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Under Construction
How to get the full clothing item from the GDC “Talisman” Unreal demo

You can now get access to the “full” outfit that was shown during the GDC demo called ‘Talisman’ – the captain of the spaceship’s outfit, fully simulated with layers inside of Unreal 5.4. (I made this YouTube video showing how cool the demo was.)

It takes a bit of effort to find, but when you eventually get it, you will be able to open the cloth asset and it will look like this:

So how do you actually GET that file though?


STEP 1. Launch UEFN

Once you install Fortnite and UEFN to your PC, you should have these option in your Epic Games Launcher:


STEP 2. Create a new UEFN project with the Talisman MetaHuman template

Once the UEFN splash page appears, click on the “Talisman MetaHuman” tile, then create a new project.

STEP 3. Find the link and open it

Once you’re in that new project, you need to follow the instructions at the bottom of this page. But if it’s TLDR for you, in the Verse Outliner there is a file called “camera_switch_mode_device.verse”. Just double click it.

STEP 4. Download the ZIP file

You’ll eventually see a whole lot of code, and in there at the top you will see a link to a URL. That URL is a zip file. Download it – its 2.2gb:


STEP 5. Unzip the zip file & open the Unreal project

Once you have unzipped those folders, go to:


And you will see “Cloth_Example.uproject“.

Open it.

STEP 6. Find the clothing asset and open it

then have a look around and you will find this asset:

Double click that ClothAsset, and it will open:

STEP 7. Use the dataflow graph to… learn how to use chaos cloth layers and stuff?

This is an incredibly complicated and custom Dataflow graph that they have specifically made for this garment.

But hopefully it will help us all to figure out… how to make it work.

STEP 8. Make your own garment and simulate it with chaos cloth

I guess we learn from that example, and follow the general instructions here to make our own garments:

Let me know on Twitter (@virtualfilmer) or my YouTube if you have success with your own garment!



Under Construction
Fix DOF hair groom problems with Unreal (depth of field)

The problem

When you render hair grooms with the Movie Render Queue in Unreal, you can have real problems if the depth of field is really thin.

The solution

I have a new solution as of June 29, 2024. I’m working on a tutorial. You can check out the results here while you wait for the tutorial to go live:


Under Construction
How to export a garment from Marvelous Designer to Maya (for MetaHuman)

(This a ROUGH document, use at your own risk!)

Once you’ve finished your MetaHuman clothing in Marvelous Designer, how do you export it to Maya?

IMPORTANT: Keep in mind that the process below uses a combination of MAYA 2022 and MAYA 2024, because that’s what I use (as of June 2024). I use Maya 2022 to import the MetaHuman from Bridge, and Maya 2024 to refine the clothing’s mesh etc.


In the following example, I’ll be using a MetaHuman I’ve made called “Svetka“.

She is a female, medium height and normal weight. (ie. f_med_nrw)

And I’ll be fitting a ‘pencil skirt’ outfit from Marvelous Designer (one of the free clothing items in the CLO asset store) using Maya.


You need to refine your U-V shells, so they are ready for export:

  • In your 2D pattern window, make sure none of your patterns are overlapping.
  • Once you’ve done that, select all the patterns in the 2d window.
  • Select everything, and then click the “UV PACKING” icon (its the icon on the right)
  • You might need to move the UV Editor window off to the side to be able to see the UV Packing popup window
  • Click RESET (down the bottom).
  • Change PADDING to “0.01”.
  • Turn on FIX SCALE RATIO.
  • Click Apply. (It can take a few minutes to process. You can see the progress in the bar on the lower left of the interface.)
  • Once it’s done, just double check that there’s definitely no overlapping UVs. There often still ARE weird things that you need to fix – like buttons that are still placed off in a random place, and still with many layers of them overlapping that you need to drag off onto their own. You need to go through and make sure everything is inside the UV 0-1 box.
  • Double check that the UVs do not touch the uv tile edge lines. Make sure they are definitely nowhere near the lines.
  • You can now close the UV Editor window


If you don’t already have your project saved, you should save it with a specific name, so that you can re-do the export later if it’s incorrect.


Now you can export the FBX:

  • In the 2d Pattern window, select everything, then go to FILE > EXPORT > FBX.
  • Create a new folder for your garment – it will have texture sub-folders so you NEED to make sure you are saving into a NEW empty folder.
  • Name your FBX file, then click OK.
  • The “Export FBX” window will appear.
  • At the bottom of the window, click RESET.
  • Now, change “thick” to “thin“. This will change other settings too.
  • Now, turn OFF Select all avatars’.
  • Change it to MULTIPLE OBJECTS. Important: Do not use “single object”! I’ve found that if you use Single Object, Marvelous will attempt to merge items sometimes (especially with belts in my experience), so you are better off doing that yourself manually in Maya to avoid problems.
  • Set the Image Size to 8192 pixels. Otherwise the clothing textures will look grainy later on.
  • You might want to turn off some of the maps, depending on whether your materials will use them. (I usually turn off METALNESS and OPACITY if my garments have no metals or see-through areas.)
  • Scroll down, and set the scale to “CM”. Otherwise it will be the wrong size later.
  • Click OK.
  • It’s going to take a few minutes to save out the F-B-X file, but that’s normal.
  • Then you can save your project again and close Marvelous Designer.


You can skip this step if you want to just try to rig / skin your garment “as it is” on your MetaHuman. Just jump straight to step 5!

In this step, we’ll go through how to prepare your garment for skinning, by:

  • Removing unseen mesh areas
  • Combining each piece of the garment as a single mesh to avoid problems later
  • Combining each piece as a single final garment


You might still have Maya 2022 or 2023 open, with the “_full_rig_01_Y-up.mb” scene open.

CLOSE that Maya entirely.

Then freshly open Maya 2024 or above.

You should use Maya 2024 or above for the next few steps, because they don’t involve the MetaHuman rig, and Maya 2024 has much better vertex merging results.

  • Create a blank new scene.
  • Import the FBX file you exported from Marvelous Designer.
  • Turn on the TEXTURED button in the viewport.
  • Take your time and carefully navigate around your entire garment to make sure that all the materials look correct.

What you’re really checking for is any strangeness that could be caused by accidental overlapping UVs. If you find any, go back to Marvelous and adjust the UVs and re-export, then re-import into Maya.

  • Save your new Maya project, in the same place that your “_full_rig_01_Y-up” file was saved. It will be somewhere like this:
  • Name your new project with a name ending in:
    (For example “f_med_nrw_UE5pt4_PENCILSKIRT_unrigged_garment.mb“)
  • It’s important to include a UE version, so later you’ll be able to ‘track’ whether files are compatible with the MetaHuman type that you want to use. (eg. MetaHuman bones were changed in UE5.4.)

You’ll be making a lot of changes so its good to make sure you keep saving as you go.


Now you need to go through your mesh and delete any faces in your garment that will never be seen. Otherwise later you will get strange bits of mesh poking through your garment because the skinning process gets confused.

(For example, if your character is wearing a shirt, and the shirt goes below the belt level and is tucked inside the pants, you need to now go in and delete those faces. Otherwise they will cause problems with skin weight painting later.)

What I usually do is:

  • Have a look and see if there are parts of the clothing that I want to remove – that is, parts that won’t be seen. (If there’s NOT parts you want to remove, skip onto step 6.)
  • Make sure the mesh is selected in the Outliner.
  • Make sure I’m in “Modeling” mode (in the dropdown that’s in the top left of the Maya interface).
  • Go to the MESH menu and choose SEPARATE. It might take a minute or two to process this.
  • Once it finishes, go through and hide various items to make things easier to see.
  • Then I select the things I want to work on, and click the ISOLATE button on the top of the viewport.
  • Then I right-click and hold and I go into face mode.
  • And delete rows of faces to break meshes up.
  • Then delete the remaining pieces.

Before you finish this step, make sure that your garment is a single mesh in the Outliner. If it isn’t:

  • Select all the individual elements.
  • Go to the MESH menu, Combine.
  • Then go to the poly modelling shelf, and click to delete history.


Now we need to merge vertices.

IMPORTANTMerge vertices will NOT work unless you first MESH > COMBINE your meshes all together. Obviously, ‘combining’ is a different thing to MERGING,. However, by ‘combining’, you are then allowing Maya to merge the vertices together.


  • In the outliner, make sure the garment mesh is selected.
  • Go to the top MESH DISPLAY menu, unlock normals.
  • Then go to MESH DISPLAYsoften edge.
  • In the Poly Modelling shelf, click the icon to delete history.
  • Then go into vertex mode, by right click holding on the garment, and then clicking VERTEX.
  • Press ctrl shift A to select all vertices.
  • Then go to the “edit mesh” menu, and click the box next to merge.
  • Change the threshold input field to “0.01“.
  • And click merge.
  • Click to delete history again.

Now you need to check the vertices and re-merge if necessary.

  • Right-click hold on the garment, and click OBJECT MODE.
  • Make sure the garment is selected in the outliner.
  • And go to the top MESH menu, and click SEPARATE.
  • Click around the garment and look at how the mesh has separated.

