My name is Ali Tomineek. I’m an artist and 3D creator born and raised in Phoenix, Arizona. To be clear, I’m a Hip Hop Artist. Not just a rapper. Everything I do is rooted in Hip Hop culture.
The way I animate, direct, write, and tell stories all comes from that same foundation. Hip Hop isn’t just something I listen to, it’s how I see the world.
I’ve been creating music and videos for over 15 years, but my journey into 3D animation began around six or seven years ago. Like many self-taught artists, I learned Blender through YouTube tutorials, online articles, and community forums. In 2021, I started posting my viral celebrity animations featuring my signature animated character, Lil’ Ali. Those videos quickly took off, reaching over 100 million views, and opened doors to collaborations with brands like BET, ESPN, Hulu, and NBC.
Using Character Creator to Move Fast Without Losing Style
Speed is everything in animation. The faster I can move from an idea in my head to a character on screen, the better.
Character Creator has been a massive part of that process for me. It removes a lot of the tedious and time-consuming steps that usually slow character creation down. With just a few clicks and morphs, I can turn a concept into a fully realized character.
Sometimes I use Character Creator purely as a brainstorming tool, building out the base of a character before sending it over to Blender for final detailing and scene work. Other times, I’ll create an entire character start to finish directly inside Character Creator. That flexibility is insane. It lets me adapt my workflow based on the project instead of forcing every idea into the same pipeline.
FACE-ing My Fears: Solving Facial Animation and Lip Sync
No character feels alive without facial expression. But for a long time, facial animation was honestly the most intimidating part of my workflow.
I used to animate facial expressions and lip sync completely by hand. Every syllable. Every mouth shape. It was painfully slow. I tried optimizing by creating libraries of saved mouth poses to reuse during lip-sync sessions, which helped a bit, maybe ten percent faster. But I knew there had to be a better way.
AccuFACE gave me something I’d been searching for for years: a reliable facial motion capture solution. I could track facial motion from pre-recorded video or even stream my performance in real time directly onto my character’s face.
Watching my digital character mirror my expressions for the first time was wild. It felt like seeing a digital version of myself come to life. Almost like watching your kid say their first words. I’m not a dad, but that’s the closest comparison I’ve got.
Feeling Crowded: Building Worlds with ActorCore
When I think about 3D animation, I don’t just think about individual characters. I think about entire worlds. Concerts. Sporting events. Parties. Full environments that feel alive.
But here’s the problem: you can’t build a believable world without people. And animating dozens or hundreds of characters one by one is a nightmare. Try filling a nightclub scene with 100 dancing characters and your computer will probably tap out before you do.
ActorCore handles the heavy lifting by letting me generate, simulate, and animate crowds quickly. With just a few clicks, I can populate a scene with characters that move naturally and independently. Background crowds are one of those subtle details that people don’t always notice when they’re done right, but they’re impossible to ignore when they’re missing.
Communication Is Key: Blender and Reallusion Working Together
Blender is home base for me. Everything eventually ends up there.
That’s why Reallusion’s Auto Setup for Blender is such a big deal in my workflow. I often need to work iteratively, bouncing back and forth between Character Creator and Blender while refining a character or animation. Knowing that the tools communicate cleanly gives me peace of mind.
I don’t have to worry about losing data, breaking shaders, or dealing with weird crashes when using Blender DataLink. I can focus on creating instead of troubleshooting. When software actually works together instead of fighting each other, it makes high-quality visuals feel way more achievable.
The Magic of 3D Animation
Over the past six or seven years, I’ve really come to understand the power of 3D animation. Being able to mimic life, express emotion, and tell stories visually feels like magic.
Animation makes the impossible possible. It lets us communicate beyond language. That’s something I’ve admired since I was a kid watching movies like A Goofy Movie or Shrek. Even back then, I knew I wanted to create my own 3D animated film one day.
That wasn’t a dream or a vague goal. It was a promise. A commitment to keep going, no matter how long it took.
Now, looking at the characters and worlds I’m able to create today, I’m proud of how far I’ve come. And I know this is only the beginning.
Reallusion has been building simulation solutions for years with world-class brands and enterprise teams. We’re proud to deliver what many simulation pipelines still lack: realistic human behavior derived from capturing the timing, variability, and decision points that make results more trustworthy. Building on that foundation, the Motion Planning plugin is our next step toward larger-scale, real-world simulations with believable, repeatable outcomes.
With Motion Planning, teams can build simulations from modular blocks, link workflows across multiple areas, and quickly iterate on layout and process changes to compare results. Setups can then be reused and scaled for high-volume runs.
Key Highlights
1. Build Behavioral Logic with Visual Graph Editor
Manage and edit simulation logic with a node-based Graph Editor. Design coherent animation flows, extend scripts, set conditions, and add random behaviors. This will help to make your simulations feel more realistic, intelligent, and flexible.
2. Planning Sets: modular building blocks for rapid simulation
Built on top of iClone Motion Director (MD), a Planning Set bundles Characters, MD Props, and Scripts into a reusable module for fast deployment. Choose an existing or custom Planning Set, drag and drop it into your scene, assign tagged characters, make quick scene/prop adjustments, then click Go MD (Run Simulation) to generate an animated simulation instantly.
To help teams get started quickly, Motion Planning includes free embedded starter content in iClone ( including simple Planning Sets and essential props ) so users can run examples right away and understand the workflow in minutes.
3. Scale from one area to an entire system
Motion Planning is not limited to a single department or zone. Using the Graph Editor, you can chain multiple Planning Sets together to build anything from a production line and crowd flow route to a large-scale factory or city-level simulation by combining Planning Sets of different sizes.
From Individual Actions to Large-Scale Scenarios
Reallusion’s human-centric simulation workflow (now completed with the newly added Motion Planning) scales from single-person actions to system-level operations, with modular logic to connect everything at scale:
Reallusion is backed by the industry’s largest asset ecosystem, led by ActorCore for premium characters, props, and motions. Plus, it’s also supported by the Content Storeand Marketplace for additional resources. This gives teams scenario-ready assets for everything from factory planning to driving and public-space simulations, so they can build faster without creating assets from scratch.
Proven in Real-World Deployments
World-class brands such as NVIDIA, Google, Samsung, LG, BMW, Ford, Toyota, Hyundai, GM, Motorola, and Axis Communications have leveraged Reallusion’s simulation solution for machine learning training. Motion Planning has also been tested by industry leaders, includingDelta Electronics and Foxconn, global frontrunners in electronics and manufacturing. The solution has supported plant planning initiatives, and relative.berlin—a Berlin-based CG/AI studio specializing in immersive VR/AR experiences—evaluated the workflow through a VR project for the German government.
