(Advertorial) By embedding powerful AI into generative stages while simultaneously keeping the control of traditional 3D workflows through cinematic RTX Rendering, upgraded image-to-3D in Headshot 3, precision AccuFace 2 capture, CC Mesh Wrapping Tools, Image to Cloth, and realistic Joint Corrective Morphs.

RTX Render: Achieve Cinematic Path-Traced Realism

Elevating render quality has long been a shared desire among our users, and Reallusion is doing just that by introducing RTX rendering as a free update. Developed in collaboration with NVIDIA, this integration leverages advanced RTX technology to deliver the cinematic quality of path-traced rendering at near real-time speeds.

With RTX GPU and DLSS technology, artists can showcase their work at its absolute best with exceptional clarity and performance. Optimised for Reallusion’s digital human shaders, RTX rendering offers control over hair, skin, and subsurface scattering, bringing characters to life with full realism.

Beyond digital humans, RTX unlocks new possibilities across commercial visualisation and industrial design, enabling more immersive visual experiences. With dynamic time-of-day transitions, adjustable cloud density, and natural atmospheric motion, achieving perfect lighting has never been easier.

Headshot 3: Next Level of Lifelike Digital Double Generation

Headshot 3 represents a massive leap in digital identity. Reallusion has developed and trained a proprietary AI model specifically for accurate image-to-3D head reconstruction. Trained on a vast dataset of facial scans, this model interprets facial landmarks, depth cues, and subtle anatomical features more accurately from 2D images. As a result, it produces a more precise head mesh with improved topology, enhanced identity preservation, and more accurate proportions.

In addition, Headshot 3 has included a range of powerful new features designed to achieve significantly higher likeness and precision. This includes 4K AI image generation from text prompts, spline-based head-shape refinement with fully controllable Bézier adjustments for portrait and profile, and built-in lens correction.

Users can also take advantage of texture channel enhancement and intuitive mask brush tools to effortlessly remove shadows and blemishes. For even greater accuracy, new body matching capabilities support full-body image measurements, ensuring accurate proportions for a more faithful digital double.

To celebrate this release, Reallusion is currently offering an exclusive prelaunch offer, allowing users to secure Headshot 3 for free by purchasing Headshot 2 before its official release.

AccuFACE 2: Highly Accurate, Lips and Facial Tracking

With the introduction of the new HD facial profile in Character Creator 5, Reallusion has correspondingly upgraded its motion capture capabilities with AccuFace 2. Adopting a newly trained tracking system optimised specifically for CC5 characters, this major update delivers exceptional accuracy and responsiveness.

The system captures even the most subtle high-frequency lip-sync details for natural expressions and speech. With support for both live webcam input and video-based tracking, AccuFace 2 offers flexible capture workflows without compromising quality.

When combined with video motion capture, you can produce high-quality facial and full-body animation seamlessly within the Reallusion toolset.

Mesh Wrapping: Open The Gateway to the Character Creator Ecosystem

As AI-generated 3D models become increasingly prevalent in the industry, integrating these static assets into professional animation pipelines has become vital. To address this, Reallusion is introducing CC Wrap.

This powerful tool allows you to effortlessly wrap any models, alongside traditional 3D models and cloth meshes into standard Character Creator (CC) topology.

By conforming to CC topology, this technology acts as a gateway to the entire CC & iClone ecosystem. You can seamlessly access Reallusion’s extensive asset libraries and instantly transform static meshes into fully functional characters, completely ready for highly detailed facial expressions and body animations.

In addition, detailed 3D outfits can be created from image references, featuring automatic skin weighting that significantly streamlines the entire character creation workflow.

Joint Corrective Morphs (JCM): Ensure Anatomical Accuracy with Realistic Muscle Deformation

In our pursuit of more realistic animation quality, Reallusion is introducing “Joint Corrective Morphs” (JCM) as a free update. This feature delivers enhanced accuracy for body shapes across a wide range of poses. Built on a joint-based deformation system, this technology goes beyond basic shape correction for extreme poses. It produces more natural and realistic muscle deformation, ensuring characters maintain anatomical integrity during complex animations.

AI Studio: 3D Previs to AI Render – Effective Hybrid Production

AI Studio is a true game changer for iClone and CC users, transforming 3D previs projects into photorealistic images and videos. It also supports stylized rendering, allowing you to tailor visuals to your unique creative vision. The built-in AI Actor Creator ensures character consistency across every shot while delivering lifelike dialogue and performances.