If it separates into separate garments that really should be separate, like into a separate pants and shirt, that’s fine. But if pieces of fabric within the shirt, for example, are separate objects, you need to do some more merging. So:

  • Select the pieces that should be one mesh, and go to the MESH menu and click COMBINE.
  • Double click on the selection tool on the left of the interface, and make sure marquee is selected, and camera based selection is enabled.
  • In the viewport, right click hold on the garment and click VERTEX.
  • You might want to turn off the materials in the viewport, to make the next process easier.
  • Select two or three vertices that should be merged together.
  • And go to the EDIT MESH menu and go MERGE TO CENTER.
  • Go around the fabric until most of the vertices are merged.
    (To make it faster, you might want to set a key command for merge to center, or at least break off the edit mesh menu so its floating and its easier to click.)
  • Once you’re done merging vertices, right click hold and choose object mode.
  • Go up to the MESH menu and choose separate. If it won’t separate, you’ve successfully merged the fabric pieces together.
  • Right click hold and go into OBJECT mode.
  • Select the entire garment, and then go to the MESH menu and click COMBINE.
  • Then in the Poly Modelling shelf, click delete history.
  • In the Outliner, make sure that there is a single mesh.
  • If there are any extra polysurface items in the Outliner, you can go ahead and delete them.



Remember to MERGE vertices of your SHIRT PROPS (badges, etc) to your SHIRT. And merge your PANT PROPS (gun holsters etc) to your PANTS.



Now might need to change your UV tiling from a single tile (0-1) to multiple ones, but only if you are doing cinematics with the camera close. Otherwise, the textures will be TOO BLURRY.

So to adjust the UV shells so they span over multiple tiles (and are therefore higher resolution):

  • Open “UV EDITOR”.
  • Right click hold and choose “UV SHELLS”.
  • Marquee-select all the shells.
  • Press W on the keyboard, and move it around so the largest uv shell piece is in the very center of one of the first uv tile.
  • Press R on the keyboard, and click drag the middle of the gizmo to resize, and expand it up so that that largest shell is the biggest it can be without going across a border of the uv tiles.
  • Press W on the keyboard, and just rearrange all the tiles so they fill three across and two up. (ie. a total of six UV tiles)
  • Make sure none of the UV shells overlap, and none of them cross any of the UV tile borders.
  • Go up to the IMAGE menu, and click the box next to IMAGE RANGE.
  • Change Maximum U to 3, which is horizontal.
  • Change Maximum V to 2, which is vertical.
  • Click Apply.
  • Press the icon that looks like a mountain with a sun, next to the checkerboard icon. And you should see textures in each of the six tiles that we want. They will look strange and wrong, but as long as they exist in each tile, it’s fine.

    Okay, click that icon of the mountains again to hide the textures.
  • Now minimize the UV EDITOR window and go back to your main viewport.
  • The textures will appear all screwed up, but actually it’s fine because we’ll be re-making these in Substance Designer.
  • Rename garment in the Outliner by adding “_UVSIX” at the end. This will remind you that there are six UV shells that must be maintained throughout the process.



  1. In the outliner, rename your single mesh as “Unrigged Garment“.
  2. Then make sure it’s selected.
  3. Go to FILE > export selection .
  4. Change the dropdown to FBX export.
  5. Change the current preset to, “Autodesk Media and Entertainment“.
  6. Then name the file, ending in, “_mayaunriggedgarment“.
    For example:
  7. And click the button, “Export Selection“.
  8. You can now save this Maya scene if you like. I tend not to bother, but you can save it with a similar name to the fbx, so, “mayaunriggedgarment”.

Now close Maya 2024, and open Maya 2022.

Open up your MetaHuman source file scene; the one ending in “_01_Y-up“.

For example:


You should have Maya 2022 open, with the MetaHuman source file project open – the one ending in “_01_Y-up“.

Now you need to go through and add keyframe poses to this scene, which will make skin weight painting possible in the next step.

This takes about ten minutes or so to setup. It’s WORTH it! Because you can reuse this scene over and over in the future to rig and weight-paint any garment for this sized MetaHuman Body.


Okay, to set up the scene ready for skinning:

  • Deselect everything in the Viewport.
  • In the Outliner, twirl down rig > body_grp > geometry_grp then click on “body_lod1_grp” and press H to hide it.
  • Hide the “body_lod2_grp” as well, and the “body_lod3_grp“.
  • Twirl open “body_lod0_grp and hide the body and the flip flops objects, and make the “combined_lod0” item visible.
  • At the top of the Outliner, make sure that the “DHIheadgroup is also hidden.
  • Click “rig > head_grp” and press H to hide it.
  • In the Outliner, go to the SHOW menu and make sure “joints” are visible.
  • Turn on xray joints if its not already on. (Just above the viewport, its the icon third from the right)


Now we need to set some keyframes, so we will be able to see the movement of our clothing as our skeleton moves.

  • In the Outliner, click on “root_drv
  • Now, in the timeline, click on frame 0. (If there is no frame zero, change the left numbers below the time slider both to 0, then go to frame 0.)
  • Press S on the keyboard to set a keyframe.
  • Go to frame 20 and press S again.
  • Go to frame 40 and press S

Keep keep going like that until you get to frame 140.


Now, let’s set seven key poses.

  • Turn on the AUTO KEYFRAME TOGGLE button in the bottom right of the interface.
  • Go to frame 20.
    • Click the upper left arm of the skeleton.
    • Rotate it up, so the character has their arm directly outwards like a t-pose.
    • You’ll need to slightly adjust the clavicle as well.
    • Click the right arm, and rotate it up too.
    • And adjust the clavicle as well obviously.
  • Go to frame 40. Pose the character with their arms directly upwards (like they are reaching directly up to touch the ceiling).
  • Go to frame 60. Pose the arms beside the body.
  • Go to frame 80. Pose with the arms out directly to the front.
  • Go to frame 100. Bend the left thigh up, with the lower leg down. And point the foot down too.
  • Go to frame 120. Bend the right thigh up, with the lower leg down. And point the foot down too.
  • Go to frame 140. Bend both legs up, with feet flat,  like it’s sitting on a chair.

Those are the main poses that will help problem solve your “skin weight painting” in the next step.

  • Go up to FILE > SAVE SCENES AS
  • Remove the “01_Y-up” in the name, and replace it with “02_keyframes”.
For example:
  • Click the button to save it.


Okay, this is the point where I usually switch to Maya 2024, and make sure my Maya scene says its 2024 only. That’s because for some reason skin bindings and skin weights and NGskintools all work much better in Maya 2024. However, switching over means that you’ll lose the ability to animate the MetaHuman facial rig and other things inside the Maya scene, just  FYI.

  • Close Maya 2022.
  • Open Maya 2024.
  • Open the Maya scene that ends in “02_keyframes“.


  • Remove the “02_keyframes” in the name, and replace it with “03_garmentrigging“. I usually put MAYA2024 in the name, just to remind myself not to open it in Maya 2022 (because once I use it in Maya 2024, the internal rigging stuff for MetaHumans will be broken).
For example:

And click the button to save it.


Now let’s add the garment.

Go to FILE >IMPORT, and import the FBX file with the garment (either the one from Marvelous Designer or the one you adjusted in Step 4 and re-exported from Maya as an FBX).

Now we need to bind the clothing item to our skeleton.

But first, we need to check it.

Turn on TEXTURED in the viewport, if it isn’t already, and move around your clothing item. Make sure everything looks correct. You don’t want to move forward unless it definitely looks right, because the next steps are quite a lot of work.

Okay, now let’s bind the garment to the skeleton.

  1. So go to frame 0.
  2. In the outliner, right click on “body_joints“.
  3. Click “Select Set Members“.
  4. Now hold down control, and click your clothing item mesh.
  5. Now in the top left dropdown, make sure you’re set to Rigging, and then go up to the skin menu, and click the box next to Bind Skin.
  6. In the popup, set the options to be:
    • Joint Hierarchy“;
    • Closest distance“;
    • Classic Linear“;
    • Interactive“;
    • Neighbors“;
    • the checkbox “off” for “allow multiple bind poses“;
    • max influences set to “1”;
    • the checkbox “off” for “maintain max influences”;
    • the checkbox “off” for remove unused influences;
    • the checkbox “on” for colorize skeleton;
    • the checkbox “off” for “include hidden selections on creation”;
    • and lastly the “deformer mode” set to “Skin Cluster“.
  7. Then click “Apply and close“.

It will now be bound. Scrub through the timeline, and you’ll see it’s bound but not perfect yet. Go back to frame 0.


The first step of fixing our skin weights will be to copy the existing weights from the MetaHuman’s skin.

  1. So in the “Outliner”, twirl down “rig > body_grp > geometry_grp > body_lod0_grp” and click the mesh ending in “_combined_lod0_mesh”.
  2. Hold down CONTROL on the keyboard, and click to select your garment.
  3. In the SKIN menu, click on COPY SKIN WEIGHTS.

If you scrub through the timeline you’ll see that it’s better but still quite messy, but we will now clean that up using NG Skin Tools.