To bring simulations closer to real-world scenarios, the newly released Video Mocap plays a key role by converting ordinary recordings of real human operations into editable 3D motions, so teams can incorporate authentic timing, posture transitions, and task-specific movement into their simulation workflows.
Common Use Cases
Digital twins and production planning
Compare before/after results and quantify time savings and efficiency gains.
Simulate layout changes in real time and observe downstream impact.
AI and machine learning data generation
Rapidly generate large volumes of simulation footage for training datasets.
Support workflows such as anomaly behavior detection, motion prediction, and improving model accuracy through synthetic simulation data.
Presentation, training, and operational demonstrations
Create realistic operational workflow simulations for training videos.
Clearly communicate processes and results with higher realism and credibility.
Within the Graph Editor, Motion Planning includes five major condition nodes that enable characters to evaluate the environment in real time and respond appropriately:
Position: Detect whether a position is occupied to prevent overlaps and ensure logical flow.
Placement: Evaluate object placement state to control process logic.
Distance: Trigger behaviors based on proximity like “approach”, “interact”, “stop”, etc.
Trigger Zone: Fire events when entering/leaving areas to manage zone-based logic and flow switching.
Boolean: Use custom boolean conditions to build complex logic chains and behaviors.
Validate with Logs and On-Screen Feedback
With the Print Node, teams can log key data, such as time, distance, occupancy state, boolean values, and position, to compare before/after changes and evaluate layouts and workflow plans. These values can be written to logs and displayed directly in the viewport for clear, real-time validation.
Clean, Reusable Script Management
The Graph Editor offers flexible tools to keep complex logic manageable and maintainable:
Sub-Graphs for modularizing larger workflows.
Expandable Joint for extending connections and data flow.
Group editing to organize and arrange complex node graphs.
You can also save your work for fast reuse:
Save scripts with node logic as Templates.
Save complete setups (scene + scripts) as MotionPlanning Sets(MP Sets) for rapid reuse and scalable expansion.
Better Review and Smooth Collaboration
With the addition of Fly Camera, you can freely navigate the simulation space—view from above, follow production flow details, and record camera paths for replay and keyframe refinement.
Export characters, props, lights, and cameras to downstream tools such as NVIDIA Omniverse, Unreal Engine, Blender,even Maya (with Live Link support for smoother data transfer) or complete production directly in iClone with real-time rendering preview, enabling a streamlined collaboration and optimization pipeline.
Next-Gen Simulation Starts Here
Reallusion’s focus has been to bring realistic human behavior into simulation, so digital twins reflect how people actually work in the real world. With the launch of Motion Planning, human realism can now scale enormously. This modular, logic-driven workflow connects 3D people, actions, and environments, enabling larger, repeatable simulations and giving confidence to users.
Jumpstart with Motion Planning Content Packs
Beyond the free starter content included in iClone, Reallusion also offers content packs designed for Motion Planning to accelerate factory automation and industrial digital twins setup.
Get started on industrial simulations with 12 factory Planning Sets (Assembly, Production, Transport, Maintenance, Inspection), 25 standalone MD props for common tasks (robotic arm operation, precision processing, machine repair), and 73 factory motions (assembly, supervision, wrench/drill use, packing, and more). Use it with Motion Planning to build modular, repeatable factory workflows faster.
Add realism with 15 heavy-duty interactive props for industrial scenarios. With tools ranging from levers and pressure valves to control panel operations, use a simple drag-and-drop setup for fast deployment.
In Part 5, we focused on establishing the base materials in Substance 3D Painter using UDIM workflows, mesh map baking, and non-destructive layering techniques.
For Part 6, the goal is to push those materials further—adding surface detail, smart materials, emissive accents, and maintaining consistency across the entire armor set—before exporting textures back into Character Creator 5.
Pablo Munoz Gomez
Hello, my name is Pablo Munoz Gomez, and I’m an enthusiastic 3D concept and character artist who is deeply committed to the spread of knowledge. My expertise lies in 3D sculpting, visual development, and engaging in mixed-media projects. I take immense pride in being the creator of Pablander Academy, serving as an outlet for showcasing my work, sharing my workflows, and assisting fellow artists in honing their skills across a wide range of subjects.
Purposefully adding surface details
Small surface details go a long way toward selling functionality.
I like to add padded or ribbed materials around areas that naturally experience stress, such as shoulders, between the chest plate and shoulder pads, or around joints. These details help visually bridge hard armor with softer fabric elements and make the suit feel designed for movement.
I use these accents sparingly—gloves, biceps, strap edges, or the inside of a boot are usually enough. The goal is not to overwhelm the surface with noise, but to suggest how the suit behaves under motion.
Building and Reusing Smart Materials
Whenever a layered material setup works well, I save it as a custom smart material.
For example, once I’m happy with the green coating on the chest plate, I save it and immediately have a reusable base finish for other armor pieces. I often layer this with a simple metal smart material underneath and reveal edge wear using a mask.
Substance Painter’s built-in smart masks are excellent starting points. One of my go-to techniques is filtering for “gun” masks and applying Gun Edges to establish scratches and wear. To avoid a generic look, I refine the mask by subtracting grunge maps and dialing back intensity. Finally, I rely heavily on the HSL Perceptive filter to fine-tune hue, saturation, and brightness so materials stay within a cohesive palette.
Grouping, Instancing, and Single-Source Edits
Once a material setup is dialed in, I group related layers into a folder—for example, an Armor folder—and use Painter’s Instantiate Across Texture Sets feature.
This pushes the exact same material structure to every relevant texture set: chest plate, shoulder pads, boots, and belts.
Because these are instances, any adjustment made to the original immediately updates everywhere else.
This approach is essential for maintaining visual consistency across complex armor sets without duplicating work.
Adding Patterns, Normal Details, and Emissive Accents
For straps and fabric elements, repeated patterns work best when UVs are straight. If the UVs were laid out cleanly earlier, directional patterns tile predictably across loops and wraps.
For high-frequency hard-surface detail, I avoid adding geometry. Instead, I paint normal details directly in Painter. I load hard-surface normal maps into a brush and paint them onto a dedicated layer. This keeps topology clean while still conveying panel seams, bolts, and subtle bevels.
Emissive elements are an easy way to inject sci-fi personality. I create a fill layer, enable the Emissive channel, mask it black, and paint in glowing accents. From there, I fine-tune color and intensity and add subtle grunge for variation.
Exporting Textures for Character Creator 5
Before exporting, I make sure I’m using the correct Character Creator export preset in Substance Painter. This ensures all channels map correctly when the textures are re-imported.
From File → Export Textures, I disable any unmodified texture sets to keep the output clean. In the Global Settings, I select the Character Creator template, choose PNG, and set the resolution to 4K for optimal quality. Once exported, the texture folders are ready for CC5.
