself — a validated pipeline.

They now understand exactly how to structure character production, animation, and Unity integration in a way that balances quality with limited time resources. The uncertainty that often paralyzes indie teams has been replaced with confidence.

Cinematic storytelling no longer feels like something reserved for AAA studios. With the right workflow and tools in place, it has become a practical reality — even for three brothers building horror games after work.

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AI-Generated Characters & iClone/CC5

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AI-generated character and prop meshes are improving, and some are operating on at least their fifth or sixth generation of AI models that drive the mesh creation. As a longtime character and prop creator I have relied heavily on my own creations for personal and professional projects but in the past year and half or so I have added Meshy AI to keep up with the current trend of AI mesh generation. While it has improved, AI-generated characters are not a full replacement for iClone or CC5 characters, but they do have their place.

Right now, that place is not in front of or close to the camera if you are wanting cinematic quality. Props may be a different story, but they too have flaws that need to be dealt with or hidden from camera view.

High Poly Count

As the AI models behind Meshy have evolved so has the poly count.  It is not unusual for Meshy 6 to produce character meshes up into the millions of polys.  I have seen many characters between three and four million.

This requires the extra step of remeshing and during this process we can convert the model to quads for a bit cleaner topology for animation performance but it’s not the perfect solution. The Meshy AI re-mesh offers general or fixed poly counts from 3K, 10K, 30K and 100K or a custom poly count. This does solve some of the problems but the meshes do lose a little quality after remeshing.

To get a decent character that looks good in front of the camera you still need at least 130K or more in most cases while Character Creator can provide a character with a working mouth, expressions, primed for easy lip-syncing and provide more advanced features like wrinkles and expressions for a lower poly count.

Atrocious UV Maps

In an iClone Facebook group, one user commented on a Meshy AI-generated UV Diffuse map that it looked like someone “ate the map and threw it up,” and I have no argument with that.

For beginners this is particularly problematic and maybe a showstopper and for pros it’s just a pain in the butt to deal with. It’s frustrating, confusing and so chopped up it looks like it came from an app tripping on mushrooms.

Also, for beginners, being able to use an app like Photoshop to alter or change the clothing and other aspects of a character is a defining moment and necessary milestone to get a unique character just by editing the diffuse map.

Sadly, choosing quads doesn’t solve the UV Map problem in Meshy but it does tame it a bit. The quad UV Map is bit more coherent in that we can more easily recognize certain features, but those features will still be chopped up into multiple pieces most times.

For example, the UV map can and usually does make it almost impossible to locate the face let alone all its scattered parts. With quads there is a better chance of the face being chopped up into far fewer pieces making some alterations possible but still frustratingly limited.

This image vividly demonstrates the difference in UV Mapping with Meshy AI versus iClone/ Character Creator

Mesh Binding and Collapsing

In a lot of cases, the generated mesh will be too poly-heavy for use in animation or even a game engine. This requires optimizing the mesh to a lower poly count while retaining as much of the original features as possible. This chops the mesh up into triangles even if it is a quad mesh to start with.  This can lead to mesh binding and collapsing in tight joint areas like elbows and knees.

If needed for a crowd or army off in the distance you might get away with flat arms or pinched elbows, but this won’t work for anything closer to the camera. Stylized characters with thin arms and legs are more susceptible to this type of binding or collapse. With iClone and CC5 characters you can optimize character meshes down as low as 800 kb each with just the click of a button even if you don’t know anything about optimizing mesh. This same button can cause binding and collapse when used on some AI-generated meshes though.

Poor Quality Textures

Not only is the UV Mapping horrible so is the diffuse texture map which is the beauty shot of the maps. Just as I was writing this article Meshy announced Meshy 6 Texturing. Up to this point we could make a mesh in Mesh 4, 5 or 6 Preview but the texture was generated with Meshy 5.

Meshy 6 Preview texturing is an improvement but still not as good as Character Creator or most Content Store/Marketplace vendor items.