But before we do, go up to FILE > SAVE AS. Replace the “03_garmentrigging” in the name with “04_skinbound“.

For example:

And click the button to save it.



We don’t want to see the MetaHuman’s skin for this next stage, so:

  • In the Outliner, look inside “rig > body_grp > geometry_grp“, click “body_lod0_grp” and hide it.


Now we’re going to smooth the skin weights.

For this tutorial I’m going to be doing it the simplest way, using the plugin “ngSkinTools2“.

You’ll need to go ahead and installngSkinTools2″ if you haven’t already, and restart Maya. The plugin is free for testing use.

  1. Now make sure your clothing item is the only thing selected in the Outliner. It must be a SINGLE MESH. (Otherwise you will might need to go to Step 4 and combine the meshes etc.)
  2. At the top of the interface, click on the “ngSkinTools2” shelf tab.
  3. Click the green “ngSkinTools” button to activate it.
  4. In the “ngSkinTools” window, click “initialize skinning layers“.
  5. It will take a minute or two, but then a layer will appear that says “Base Weights“.
  6. Now at the bottom of the skin tools window, click “Paint“.
  7. Now we need to adjust the settings.
    • Make sure “Brush projection” is set to “Surface“.
    • Brush mode needs to be on “Smooth“.
    • And the brush shape needs to be the one on the right.
    • Change intensity to one.
    • Change brush radius to about eight.
    • Brush interactions should be on about five.
  8. Now, move around the clothing and look for areas where the texture is being stretched unnaturally, and click drag to smooth it.
  9. If you keep going around to problem areas like underarms and the crotch, you should find you get a good result after a while.
  10. Make sure that the crotch is symmetrical. Sometimes the stitch lines start moving to the side, which looks really unnatural.
  11. Also it’s important to be careful around hard items like buttons, because they shouldn’t be warped by the movement of the body. The fabric they are attached to can stretch a bit, but plastic buttons and metal zips and things like that shouldn’t be stretching, obviously.
  12. Now if you see the mesh splitting when it comes to edges like at the sleeves, it means you didn’t properly merge vertices earlier.
  13. Okay so once you’re finished smoothing the mesh, click PAINT in the NGSkinTools dialogue box, just to get out of that mode.

Now that skin weights are a fair way along, go up to the file menu, save scene as. Remove the zero 5 skin bound in the name, and replace it with “zero six, weight, painted“.

For example:

And click the button to save it.


During the process of smoothing, you may find that you can see the skin of the character poking through the mesh. Now, in unreal we’re going to be hiding the skin, so that won’t really be an issue. But, on the other hand, if the smoothing process has made body parts sort of collapse, like the person’s butt has caved in a bit, that should be fixed now.

What you can do is:

  1. Double click on the selection tool (the arrow in the options on the left in the Maya interface)
  2. Twirl down “soft selection“, and turn on “Soft Select“.
  3. Adjust the falloff radius to”5” or so.
  4. Then right-click and hold on the garment, and click VERTEX.
  5. Then click on a vertex in a collapsed area, and pull it out. (Just make sure you’re only making subtle changes, otherwise the mesh will start to look quite strange when your character is moving around.)


Go through and try to reduce the warping and bending of hard items like buttons.

I tend to just try to smooth the area around the buttons when the character is in extreme poses, to try to lessen the effect of the bone movement on them.


Okay, so you’re now ready to export the rigged, complete garment with correct skin weights, to FBX.

  1. In the Outlinerselect the garment mesh, and go to the top FILE menu, EXPORT SELECTION.
  2. Change the dropdown to FBX.
  3. Then name the file, ending in, “_mayarigged_garment“.
  4. Change the template to ‘AUTODESK MEDIA AND ENTERTAINMENT‘.
  5. Twirl down GEOMETRY, and make sure ‘SMOOTHING GROUPS‘ is turned off. This is important, because we need Unreal to make the smoothing groups.
  6. Twirl down ANIMATION, and turn off the checkbox for animation.
  7. Now click the “Export Selection” button.
  8. Save your Maya scene. So go up to the FILE menu, SAVE SCENE.

Now import the “shoes“, FBX, from marvelous designer, and go through the same process, of binding it to the skeleton, using bind skin. Then copy the skin weights. And smooth the skin weights with n g skin tools. Then select it in the outliner, and go file, export selected. Then name the file, ending in, “_mayarigged_shoesonly“. Then click export selected. And in the popup, just the same settings as we did before.

And we’re finished with Maya so you can close the program if you like.


Now we will make proper textures with Substance Painter, to later “plug-in” to your clothing’s materials in Unreal.

  1. Open Substance 3D Painter
  2. Go to FILE > NEW
  3. In the popup, set the TEMPLATE to “PBR – Metallic Roughness Alpha-blend (starter assets)
  4. Click SELECT and choose your FBX
  6. Enable the checkbox USE UV TILE WORKFLOW, and make sure it’s set to PRESERVE UV TILE LAYOUT PER MATERIAL (otherwise your six UV tiles will NOT be properly used)
  7. Make sure that “Auto-unwrap‘ is OFF
  8. Click OK
  9. When the model loads, click the CROISSANT logo
  10. Change OUTPUT SIZE to 8192
  12. In the “Mesh Map Bakers”, you can disable items if you want to. But the default options work fine:
    • Normal
    • World space normal
    • ID
    • Ambient occlusion
    • Curvature
    • Position
    • Thickness
  14. When the process is finished, click “RETURN TO PAINTING MODE
  15. Now click the material (in the top right corner) that you want to change first
  16. Drag a material or smart material over to the LAYERS, and start making your texture
  17. When you’re finished, go to the FILE menu and click EXPORT TEXTURES
  18. In the dialogue box, change the output directory to a new folder that specifies what these are textures for (eg. PoliceUniform_SUBSTANCEtex)
  19. Change the OUTPUT TEMPLATE to UNREAL ENGINE 4 (packed)
  20. Click EXPORT
Substance Painter Tips

If you’d like to apply textures in Substance Painter just to edges etc, check out this tutorial all about ‘generators‘.



Okay, before we go any further, we need to create a MetaHuman that hasn’t got any clothes of its own, for us to use inside Unreal.

So open up the MetaHuman Creator website in a web browser.

Login, and make a naked version of your MetaHuman. So remove the top clothes, bottom clothes, and change the shoes to be flip flops, so that the mesh will include the skin for the feet.

I usually name my MetaHuman something like “SvetkaNoClothes“.

Then I log out of the MetaHuman Creator website.


Okay so now in the epic games launcher, launch the engine.

  1. In the popup, click the “film, video and live events” tile on the left. Turn on Raytracing if you want. Set your project location, and name your project. And click CREATE.
  2. Once the project loads, go up to the top ribbon and click on the “Quick Add” icon, then click QUIXEL BRIDGE.
  3. In the window that pops up, click on the icon of a person and login.
  4. Then on the left, click MetaHumans, then My MetaHumans.
  5. Click the tile for your MetaHuman without clothes.
  6. Click to download it. Then click to Add it to your project.
  7. It might popup with various things, just agree to them. And then restart the engine when you’re prompted.
  8. Then in the content browser, open up the MetaHumans folder, and drill down until you find your MetaHuman blueprint, then drag it into the scene.
  9. And reset the location and rotation.


There are now two vital settings that you need to change in your Unreal Project settings.

  • Type “allow static lighting” in the search bar. Turn OFF the checkbox for ‘Allow Static Lighting‘. (Why? Because by default, no ambient occlusion data from the Material will be applied to your model in Unreal. That’s why you must de-activate the setting to make it work. For more, check out this video by William Faucher from Feb 15, 2024.)
  • Type “virtual” in the search bar.  Enable the checkboxes for “Enable virtual texture support” and “Enable virtual texture on texture import”.
  • Now restart your Unreal project, to make those two new settings take effect.


In the content browser, make a new folder called “Imports”, and open it.

Then make a new folder called “Clothing”. Then open it.

Then make a new folder named for your garment type. Then open it.

Now right click, and click the top import option.

Find the FBX that you exported from Maya, ending in, “_07mayariggedgarment“.

In the next dialogue box, click to reset the settings.

Change the Skeleton to, “metahuman, underscore, base, underscore, skel”.

Then click IMPORT ALL.

Once it loads, if you get a “failed to merge bones” error, it’s really frustrating but it means you need to literally quit out of unreal and Maya, and restart your computer, then re-export from Maya again. That’s the only way I’ve found to fix this error.

Okay, if the import worked, a series of Materials will have been created.


Now we need to apply our Substance Painter textures to our materials.

So in the Content Browser, make a new folder called something like “SubstancePainterTEX”, and open it.

Now, for each material of your garment, you need to do the following:

  • Make a folder for your the material and open it
  • Drag the substance PNG texture files from Windows Explorer into the Unreal Content Browser
  • Double click the ‘occlusion roughness metallic’ texture, and turn off the checkbox for sRGB, then save and close it
  • Now open the material
  • Drag the PNG files from the Content Browser into the material graph
  • Connect the base color to the base color, the normal to the normal. And then for the ‘occlusion roughness metallic’ texture, connect R to Occlusion, G to Roughness, and B to Metallic.
  • Save and close the material

So go through all of your materials and do that.