Updating Textures in Character Creator 5
Back in Character Creator 5, I use the Substance Painter pipeline and select Update Textures from Substance Painter. Point CC5 to the exported folder and it automatically assigns every texture to the correct material slot.
If the textures appear darker than expected, it’s usually because a temporary dark diffuse color was applied earlier for deformation testing. Resetting the diffuse color to white immediately restores the correct look.
Why CC5 Excels at Look Development and Iteration
Character Creator 5 stands out for look development and iteration because it removes friction from the workflow by automating repetitive tasks:
The Substance Painter pipeline handles texture assignment automatically, eliminating manual slot mapping and keeping the workflow non-destructive.
The Update Textures command enables fast, one-click reimports during iterative tweaks.
In the Modify tab, facial details such as iris brightness, pupil scale, and sclera images can be adjusted directly inside CC5.
While the Dynamic Wrinkle system is excellent for animation, I recommend replacing its default expression-specific textures with Painter-generated maps to maintain visual consistency during deformation.
At this stage, the character is fully textured, validated, and ready for the next step, with CC5 serving as a clean launchpad for rendering, including a streamlined setup for Marmoset Toolbag 5.
Coming Up in Part 7
In the final chapter, we’ll pose the character, refine facial expressions, and render the final images using Marmoset Toolbag 5 with the CC Auto Setup plugin. We’ll focus on lighting, camera setup, and finishing touches that bring the character to life.
In Part 4, we generated clean UVs, transferred all sculpted assets back into Character Creator 5, fixed deformations, finalized skin weights, and validated the character for texturing.
For this part 5 article, the focus shifts entirely to Substance 3D Painter—exporting from CC5, setting up UDIMs correctly, baking mesh maps, and building non-destructive materials for the suit and gear.
Pablo Munoz Gomez
Hello, my name is Pablo Munoz Gomez, and I’m an enthusiastic 3D concept and character artist who is deeply committed to the spread of knowledge. My expertise lies in 3D sculpting, visual development, and engaging in mixed-media projects. I take immense pride in being the creator of Pablander Academy, serving as an outlet for showcasing my work, sharing my workflows, and assisting fellow artists in honing their skills across a wide range of subjects.
Exporting from Character Creator 5 to Substance Painter
From Character Creator 5, I open the File menu and use the Substance Painter pipeline. After choosing an export location, CC5 generates the OBJ along with all required textures and metadata that Painter can read directly. This automated export saves a significant amount of setup time, as per-material assignments and texture references are already prepared correctly for Painter.
Import into Substance 3D Painter
When importing the OBJ into Substance 3D Painter, the New Project settings are critical. I always double-check the following settings:
Normal map format is set to OpenGL.
Use UV Tile workflow (UDIMs) is enabled.
Preserve UV Tile Layout per Material is checked.
Enable Painting Across Tiles is turned on.
With these settings, the character appears in an A-pose, and each material shows up as its own Texture Set, allowing for precise, per-material painting across UDIMs.
Selective Reuse of CC5 Textures
In some cases, I selectively reuse textures from CC5 while rebuilding the rest inside Painter. For this project, I keep the high-quality head textures and recreate the suit and gear from scratch. To do this, I select the head texture set and create a Fill Layer named “Head”. I then import the CC5 head textures into the shelf and manually assign:
Diffuse map → Color
Normal map → Normal
Roughness map → Roughness
Because the mesh uses UDIMs, the head texture may appear repeated across tiles at first. To fix this, I open the tile list and disable all tiles except the one corresponding to the head.
Baking Mesh Maps for Generators and Masks
Baking mesh maps is essential, as generators such as curvature and ambient occlusion depend entirely on these maps. From Texture Set Settings, I open Bake Mesh Maps and follow a few key rules:
Disable texture sets that don’t need baking.
Set output resolution to 4096 for clean detail.
Click Bake Selected Textures.
For thin or single-sided geometry, such as eyebrow planes, ambient occlusion can become too aggressive. When that happens, I rebake AO only and switch the self-occlusion mode from Always to Only Same Mesh Name. This prevents unwanted cross-mesh shading and produces cleaner, animation-friendly results.
Establish a palette and experiment with materials
I start material work by exploring material families and surface patterns, rather than locking colors too early. Built-in Painter materials and assets from the Substance 3D Asset Library are ideal for rapid experimentation.
I drag candidate materials into the layer stack, preview combinations, and group selected materials into a single folder. To isolate the suit, I add a folder mask and paint black over the head area. Anything inside the folder then affects only the suit, keeping the workflow clean and organized.
Non-Destructive Patterning with Path Tool and Fill Area Mask
For padded panels and fabric joins, I rely heavily on a non-destructive setup. I start with a technical fabric material, add a mask, and use the Path Tool to draw panel shapes. The key advantage is flexibility: points can be moved at any time to refine shapes.
The Fill Area Mask automatically fills any closed path and updates dynamically as the path changes. This allows for rapid iteration without committing to destructive edits.
Using Anchor Points for Consistent Details
To add borders, seams, or tubing around panels, I use Anchor Points. I place anchors on the path-based shapes and reference them inside the masks of secondary materials, such as colored edges or piping. Anchors are placed below the fill area mask so they reference only the intended shapes. If I later adjust the panel shape, all dependent details update automatically. This keeps the entire material system flexible and easy to iterate on.
Why the CC5 ↔ Painter Pipeline Matters
The Character Creator 5 Substance Painter pipeline significantly reduces manual errors. OBJs, materials, and UDIM layouts transfer cleanly, even for assets created entirely in ZBrush.
This setup allows me to reuse CC5 textures selectively, while still giving full creative control over the suit and accessories inside Painter. The result is a non-destructive workflow that supports rapid iteration without breaking consistency.
Coming Up in Part 6
In the next chapter, we’ll refine materials further—adding smart materials, emissive accents, painted normal details, and using instanced layers to maintain consistency across the entire armor set. We’ll also export textures back into Character Creator 5 and fine-tune the look before rendering.
In Part 3, we focused on building sci-fi armor and hard-surface assets in ZBrush, using masking, extraction, Dynamesh, and clean topology workflows to create modular, production-ready pieces.
For part 4, the focus shifts to preparation and validation inside Character Creator 5. We’ll generate clean UVs using Rizom UV, transfer all assets back to CC5 with GoZ Plus, fix deformations, finalize skin weights, and ensure everything is properly organized and animation-ready before moving into Substance 3D Painter.
Pablo Munoz Gomez
Hello, my name is Pablo Munoz Gomez, and I’m an enthusiastic 3D concept and character artist who is deeply committed to the spread of knowledge. My expertise lies in 3D sculpting, visual development, and engaging in mixed-media projects. I take immense pride in being the creator of Pablander Academy, serving as an outlet for showcasing my work, sharing my workflows, and assisting fellow artists in honing their skills across a wide range of subjects.
