<h2 style="text-align: center"><img src="https://storagefiles.clo-set.com/public/community/202606/80d4961da95048638f075d52a4b7af6b/images/7d8db847deac474992e2aecd632d4574Mirage_thumbnail_3.png" class="custom-image hidden-thumbnail" data-id="7d8db847deac474992e2aecd632d4574" data-width="2560" data-height="1080">Where cinematic atmosphere meets intricate costume detail. Discover how artists <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.behance.net/Kinn_hj">Hyun-jong Kim</a> and <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/ohminji3">Min-ji Oh</a> brought inspiration from Dune to life using Marvelous Designer, revealing their collaborative workflow and secrets to achieving hyper-realistic cloth simulation.</h2><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/Ax346ZAUXUo" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1>Could you introduce yourselves?</h1>Hyun-jong Kim : Hello, I am Kim Hyun-jong, a 3D artist. I mainly work with Cinema 4D and Blender. Over the past two years, I have focused on learning Marvelous Designer and actively applying it to my personal projects. I enjoy creating cinematic visuals, so I have conducted various projects centered around that style.I have been working as a 3D artist for about five years. During this time, my work has been well-received, winning awards in various categories at the Rookies Awards, LACA, and the Motion Design Awards. These experiences have served as a strong foundation for refining the direction and quality of my work.<img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/d2f02cb1dc3349ac985bcdf8c2ccbc89Eyes_of_Empire_Behind_3_GIF-ezgif.com-resize%20%281%29.gif" alt="d2f02cb1dc3349ac985bcdf8c2ccbc89" class="custom-image original-size" data-id="d2f02cb1dc3349ac985bcdf8c2ccbc89" data-width="700" data-height="296"><img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/1223dde8d89a41899c11032b00c9e08cEyes_of_Empire_thumbnail_1.png" alt="1223dde8d89a41899c11032b00c9e08c" class="custom-image original-size" data-id="1223dde8d89a41899c11032b00c9e08c" data-width="2560" data-height="1080"><div data-vimeo-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://player.vimeo.com/video/905612097?#t=0" frameborder="0" allowfullscreen="" width="800" allow="autoplay; fullscreen; picture-in-picture; clipboard-write" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div>Min-ji Oh: I am Oh Min-ji, currently working as a 3D Asset Artist at 2grey. I started learning CG in earnest in 2018 to prepare for my career, and it has been about four years since I entered the industry. Originally, I aimed to be a generalist and experienced various parts of CG, but I felt particularly excited and enthusiastic whenever I worked on character modeling. I think that is why I naturally ended up pursuing the path of a modeler.I often use costumes as a key element to express a character's personality, and Marvelous Designer has been an indispensable tool in that process. As I continued working with Marvelous Designer from the beginning of my studies until now, my skills naturally improved, which led to the opportunity to join Hyun-jong's project.<img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/65062147414144d4a39876c97dbf2486Flea_Render_2.jpg" alt="65062147414144d4a39876c97dbf2486" class="custom-image original-size" data-id="65062147414144d4a39876c97dbf2486" data-width="3507" data-height="4962"><h1>Let’s discuss your recent project, ‘Mirage,’ created using Marvelous Designer. Where did you find inspiration for the concept, and what visual style were you aiming for?