Okay, now let’s actually add the clothing item to our MetaHuman.

So in the Outlinerclick to edit your MetaHuman.

In the window that pops up, on the left side, under Components, click the Torso.

On the right side of the window, click the Skeletal Mesh dropdown, and choose the garment that you imported.

At the top of the window, click Compile. Then click Save. And now you can close this editor window.


  1. In the content browsernavigate to the folder you made called “Imports“, and open it.
  2. Make a new folder called “Animations“. Then open it.
  3. Now right-click, and click the top import option.
  4. Import a test animation. If you like, you can import the MetaHuman range of movement animation that I made. It’s just an iClone free animation, which I then adjusted in Maya so that the clavicles and upper arms were closer to correct.
  5. In the dialogue box that appears:
    • Click to reset the options.
    • Then change the skeleton to “meta, base, skel”.
    • Twirl down advanced, and make sure you enter a value for the custom frame rate. This should be 60 for my test range of movement animation.
    • Then click IMPORT ALL.
  6. Once that is imported, navigate back to the “Import” folder in the content root, and open it.
  7. Make a new folder called “Sequences”. Then open it.
  8. Now right-click, go to the Cinematics, and click, “Level Sequence”.
  9. Name it as range. Of. Movement. Underscore. M. MED. NRW.
  10. Double click to open the sequence file.
  11. The sequencer has opened up. So now, drag your MetaHuman from the outliner into the Sequencer.
  12. Underneath your MetaHuman name in the Sequencer, delete the control rig for the body. And delete the face item entirely.
  13. Now on the body track, click the plus icon. Then hover over animations, and click the animation you are testing with.
  14. You’ll see some of the body and head poking through the garment. This is normal, and to fix it we need to hide some parts of the body and head.


So let’s start with hiding body parts that shouldn’t be seen, because of the clothing.

For the moment, go into your MetaHuman’s blueprint and remove the garment from the torso, and the shoes from the feet, so you can clearly see all the skin.


There are three files we need to go through and duplicate, to make custom versions for our MetaHuman.

  1. M_BodySynthesized COLOR
    In the content browser, go into the CONTENT folder, then METAHUMANS, then the folder for your METAHUMAN, then MATERIALS.
    Duplicate the file “M_BodySynthesized”, and rename the new one by adding an underscore, then the word COLOR, then an underscore, then the name of your MetaHuman. So in this example I’ll add underscore, color, underscore, Svetka.
    Okay that’s the first file done.
  2. M_BodySynthesized GRAY
    Now in the content browser, go to the root of the content folder, and search for “M_BodySynthesized”. There might be more than one. Hover over them, and click the one that is in the “MetaHumans > Common” folder.
    Now right click on it, and choose “Show In Folder View“.
    (It will be in All > Content > MetaHumans > Common > Materials)
    Duplicate it and rename the new one by adding an underscore, gray, underscore, then the name of your MetaHuman. So in this example I’ll add underscore, gray, underscore, Svetka.
    Okay that’s the second file done. One more.
  3. M_BodySkin
    Now in the content browser, in that same folder you already in, there will be a material called “M_BodySkin“.
    (So the folder you’re in will be All > Content > MetaHumans > Common > Materials)
    Duplicate “M_BodySkin” and name the duplicate as “M_BodySkin_Svetka” or whatever the character name of your MetaHuman is.
    Okay, now we have those three new files, go up to the FILE menu and click SAVE ALL.

    Now we need to add the new files to our MetaHuman’s body.
    In the Outliner, click to edit your MetaHuman’s blueprint.
    In the Components tab, click BODY.
    Under “Materials” on the right side, change the “Materials Slots, Element zero” dropdown to one with the same name, but with the word COLOR and your character’s name at the end.
    Go up and click Compile. Then click SAVE.
    Now double click the square tile image next to that dropdown.
    In the Details tab, scroll all the way down. Under “General“, change the “Parent” dropdown to one with the same name, but with the word GRAY and your character’s name at the end.
    Go up and click SAVE.
    Now double click the square tile image next to that dropdown.
    In the Details tab, scroll all the way down. Under “General“, change the “Parent” dropdown to one with the same name, but with your character’s name at the end.
    Go up and click SAVE.
    Now double click the square tile image next to that dropdown.
    An editor window will now be open for “M_BodySkin_Svetka“.
    The main material node will be highlighted by default. In the Details tab on the left, change the Blend mode dropdown to “MASKED”.
    Now we need to drag a transparency texture into here, and connect it to the opacity mask of the material.
    So to do that, in the content browser, go to your root content folder, imports, and make a folder called materials, and open it.
    Then inside that, make a folder called “MhTrnsparencyMasks”, and open it.
    Then drag in the file “MH_m_med_nrw_OpacBody_HandsOnly”.
    Now go FILESAVE ALL. And drag the imported file into the blueprint of “M_BodySkin_Svetka”.
    Connect the “RGB” output of the TEXTURE SAMPLE NODE, to the opacity mask input of the main material node. Click APPLY, then SAVE.


We now need to hide parts of the head, just like we did for the body.

There are three files we need to go through and duplicate, to make custom versions for our MetaHuman’s head.

  1. “MI_HeadSynthesized_Baked COLOR”
    In the content browser, go into the CONTENT folder, then METAHUMANS, then the folder for your METAHUMAN, then FACE, then MATERIALS, then BAKED.
    Duplicate the file “MI_HeadSynthesized_Baked”, and rename the new one by adding an underscore, then the word COLOR, then an underscore, then the name of your MetaHuman. So in this example I’ll add underscore, color, underscore, Svetka.
    Okay that’s the first file done.
  2. “MI_HeadSynthesized_Baked GRAY”
    Now in the content browser, go to All > Content > MetaHumans > Common > Face > Materials > Baked.
    Duplicate the file “MI_HeadSynthesized_Baked”, and rename the new one by adding an underscore, then the word GRAY, then an underscore, then the name of your MetaHuman. So in this example I’ll add underscore, color, underscore, Svetka.
    Okay that’s the second file done. One more.
  3. “M_Head_Baked”
    Now in the content browser, in that same folder you already in, there will be a material called “M_Head_Baked“.
    Duplicate “M_Head_Baked” and  rename the new one by adding an underscore, then the name of your MetaHuman.
    Okay, now we have those three new files, go up to the FILE menu and click SAVE ALL.

    Now we need to add the new files to our MetaHuman’s head.
  4. ADD NEW “MI_HeadSynthesized_Baked COLOR” MATERIAL
    So in the Outliner, click to edit your MetaHuman Blueprint.
    In the COMPONENTS tab, click the FACE.
    Under “Materials” on the right side, change the “Materials Slots, Element zero” dropdown to one with the same name, but with the word COLOR and your character’s name at the end.
    Go up and click Compile. Then click SAVE.
  5. ADD NEW “MI_HeadSynthesized_Baked GRAY” MATERIAL
    Now double click the square tile image next to that dropdown.
    In the Details tab, scroll all the way down. Under “General“, change the “Parent” dropdown to one with the same name, but with the word GRAY and your character’s name at the end.
    Go up and click SAVE.
  6. ADD NEW “M_Head_Baked” MATERIAL
    Now double click the square tile image next to that dropdown.
    In the Details tab, scroll all the way down. Under “General“, change the “Parent” dropdown to one with the same name, but with your character’s name at the end. (For example, M_Head_Baked_Svetka“)
    Go up and click SAVE.
    Now double click the square tile image next to that dropdown.
    An editor window will now be open, called something like “M_Head_Baked_Svetka“.
    The main material node will be highlighted by default. In the Details tab on the left, change the Blend mode dropdown to “MASKED”.
    Now we need to drag a transparency texture into here, and connect it to the opacity mask of the material.
    So to do that, in the content browser, go to your root content folder, imports, and make a folder called materials, and open it.
    Then inside that, make a folder called “MhTrnsparencyMasks”, and open it.
    Then drag in the file “MH_m_med_nrw_OpacHead_ForHighCollar”.
    Now go FILESAVE ALL. And drag the imported file into the blueprint of “M_Head_Baked_Svetka”.
    Connect the “RGB” output of the TEXTURE SAMPLE NODE, to the opacity mask input of the main material node. Click APPLY, then SAVE.

Now the head will only show the portion above the collar line.


Next we need to attach our solid props to our MetaHuman.

So the easiest way to do that is by making a socket in the skeleton.

But just remember that it’s not a perfect solution, because the prop will just be sort of floating in space, by an offset amount relative to a bone. So it has no active physics or collision, which means it will penetrate the clothing when the character moves in certain ways.



Under Construction
How to export an avatar (body) for Marvelous Designer from Maya (MetaHuman)

(Updated June 2024, for Unreal 5.4 etc)

Once you have imported a MetaHuman into Maya, you may want to export a file that can be imported into Marvelous to create a body ‘avatar’ of the correct size (to add clothes to).