Generating Clean UVs with Rizom UV
For UV unwrapping, I use Rizom UV because it’s fast, reliable, and integrates smoothly into this pipeline via a free plugin. From ZBrush, select the mesh you want to unwrap (for example, a shoulder pad) and use the plugin button to send it directly into Rizom UV. This avoids unnecessary export steps and keeps iteration fast.
My Rizom UV workflow follows three consistent steps:
Mark seams: Thanks to the clean topology created earlier, edge loops can be selected quickly. Double-click an edge loop and press C to create precise cuts.
Straighten UV islands: Single-click straightening is especially important for straps, belts, and elongated armor pieces. Straight UVs ensure patterns and materials read correctly in Painter.
Pack and optimize: Pack the UVs efficiently while preserving island orientation so fabric patterns and directional details remain consistent across the character.
Once the UVs look correct, send them back to ZBrush through the plugin.
Preparing Assets for Sending Back to CC5
Before sending anything into Character Creator 5, naming consistency is critical. If a mesh originally came from CC5, its name must match exactly. Some tools append suffixes or alter names during export, which can break the automated update process. Take a moment to verify names before transfer. It will save a lot of troubleshooting later.
To transfer assets, use GoZ Plus from ZBrush. Instead of sending meshes individually, use the All option to send everything in one pass. This transfers geometry, subdivision levels, and sculpted detail baked into normal maps. Depending on scene complexity, this step may take a few minutes.
Understanding the GoZ Plus Import Options in CC5
When CC5 receives the data, the GoZ Options window clearly shows what will happen to each mesh.
Objects with the CC prefix are recognized as original CC5 meshes and set to Update.
Newly created armor or accessories appear with the action set to Create Cloth.
I keep the default settings, ensure the A-pose is selected (unless sculpted in a different pose), and click Update. CC5 automatically skins all new pieces to the base character. This automation alone removes hours of manual rigging work.
Auto Skinning, Weight Templates, and Validation
Character Creator 5 provides several tools that drastically simplify the setup phase:
Automatic skinning: New armor and clothing conform to the character immediately upon import.
Skin weight templates: Ready-made templates allow fast remapping for common items like gloves or boots.
Skin Weights editor: Lock rigid props to specific bones using simple vertex selection.
To check deformation quality, I load a simple animation (for example, a walk cycle) from the Motion → Action menu and play it back. For clarity, I temporarily assign mid-gray diffuse colors to new assets so stretching and twisting are easier to spot. These placeholder colors will be replaced during texturing.
Fixing Deformations and Rigid Armor Pieces
Auto skinning is powerful, but CC5 doesn’t always know how a new piece is meant to behave. For example, glove extensions or sleeve elements may appear misaligned. In those cases, select the mesh, open the Settings panel, and use Transfer Skin Weights. Choose the template that best matches the intended region, and CC5 will remap the weights cleanly. For rigid armor pieces like chest plates or neck collars that should not deform at all, I edit skin weights directly:
Select the mesh.
Open the Skin Weights tool.
Select all vertices.
Assign 100% influence to the appropriate single bone (for example, CC_base_pelvis).
After assigning weights, always replay an animation to confirm the piece remains perfectly locked without warping.
Fixing Deformations and Rigid Armor Pieces
Auto skinning is powerful, but CC5 doesn’t always know how a new piece is meant to behave. For example, glove extensions or sleeve elements may appear misaligned.
In those cases, select the mesh, open the Settings panel, and use Transfer Skin Weights. Choose the template that best matches the intended region, and CC5 will remap the weights cleanly.
Rig Testing and Visual Validation
To validate skin weights across the character, I run a simple rig test inside Character Creator 5. Set the Motion dropdown to Action, choose a basic animation such as a walk cycle, and play it back to observe how the armor and accessories deform in motion.
For visual clarity during testing, I temporarily change the diffuse color of newly imported pieces to a mid-gray or dark gray. This makes stretching, twisting, and weighting issues much easier to spot compared to using bright or detailed textures. These colors are purely placeholders and will be replaced later when the character is sent to Substance 3D Painter.
For rigid armor pieces like chest plates or neck collars that should not deform at all, I edit skin weights directly:
Select the mesh.
Open the Skin Weights tool.
Select all vertices.
Assign 100% influence to the appropriate single bone (for example, CC_base_pelvis).
After assigning weights, always replay an animation to confirm the piece remains perfectly locked without warping.
Final Skin Weight Validation Before Texturing
I repeat this process for belts, armor plates, and any other rigid items, assigning them to the appropriate base bone like “CC_base_pelvis”. After these adjustments, the walk cycle shows clean deformation and no unwanted stretching.
Once skinning and weight edits are complete, I save the CC5 project and run a final confirmation pass before exporting to Painter. I ensure every mesh has UVs without exception and verify that normal maps were successfully baked during the transfer. It is also vital to check naming consistency, ensuring CC-prefixed objects update correctly while new items are properly categorized as cloth or props.
After confirming that UV orientation allows for predictable texturing, I perform a motion test to guarantee that deformations won’t cause problematic stretching. With everything organized and verified, the project is ready for Substance 3D Painter; this combination of Rizom UV layouts and CC5’s rigorous validation tools creates a smooth pipeline that minimizes surprises. Simply save the scene, back up your assets, and proceed to the texturing stage with confidence.
Coming Up in Part 5
In the next chapter, we’ll export the character from Character Creator 5 into Substance 3D Painter, focusing on UDIM workflows, baking mesh maps, selective texture reuse, and building clean, non-destructive material layers.
In Part 2, we covered the ZBrush and GoZ Plus workflow for sculpting the body and suit foundations, managing transferred micro-details, and preparing subdivision-ready meshes for Character Creator 5.
For this part 3 article, the focus shifts to hard-surface asset creation. We’ll build sci-fi armor and accessories such as chest plates, layered panels, and boots using masking, extraction, Dynamesh, and manual retopology workflows, then prepare all assets for clean integration back into CC5.
Pablo Munoz Gomez
Hello, my name is Pablo Munoz Gomez, and I’m an enthusiastic 3D concept and character artist who is deeply committed to the spread of knowledge. My expertise lies in 3D sculpting, visual development, and engaging in mixed-media projects. I take immense pride in being the creator of Pablander Academy, serving as an outlet for showcasing my work, sharing my workflows, and assisting fellow artists in honing their skills across a wide range of subjects.
Creating the Chest Plate with Masking and Extraction
When building armor that needs to hug the body, the fastest and cleanest approach is to work directly on the highest subdivision level of the base mesh and use masking as a blueprint. Start by enabling symmetry and using Mask Lasso to block out the overall silhouette of the chest plate. Once the shape feels right, refine the edges with a sharper masking brush to create crisp panel borders.