These AI-powered tools also enable precise character interactions and camera control, guided by iClone motion data and reference footage. Powered by Reallusion AI Cloud services, the pipeline is streamlined for efficiency without the need for additional hardware.

iClone 9: Rig anything. Animate everything.

Take a first look at how we’re unlocking more creative freedom in 3D character production. No longer limited to human characters, you can add skeletal structures to any model. You can retarget motion between characters with matching hierarchies to ensure consistent animation transfer.

Use custom Control Rigs for precise animation control, apply squash and stretch for expressive deformation, and add spring dynamics and secondary motion with ease. By enabling collision-aware simulations, artists achieve greater flexibility and control in every stage of animation.

Stay Ahead of the Curve: Choose Your Access

Reallusion is dedicated to keeping our users at the vanguard of the CG-AI transformation, providing the cutting-edge tools needed to ensure peak production efficiency.

To maintain that competitive edge, you now have flexible ways to integrate these upcoming innovations into your pipeline. By joining our Subscription plans, users will automatically receive updates to the latest versions and all these great upcoming features at no additional cost. Alternatively, users can choose to acquire Permanent Licenses upon their official release dates.

The post Reallusion Announces 2026 Vision: Redefining 3D Production through Hybrid AI first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tool: Reallusion’s iClone and Character Creator sit at the intersection of real-time animation and 3D character production, integrating with pipelines in Maya, Blender, Unreal, Unity, and others via standard formats and plugins.

Reallusion adds subscription licences alongside perpetual ownership

Starting in early January 2026, Reallusion introduced new subscription licensing options for several of its flagship tools, including iClone, Character Creator, and Cartoon Animator. These subscriptions are offered alongside the existing perpetual licences, giving creators more choice in how they pay for production software.

Official documentation confirms that subscriptions provide the same rights and privileges as perpetual licences under the Reallusion EULA. Subscription plans are available with monthly or annual billing, allowing short-term access for smaller projects or budget-conscious creators, while perpetual licences remain an option for long-term production stability and a solid place in a studio toolbox.

Annual subscription pricing examples published by Reallusion include low entry tiers, such as Character Creator at around $8.30 per month and iClone at around $16.90 per month on the entry plans, with higher tiers rolling up into more complete bundles. Reallusion emphasises its continued support for perpetual licences for studios and teams that require fixed version control and long-term licence stability.

AccuPOSE INFINITY repositions as one time purchase

Alongside the broader licensing shift, AccuPOSE INFINITY, a pose library and motion editing add-on closely tied to iClone workflows, has moved from a subscription model to a permanent purchase.

The official community announcement states that more than 1,400 AI-trained poses are now available under a one-time licensing fee of 149 USD, effective on and after 6 January 2026. All previous subscribers, active or expired, receive the full perpetual licence automatically.

The AccuPOSE update also includes a new Cartoon category targeting expressive and stylised animation, alongside other pose themes such as Free Fight and Aerial Fighter. Updates beyond the current library will continue, but they will not follow a fixed schedule, according to Reallusion.

What this means for production pipelines

This licensing expansion signals a more flexible budgetary model for Reallusion tools within production pipelines. Subscription licences reduce upfront cost barriers and may suit short-term or freelance work, while perpetual licences still serve studios with long-term version-control needs. Shifting AccuPOSE INFINITY to a one-time purchase eliminates recurring costs for pose libraries, simplifying integration into stable character animation workflows.

As always, new licensing models and pricing should be evaluated against your project schedules, team size and version control requirements before committing to any purchase.

The post Reallusion expands licences for iClone and Character Creator first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

When a group of architectural illustrators set out to test Chaos Vantage, they planned a few small real-time experiments. Instead, they built Unbox, a fully animated short film where an architectural cube folds open like a mechanical puzzle. From “a few little minis,” it grew bigger – there are worse outcomes for a stress test.

DP: What was the initial spark for testing Chaos Vantage and why risk it on a narrative short instead of a comfy archviz sizzle?

Peter Stulz: Honestly, at first we intended to do a few little minis in Vantage… and then the second test spinned out of control and grew bigger each day. But no regrets, we embraced the prospect to develop a narrative architectural piece ourselves.