</h1><img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/e74db7dabce54cbeb91c304dd50f92f0imgi_91_30892a232584561.68aefd17067b4.png" alt="e74db7dabce54cbeb91c304dd50f92f0" class="custom-image original-size" data-id="e74db7dabce54cbeb91c304dd50f92f0" data-width="1312" data-height="1800">The inspiration for creating 'Mirage' came after watching the movies Dune and Lawrence of Arabia. I was deeply inspired by the restrained depiction of vast deserts in both films and wanted to create a piece based on that motif.The overall narrative centers on the story of T.E. Lawrence dispatched to the Middle East during World War I, while the visual style was largely developed by drawing reference from Dune. For the costume design, I referenced traditional Bedouin attire to capture the Middle Eastern atmosphere, placing special emphasis on expressing the movement of the fabric fluttering in the wind.<h1>How did you utilize Marvelous Designer for this project? I’m also curious about the brief pipeline regarding how you integrated it with other tools.</h1>First, for character animation, we used data based on an AI motion capture tool where I acted out the necessary actions myself. For additional movements, we utilized Mixamo preset animations. Facial animation was created using the 'Move by Maxon' application. Afterwards, any awkward or jittery parts of the mocap data were polished using keyframe animation to ensure smooth movement.<img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/f9e74bf30d6142c5a6dd3ac211ee4eb9Mirage_thumbnail_2.png" alt="f9e74bf30d6142c5a6dd3ac211ee4eb9" class="custom-image original-size" data-id="f9e74bf30d6142c5a6dd3ac211ee4eb9" data-width="2560" data-height="1080">Once the animation was complete, we exported it as Alembic data to ensure stability during simulation and prepared to dress the character in Marvelous Designer.In the costume production phase, we focused our plan specifically on the detailed movements of the main character's turban and scarf. Since the entire outfit required simulation in the video, we determined the workflow by anticipating potential issues beforehand. With the turban, scarf, and clothing all needing to collide, simulating the turban itself proved to be quite unstable.<img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/524deca99d4b4c8fabb4682c2845b4d7Mirage_Behind_1.png" alt="524deca99d4b4c8fabb4682c2845b4d7" class="custom-image original-size" data-id="524deca99d4b4c8fabb4682c2845b4d7" data-width="1200" data-height="652">Therefore, we shaped the turban's natural wrinkles and form in Marvelous Designer first, but handled it through rigging rather than simulation. This allowed us to add significant details and extra wrinkles in ZBrush later.<img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/d026a72210134411b90a1799e6c45dafimgi_411_d85329232584561.68b2ded6aa157.gif" alt="d026a72210134411b90a1799e6c45daf" class="custom-image medium-size" data-id="d026a72210134411b90a1799e6c45daf" data-width="600" data-height="253"><img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/cccc0c4db08f472eaab0993f6b9735b2imgi_492_f70e17232584561.68b06a2fc4cff-ezgif.com-resize.gif" alt="cccc0c4db08f472eaab0993f6b9735b2" class="custom-image original-size" data-id="cccc0c4db08f472eaab0993f6b9735b2" data-width="700" data-height="296">For the scarf, it needed to flutter in the wind and exhibit many wrinkles due to the material's nature. We adjusted the particle distance to a low value and frequently checked the physical properties by applying wind during the process. We didn't create the fluttering section as a single pattern; instead, we split it into two pieces to prevent the pattern from becoming unnecessarily large.Typically, after the Marvelous Designer stage, we import the model into ZBrush to add details like seams and fine wrinkles, and then to Substance Painter for additional weathering. However, since the base form needs realistic wrinkles, we spend considerable time in Marvelous Designer tweaking various properties until the wrinkles look authentic. For simulation optimization, we didn't perform separate retopology but instead adjusted the mesh style settings directly within Marvelous Designer.