With the mask finalized, go to SubTool → Extract. Set the preview thickness to zero and accept the extraction. This generates a clean, single-sided mesh that perfectly conforms to the body surface.
From here, run a quick automatic retopology pass to clean up the geometry. This gives you a solid base for adding thickness, subdivision, and further detailing.
Rapidly Create Additional Panels
For layered armor designs, there’s no need to repeat the entire extraction process every time. A faster method is to duplicate an existing plate, subdivide it, and then cut new panel lines directly into the duplicate. Use selection brushes to isolate the desired polygroup and delete the rest. The result is a new, conforming armor piece with clean topology, which is functionally identical to a fresh extraction.
After a second retopology pass, the panel is ready to stack cleanly on top of the underlying plate. Assigning different display colors to each armor layer is a simple but effective way to keep the hierarchy readable when working with multiple overlapping components.
Adding Thickness and Smoothness
At this stage, the armor pieces are still single-sided. To turn them into functional geometry, thickness is required. Enable Dynamic Subdivision under Geometry to preview both smoothness and thickness interactively. For the final result, either apply thickness using an inflate or inner-extrusion workflow, or convert the dynamic preview into real geometry and polish the edges.
Once one side is complete, mirror and weld the mesh to quickly finalize both halves. These techniques cover the majority of hard-surface armor panels in this project.
Two Design Principles for Believable Armor
When designing sci-fi armor, I follow two guiding principles. First, keep things simple and separate. Even complex designs are best broken down into clear, isolated components, with each part existing as its own subtool. This dramatically simplifies editing, polishing, UV layout, and later texturing. Second, design with function in mind. Even stylized armor should feel believable. Plates should protect the torso while still allowing movement at the ribcage and shoulders. Letting function inform placement, thickness, and articulation helps sell the design far more effectively than surface detail alone.
A Different Approach for Boots: Dynamesh and Freeform Sculpting
For assets where rapid form exploration is more important than clean topology, a different approach works better. I clone the main tool, delete unnecessary areas, and Dynamesh the leg and foot into a sculptable volume. Dynamesh allows you to explore shapes freely without worrying about topology. I usually separate the sole into its own Dynamesh object so I can iterate on the upper and bottom independently. Using cutter brushes, I sketch panel divisions directly onto the sculpt — essentially drawing in 3D instead of 2D.
Manual Retopology with ZSphere and Polygroups
Once the boot silhouette is locked in, it’s time to rebuild clean topology.
Append a ZSphere and switch to its topology tools to manually place points and connect quads. This approach gives full control over edge flow and ensures the topology follows the sculpted volume precisely.
After creating an adaptive skin, set Dynamesh to zero and use the topology layout to assign polygroups. These polygroups become the foundation for further panel extraction and detailing. Using ZModeler, you can QMesh or extrude specific polygroups, vary thickness, and add edge loops where sharper corners are needed.
Once one boot is complete, mirror and weld it to finish the pair, then add straps or buckles as separate modular elements.
Preparing Armor Assets for Character Creator 5
With all armor geometry finalized, the next step is bringing everything back into Character Creator 5. CC5 significantly streamlines this stage of the pipeline. Multiple subtools can be reorganized into logical layers and groups, improved auto-skinning minimizes deformation cleanup, and export-friendly options preserve mesh separation and polygroups for clean texture baking. Spending a bit of time here to organize folders, label materials, and structure assets clearly pays off later, saving hours during texturing and look development.
With all armor geometry finalized, the next step is bringing everything back into Character Creator 5. CC5 significantly streamlines this stage of the pipeline with:
Multiple subtools that can be reorganized into logical layers and groups.
Export-friendly options for preserving mesh separation and polygroups for clean texture baking.
Spending a bit of time at this stage to organize folders, label materials, and clearly structure assets will pay off later, saving hours during texturing and look development.
Coming Up in Part 4
In the next chapter, we’ll generate clean UVs for all sculpted assets using Rizom UV, then transfer everything back into Character Creator 5 with GoZ Plus. We’ll fix deformations, finalize skin weights, and fully prepare the character for texturing in Substance 3D Painter.
Introduction: From Student Vision to Cinematic Reality
For final-year student pursuing a BA in Motion Graphics and Animation at Northumbria University – Wagmi Wibhawith, storytelling is more than visual expression, it’s a reflection of belief, morality, and emotion. His graduation project, The Judas Mark, serves as both a technical showcase and a philosophical exploration, brought to life with Reallusion’s Character Creator, iClone, and Blender.
The Judas Mark is a dark, surreal 3D animated short film exploring betrayal as the ultimate, unforgivable sin. The film asks: “What happens when neither heaven nor hell can claim a soul?” The story follows a sinful protagonist who steps into a vast courtroom for judgment. As the statues representing the seven deadly sins remain dark, a final, eighth statue, Disloyalty, ignites. The judges silently reject him, condemning him to a fate worse than hell.
Through this short film, Wagmi proves how accessible, real-time 3D animation software can empower creators to craft visually stunning narratives without the traditional time and budget constraints. For aspiring character designers, his process is a masterclass in using modern digital tools to create your own characters and fully animated worlds.
The Concept Behind The Judas Mark
Set in a surreal, celestial courtroom where souls are judged beyond heaven or hell, The Judas Mark questions the moral weight of disloyalty. The story follows a lost soul confronted by eight towering embodiments of sin, with Disloyalty represented as a new, eighth deadly sin—a haunting metaphor for moral grayness and betrayal.
Inspired by biblical allegory from Genesis’s Cain, Dante’s Inferno, and the existential philosophies of Camus and Kafka, the film merges theological depth with abstract visual design. Wagmi’s worldbuilding immerses viewers in a space that is both spiritual and cinematic—a world crafted from digital sculpture, animation, and emotion.
“The film treats Betrayal as the ultimate unforgettable sin. It asks, what happens when neither heaven nor hell can claim a soul?”
Wagmi Wibhawith – 3D Concept Designer and Artist | Creative Storyteller
Creative Foundations: From Research to Design
Before opening any 3D animation software, Wagmi immersed himself in theological and literary research. His concept evolved through storyboarding, symbolic design, and digital previsualization, setting the foundation for an emotionally grounded story.
To visualize the statues representing the sins, he worked with friends to pose reference photos, which he then composited in Photoshop to experiment with shape, form, and emotion. This photo-bashing technique helped define the surreal tone and served as the blueprint for his 3D modeling phase.
From Concept to Creation with Reallusion Tools
With nine characters to develop, Wagmi needed efficiency without sacrificing quality. That’s where Reallusion’s Character Creator (CC) and iClonetransformed his production.