You see, we are architects and not an animation studio. So this was a massive learning journey for us: sequencing shots in an attractive manner, telling a story, how to reveal information and how to retain it… Vantage was fantastic, because it allowed us to be quite experimental here, make mistakes and learn while working on it.

DP: Give us the pipeline in one breath: DCC(s), renderers, interchange (Alembic/FBX/USD), and the editorial path from storyboard/animatic to picture lock.

Peter Stulz: Natively we use 3ds Max in our studio, still the main tool for architecture. Our studio mostly renders in Corona Render, but I feel very home in Vray. For asset creation I use Blender which then sent to Max via FBX. The animation was rendered in Vray CPU – 5 months was tight enough and I know Vray as an engine that delivers without funky surprises.

For the creative part, I drew initial sketches and the storyboard in Procreate. We were lucky to have my friend and cinematographer Olaf Aue (LinkedIn) on board, who was kind enough to share some of his Know-How. The storyboard was straight away sequenced in Resolve with some stand-in SFX and music, just to get a feeling for timing. The stills were then replaced with Vantage Previz shots; the iteration frequency could be kept fastpaced due to Vantage, that was a tremendous relief. Finally for that project we also familiarized ourselves just enough with character creator and Iclone to pull off a somewhat decent protagonist – which then is mostly kept out of focus anyhow :).

Depth of field and lighting are crucial in linear storytelling formats. Vantage allows for having these available during the early layout phase, enabling us to evaluate the flow and precise timing of edits early on, resulting in fewer iterations and more streamlined communication, features that Olaf, as a cinematographer, found lacking in the animation feature films he previously worked on.

DP: Hardware reality check: what exactly were the two workstations (CPU/GPU/VRAM/RAM/storage), and how did that cap scene size, proxies, and iteration speed?

Peter Stulz: There are two parts to this, the GPU and CPU specs: For working with Vantage, I had a 4060TI with 16GB. It was mainly the ground displacement in Vantage that was the key factor for VRAM necessity. Otherwise Vantage is smart when scaling to smaller GPUs. You don’t need massive GPUs to get started with Vantage.

For the final CPU rendering – we have several AMD 9950x in our studio with 64GB Ram, totally unspectacular workstations. In fact rendering moved between machines, whatever was available, the bottleneck was that we had just two render licenses available. Another thing, that I really appreciate about Vray CPU – it stays pretty consistent even if you throw in an older architecture.

DP: How did you keep the master scene nimble?

Peter Stulz: 3ds Max can become a real chore, when scenes get too heavy. I wholeheartedly hate unresponsive scenes – anything that breaks the creative flow has to be solved. Technically, there are several approaches: obviously using Proxies for heavy assets is a must; staying parametric if possible also keeps my scenes small; my modifier stacks can get quite impressive and I avoid baking them.

I xref wherever it makes sense, especially if parts of your scene are used in different settings. If I find the time, I localise heavy textures and reduce them – tedious but worth the effort later. Ideally the Master Scene only contains the camera, the lights and a few key assets. All the heavy load is loaded from external files. These scenes mostly are only a few MB in itself – helping with autobackups.

DP: Camera language before pixels: how did boards/animatic evolve once you could “walk the set” in Vantage?

Peter Stulz: It was important to develop a storyboard outside of 3D first to avoid thinking as a 3d designer. The environment was conceived like a sandbox, so we could freely explore the set with different lenses and angles. The superfast iterations we could do with Vantage really helped to test alternatives. That felt very powerful. Obviously some storyboard shots were then adapted or omitted. Vantage was great to secure we are on the right path.

DP: Lighting in Vantage: What translated 1:1 to finals, and where did parity crack?

Peter Stulz: At first it is scarily impressive how close Vantage can feel to the final look. We did a few final shots directly in Vantage and realised afterwards we could have done more in Vantage to prove the point. The extra turntable animation is done 100% in Vantage, but we really had to go deep in the settings to get rid of some flickering.

You have to understand, Vantage works like this: It downscales automatically to achieve close-to realtime speed and then gradually refines the look. But that logic causes limitations: For example GI depth in tricky setups might cause visible flickering. If you want to get rid of unwanted artefacts like these, you have to go deeper into the settings; and then you get these Vray 2010 vibes again :). Apart from that the denoiser might create some artefacts, textures are getting blurry, VDBs were not possible etc.

DP: Materials & lookdev: which shader features were non-negotiable, and what did you simplify for real-time parity?