Quads Improve Mesh Quality Somewhat

In general, Quad meshes use four-sided polygons, while triangle meshes use three-sided. Quads are generally better because they deform more smoothly during animation, are easier to edit, and work best with subdivision tools. Triangles can cause messy deformations and are harder to manage for detailed modeling resulting in many 3D artists preferring quads for character creation in particular.

No Working Mouth

This is arguably one of the biggest drawbacks to using something like Meshy for characters. We can create characters with an open mouth then manually skin that area to the jawbone in CC, but this is an advanced skill generally not available to beginners.

Or we can simply use Character Creator to provide a unique character with all the bells and whistles including AI-assisted lip sync.

No Expressions or Emoting

Applications like Character Creator have spoiled us to great characters within low to reasonable poly counts with expressions. AI-generated characters have the expressions of a rock. Its expression will be whatever comes out of the mesh generation, and we are stuck with it.

On the other hand, iClone and CC5 have dedicated expression and wrinkle systems to improve realism. While it is possible for experienced 3D mesh modelers to create and rig a working jaw/mouth in CC5 even though it is an advanced skill, it is not possible to create a wrinkle system on AI-generated meshes with CC5 Advanced or ActorCore’s free AccuRIG, which leaves these characters rather lifeless compared to iClone/CC5 characters.

You’ll never get that superhero on the right to smile like Aaron does.

Mesh Editing/Clean up

This is annoying… AI-generated characters can be very messy with “blobs” and other detached parts floating around that must be dealt with either in Character Creator or another application. In CC5 we can usually isolate these blobs and hide them but that is not always possible. ZBrush and similar applications can handle the edits, but complicate them.

What You See is Not Always What You Get

If you have used a mesh generator then you have probably experienced some form of this problem. For those of you that haven’t been through this I will try to explain the problems in practical terms.

The untextured preview looks good. The final texture looks even better in the application interface. You download the character only to find a significant number of flaws not visible in the previous stages of generation.

These flaws can include both mesh and UV map problems. What looked like a great face on a character turned out to have another “ghost nose” or bump near the nose area or strange ears or misaligned texture requiring attention from a mesh editing app. This means the user needs to be up to speed on correcting character details like hands with too many fingers or multiple thumbs. Bumps where there shouldn’t be bumps…  wrinkles where… well… where it’s just embarrassing and these must be dealt with, or the character is unusable.

Lifeless Eyes

This is a big one in terms of realism and there is no substitute for it. Back in the early days of gaming and animation it was not unusual for a character to be looking through you instead of at you. This defined the experience for the user. The mocap and acting were getting better, but those lifeless eyes would ruin the entire experience by taking focus from the scene. It might have been some great animation and storytelling, but the fixation on those lifeless eyes overshadowed the emotion of the scene.

iClone, in particular, Character Creator has gone to great lengths to solve this problem with eye tracking and textural realism. Using partially rigged AI-generated characters takes us back to the early day as they won’t have eyes in most cases… with them being part of the main mesh instead of separate meshes we can control.

What you see below on the left is all you will ever see with that character. The look of the eyes NEVER CHANGES versus the CC5 characters on the right that have layers such as occlusion and tearline for realism. Eyelashes and eyebrows add more realism too.

Left: Eyes are part of head mesh. Right: Eyes are separate items with reactive layers such as Eye Occlusion and Tearline.

Now let’s take a look at what AI-Generated characters can be used for.

Crowds

This is an obvious use, but you will have to decimate (optimize) them severely to get a crowd of any size. Depending on the distance from the camera, highly decimated characters will work just fine and should work well with the Crowd system in iClone.

Even with crowds, Character Creator still excels with high-quality optimization that starts with good, solid topography before decimation, which means a smoother character at the end of the process, which translates into smoother animation.