1. Rapid Character Creation and Customization
Using Character Creator, Wagmi sculpted each sin as a symbolic embodiment, ranging from the feminine wrath to the gaunt greed -directly using morph sliders and preset body bases.
“What would have taken months of sculpting and modeling was made really easy. Character Creator let me focus on storytelling rather than technical modeling.”
Wagmi Wibhawith – 3D Concept Designer and Artist | Creative Storyteller
Character Creator’s human creator features gave Wagmi full control over anatomy, proportions, and expressions, helping him to create unique character bases that visually embodied moral corruption and spiritual decay. Each model was generated as a fully rigged mesh with clean topology, ready for animation or export to Blender.
2. Integrated Workflow with Blender
To streamline the process, Wagmi relied on Reallusion’s free Auto Setup plugin for Blender, allowing one-click export of his Character Creator characters into Blender scenes. The integration eliminated file compatibility issues and accelerated iteration between concept and render.
“The Auto Setup plugin built a seamless bridge between softwares,” Wagmi notes. “It saved me tons of time, especially when working with nine characters.”
Wagmi Wibhawith – 3D Concept Designer and Artist | Creative Storyteller
Inside Blender, he refined poses, adjusted materials, and used the Cycles rendering engine for cinematic lighting and ray-traced reflections, blending realism with painterly surrealism.
3. Dynamic Posing and Composition
Within Character Creator, Wagmi could pose characters directly, adjusting facial and body expressions before export. This made it easy to stage his characters in symbolic group compositions, preserving both realism and emotion.
The result was a living tableau—each sin telling a story through gesture and body language. Posing tools inside CC allowed Wagmi to achieve realistic human anatomy and natural hand articulation, avoiding the stiffness that often plagues student productions.
Animating Emotion: iClone and Motion Capture Integration
Wagmi’s film features minimal dialogue, relying on movement and facial expression to convey emotion. To achieve believable animation, he combined AI motion capture with iClone’s real-time facial capture tools.
1. Motion Capture Made Simple
Instead of spending weeks keyframing, Wagmi used QuickMagic AI for iClone AI video-to-motion capture, translating live-action performances into smooth animations for his protagonist.
He then imported these motions into iClone for refinement, where layered motion editing allowed him to tweak timing, clean intersections, and enhance realism.
“I could instantly apply the animations from QuickMagic and iClone’s facial capture,” Wagmi explains. “It gave me the realism I needed to sell these characters as real people.”
Wagmi Wibhawith – 3D Concept Designer and Artist | Creative Storyteller
2. Realistic Facial Animation
For emotional scenes—like moments of shock or realization—Wagmi used iClone’s facial capture system, connecting his iPhone to record his own expressions in real time. The captured data was instantly synced to the Character Creator 4 rig, providing lifelike iClone AccuLIPS lip sync animation and nuanced facial movements.
This seamless link between Character Creator and iClone created a real-time performance pipeline, perfect for indie filmmakers aiming to humanize their 3D characters without massive budgets or complex setups.
Polishing and Rendering
After integrating motion and facial animations, Wagmi completed lighting, shading, and composition in Blender. Certain characters—like the Pride sin holding his own head—required additional manual adjustments, made easier thanks to the rigged skeletons from Character Creator.
By blending iClone’s motion realism with Blender’s cinematic rendering, Wagmi achieved a tone that felt both spiritual and tactile—a reflection of The Judas Mark’s psychological depth.
Why Reallusion Tools Stand Out
The success of The Judas Mark lies not just in its concept but in the tools that made it possible. For Wagmi, Reallusion’s ecosystem offered a perfect balance of speed, control, and creative flexibility.
Advantages:
Instant Character Creation: Generate rigged 3D characters in minutes with professional topology.
Cross-Software Integration: Auto Setup bridges CC and Blender without manual rigging.
Real-Time Motion & Facial Capture: Animate expressive performances without traditional mocap hardware.
Focus on Creativity: Eliminate repetitive technical steps to focus on story and emotion.
“The quality and speed that Reallusion offers is unmatched in the industry,” Wagmi concludes. “It helped me tell the story I wanted—without compromise.”
Wagmi Wibhawith – 3D Concept Designer and Artist | Creative Storyteller
It was encouraging to listen to Reallusion’s Director of Partnership Marketing, Enoc Burgos, make direct comments on the style and attention to detail on the project, which really motivated us.
Conclusion: Redefining Student Filmmaking with Reallusion
With The Judas Mark, Wagmi Wibhawith demonstrates how the next generation of storytellers can leverage 3D animation software like Character Creator and iClone to bring ambitious visions to life. His graduation film stands as proof that you don’t need a studio-sized team to create stunning, emotionally rich 3D character animation—just the right tools and a relentless creative drive.
What makes Reallusion’s Character Creator ideal for independent artists?
Character Creator provides customizable, fully rigged human bases, making it easy to create your own character designs without sculpting from scratch.
How does iClone improve lip sync animation and facial capture?
iClone supports real-time facial tracking via webcam or iPhone, generating accurate lip sync and emotional expressions instantly.
Can Character Creator characters be used in Blender or Unreal Engine?
Yes. The Auto Setup plugin allows seamless export with materials, rigs, and animations ready for Blender, Unreal, and other DCC tools.
How does Reallusion compare to traditional workflows?
Traditional sculpting and rigging can take months. Reallusion’s ecosystem reduces that to days, letting artists focus on creativity instead of technical bottlenecks.
Is iClone suitable for students or small studios?
Absolutely. iClone’s real-time tools make it perfect for small teams needing cinematic-quality animation quickly and affordably.
Luis Duarte is a 3D digital artist specializing in character creation for animation and video games. His work is distinguished by a strong focus on stylized aesthetics, crafting characters that are highly expressive and full of charisma. Clearly inspired by the visual language of cartoons translated into 3D, Luis excels at simplifying realism with keen artistic judgment, resulting in clean, well-structured, and visually striking designs.
Character Creator 5 represents a major step forward toward the next generation of high-definition characters. This version introduces the ability to add multiple layers of detail through subdivision-based workflows, multi-level map baking from ZBrush, and greater flexibility for creating stylized characters with a clearly professional finish.
In this article, I will guide you through the new features of Character Creator 5 and its integration with different tools in the 3D pipeline. We will examine how CC5 connects with ZBrush for high-definition detailing, Blender for polygon count control and optimization, and Substance Painter for texturing—always maintaining a clear focus on a stylized aesthetic inspired by Battle Royale video game characters.
We will explore the workflow used to bring Byron to life, one of the characters included in the HD Urban Kings Content Pack. The pack is now officially available and can be purchased directly from the Reallusion Content Store, allowing artists to easily access and integrate these high-quality stylized characters into their own projects.