Peter Stulz: Since we decided to use Vray CPU for finals, we just accepted that some stuff for Previz looked different – we knew it would be ok in the finals. But to answer the question we used Vantage for a another client project and it became clear again: If you want to produce in Vantage you can not set stuff up in Vray and hope for the best. In that case we had a semitranslucent ocean setting and that looked quite diffferent in Vantage and had to be especially adapted.

DP: The moving house: How was it rigged , and what broke first under real-time playback?

Peter Stulz: The architectural cube is in fact one scene with 2000 frames of animation. No cheap tricks – nothing appears magically out of thin air – it’s all in there. Only the initial cube with the rough surface is a different prop because it had a tricky blending shader which was animated ( animating materials in 3ds Max is a disaster …).

The rig for the unfolding was very basic and was built out of a lot of nested helpers. That was the most simple way to avoid the “locked axis” problem. What is this? Well, rigging a rubics cube is in fact not so straightforward as it seems: after a few twists the individual parts start to move quite unexpectedly – try it yourself, it’s actually pretty hard. The nested helpers solved this, now it was a matter of adjusting the right timing; how fast is the right speed for a massive 12m cube? You want to correspond a certain weight without boring the viewer. At the end we sprinkled some subtle secondary movements on top.

DP: Performance metrics: What were typical FPS for look-dev in Vantage and per-shot render times? Both for Vantage previews and V-Ray finals?

Peter Stulz: We could render out playblasts in Vantage (+/- 200 frames) over a toilet break in 1.5k resolution at 1:2.39. For finals in Vray I attempt to stay around 10 minutes / frame. If you want to use Vantage for final quality in FullHD, you crank up the settings to 1 minute / frame. If there was any noise left, the Resolve temporal denoiser is the last polish.

DP: The famous 95%: where did Vantage land “close enough” to V-Ray and what are the missing 5%?

Peter Stulz: Every “resolution” in Vantage is more coarse. I am not only talking textures, but sampling, atmospherics, global illumination. Obviously the denoiser also tends to smear everything. Everything is just lower definition than in Vray / Corona. That’s why oldschool rendering is still very valid to achieve that crispy level of detail.

DP: Editorial rhythm: how often did you re-cut while “shooting in engine,” and what told you a shot was edit-locked before triggering finals?

Peter Stulz: In our case that answer is quite simple: the presentation date was coming up, so we had a very strict timeframe when shots had to be done. Only thing we updated in the last days, we extended a few shots by 30 frames, because they felt rushed in the beta cut. That little change improved the rythm quite substantially.

DP: Pitfalls & fixes: three things that wasted time before you found the trick and what was the trick?

Peter Stulz: Vantage is built in a way that it actually could be used as a standalone loading in VrayScenes. Since I had my friend Olaf Aue as a cinematographer on board we tried to use it in that way. Theoretically that works, but with a lot of drawbacks and very limited editing and getting the changes from Vantage back into 3dsMax is hard.

We omitted that concept and resorted to live link only with 3ds Max. But actually that standalone option is not so bad – Chaos could really focus there more.

DP: If you rebuilt “Unboxed” today at 100% Vantage, what would the delivery plan look like? QC, shot classes that stay real-time, and the shortlist that still goes offline?

Peter Stulz: I know, that there are more shots that could be realised in Vantage directly. But if you plan this, it is smart to set up the whole project more focused on Vantage directly. Switching to Vray, if needed, is easy, the other way can be frustrating.

DP: What did “Unboxed” change in how you scope, price, and pitch real-time narrative work to clients?

Peter Stulz: We can offer fast animation works more easily which don’t need very high quality or are visually suitable for Vantage (clay shots).

DP: Wishlist to Chaos: What are the top parity/features that would let you ship more shots straight out of Vantage next time?

Peter Stulz: I would like easier quality settings if you intend to use Vantage as final renderer. We had to do a lot of tweaking for specific scenes or even change the 3d scene to avoid artefacts. Additionally Vantage ships with specific assets like a water surface or animated plants. These are great, but in LiveLink they are hard to be used, because there is not way to insert them in your Root Scene.

DP: For Vantage newcomers: What is your “first-day” checklist?

Peter Stulz: Familiarize yourself with the basic UI and do some stress tests to find the limits. Additionally I would look for a study project that comes close to a client environment. There is no point in having all the bells and whistles, if in a real production case you are missing the crucial components.