Here’s how to do that:

  • Once you finish following the instructions for importing a MetaHuman into Maya, you will have a Maya scene open with your MetaHuman correctly arranged so that the document is Y up
  • In the “Outliner”, twirl down rig > body_grp > geometry_grp > body_lod0_grp
  • Click on the “combined_lod0_mesh”.
  • Press “H” on the keyboard to unhide it.
  • Now, with it selected, go FILE >EXPORT SELECTION.
  • In the dialogue box that appears, change the dropdown to FBX.
  • Name the file as your MetaHuman name then “_Maya_bodymesh_m_med_nrw” (or whatever your MetaHuman body code is).
  • Click “Export Selection”.
  • Switch to Marvelous Designer.
  • Go to FILE > IMPORT > FBX.
  • Select the body mesh FBX you exported from Maya, and click “open”.
  • In the dialogue box:
    • Make sure “Object type” is set to “Avatar”.
    • Under “Object”, make sure “Automatically add arrangement points” is turned on.
    • Under “Scale”, make sure the dropdown is on “Centimeters”, not “Millimeters”.
    • Under, “Axis Conversion”, make sure it is set to the default, which is “x”, “Y,z”, and all the checkboxes for “invert” are off.
  • Then click, “OK”.
  • t may give you warning messages, but you can just click to dismiss them.
  • Once the avatar loads, go to the file menu, and save the project. Name it as “avatarMH_m_med_nrw” or whatever your MetaHuman body code is.

Now you’re ready to add clothes to your avatar.



Under Construction
Optimize your Unreal settings for linear animation (to match Maya, Blender etc)

If you’re coming from Maya or Blender, there are EIGHT IMPORTANT SETTINGS that make animation much easier in Unreal.

Go to “EDIT > EDITOR PREFERENCES“, then enable the following:

1 Invert Middle Mouse Pan This helps to make your pan consistent with your mouse movement. So when you pan around the scene (etc) it looks correct.
2 Orbit Camera Around Selection This means when you select things in the viewport, the camera orbits around that selection.
3 Left Mouse Drag Does Marquee” (the one under ‘Content Editors – Level Sequence Editor’) This just means you can drag a marquee in the Viewport to select.
4 Screen Rotate This helps rotation in the viewport.
5 Arcball Rotate This helps rotation in the viewport.
6 Snap Playhead to Interval” (the one under ‘Content Editors – Level Sequence Editor’) This stops the playhead from moving outside your timeline when you scrub. This option is also sometimes called ‘Snap Interval While Scrubbing’.

Now in “EDIT > EDITOR PREFERENCES“, turn off the checkbox for the following:

7 Auto Expand On Selection” (the one under ‘Content Editors – Level Sequence Editor’) This stops you having to scroll up and down as much in Sequencer.

Now in “EDIT > EDITOR PREFERENCES“, go to this setting and change the text field to say ‘Compact‘:

8 View Density” (the one under ‘Content Editors – Level Sequence Editor’) Setting this to COMPACT makes the Sequencer take up less vertical space, which makes animation much easier.


Under Construction
Unreal Engine 5.4 new Cloth features (and PROJECT TALISMAN Dataflow graph)

MAY 1, 2024.

For the brand-new Unreal 5.4, I’m still trying to figure out the Kinematic Collider and the layered clothing system, so I’ve made a custom Dataflow Graph that I’ve tried to make ‘match’ as close as possible Tim Brekensiek’s instructions on this official documentation page when it comes to the PROJECT TALISMAN setup.

For anyone else trying to replicate the ‘Project Talisman‘ setup, I made this post to share my work in case it helps. Please find the COMMENTS button on that official page link, and add your comment, if you think you’ve figured out how to make all this work!

Here’s a low-res image of my current Dataflow template (there is no feature to ‘save out dataflow graph in high resolution’ in Unreal yet!):

And you can download my ‘complex’ Dataflow graph here:

If you’d like to replicate my experiments, here are more details:


Under Construction
What are WRAP, ZWRAP and WRAP4D?

Wrap, Zwrap and Weap4D are incredibly useful programs that are available from a company called Faceform – previously known as R3DS (Russian 3D Scan).

So what are the “wrap” programs for?

Well they’re for “topology transfer” – which means that you can make your human-like 3d model perfectly match an existing human-like 3d model’s polygon layout. So you fit a pre-existing topology (or “base mesh”) onto your own custom 3D scan or sculpt (ie. a custom character you’ve sculpted).

Why would you want to do that? Well, systems like Reallusion characters or MetaHuman characters might require you to give your human models an exact number of polygons and / or an exact ORDER of polygons (ie. so the program knows where the various body parts are). But aside from that, Wrap and ZWrap are very useful if you want to apply things like micro detail maps (for skin textures) onto your custom human model. So companies that make micro detail maps – like TexturingXYZ and 3D Scan Store – use the Wrap programs as part of their suggested pipelines.

So the question then is: what’s the difference between WRAP, ZWRAP and WRAP4D?

Well, Wrap and Zwrap are usually used together.

Wrap is a standalone program that is based on nodes. So you have to be ok with setting up node graphs in order to use it.

ZWrap is a plugin for ZBrush. So that means that the process is much more VISUAL and is easier for many people. 

Both Wrap and Zwrap work in basically the same way.

  • You tell the program what your base mesh is, which is your target topology. So you tell it what your custom mesh is, which is your source mesh.
  • You then choose the type of automatic wrapping it does. The easiest one is called the “fast wrap” method. 
  • Then you help the program by telling it which points on source mesh are the same as the target mesh. For example, the top of the lip. These are also called “point correspondences”, or “point pairs”.
  • You also tell the program how to transfer the texture (the skin color etc) from your source mesh to your target mesh. For example, you might want to exclude parts of the source texture graphic file, if it contains things that aren’t needed.

How do you buy WRAP and ZWRAP?

Wrap and ZWrap are available to buy from as a bundle together. And you can get them as either a perpetual license (ie. you own it forever) or as a yearly subscription. 

What about Wrap4D?

So what about Wrap4D? That’s a very different program. It’s for HMC performance processing. What does that mean? Well an HMC is a head mounted camera (two cameras actually, for 3D). So this is all about having an actor wear a helmet, which has a camera that records their face. Wrap4D takes the recordings and tracks it in 3D. You end up with a perfect animated 3D model of the facial performance.


Under Construction
CSV column headers for MetaHuman data (Face Animation Importer)

After you export your face animation from Unreal using the Python script, you will end up with a CSV.