For the creation of this character, I used a selection of references gathered from Pinterest. Based on these references, I focused the design on three key aspects: body silhouette and proportions, facial design, and clothing style.
1. Starting with a Neutral Base
With the project open in CC5, I begin by working with a neutral base mesh. This mesh is ideal for establishing a strong character silhouette thanks to its low polygon count, which provides excellent control during the creation process. It also includes a complete skeletal rig, well-organized UVs, and a full set of morphs, making it easy to smoothly create facial expressions and animations.
2. Building the Silhouette with Morph Sliders
Using the morph sliders, I modify the shape of the base mesh, which allows me to quickly build the character’s silhouette. At this stage, I focus exclusively on body stylization, introducing unique characteristics from the very beginning. For example, I can slightly enlarge the hands and feet, elongate the neck, and refine the pelvis and joints, achieving a more dynamic and stylized design early on.
Once I am satisfied with the overall body structure, I save this base project to the Content Library. This allows me to keep a secure and reusable backup.
3. Using HeadShot in the Workflow
The logical next step would be to send the model to ZBrush using GoZPlus to begin sculpting, which works extremely well. However, in this case, I chose a slightly different approach: I modeled Byron’s head structure directly in ZBrush, starting from a basic geometric shape. This process is particularly enjoyable, as it focuses purely on sculpting. For this step, I recommend working at a medium level of detail, since the primary goal here is to define the facial silhouette and head shape.
Later, I use the HeadShot 2 plugin to transfer all the previously sculpted details from ZBrush. I then export the high-density head as an OBJ file and, using the mesh generation process, transfer those details onto a CC5 body.
Tip: Add subdivisions during the mesh redefinition process to achieve a cleaner and more detailed transfer.
To integrate the head with the body, I recommend creating a head slider using the HeadShot-generated project. This allows us to return to the original project, incorporate the head structure, and prepare for the next stage of facial development.
4. Defining Details in ZBrush
Using GoZPlus, I send the character to ZBrush in an A-pose, working with subdivision levels 6 or 7. At this stage, I prepare the model to add the layer of detail that will define the stylized aesthetic of the character.
From a technical standpoint, there are several key rules to follow in ZBrush:
Do not modify the topology, including tools such as Dynamesh, ZRemesher, or ZModeler.
Avoid making excessive pose changes.
Keep all subtool names unchanged.
By following these guidelines, I maintain a solid connection between CC5 and ZBrush, allowing me to switch between both applications as needed. This workflow lets me visualize updates directly in the CC5 avatar, apply additional adjustments in ZBrush, and return using GoZ; all while ensuring an efficient and fluid pipeline.
At this stage, I can add an extra layer of detail. Using various brushes, I enhance fine elements in key areas such as the eyes, lips, fingers, and joint regions.
5. Automatic Map Baking with GoZ Plus
At this point, I send the character back to CC5 using GoZPlus. I enable only the normal maps, disabling the other options that are active by default. I keep SubD set to 0 and choose a balanced 4K resolution. In the update window, I make sure to preserve both geometry and texture details.
Next, I add additional levels of detail. In CC5, I subdivide the mesh to SubD Level 1, and in ZBrush, I activate the SubD 1 option. I repeated the process, but only to update the texture. This allows me to visually compare how the details behave across different layers.
Tip: To add an extra layer of detail, repeat the same process by working at SubD Level 2 in CC and enabling SubD 2 in ZBrush.
6. Clothing and Accessories Modeling
I make sure to create visually appealing accessories, always based on my references and with a unique style. I aim for simple shapes that stand out through high-quality finishes, especially in the texture work.
The final design features an afro hairstyle with braids, a beard, a sleeveless shirt, a loose-fit jacket, pants that match the character’s style, athletic footwear, and several additional accessories.
Since I want to combine the clothing and accessories with characters other than Byron, each piece has its own UVs and is not merged with the others. This allows me to reuse each element independently across different characters.
7. Hand-Painted Texture Style
For Byron’s texturing, I use Substance Painter. I export the avatar from Character Creator along with the normal maps generated during the ZBrush baking process, with the goal of creating a stylized skin look. This can be done directly through CC5’s integrated Substance pipeline or via manual export, as in this case.
The main idea is to focus on the painting technique, replicating brush strokes as if working on a digital illustration. To achieve this, I use darker tones in shadow areas and lighter tones in illuminated regions, without applying any additional effects. I work exclusively with brushes, resulting in a finish that reinforces the character’s stylized aesthetic.
For the hair and other accessories, the process is similar, with the difference that detail maps need to be baked directly in Substance Painter. Additional maps such as Ambient Occlusion, Roughness, and others can also be included depending on the project’s needs. Finally, I export all textures at 4K resolution to ensure optimal quality.
For the internal avatar textures, I adjust tones directly using an image editor (I personally use Photoshop). I start with the eyes, making color corrections, applying white strokes to adjust eyelash opacity, and performing basic adjustments on the teeth, always aiming for a natural result that matches the character’s style.
8. Character Assembly
The first step in assembling Byron is integrating the textures. From the Material Editor, I select each body part and assign the corresponding base maps in the texture slots. This process ensures that every surface of the character has the desired level of detail before moving on to final adjustments.
To create the clothing, I import the pieces as .OBJ accessories using the Create menu. Once an element is correctly positioned in the viewport, I use Transfer Skin Weights to copy the skin weights from the body. I then assign the appropriate category—such as dresses, shoes, or gloves—ensuring each piece adapts naturally to the character.
I use the Skin Weight Editor to correct clothing deformations, a very useful tool that allows me to preview how each garment behaves during animation. For larger areas, I use the brush tool, while for more precise adjustments, I switch to vertex selection mode, ensuring accurate and natural deformation in every movement.
To convert accessories, I use the Convert Accessory module. In this case, transferring skin weights is not necessary, since the accessory is linked only to the nearest bone. This simplifies the process and ensures the accessory remains correctly positioned.
9. Conclusion
Creating Byron has been a journey that combines creativity and technical precision, fully exploring the capabilities of Character Creator 5 and its integration with complementary tools such as ZBrush and Substance Painter. Each stage of the workflow—from the initial silhouette to final assembly—allowed me to maintain a strong and consistent visual identity.
By simplifying shapes, emphasizing color, and ensuring the character is animation-ready, this process demonstrates how a structured and creative approach can transform a simple idea into a cohesive and visually compelling 3D character.
FAQ
Can I edit my character’s colors in Character Creator 5?
Yes. Character Creator includes a color editing module that allows you to work directly on both base textures and materials. This makes it possible to perform fine adjustments within the software, without needing external tools.
Can I store my character’s clothing to use it with other characters?