<img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/d7cff6e94ad047728d273349fe7eacb5Mirage_Behind_2.png" alt="d7cff6e94ad047728d273349fe7eacb5" class="custom-image original-size" data-id="d7cff6e94ad047728d273349fe7eacb5" data-width="1200" data-height="689">Regarding the simulation, the most critical element in the full-body shots was the form of the scarf fluttering in the wind. To achieve this, we conducted numerous tests, finely adjusting the physical property values set during the production phase. As a result, we set the military uniform to a relatively thick fabric, making it slightly heavier than the default properties, while the scarf was set to be thinner and lighter to create a clear distinction. This allowed the scarf’s movement to stand out even under the same wind intensity, enabling us to achieve the desired visual satisfactorily.<img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/85d9a2a2b8de4abfa410cb113a3b531aimgi_486_14123d232584561.68adc02a415c9-ezgif.com-resize.gif" alt="85d9a2a2b8de4abfa410cb113a3b531a" class="custom-image original-size" data-id="85d9a2a2b8de4abfa410cb113a3b531a" data-width="700" data-height="296">For specific shots, we also utilized Houdini alongside Marvelous Designer. The scene where the turban is pulled off by hand was handled by combining both tools appropriately. The part where the bottom of the turban is grabbed and pulled was created in Houdini, while the natural movement of the scarf underneath was simulated in Marvelous Designer.Finally, we combined the completed simulation data and character animation data into a single scene, proceeded with rendering, and finished with compositing in After Effects.<h1>Min-ji, you have also worked on numerous personal projects, and the expression of wrinkles in your character costumes is exceptionally detailed. Do you have any personal tips for creating realistic wrinkles?</h1><img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/89fa3084761849e7b831ce7c3b31bf6dimgi_515_889f50232584561.689f1e643a07e.png" alt="89fa3084761849e7b831ce7c3b31bf6d" class="custom-image original-size" data-id="89fa3084761849e7b831ce7c3b31bf6d" data-width="1920" data-height="810"><img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/bed8ceec182846d78b4d4b20e7275bc0imgi_146_93ff1b232584561.689f36a3da361-ezgif.com-resize.gif" alt="bed8ceec182846d78b4d4b20e7275bc0" class="custom-image original-size" data-id="bed8ceec182846d78b4d4b20e7275bc0" data-width="648" data-height="810">I believe the greatest strength of Marvelous Designer lies in its ability to control physical properties in great detail. Therefore, I adjust specific parameters while carefully observing references of the desired fabric and lower the particle distance to capture natural wrinkles that are impossible to recreate by hand.While it is possible to sculpt wrinkles onto a rough form in ZBrush later, I believe achieving a solid base through Marvelous Designer’s accurate physical calculations results in a much higher level of realism.<img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/68baf64770d8414eb0d939fcf1346375imgi_144_fdc0ff232584561.689f2cb4cdd10-ezgif.com-resize.gif" alt="68baf64770d8414eb0d939fcf1346375" class="custom-image original-size" data-id="68baf64770d8414eb0d939fcf1346375" data-width="648" data-height="810">For neat, tailored clothing, I match the pattern lengths and seam lines exactly. However, to express the feeling of worn clothing or tension around seams, I often deliberately mismatch the lengths of connecting patterns.