If you open that CSV in Microsoft Excel, the column headings should precisely match the following:
A. CTRL_expressions_jawRight
B. CTRL_expressions_jawLeft
C. CTRL_expressions_jawOpen
D. CTRL_expressions_jawClenchR
E. CTRL_expressions_jawFwd
F. CTRL_expressions_jawBack
G. CTRL_expressions_jawClenchL
H. CTRL_expressions_neckMastoidContractL
I. CTRL_expressions_neckStretchL
J. CTRL_expressions_neckDigastricDown
K. CTRL_expressions_neckDigastricUp
L. CTRL_expressions_neckStretchR
M. CTRL_expressions_neckThroatExhale
N. CTRL_expressions_neckThroatInhale
O. CTRL_expressions_neckMastoidContractR
P. CTRL_expressions_neckThroatDown
Q. CTRL_expressions_neckThroatUp
R. CTRL_expressions_jawChinRaiseDR
S. CTRL_expressions_jawChinRaiseUR
T. CTRL_expressions_mouthLipsBlowR
U. CTRL_expressions_mouthLipsPressR
V. CTRL_expressions_mouthLipsTogetherUL
W. CTRL_expressions_mouthLipsPressL
X. CTRL_expressions_mouthLipsBlowL
Y. CTRL_expressions_mouthStretchLipsCloseR
Z. CTRL_expressions_mouthStretchLipsCloseL
AA. CTRL_expressions_tonguePress
AB. CTRL_expressions_tongueRollLeft
AC. CTRL_expressions_tongueRollRight
AD. CTRL_expressions_tongueRollUp
AE. CTRL_expressions_tongueRollDown
AF. CTRL_expressions_tongueTipLeft
AG. CTRL_expressions_tongueTipRight
AH. CTRL_expressions_tongueTipUp
AI. CTRL_expressions_tongueTipDown
AJ. CTRL_expressions_tongueLeft
AK. CTRL_expressions_tongueRight
AL. CTRL_expressions_tongueUp
AM. CTRL_expressions_tongueDown
AN. CTRL_expressions_tongueWide
AO. CTRL_expressions_tongueNarrow
AP. CTRL_expressions_tongueIn
AQ. CTRL_expressions_tongueOut
AR. CTRL_expressions_tongueRoll
AS. CTRL_expressions_mouthLeft
AT. CTRL_expressions_mouthRight
AU. CTRL_expressions_mouthUp
AV. CTRL_expressions_mouthDown
AW. CTRL_expressions_mouthUpperLipRaiseL
AX. CTRL_expressions_mouthSharpCornerPullL
AY. CTRL_expressions_mouthCornerPullL
AZ. CTRL_expressions_mouthDimpleL
BA. CTRL_expressions_mouthCornerDepressL
BB. CTRL_expressions_mouthStretchL
BC. CTRL_expressions_mouthLowerLipDepressL
BD. CTRL_expressions_mouthLowerLipDepressR
BE. CTRL_expressions_mouthStretchR
BF. CTRL_expressions_mouthLipsTowardsDL
BG. CTRL_expressions_mouthFunnelUR
BH. CTRL_expressions_neckSwallowPh1
BI. CTRL_expressions_neckSwallowPh2
BJ. CTRL_expressions_mouthLipsTowardsUL
BK. CTRL_expressions_mouthLowerLipBiteR
BL. CTRL_expressions_mouthFunnelDR
BM. CTRL_expressions_mouthLipsTightenDL
BN. CTRL_expressions_mouthPressUL
BO. CTRL_expressions_mouthLipsTightenDR
BP. CTRL_expressions_mouthFunnelDL
BQ. CTRL_expressions_mouthCheekSuckL
BR. CTRL_expressions_mouthCheekBlowL
BS. CTRL_expressions_mouthLipsTightenUL
BT. CTRL_expressions_mouthLipsTightenUR
BU. CTRL_expressions_mouthPressDL
BV. CTRL_expressions_mouthFunnelUL
BW. CTRL_expressions_mouthLipsTowardsUR
BX. CTRL_expressions_mouthLipsPurseDR
BY. CTRL_expressions_mouthUpperUpBiteL
BZ. CTRL_expressions_mouthPressDR
CA. CTRL_expressions_mouthPressUR
CB. CTRL_expressions_mouthLipsPurseDL
CC. CTRL_expressions_mouthUpperLipBiteR
CD. CTRL_expressions_mouthCheekSuckR
CE. CTRL_expressions_mouthCheekBlowR
CF. CTRL_expressions_mouthLipsPurseUL
CG. CTRL_expressions_mouthLipsTowardsDR
CH. CTRL_expressions_mouthLowerLipBiteL
CI. CTRL_expressions_mouthLipsPurseUR
CJ. CTRL_expressions_mouthCornerDepressR
CK. CTRL_expressions_mouthUpperLipRaiseR
CL. CTRL_expressions_mouthDimpleR
CM. CTRL_expressions_mouthSharpCornerPullR
CN. CTRL_expressions_mouthCornerPullR
CO. CTRL_expressions_earUpR
CP. CTRL_expressions_earUpL
CQ. CTRL_expressions_noseNostrilDilateR
CR. CTRL_expressions_noseNostrilCompressR
CS. CTRL_expressions_noseWrinkleR
CT. CTRL_expressions_noseNostrilDepressR
CU. CTRL_expressions_noseNostrilDilateL
CV. CTRL_expressions_noseNostrilCompressL
CW. CTRL_expressions_noseWrinkleL
CX. CTRL_expressions_noseNostrilDepressL
CY. CTRL_expressions_eyeLookLeftL
CZ. CTRL_expressions_eyeLookRightL
DA. CTRL_expressions_eyeLookUpL
DB. CTRL_expressions_eyeLookDownL
DC. CTRL_expressions_eyeBlinkL
DD. CTRL_expressions_eyeWidenL
DE. CTRL_expressions_eyeLookLeftR
DF. CTRL_expressions_eyeLookRightR
DG. CTRL_expressions_eyeLookUpR
DH. CTRL_expressions_eyeLookDownR
DI. CTRL_expressions_eyeBlinkR
DJ. CTRL_expressions_eyeWidenR
DK. CTRL_expressions_eyePupilWideR
DL. CTRL_expressions_eyePupilNarrowR
DM. CTRL_expressions_eyePupilWideL
DN. CTRL_expressions_eyePupilNarrowL
DO. CTRL_expressions_eyeLookLeftL
DP. CTRL_expressions_eyeLookRightL
DQ. CTRL_expressions_eyeLookUpL
DR. CTRL_expressions_eyeLookDownL
DS. CTRL_expressions_eyeCheekRaiseL
DT. CTRL_expressions_eyeSquintInnerL
DU. CTRL_expressions_eyeLidPressL
DV. CTRL_expressions_noseWrinkleUpperL
DW. CTRL_expressions_noseWrinkleUpperR
DX. CTRL_expressions_eyeSquintInnerR
DY. CTRL_expressions_eyeCheekRaiseR
DZ. CTRL_expressions_eyeLidPressR
EA. CTRL_expressions_browLateraIR
EB. CTRL_expressions_browLateralL
EC. CTRL_expressions_browDownR
ED. CTRL_expressions_browDownL
EE. CTRL_expressions_browRaiseOuterL
EF. CTRL_expressions_browRaiselnL
EG. CTRL_expressions_browRaiselnR
EH. CTRL_expressions_browRaiseOuterR
EI. CTRL_expressions_mouthCornerWideL
EJ. CTRL_expressions_mouthCornerNarrowL
EK. CTRL_expressions_mouthCornerUpL
EL. CTRL_expressions_mouthCornerDownL
EM. CTRL_expressions_mouthCornerUpR
EN. TRL_expressions_mouthCornerDownR
EO. CTRL_expressions_mouthCornerWideR
EP. CCTRL_expressions_mouthCornerNarrowR
EQ. CTRL_expressions_eyeFaceScrunchR
ER. CTRL_expressions_mouthLipsPushUL
ES. CTRL_expressions_mouthLipsPullUL
ET. CTRL_expressions_mouthLipsThickUR
EU. CTRL_expressions_mouthLipsPushDL
EV. CTRL_expressions_mouthLipsPullDL
EW. CTRL_expressions_mouthLipsThickUL
EX. CTRL_expressions_mouthCornerRounderDR
EY. CTRL_expressions_mouthCornerSharpenDR
EZ. CTRL_expressions_mouthLowerLipShiftLeft
FA. CTRL_expressions_mouthLowerLipShiftRight
FB. CTRL_expressions_mouthLowerLipRollInR
FC. CTRL_expressions_mouthLowerLipRollOutR
FD. CTRL_expressions_mouthLipsThickDL
FE. CTRL_expressions_mouthCornerRounderUR
FF. CTRL_expressions_mouthCornerSharpenUR
FG. CTRL_expressions_mouthUpperLipShiftLeft
FH. CTRL_expressions_mouthUpperLipShiftRight
FI. CTRL_expressions_mouthUpperLipRollInR
FJ. CTRL_expressions_mouthUpperLipRollOutR
FK. CTRL_expressions_mouthLowerLipRollInL
FL. CTRL_expressions_mouthLowerLipRollOutL
FM. CTRL_expressions_mouthCornerRounderDL
FN. CTRL_expressions_mouthCornerSharpenDL
FO. CTRL_expressions_mouthLipsThickDR
FP. CTRL_expressions_mouthUpperLipRollInL
FQ. CTRL_expressions_mouthUpperLipRollOutL
FR. CTRL_expressions_mouthCornerRounderUL
FS. CTRL_expressions_mouthCornerSharpenUL
FT. CTRL_expressions_noseNasolabialDeepenL
FU. CTRL_expressions_eyeFaceScrunchL
FV. CTRL_expressions_mouthLipsPushUR
FW. CTRL_expressions_mouthLipsPullUR
FX. CTRL_expressions_mouthLowerLipTowardsTeethR
FY. CTRL_expressions_mouthLowerLipTowardsTeethL
FZ. CTRL_expressions_noseNasolabialDeepenR
GA. CTRL_expressions_mouthLipsPushDR
GB. CTRL_expressions_mouthLipsPullDR
GC. CTRL_L_mouth_lipsTowardsTeethU_1451
GD. CTRL_expressions_mouthUpperLipTowardsTeethR
GE. Discard because no blendshape
GF. Discard because no blendshape


Under Construction

For help with the FACE ANIMATION IMPORTER PRO plugin, click here.


Under Construction
How to add iClone/Character Creator clothes to MetaHumans

You can now use iClone and Character Creator clothing on MetaHumans, with a workflow developed by StyleMarshal aka Bassline303 on the Reallusion forums.

The process has some important caveats.

  • It is only for Character Creator 4.4 and Unreal Engine 5.4 (full release, NOT preview)
  • This workflow is experimental. It may not work for you.
  • This process requires special ‘morph sliders‘ to be installed inside of Character Creator 4. These morph sliders are made by StyleMarshal, using R3DS WRAP to re-wrap MetaHuman-sized body with the correct CC3+ topology. However, the bones are NOT CORRECT. So you cannot use the resulting characters for animation. They are ONLY suitable to use as clothing mannequins.
  • You can problem solve issues with these two official documents:

Okay so let’s go through the process. 



  1. Download the MetaHuman morph sliders pack here.
  2. The files will come as a RAR. Un-rar them, so you end up with 18 individual ‘.ccCustomSlider’ files.
  3. Make sure Character Creator 4 is closed, then move all those 18 files into this specific folder on your hard drive:
    C:\Users\Public\Documents\Reallusion\Reallusion Custom\Actor\Avatar Control
  4. OpenCharacter Creator 4, and it might take a while to open but just leave it to process.
  5. Once it opens, click the top CHARACTER MENU, and go LOAD NEUTRAL BASE > CC3+.