Absolutely. CC5 allows you to organize each garment within the Content panel, including accessories and specialized items such as gloves. This makes it easy to reuse clothing across different characters and projects.
Can I use another program instead of ZBrush to sculpt my character?
Yes. CC5 is compatible with several sculpting applications, allowing you to adapt your workflow according to your needs and preferences, and choose the tool that best fits each project.
Where can I animate my finished character?
You can preview basic animations directly in CC5. For custom animations, simply send your character to iClone with one click to edit body movements, create facial expressions, add voice lip-sync, or generate animations using motion capture. You can also produce complete multi-character scenes with integrated cameras and environments. These animations can also be live linked or exported for rendering in other software such as Unreal Engine, Blender, or Autodesk Maya, expanding your creative possibilities.
This article is the second chapter in our seven-part Character Creator 5 (CC5) HD GoZ Pipeline Series on the complete workflow from CC5 base creation to ZBrush sculpting, Substance 3D Painter texturing, and finally Marmoset Toolbag rendering.
In Part 1, we shaped the character’s foundation using Actor Mixer, click-and-drag morphing, facial tests, and skin editing. For part 2, we move into ZBrush with GoZ / GoZ Plus, sculpting workflows, anatomy adjustments, building the sci-fi suit, and preparing subdivision-ready meshes for Character Creator 5.
Pablo Munoz Gomez
Hello, my name is Pablo Munoz Gomez, and I’m an enthusiastic 3D concept and character artist who is deeply committed to the spread of knowledge. My expertise lies in 3D sculpting, visual development, and engaging in mixed-media projects. I take immense pride in being the creator of Pablander Academy, serving as an outlet for showcasing my work, sharing my workflows, and assisting fellow artists in honing their skills across a wide range of subjects.
Sculpt the Body and Nano Suit
After importing the CC5 mesh into ZBrush, we store a morph target and bake our sculpting layers. This lets us selectively bring back the transferred normal details only where needed, which is typically around the face. Using the morph brush, we can paint the original microdetails back in while keeping broader changes intact on the rest of the body.
Our goal is to take advantage of the CC5 normal details just for the face, since the body will be covered by the sci-fi suit and doesn’t require any skin detail.
Blocking out the suit: Softening anatomy without losing structure
The suit should feel like a material layer over the body, rather than just painted-on muscle. We began by reducing anatomical definition: smoothing transitions, softening muscle separations, and suggesting seams, like a neck trim, using a few clay buildup strokes. Then, with a standard brush, we indicated the primary wrinkles and the general compression of the suit.
With a 14+ million poly mesh, switch to tools like Smooth Strong for effective smoothing.
Use references and targeted masking
References are essential. For this project, we collected images of wetsuits, surf suits, and dive gear to study where fabric naturally compresses and folds. Later, we can refine the wrinkles based on the character’s pose and how the material stretches or compresses around joints.
Masking is a quick way to simulate local compression. For example, we masked and inflated the calf areas to suggest the effect of boots. Keep in mind: this stage is just a blockout as precision comes later.
Brushes and tools that speed up believable fabric details
Beyond native ZBrush tools, these brushes accelerate believable material creation:
Gio Brush – A cleaner, more controlled Dam Standard for seams & micro creases
Compression Falls – Ideal for quick small wrinkles and fabric compression
FormSoft – Vital for shifting mass at high subdivisions without destroying detail
Alternate strokes with Alt to create ridges and fall lines for more organic suit behavior.
When to use Marvelous Designer and how to bring the simulation back
Simulating the suit in Marvelous Designer is a lot of fun and produces a more physically accurate set of folds and material behavior.
Workflow overview:
Duplicate the base mesh.
Isolate the suit region.
ZRemesh to reduce mesh density.
Export avatar with the suit to Marvelous Designer.
Use existing UVs as 2D patterns when applicable.
Adjust shrinkage (warp / weft) to control wrinkle density.
Export back to ZBrush for cleanup.
ZRemesh → Project from History → Polish the surface into clean quads.
That simulation gives more realistic falls and tension, especially in complicated areas like knees, elbows, and the torso. But here’s the important distinction that unlocks the best results in Character Creator 5 and one of my new favourite features: subdivision levels.
Project the simulated suit onto the base mesh
Character Creator 5 now supports subdivision levels up to 2 on the visible geometry. To fully leverage that and showcase the capability, we can have the suit as part of the main base mesh, not a separate object:
Project its detail onto the subdivided CC5 base mesh.
Hide/delete the temporary suit mesh.
Continue refining directly on the base.
This approach preserves the original CC5 topology and ensures that subdivision data moves cleanly between ZBrush and CC5.
Sculpting the face and pushing toward a slightly alien look
The goal here is to maintain a humanoid silhouette and subtly push proportions to achieve an otherworldly vibe. The CC5 base typically includes clean polygroups, which makes isolating and masking facial features quick and accurate.
Recommended workflow:
Start at a low subdivision to define main volumes.
Move to Clean Build Brush for form shaping.
Use Dam Standard / Gio Brush for sharper cuts.
Finish with FormSoft at high subdivisions for proportional adjustments.
This approach preserves CC5’s microdetail layer while introducing an alienesque flair.
Send it back to Character Creator 5: GoZ Plus and subdivision control
The GoZ Plus plugin is essential for automating exports back to CC5 with a single click, provided you configure a few key settings correctly. Since CC5 is now capable of handling higher resolution geometry, I recommend:
Setting subdivision Level to 2.
Disabling Polypaint to Diffuse (unless texturing is done).
Enable Adjust Bones to Fit Morph if you changed proportions
Once updated, the Modify panel in CC5 includes sub‑D level controls for viewport and render. When set to Subdiv 2, you view real geometry at that level, producing much cleaner silhouettes and deformations compared with the old workflow.
Efficiency Tips for This Stage of the Pipeline
To maximize efficiency in this pipeline, I leverage several key features of Character Creator 5. The native subdivision level support is a game-changer, allowing me to view and render real subdivided geometry for superior silhouette fidelity without relying on displacement maps or things like that. The GoZ Plus automation is equally critical, streamlining the round-trip process between ZBrush and CC5.
I also rely on Adjust Bones to Fit Morph to ensure the rig remains functional after significant shape changes. The ability to preserve polygroups and morph targets grants me precise control over facial and accessory isolation during localized edits.
Coming Up in Part 3
In the next chapter, we’ll move deeper into hard-surface creation inside ZBrush. That includes building the chest plate, extracting armor panels, adding thickness, and sculpting modular components like boots. We’ll also explore rapid blockout techniques using Dynamesh, manual retopology with ZSpheres, and how to organize clean polygroups for extrusion workflows. Once the armor set is complete, we’ll prepare all pieces for re-import into Character Creator 5 for rigging, material setup, and texturing preparation.