Storyboarding

This is another somewhat obvious use for AI-generated characters as storyboards are usually static and only require posing. Add in AccuPOSE and creating a storyboard is almost child’s play. From simple blocking shots to complicated scenes, iClone can punch out a storyboard very quickly and it can be animated if need be.

This is a great way to develop a shot list by recreating the scene in iClone to whatever level of realism is needed and moving the camera around to get a preview of how the camera shot list should be laid out.

Comic Books, Graphic Novels

Just like the storyboards above, iClone is a natural for comic books and graphic novels whether they are realistic, cartoony or somewhere in between. And just like the storyboards, AccuPOSE makes it so simple you will most likely have time left over to tinker with the project to refine it even more! If you don’t need dialog or expressions, then AI-generated characters can work in that situation.

A great example of this is Antareus Studio’s Operation Cobra: The Burma Incident, a WWII-era graphic novel produced entirely with iClone and Character Creator. Read the full story to see how they did it.

Scene Filler

This is a very important role for AI-generated characters just as I mentioned in the Crowd section and with those caveats. The meshes have to be optimized to lean and mean even if you are only going to use them in small Actor Groups but when these groups are deployed, they can add life to a scene.

A great ready-made solution for this is the Crowd Sim: Social Actions pack from the Content Store, which lets you drop pre-animated groups of characters into any scene with just a few clicks.

Content Store and Marketplace

These are still the best places to find quality characters, props, hair, accessories and other 3D assets for iClone and Character Creator 5 that will perform as expected. The Content Store is Reallusion’s curated, professional-grade market — every asset is held to a high standard, making it a reliable source for production-ready content. The Marketplace, on the other hand, is a more community-driven platform where independent creators share a wide and ever-growing variety of assets. Assets from both will look great in front of the camara, including close-up shots to intermediate crowds. The superior mesh topography, UV mapping and mesh density from these Reallusion and vendor products will work for most situations while making your production look as good as possible. With all the promotional events, sales and discounts available we can build a great library of 3D assets just from these two stores.

Summary

I did notice while writing this article that I use Meshy AI almost exclusively for non-standard, one-off characters and anthropomorphic creatures as I had a hard time finding a standard human Meshy AI character to use as a demo next to a standard CC5 character like Aaron.

The one thing that concerns me with AI-generated characters is the fact that they are not fully functional, and in some cases, the mesh is bad enough that the hands or fingers are not functional either. They have to be rigged as a 2-finger mitten to keep them from being stiff.

We sacrifice a lot of features with AI-generated characters that Character Creator has spoiled us to over the years. If you are an expert at sculpting and rigging you can do your own mods but it’s still a time-consuming and at times a tedious task.

AI-generated characters certainly have their place but at the present time they are rather limited in scope in terms of cinematic quality.

MD McCallum - WarLord

MD McCallum – WarLord

Digital Artist MD “Mike” McCallum, aka WarLord, is a longtime iClone user. Having authored free tutorials for iClone in its early years and selected to write the iClone Beginners Guide from Packt Publishing in 2011, he was fortunate enough to meet and exchange tricks and tips with users from all over the world and loves to share this information with other users. He has authored hundreds of articles on iClone and digital art in general while reviewing some of the most popular software and hardware in the world. He has been published in many of the leading 3D online and print magazines while staying true to his biggest passion, 3D animation. For more information click here.

WarLord’s Workshop

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Melis Caner remakes Jackson Wang’s "Cruel" music video, blending Character Creator 5’s stylized base models with Blender. By combining Rokoko motion capture and scans of Turkish ancient ruins, she showcases a seamless professional 3D workflow.
Featured Story

Stylized Music Video Remake in Character Creator and Blender

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Author: Melis Caner

Melis Caner / Melnverse

Hi, I’m Melis Caner, a 3D Generalist and filmmaker with a Film degree from Dokuz Eylul University. After graduating with a focus on cinematography, editing, and sound design, I discovered 3D animation during the pandemic that followed. Amazed by its limitless creative possibilities, what began as a hobby quickly became my career and a new form of self-expression. My lifelong love for drawing, dancing, and acting now comes together in 3D animation, blending all my passions into one art form.