DP: One more hypothetic: with one extra week or one extra GPU, which single area would you invest in—and why?

Peter Stulz: Funny alternatives. As described above a half-decent GPU is good for previz which was the main usage in “Unbox”. Having a week extra is always great – so I would opt for that!

DP: Where exactly did you keep the “cube layer” for the whole piece: did we start life on the Blender Default Cube, and how much of that origin survived?

Peter Stulz: It sure was great that we could hire the mighty default cube as a support role. It didn’t even mind too much to be shipped into another 3d-suite – what a humble character and it really outshined itself in our short. 3d-artists should show more appreciation to have it per default all free!

DP: The cube’s side text: What does it say, and why?

Peter Stulz: The cube text gives instructions how to mix the perfect Daiquiri as it is served on Kepler 5 but it is quite explicit so I can’t go into depths here. But if you look for easter eggs, we have hidden various personal items in the architecture. Talking about audio my friend Olaf had a lot of fun browsing through his SFX library and pull out quite unusual sounds for the cubes inner mechanics.

The post The Cube Moved: Go for the Chaos (Ad) Vantage first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Reallusion has released Video Mocap, an online AI motion-capture service integrated into iClone. The feature was developed with AI mocap firm QuickMagic and arrives alongside iClone 8.63, a minor update focusing on plugin support and FBX export fixes. Video Mocap extracts actor movement from uploaded footage and generates editable animation directly inside iClone. Unlike standalone online services that export FBX data, the new plugin connects the AI pipeline to iClone’s animation system, allowing users to clean up artefacts such as foot slippage using iClone’s native tools.

Capture options and limitations

The service offers full-body or upper-body capture, including finger tracking. Facial motion capture is not supported and remains a separate paid add-on in the iClone ecosystem. Each motion-generation task processes up to 60 seconds of video for a single character and costs 250 DA Points, equivalent to $2.50. DA Points are Reallusion’s digital currency, sold with a minimum purchase of $10. Video processing takes place entirely online, and users can submit multiple clips in a batch. Up to ten motion files can be generated per batch if a video contains several performers.

Compatibility and pricing

The Video Mocap plugin is available as a free download for iClone 8.63 and Windows 10+. iClone itself remains a paid application with a $599 perpetual licence. Video Mocap operates on a pay-per-use model. Each clip must be trimmed to a maximum of 60 seconds, though source videos up to 15 minutes can be uploaded. Supported formats include .mp4, .mov, .avi, .mkv, and ten others. Reallusion recommends a minimum resolution of 720p, while 4K and 8K files may reduce performance.

Recording recommendations

Reallusion advises recording footage with a static, eye-level camera, ensuring the performer’s full body or upper body remains visible, depending on the capture type. AI tracking may fail if the subject leaves the frame, wears clothing similar to the background, or performs rapid or occluded motions such as flips or combat. The firm also recommends removing empty video sections before upload to improve motion-tracking accuracy. These and other technical notes are detailed in the iClone Video Mocap Online Manual.

Context: AI mocap enters production tools

Video Mocap joins a growing field of AI-based motion capture systems that interpret human movement from standard video footage. Reallusion’s implementation distinguishes itself by integrating this functionality directly into a production-ready 3D animation platform, avoiding intermediate export steps.

As with any AI-driven system, actual performance and accuracy will depend on recording conditions, motion complexity, and camera quality. Artists should test the service with their own material before integrating it into production pipelines.

The post Video Mocap: Reallusion’s AI Gets Moving first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The new Clothy3D tool promises to make character pipelines more flexible, at no cost, at least for now. The software is designed to auto-fit and rig clothing models across a wide range of 3D characters and platforms, offering a set of converters that could connect otherwise separate workflows.

What It Does

Clothy3D can auto-fit and rig clothes from sources like Marvelous Designer, Daz3D, or iClone Character Creator, and also supports 18 body types of Metahuman. It transfers skeletons and skin weights between characters, rigs static meshes with existing skeletons, and even wraps mesh topology and textures from one character to another. Input and output are handled in FBX, and the devs mention support for OBJ and DXF in converters.

Why It’s Interesting

The tool effectively acts as a universal adapter: skeleton transfers, mesh wrapping, and skin-weight conversions could be used to move assets across different ecosystems without tedious manual setup. For pipelines that juggle assets between Unreal Engine, Daz, or Marvelous Designer, that flexibility might save hours.