  6. IMPORTANT: Below the viewport, find the “Remove” button and click the little triangle on the side. Then in the menu that pops up, click “Restore Bind Pose”.
  7. In the Modify panel, click the Morphs tab.

  8. Click ‘MetaHuman‘.
  9. Then you’ll see 18 sliders for MetaHuman body codes.
  10. Move your chosen slider all the way to the right.

Okay your body should now look like the MetaHuman body base that you want. Don’t worry if the eyes look strange and the head isn’t right, this process is just about the body.


  1. Now add whatever piece of clothing you want. (Simpler clothing works best. Try to keep the item under 13,000 triangles. Avoid pockets and stitches – they can crash Unreal. It’s unknown exactly what works and what doesn’t, sorry!)
  2. Adjust the fit of the clothing to the body in the standard way you do with all clothing in Character Creator. There are lots of tutorial on YouTube that cover that process.
  3. Okay once you’re happy with your clothing, go into the scene panel, and select your piece of clothing.
  4. Go to FILE > EXPORT > OBJ > “Selected Item”.
  5. In the dialogue box, change the AXIS to “Z-up”, change MOTION to “Current”, and make sure “Export Material” and “All Textures” are ticked in the options. Then click “Export”.

  6. Name your file and save it.



  1. Go to the Epic Games Launcher, library tab,
  2. Launch Unreal 5.4. 
  3. Create a new project with the FILM & TV template. (Raytracing and starter content are optional.)
  4. When the Unreal project loads, go to EDIT > PLUGINS.
  5. Search for “chaos
  6. Enable “CHAOS CLOTH ASSET”. It will prompt you that they are experimental, and just agree to that. It will also say to restart but don’t do that yet.
  7. Enable “CHAOS CLOTH ASSET EDITOR”. Again, agree to the prompt about it being experimental, and DON’T restart.
  8. Close the plugins window.


Now we need to add a MetaHuman to the project, but it needs to have all of its arms and legs visible, so we need to make a custom MetaHuman. The MetaHuman must have ‘none’ chosen for the Top and Bottoms options for clothing, as described below.

  1. In a web browser, go to the MetaHuman Creator website:
  2. Change the dropdown to “Unreal 5.4“.
  3. Create a MetaHuman with the same body dimensions that you chose for the slider in Character Creator.
    (eg. If you used the “f_tal_nrw” slider, for example, you need to make sure that the custom MetaHuman is female, and under body proportions you make it medium height and normal weight.)
  4. Click on Tops, and choose none.
  5. Click Bottoms, and choose none.
  6. Click shoes, and choose flip flops.
  7. Name your character, and I’d suggest you add “No Clothes” at the end of its name.
  8. Logout from the MetaHuman Creator website.


  1. Back in Unreal, click the “Quick Add” button on the top ribbon, then open Quixel Bridge.
  2. Sign in, then click MetaHumans, then My MetaHumans.
  3. Click the tile for your custom MetaHuman with no clothes.
  4. Choose the highest quality, and click to download it.
  5. Click the “ADD” to add it to the project.
  6. Close the Quixel Bridge window.
  7. Drag the MetaHuman blueprint into your scene, and click to enable the missing plugins. Then click to restart the engine.
  8. Once it restarts, in the Outliner click to edit your MetaHuman’s blueprint.
  9. In the Components panel, click LOD Sync.
  10. In the details panel, change the number of LODS to 1, and the forced LOD to 0. (This is important, otherwise the clothing item will act strangely later. It seems to need the resolution of the LOD 0 mesh to work properly.)
  11. Click COMPILE, then SAVE, and minimize the MetaHuman editor window.
  12. Set your engine’s scalability settings to EPIC or CINEMATIC, otherwise the clothing won’t drape properly on your MetaHuman in later steps.


  1. In the Content Browser, create a new folder called “Clothing” and open it.
  2. Create a new folder with the name of your clothing item, and open it.
  3. Right-click and choose “Import to Game”.
  4. Find the OBJ you exported from Character Creator, and open it.
  5. In the “Interchance Pipeline Configuration (Import Content)” dialogue box, click the button at the top right to “RESET SELECTED PIPELINE“. Then click import.

  6. Check to make sure you have ended up with at least one Static Mesh, plus at least one Material and some Textures.
  7. Open the material.
  8. In the Details panel, it may be set to TRANSLUCENT, which can create some visual problems. You might want to change it to MASKED. Then click APPLY.


  1. In the Content Browser, right-click and go PHYSICS > ClothAsset

  2. Rename the new asset as “CA” and then the name of your clothing item. (eg. CAOrangeSweater)

  3. Double click to open your Cloth Asset. It will look like this:


  1. In the Dataflow graph, zoom in and pan across to the left, so you can see the first few nodes:

  2. Under the TRANSFORM POSITIONS node, right-click on the Dataflow Graph and type “Static“, then underneath CLOTH click “StaticMeshImport” to add that node.

  3. It will now look like this:
  4. Now, with the new “StaticMeshImport” node selected, to the right under ‘Static Mesh Import’ change the “Static Mesh” dropdown your imported clothing item’s static mesh.
  5. Now connect the OUTPUT of the “StaticMeshImport” node to the INPUT of the ‘TransferSkinWeights’ node:



  1. Click the ‘TransferSkinWeights‘ node.
  2. In the top left, change the SOURCE MESH to you full MetaHuman body, with arms and leg skin visible and with skin the correct color (NOT the grayscale body preview):
  3. Then click to ACCEPT:
  4. Click in the right top viewport:
  5. Press F on the keyboard, and your item should appear:

STEP 10. Weight Map

  • Now click the “AddWeightMap_MaxDistance” node:
  • In the top left, change the BRUSH SIZE to be very very small, until you can rollover the item and see the brush like this:
  • Paint the bottom of the items – or, the areas you want to simulate:
  • Now change the brush type to SMOOTH:
  • Paint over the garment, to smooth it
  • Now click ACCEPT


Step 11. Add physics asset

  • Click the “Set PhysicsAsset” node
  • Choose your physics asset:
  • Now you should be able to play through and preview the animation – in the next step

STEP 12. Add preview animation and problem solve

  • Click on the Preview Scene Settings tab
  • Change the “Skeletal Mesh Asset” to your full MetaHuman body, with arms and legs visible (NOT the preview mesh!)
  • Change the “Animation Asset” dropdown to an animation that tests the movements.
  • If you don’t have a test animation, you can add one easily. Go to your Content Browser, then click the +ADD button, then choose “Add Feature Or Content Pack”, then add 3rd person. Then in the content browser, search for “walk”.

    Then right-click on “MF_Walk_Fwd” and go RETARGET ANIMATIONS

    Then just change the TARGET SKELETAL MESH to be your metahuman type, then choose the animations you want, then click EXPORT ANIMATIONS and save them:

    You’ll then be able to choose those animations in the Cloth Asset panel:

STEP 13. Problem solving

You will end up with something like this:

The physics asset will not be great, so it will have ‘poke through’ as above. This isn’t an in-depth tutorial on mastering the new Cloth Physics Editor, so unfortunately you will need to dive in and experiment. This feature is experimental and it’s currently difficult to make it “perfect”. However, the new ‘kinematic collider’ can solve the problems – check out this official document and scroll down to where they discuss how they added the ‘kinematic collider’ for Project Talisman:

Also, of course, you’ll need to HIDE BODY PARTS of the MetaHuman for some items – to avoid big mesh breakthrough, just like with any other clothing item for MetaHumans. That process is beyond the scope of these instructions.




Under Construction
How to fix “separated panels” in Marvelous Designer

Sometimes when you export a garment from Marvelous Designer, the stitch lines create visible “spaces” in the clothing item.

To fix this, you need to adjust the stitches.

  • In Marvelous Designer, go to the 2D Pattern Window
  • At the top of the window, click the sewing machine icon, then click “EDIT SEWING”
  • Click drag across your garment, to select all the problematic sewing lines
  • In the Property Editor, change INTENSITY to 0 and THICKNESS to 0

And that’s it! Now when you export the garment, it will no longer have ‘separation’ at the sewing lines.



Under Construction
How to fix “perfect” clothing lines (using Maya) after exporting from Marvelous Designer

The edges of clothing items can be “too perfect” when exported from Marvelous Designer, like the bottom edges of this t-shirt:

To solve this, you can use Maya’s built-in sculpt tools. Just use the “grab” tool – try to avoid the ‘smooth’ tool as it will create obvious problems with the mesh.

Here’s how to use the GRAB tool:

  • Make sure you are in MODELLING mode
  • Go to the MESH TOOLS > SCULPTING TOOLS then click the top of the menu that appears, so it detaches
  • You now can easily access the sculpting tools
  • Click the OPTIONS button next to “GRAB TOOL”
  • Change the size to approximately 6
  • Click on the mesh you want to adjust, then click-drag on areas to pull them





Under Construction
How to fix “topstitch” problems when exporting from Marvelous Designer

Many garments that have ‘topstitches‘ (such as denim jeans and shoes) will often end up having a massive amount of separate meshes and very very high polygon counts when you export them.