<img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/c22c7d3c571a4960a0f393d201b08ecf%E1%84%8C%E1%85%A1%E1%86%BC%E1%84%80%E1%85%B5%E1%84%92%E1%85%A1_Render.jpg" alt="c22c7d3c571a4960a0f393d201b08ecf" class="custom-image original-size" data-id="c22c7d3c571a4960a0f393d201b08ecf" data-width="2480" data-height="3508"><img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/628e23c29db843ee96ee127d10a05c84%E1%84%8C%E1%85%A1%E1%86%BC%E1%84%80%E1%85%B5%E1%84%92%E1%85%A1_MD_1.png" alt="628e23c29db843ee96ee127d10a05c84" class="custom-image original-size" data-id="628e23c29db843ee96ee127d10a05c84" data-width="3840" data-height="2160"><img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/542bd063ffd74725a8fb4e5c45cc2075%E1%84%8C%E1%85%A1%E1%86%BC%E1%84%80%E1%85%B5%E1%84%92%E1%85%A1_MD_2.png" alt="542bd063ffd74725a8fb4e5c45cc2075" class="custom-image original-size" data-id="542bd063ffd74725a8fb4e5c45cc2075" data-width="3840" data-height="2160">For example, with the Hanbok and leather jacket I created for the character 'Chang Ki-ha,' I arbitrarily adjusted the pattern lengths of the Hanbok to highlight the aesthetic curves of the fabric folds. I made the sleeves longer than standard to allow for multiple layers of folding, creating richer wrinkles. For the pants, I created a significant difference in pattern lengths to achieve voluminous bunching just above the ankles.<img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/30ea498ec0f24a579f8c89293ff204db%E1%84%8C%E1%85%A1%E1%86%BC%E1%84%80%E1%85%B5%E1%84%92%E1%85%A1_Sp_1.jpg" alt="30ea498ec0f24a579f8c89293ff204db" class="custom-image original-size" data-id="30ea498ec0f24a579f8c89293ff204db" data-width="2423" data-height="1210">Additionally, when a character poses, the volume or shape of the wrinkles sometimes doesn't look right. In such cases, I have occasionally modified the patterns—originally made in an A-pose—to better suit the specific pose. This approach is feasible, of course, because I am working on still images.<img src="https://storagefiles.clo-set.com/public/community/202512/80d4961da95048638f075d52a4b7af6b/images/8880c505b17740898b75bd876a2ecab9%E1%84%8C%E1%85%A1%E1%86%BC%E1%84%80%E1%85%B5%E1%84%92%E1%85%A1_Zbr_1.JPG" alt="8880c505b17740898b75bd876a2ecab9" class="custom-image original-size" data-id="8880c505b17740898b75bd876a2ecab9" data-width="2423" data-height="1210">Finally, although not shown in these images, when I want to depict stretched or worn-out fabric, I use the Steam tool to locally stretch or shrink areas to artificially generate wrinkles.<h1>If you are planning future projects using Marvelous Designer, in what direction would you like to expand your work?</h1>Hyun-jong Kim: Lately, I have been studying Blender as well as Cinema 4D, specifically researching workflows that integrate Blender and Marvelous Designer. Since Blender offers excellent compatibility with various other tools compared to Cinema 4D, I expect to find an even more efficient process than my current one. In terms of creative work, I am currently working on a light personal project inspired by the game The Last of Us, and I plan to actively utilize Marvelous Designer for this project as well.Min-ji Oh: Up until now, I have mostly focused on still images. However, I am currently planning a video project where I utilize Marvelous Designer's simulation features to make costumes flutter naturally in sync with the mood and music. While my previous works featured relatively simple clothing, my next project will feature a more flamboyant character. I intend to create an elaborate dress adorned with various decorations to match. I've heard that the latest versions of Marvelous Designer allow for much more detailed control over simulation features, so I am very much looking forward to my next piece!<h1><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.behance.net/Kinn_hj">Hyun-jong Kim(Behance)</a></h1><h1><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.artstation.com/ohminji3">Min-ji Oh(Artstation)</a></h1>