Melis Caner | LinkedIn / Melniverse | Instagram

Character Creator 5 HD Base and ActorMIXER

I’ve been obsessed with this music video.  So I wanted to create a similar scene, but in my style. The character concept is a remake of Jackson Wang’s Music Video “Cruel.” Watch the full video side by side with my mood reference clippings.

I start by using the new HD stylized base model from Character Creator 5.

With ActorMIXER, you can combine different models and swap individual actor parts seamlessly. Just drag it onto your character, and the skin details will already look incredible. From there, I refined the makeup and ran a few expression tests, and the results turned out great as well.

ActorMIXER: a brand new way for character editing

If you are working on projects with unique character designs, using CC5 HD characters from the Reallusion Content Store will be more efficient. In the store, you will currently find several HD characters ready for use with ActorMIXER.

I would also recommend using the “Digital Soul 100+” pack for detailing the character expression. This saves my time tremendously in emoting the character.

Appplying the HD eyelash content on the character
Digital Soul 100+ pack helps with quick facial expression settings

Rokoko Body Capture and Character Animation in iClone

I captured my motion with the Rokoko suit and cleaned the motion up in iClone. I added facial animation with my favorite “Digital Soul” pack. This basically drags and drops the selected expression, then applies it to my character.

Mocap in Rokoko suits

3D Cloth Customization and Cloth Simulation

For the outfit, I purchased a 3d suit on CLO Connect. I designed the cropped sleeves of the clothing, and then simulated everything in Marvelous Designer.

Scene Composition in Blender

Finally, I built the scene in Blender using the 3D Scan tools that I scanned in the ancient city in Turkey, captured by Blendreams. Although I cannot move as coolly as the dancer queen, it is fun to see CC5 fit into my workflow. And Character Creator is truly a good companion with Blender.

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Learning

Creating and Animating a John Wick 3D Caricature with CC5 & iClone Video Mocap

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Overview

In this tutorial, we will quickly create a John Wick-inspired 3D caricature based on a sketch.

We will leverage the power of Character Creator’s ActorMIXER to create a strong base for an exaggerated character, use Blender for custom grooming and refining, and finally, bring the character to life in iClone. During this process, we’ll be using AI-generated animation and the Video Mocap plugin.

Software Used:

  • Character Creator (with ActorMIXER and CaricatureMIXER pack)
  • Blender (with Hair Tool add-on recommended)
  • iClone (with Video Mocap plugin)
  • AI Video Generator (e.g., Google Flow/Veo) used for motion source.

Mythcons

Greetings, my name is Peter Alexander. In this demonstration, I’m going to walk you through how you can leverage Character Creator 5‘s new ActorMIXER as a powerful stepping stone to create unique, stylized characters. We’ll use the CC Base Mesh as our foundation, and ActorMixer will provide the next layer from which to build, making professional character creation that much easier. For this demo, I’ll be creating a stylized version of Arnold, using the Blender Autosetup pipeline, which is both cost-effective and efficient for creating characters and assets.

Visit Mythcons’ ArtStation

Step 1: Establishing the Foundation in Character Creator

The hardest part of character design is often just getting started in a specific direction. ActorMIXER, combined with the CaricatureMIXER pack, makes this easy by providing useful directions for body types and character exaggeration.

  • Initiate ActorMIXER: Start by loading up ActorMIXER within Character Creator. Select the standard “Male” option.
  • Define the Shape: Ensure the CaricatureMIXER pack is loaded. Begin defining the character’s shape by mixing the presets.
  • Target the Look: For a John Wick caricature, aim for a fairly slender body, a thin face, and a long, narrow nose. Leaning towards the “Thin” shape preset in the CaricatureMIXER pack is a good starting point to dial in the exaggeration.