The solution is to change the topstitches from 3D models to textures. (That is, they simply become part of the texture images that you export from Marvelous Designer – rather than being actual 3D meshes with polygons.)

To do that, you need to change all “topstitch” items in your scene from OBJ format to TEXTURE.

To do that:

  • In the panel that has your list of fabrics, click the dropdown and change to TOPSTITCH

  • Click “delete unused
  • Go through each item in the list, and change the TYPE dropdown to TEXTURE (you do NOT want it on “obj”)

Now you can export as normal:


Then the result, in your DCC of choice, will have the topstitches baked into the textures:


Under Construction
“How To” Guides: Windows


Under Construction
Add right-click ‘convert to Webp’

How do you add a windows “convert to WebP” option when you right-click in Windows Explorer?

One way is to download and install the free FILE CONVERTER program for Windows.

  • Go to the official site
  • Click to download the program
  • It will download a file called something like “FileConverter-2.0.2-x64-setup.msi”
  • Double click the MSI file to start installation
  • Follow the simple instructions to complete installation
  • In Windows Explorer, a new option will appear when you right-click on a file:
  • Hover over “File Converter”, and you’ll see a list of files to convert your image file to:

    Including GIF, PNG, WEBP, JPG, ICO and PDF.


Under Construction
What the “Substance” plug-in for Maya does

What is the “Substanceplugin for Maya and what can it actually do?

What is it?

It’s a free plugin for Maya 2024, 2023, 2022, 2021 and 2020.

It lets you:

  • import Substance materials – in “.sbar” format – from:
  • apply those materials to objects in your scene
  • export the textures (once applied to your objects) as standard ‘image maps(eg. myobject_basecolor.png)

How do I get it?

You can download it here.

The official help files website is here:

The official release notes can be found here. (Useful to know what has recently changed or been fixed).

How do I install it?

Just download the file and double click, then it will walk you through the installation.

However, even once you install the plugin, it does not automatically load in MayaYou need to do this:

  • Open Maya, create a new scene
  • In the search bar, type “substance
  • Then at the top next to APPLY TO ALL click “loaded” and “auto load
  • Click CLOSE

What are the buttons the shelf?

You should now have a new shelf in Maya called ‘Substance‘.

The buttons are:

Substance Settings
(opens the Substance settings menu)
Batch Import
(imports and creates the selected Substance files)
Batch Bake to Disk
(bake selected Substance nodes to a folder)
Upgrade Old Nodes
(convert all old plugin nodes to new nodes)
Apply Workflow to Maps
(apply Substance workflows to image maps)
Open Content
(open sample ‘sbsars’ in content browser)
Open Substance 3D Assets
(Open the paid ‘Substance 3D Assets’ website in a browser)
Open ‘Substance Share’
(Open the free community assets website in a browser)
Open Documentation: Open the ‘Substance in Maya‘ documentation in a browser
About Substance in Maya: Display ‘About’ window


Free materials that come with the plugin

If you click the Open Content button you’ll see a list of free included materials:

These “.sbsar” files are on your hard drive: C:\Program Files\Allegorithmic\Adobe Substance 3D for Maya\2024\sbsars

  • bark_pine.sbsar
  • bricks_bond_variations.sbsar
  • carbon_fiber_twill_weave.sbsar
  • cardboard_torn.sbsar
  • chrome_plated_rusty.sbsar
  • concrete_damp_wall.sbsar
  • concrete_layers_stacked.sbsar
  • fabric_jeans.sbsar
  • golf_bunker_sand.sbsar
  • leather_fine.sbsar
  • metal_grinded.sbsar
  • parquet_american_chestnut.sbsar
  • plastic_vinyl_glossy.sbsar
  • pounded_asphalt.sbsar
  • powdery_snow_marks.sbsar
  • rotten_wood.sbsar
  • rust_corrosion_drip.sbsar
  • rusted_painted_metal.sbsar
  • scrapped_paint.sbsar
  • slate_tiles_with_moss.sbsar
  • tarmac.sbsar
  • wood_fence_painted.sbsar

How do I actually apply an .sbsar to something??

To apply a Substance material to a mesh, you first IMPORT the “.sbar” and then construct the Material in Hypershade.

To do that:

  2. Above the graph, click the icon with the ‘diamonds‘ to clear the graph
  3. Right-click and hold in the GRAPH, then swipe upwards and click CREATE NODE:
  4. In the dialogue box that appears, type “subst” in the text field, then click SUBSTANCE NODE
  5. The following will appear, and the ‘substancenode’ node will be selected:
  6. In the Property Editor, click the browse file icon next to ‘Load Substance’:
  7. In the file explorer that pops up, choose an “.sbsbar” file
  8. In the Property Editor, click the WIDTH drop-down and change the resolution to something like 4096 (for cinematic-quality textures)
  9. Scroll down, and under WORKFLOWS click the workflow on the left that you’d like to use (Standard Surface, Arnold, Renderman, Vray Next, Redshit, Maxwell, Vray 6). If you don’t know, just choose ‘Standard Surface’. Then click ‘Create Network’.
  10. The system will pause for a few seconds, then various nodes will appear in the graph, and a preview of the material will appear in the “Texture Viewer”.
  11. Click to select the tile of the material in the ‘MATERIALS’ tab of Hypershade:
  12. Change the name of the material in the Property Editor.
  13. Now your scene, right-click on the mesh you want to apply the material to, and choose ‘Assign Existing Material‘, then the material you just named:
  14. Make sure the ‘Texturing’ option is enabled in the Viewport, and you’ll see your material applied:

    But the tiling of the texture will be too large.
  15. In HYPERSHADE, click the ‘place’ node (the first node) in your material
  16. In the Property Editor you will now be able to adjust the ‘Repeat UV’ value to adjust the tiling. Increase it to maybe 3.
  17. You will see that the tiling of the material in the viewport improves:


Under Construction
“How To” Guides: Substance 3D Painter


Under Construction
New UE5.4 process for Marvelous Designer export to Unreal, then realtime cloth simulation

I haven’t gotten this to work fully yet (as of Thursday March 21 2024, 8:45am) but here is what is working so far:


  1. Make your clothing item in Marvelous Designer:
    1. Make an Avatar in Marvelous Designer that matches your MetaHuman body type
    2. Design a garment and add it to your Avatar, and simulate (as normal) to test it
    3. Make sure you make different fabrics, and set their physical properties (Unreal will use them in its simulation)
  2. When you’re happy with the garment, export a USD from Marvelous Designer.
    • Go FILE > EXPORT > USD
    • Save the file in a new folder:
    • In the popup that appears,  disable the “Select All Avatars” checkbox
    • Make sure to select CM as the scale

    • Click OK
    • It might take a few minutes to export

  3. Create a new Unreal project with Unreal 5.4.0
    1. Open the EPIC LAUNCHER, and install Unreal 5.4.0 (Preview 1)
    2. Create a new Unreal project, with the FILM AND TV template
  4. Add your MetaHuman:
    1. Go to the built-in Quixel Bridge in Unreal
    2. Download the MetaHuman that your garment uses
    3. ADD it to your project
    4. Click to enable any plugins it tells you do, and restart Unreal when needed
    5. Drag your MetaHuman to your level, and zero-out the location and rotation
  5. Enable the Chaos Cloth plugins:
    1. Go to EDIT > PLUGINS.
    2. Search for “cloth”, and enable the following plugins then restart:
      Chaos Cloth
      Chaos Cloth Asset
      Chaos Cloth Asset Editor
      Chaos Cloth Editor
      Chaos Cloth Generator

  6. Create your “Cloth Asset” file:
    1. Once Unreal restarts, make a new folder in the content browser called “test“, and open it
    2. Right-click in the new folder, and go PHYSICS>CLOTH ASSET

    3. Name the new ‘Cloth Asset‘ file as “TestGarment01
    4. Press CTRL-SHIFT-S to save your project and the new ‘Cloth Asset’ file.
    5. Double click the ‘Cloth Asset‘ file

    6. Zoom in on the DATAFLOW graph  so you can see the first nodes, and click the USDImport node.

    7. On the right side, click the “…” icon to browse for USD file.

    8. When it opens, you’ll get errors saying there’s no LOD 0. I’m not sure how to solve that right now. I’ve posted on the official Unreal forum here.

    9. You can try to set the Skeleton and the Physics asset, like this, but it doesn’t seem to do anything:

    10. You can also try clicking the TRANSFER SKIN WEIGHTS node and setting details, but it doesn’t work either:

  7. For now, the bottom line is that it seems to import the USD file okay, but the viewports stay blank – and it clearly can’t “see” the garment:

  8. Oddly, the garment IS imported. If you go into the Content Browser, you’ll see that a full mesh – with proper materials added – has been imported. So at least it seems that USD is the fastest current way to import properly textured/materialed Marvelous Designer garments into Unreal (with automatic texture/material setup).