On top of that, there’s a marketplace attached, where assets can be discovered, bought, and sold. Right now, content is sparse, but the structure is in place and depending on adoption, this could grow into a useful exchange hub.

Caveats

All of this comes with a big asterisk: Clothy3D is brand new and still in a beta-like state. It’s free to use at the moment, but untested in production environments. While the promise of “fit anything to anything” is tempting, reliability across real-world projects remains to be seen. If you’re looking for a weekend experiment or if your pipeline involves a lot of cross-platform character work, Clothy3D might be worth a spin. Just don’t expect the stability of a battle-tested DCC plugin yet.

Interface, Scenes & Exports

Clothy3D’s UI is built around a three-scene viewport layout: left, middle, and right scenes all sharing a synchronized camera view so you always see from the same angle. The left scene acts as a composite view, reflecting the combination of whatever is imported in the middle and right scenes; the right and middle scenes remain independent and each can host its own models or assets. Depending on which tool you’re using (Cloth Convertor, Character Convertor, etc.), the roles of these scenes adapt accordingly. For example, the middle may show cloth, the right the base character, and the left their merged result.

In terms of the UI controls: it features a layered tool-button system, so choosing a top-level action shows context-sensitive button sets beneath it. Hovering on a tool button triggers a tooltip after a moment, helping with discoverability. You can also control viewing options such as whether faces are rendered front/back, or switch the “Color Mode” (normal color, black, or white) to enforce consistent visibility, especially useful for transparent meshes or to show stitching faces.

Mouse navigation is standard: left-drag orbits, middle-drag pans, mouse wheel zooms; the right button largely is reserved for editing mesh elements (faces, vertices, edges) in the middle and right scenes, or for panning in the left view.

Regarding import/export: the middle and right scenes can each independently import and export their own models or assets. The left scene doesn’t allow direct imports (it’s purely an aggregation), but whenever something is loaded into middle or right, it also appears in left. In the “Account & Import/Export” section, you can also see your user account info (e-mail, remaining monthly exports). Export is capped, users get a limited number of exports per month.

Thus the interface is designed to provide parallel views (source / target / result) in lockstep, while keeping editing tools, visibility toggles, and import/export flows relatively consistent across the different modules.

Character Convertor

The Character Convertor tool lets you ingest an arbitrary rigged tetrapod base character (in FBX or DAE format) and produce a standardized interchangeable base character asset. First, you import your rigged base character into the middle scene. Optionally, you can clean up or edit that character, for example, delete unused meshes like clothes or weapons, duplicate or align meshes, hide faces, adjust vertex positions, or even tweak skeletons and skin weights.

Then you wrap a target interchangeable base character (in the right scene) to match the imported rig. Two wrapping approaches exist: applying an existing deformer template (faster, if one matches the character topology) or manually deforming via point/face matching (with a Character Builder or import of partial shapes, then matching points/faces). As you wrap, you can iteratively adjust both source and target geometry to improve the match. After wrapping, you configure parameters in the processing flow, run automatic steps, and finally export your new interchangeable base character to disk.

In effect, the Character Convertor acts as a bridge: you bring in a rig you want to preserve or reuse, deform a canonical interchangeable skeleton mesh to match it, and output a version you can reliably use in downstream tools like cloth fitting, skeleton transfers, or asset marketplaces.

Tutorials

Clothy3D already comes with a sizeable set of tutorials to help users ramp up. There’s a Studio Quickstart that introduces the core UI and navigation, along with dedicated quickstarts for Character Convertor, Cloth Convertor, Dress3D, Skeleton Transfer, and Deform3D. Beyond the basics, workflow guides walk through Unreal Engine integration (UE5.4), building characters via the Character Builder, wrapping and matching meshes, and using deformer templates for quicker results.

The clothing workflow is covered extensively: tutorials explain converting standard garments, preparing clothes for Metahuman, simulating and rendering cloth, working with Marvelous Designer assets, managing double-sided or layered clothing, and fine-tuning shape control points. Other deep dives address transfer points for skin weights, keeping selected parts rigid, smoothing weights, or adding auxiliary bones. There are also lessons on editing and converting skeletons, rigging static characters, handling complex footwear like high-heel shoes, and preparing/publishing assets to the marketplace.

The post Clothy3D: New Tool for Clothing Auto-Fit, Rigging & Mesh Transfers first appeared on DIGITAL PRODUCTION and was written by Bela Beier.