Pro-Tip: While these packs provide a solid foundation, to really develop a strong caricature style, it is highly recommended that you study master artists like Tom Richmond.

Step 2: Refining Proportions and Initial Assets

Once the general direction is set in ActorMIXER, exit back to the main Character Creator interface for refinement.

  • Adjust Proportions: Use Character Creator’s tools, such as Morph Sliders, the Proportion Editor, and the Edit Mesh tool, to adjust the character further.
  • Exaggerate the Head: Caricatures are often defined by larger-than-normal heads. Scale the head up to achieve that distinct caricature look.
  • Add Base Assets: Give the character a basic prefab suit from your existing content library and add some initial facial hair.
  • Assess Needs: If you cannot find the exact hairstyle needed in your library, prepare to send the character to Blender for custom creation.

Step 3: Custom Grooming and Rigging in Blender

Send the character FBX to Blender to refine the sculpt, fit clothing better, and create custom hair.

  • Refine Sculpt and Clothes: In Blender, use sculpting tools to further refine facial features and adjust the fit of the clothing over the exaggerated body shape.
  • Create Hair: Create a custom hairstyle. The Blender “Hair Tool” add-on is highly recommended for assisting with basic hairstyles. (Optional: Add extra assets, such as a suitable tie, if available in your Blender assets).
  • Rigging Assets: Once the hair and accessories are created, they must be rigged to the main character’s armature.
    • Select the item (e.g., the hair object).
    • Hold Shift and select the character armature.
    • Press Ctrl + P to parent them.
    • Choose “With Automatic Weights” (this is the most common selection for clothing).
  • Adjust Weight Skinning: Refine the rigging by adjusting weight painting. For short-to-medium hair like this, generally assign 100% of the weights to the “Head” vertex group. (For longer hair, you might also need to include neck groups).

Step 4: Preparing AI Motion Capture in iClone

With the character model finalized, send it back through Character Creator for any final checks, and then export it to iClone. Before applying motion to the character, you need a source video for the motion capture.

  • Generate AI Video: Use an AI video platform (such as Google’s Flow using Veo) to generate the desired motions. For this tutorial, three martial-arts style clips were generated and stitched together to create an 18-second fight sequence.
  • Motion Selection Advice: The Video Mocap plugin is a credit-based service. To maximize it, use input videos with very deliberate motions that are not too fast. Things like dance moves are perfect; super-fast combat motions or flips might yield mixed results.

Step 5: Applying Motion Capture

  • Import Source Video: Load your AI-generated martial arts video.
  • Settings: If it is a solo animation, you do not need to select “Detect Actors”.
  • Sample the Motion: Analyze and sample the video movements. (Note: This 18-second video took approximately 10 minutes to sample. While this seems long, manually animating these moves would take significantly longer).

Conclusion

Once the motion is generated, apply it to your character. iClone will generate a plane showing the input video behind your character for comparison purposes.

By experimenting with clear video inputs, you can maximize your animation results. And there we have it: John Wick is animated and ready for revenge.

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Learning

CTA with AI: Faster 2D Creation Without Losing Control

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Cartoon Animator: A New Creative Era for 2D Animators

What happens when decades of traditional animation experience meet modern artificial intelligence? According to Australian illustrator and animator Garry Pye, it doesn’t replace creativity—it amplifies it. In a world where anyone can now press a button to generate an image, the real opportunity lies in combining AI with professional animation tools to gain speed and control.

This article explores Garry Pye’s evolving 2D-first workflow—blending Cartoon Animator (CTA), AI-powered image and video generation, and professional post-production tools—to show how 2D animators can create their own character, design compelling stories, and future-proof their creative careers without abandoning familiar pipelines.

From Pencil and Paper to AI-Assisted 2D Creativity

For most of his life, Garry learned animation “the hard way.” Reference books, hand-drawn sketches, frame-by-frame animation—every skill earned through repetition and persistence. Creating a simple cartoon scene once meant hours or days of preparation.

AI changed that overnight.

By describing an idea—like a zebra driving a convertible along the beach—Garry can now generate concept images in seconds. Even better, those images can be refined through iterative prompts: wardrobe changes, lighting adjustments, props, and camera angles.

But while AI accelerates ideation, Garry quickly learned an important lesson: AI alone is not a one-stop shop.

AI Is Not a Pipeline—It’s a Powerful Assistant

Despite its impressive results, AI still struggles with long-form storytelling, precise character acting, and consistent performance across scenes. Generating one good image often means discarding several unusable ones.

That’s why Garry approaches AI as a modular toolkit:

  • ChatGPT / Grok for ideation, scripts, and concept exploration
  • AI image generators for rapid visual development
  • Nano Banana for controlled image editing and camera angle changes
  • Envato Image to Video for short animated sequences
  • Photoshop for cleanup and compositing
  • CapCut for final edits

This modular approach allows one animator to achieve results that previously required a full production team.

Read more here: AI Render for iClone & Character Creator Enters Open Beta with ComfyUI Workflow

The Role of ChatGPT and Grok in Storytelling

Every day, Garry begins by opening ChatGPT and having a conversation. Rather than issuing commands, he treats it as a creative collaborator—sharing goals, ideas, and challenges.

ChatGPT and Grok are used for:

  • Producing reference images
  • Story concepts and scriptwriting
  • Visual descriptions for image generation
  • Exploring alternate narrative directions

The more specific the prompts, the better the results. Garry emphasizes that AI must be guided carefully—clear language and precise direction are essential.

Why 2D Artists Have an Advantage

Although AI excels with 3D figures, Garry’s expertise lies firmly in 2D animation—and that’s where Cartoon Animator truly shines as a professional 2D animation software.

Using his original 2D character, Klaang from Alien Squad, Garry demonstrates a powerful 2D-centric hybrid workflow that keeps Cartoon Animator at the core:

  1. Pose the character in Cartoon Animator
  2. Export a still image
  3. Ask AI to reimagine that pose as a 3D character
  4. Refine results in Photoshop

The consistency across poses is impressive, and each pose becomes a standalone asset usable in print, comics, or animation.

This approach bridges 2D and 3D while keeping 2D animation, sprites, and performance control inside Cartoon Animator—without requiring deep modeling knowledge.

Envato: Image, Edit, Animate

Envato has become a cornerstone of Garry’s AI workflow. Its tools combine image generation, editing, and animation in one evolving platform.

Nano Banana: Controlled 2D Creativity

Nano Banana allows creators to edit only what they request—preserving character identity, lighting, and composition. Unlike many AI tools, it doesn’t randomly alter the entire image.

Key advantages include:

  • Camera angle changes from a single image
  • Selective edits
  • Lighting and color adjustments

For Cartoon Animator users, this is equivalent to gaining virtual 3D camera control inside a 2D pipeline.

Image to Video: Speed Meets Consistency for 2D Animation

Envato’s Image to Video generator has transformed Garry’s workflow. By defining a start and end frame—often created directly in Cartoon Animator’s Stage or Composer modes—he maintains visual consistency while AI fills in the motion.

In under an hour, Garry can:

  • Set up shots
  • Generate multiple animated clips
  • Assemble them into a coherent sequence

Even creators who struggle to draw can now produce polished animations—while experienced animators gain unprecedented speed.

Expanding What’s Possible with 2D + AI

Beyond character animation, AI excels at tasks that are traditionally time-consuming:

2D Animated Props

Static objects like disco balls or fire can be animated via Image to Video tools. Individual frames can then be imported into Cartoon Animator as animated props.

2D Living Backgrounds

AI-generated environments—such as underwater scenes—can be cleaned in Photoshop and animated to create dynamic backdrops. These animated backgrounds drop directly into CTA’s Stage Mode.

Cartoon Character Turnarounds and Sprites

AI can generate side and back views of characters, mouth sprites, and eye sets—ideal for creating custom rigs or preparing assets for 360-degree heads.

Additionally From AI Images to 3D Characters

One of the most exciting developments in AI is the ability to convert images into 3D models. Tools like Meshy can generate a Blender-ready character base from a single image.

While current results may include dense topology and imperfect meshes, the speed is undeniable. Garry notes that what once took months of modeling can now be achieved in minutes—and the technology is improving rapidly.

For creators working in Blender or other 3D animation software, this opens new doors:

  • Rapid exploration of styles and proportions
  • Faster prototyping
  • AI-assisted character designer workflows

Cartoon Animator: The 2D Control Layer AI Can’t Replace

Despite AI’s rapid growth, Garry is clear: AI is not a replacement for professional animation software.

For 2D-focused productions, Cartoon Animator provides:

  • 2D rigging, bone systems, and sprite-based character control
  • Precise motion editing
  • 2D camera control, staging, and shot continuity
  • Performance-driven storytelling

AI speeds up the process, but Cartoon Animator delivers the polish, timing, and performance control that 2D animation requires and AI cannot provide on its own.

Pros of Combining Cartoon Animator and AI for 2D Production

Speed: AI handles repetitive and experimental tasks while CTA focuses on performance

Creative Freedom: Explore more 2D ideas, poses, and shots without increased production time

Solo Production Power: Small teams can produce studio-level results

Future-Proof Skills: 2D artists who master Cartoon Animator are perfectly positioned to leverage AI

Quality Control: Human direction ensures consistency and storytelling integrity

Key Lessons Garry Has Learned

Garry summarizes his AI experience with three guiding principles:

  • Free plans limit results; professional output requires investment
  • Think outside the box—anything is possible
  • Be extremely specific with prompts

Above all, AI needs a creative boss.

Conclusion: AI Has Supercharged Creativity for 2D

AI hasn’t taken creativity away from animators—it has expanded what’s possible. By combining AI tools with Cartoon Animator, iClone, and traditional skills, creators can work smarter, not harder.

For 2D animators, content creators, and production studios, the message is clear: use AI to accelerate production—but rely on Cartoon Animator for performance, storytelling, and control.

Explore Cartoon Animator, iClone, and Character Creator to build an animation pipeline where AI accelerates your ideas—and your skills remain the driving force.

FAQ

Can AI replace Cartoon Animator or iClone?

No. AI enhances speed and ideation, but Cartoon Animator and iClone provide essential animation control and polish.

Is this workflow suitable for beginners?

Yes. AI lowers entry barriers, while Cartoon Animator helps beginners learn professional animation fundamentals.

Can I use AI-generated characters in Blender?

Yes. Tools like Meshy can convert images into Blender-ready models, though cleanup may be required.

How does Character Creator fit into this pipeline?

Character Creator 5 provides a professional character base for consistent, production-ready assets.

What’s the biggest advantage of combining AI and Cartoon Animator?

Speed without sacrificing storytelling control.

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Garry Pye – 2D/3D Animator, Cartoonist, Content Developer

Garry Pye – 2D/3D Animator | Content Developer

Garry Pye is an Australian illustrator, animator, and Cartoon Animator instructor with over a decade of industry experience. Known for his approachable teaching style, sharp humor, and deep technical knowledge, Garry has built a reputation for making animation accessible to beginners while still inspiring seasoned professionals.

His work spans animated shorts, educational content, and live presentations where he demystifies complex workflows. At the core of Garry’s philosophy is a belief that storytelling always comes first—and tools should serve creativity, not limit it.

Today, Garry is exploring how AI can become a creative assistant inside professional animation pipelines rather than a replacement for skilled artists.

Follow Garry Pye’s iClone Page｜2D Animation Page｜2D Marketplace | Instagram