Behind the Scenes of ‘Mirage’: Capturing the Desert Wind

MV2 Wide-Leg Baggy Jeans

ricottaedoardo12

Frilled Ribbon Bikini Set

Bag & Backpack

Hi, I've updated MD to last version, 2026.0, but now when I import object as garment, simulate end export back in obj format, when i try to import back to Daz Studio I've a warning, "Geometry did not match, failed to create morph". Never had this problem before (I've used MD for three years). Export is as always, I've positively checked Studio import making a MT with Blender, so the problem appears be in MD export.Thanks in advance.

Morph Target Obj Format export

Gender & Age

Style

Genre & Mood

Objective

inZOI

VRChat

Garment

Inside the Costa Rican Brand Designing Entire Collections in CLO

outfit

<h1><img src="https://storagefiles.clo-set.com/public/community/202604/18b5b426d8be42da832d12cffec2dfa4/images/32b098532044470bbd0ac615a200c540CONNECT%20MetaHuman%20Thumbnail.png" class="custom-image hidden-thumbnail" data-id="32b098532044470bbd0ac615a200c540" data-width="1920" data-height="1920">Tailoring for MetaHumans Live Demo + Q&amp;A</h1>We all love the built-in CLO and Marvelous Designer avatars, but what if you’re looking for something a bit more customizable? That’s where our friends at Epic Games can help. We recently teamed up with the <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.metahuman.com/">MetaHuman </a>and <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.unrealengine.com/">Unreal Engine</a> teams for a webinar exploring the full workflow—from creating a MetaHuman, importing it into CLO or Marvelous Designer, and bringing it all into Unreal Engine for use in your projects. Check out the full recording for a step-by-step demonstration of the process.<div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/s1aP1kFyvKk?start=0" frameborder="0" allowfullscreen="" width="800" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" style="position:absolute; top:0; left:0; width:100%; height:100%;"></iframe></div><h1>Learn more about creating garments for MetaHumans</h1>Looking to learn more? We put together some resources to help you in your CLO to Unreal journey. Find out more about CLO, Marvelous Designer, MetaHuman, Unreal Engine, and the way they all work together!<h1>MetaHuman resources</h1><a target="_blank" rel="noopener noreferrer nofollow" href="https://dev.epicgames.com/documentation/unreal-engine/creating-parametric-clothing-for-fab">Creating Parametric Clothing for Fab </a>This step-by-step outline showcases the process of creating parametric (resizable) clothing assets for MetaHumans. <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.fab.com/listings/98f7b49d-f5dc-45c4-b590-52dbb4f951c0"> MetaHuman Conform Topology</a>Download this free set of asset files to make custom characters you’ve sculpted fully compatible with the MetaHuman system. <h1>CLO and Marvelous Designer resources</h1><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=VCKS0qEOJk0">CLO Quick Start</a>This step-by-step tutorial series will walk you through everything you need to kickstart your CLO journey.<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=4Ubv8p8qTnE&amp;t=2291s">Pattern Drafter</a>This mini workshop demonstrates the steps to reverse-engineer a garment pattern using the Pattern Drafter.<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=mSJLFcYUSTY&amp;t=734s">3D Pen</a>Learn about the updated 3D Pen that enables you to draw garment silhouettes around the avatar directly from the 3D space and instantly convert them into 2D patterns.<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=QDaAGBd_Oc4&amp;t=164s">&nbsp;Style Line Tools</a>Watch this video to explore how to use the style line tools in CLO, also applicable to Marvelous Designer.&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/playlist?list=PLYQUdblF9eDXA3R44hr-wcr2lErnoU1_3">Marvelous Designer Quick Start</a>New to Marvelous Designer? This quick start guide will walk you through the basics of the software.<h1>Integrating CLO and Marvelous Designer with Unreal Engine</h1>Build out your garment design, simulation, and animation pipeline with these useful resources on combining the power of CLO and Marvelous Designer with Unreal Engine. <a target="_blank" rel="noopener noreferrer nofollow" href="https://support.clo3d.com/hc/en-us/articles/53322960594969-CLO-to-MetaHuman-USD-Garment-Integration-Workflow">CLO to MetaHuman: USD Garment Integration Workflow</a>This guide outlines the entire workflow for exporting garments from Marvelous Designer as USD and integrating them with MetaHuman.<a target="_blank" rel="noopener noreferrer nofollow" href="https://support.marvelousdesigner.com/hc/en-us/articles/52699135975705-Marvelous-Designer-to-MetaHuman-USD-Garment-Integration-Workflow">Marvelous Designer to MetaHuman: USD Garment Integration Workflow</a>This guide outlines the workflow for exporting garments from Marvelous Designer as USD and integrating them with MetaHuman.<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=t3GATippRqY">Marvelous Designer 2025.2: How to Import MetaHumans in DNA as Avatars</a>This short tutorial walks you through the process of importing a MetaHuman in DNA format to Marvelous Designer for use as an avatar. <a target="_blank" rel="noopener noreferrer nofollow" href="https://support-connect.clo-set.com/hc/en-us/categories/44704952678809-LiveSync">CLO/MD LiveSync manual</a>Get set up with LiveSync—a bridge that connects CLO and Unreal Editor (CLO LiveSync), or Marvelous Designer and Unreal Editor (MD LiveSync), with the aim of shortening workflows between these tools and Unreal Engine.<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=CoYfZP5GEJM">Matt Workman’s Unreal Engine x Marvelous Designer tutorial</a>Learn how to send an animated MetaHuman from Unreal Engine 5.6 to Marvelous Designer, create and simulate clothing, and send the simulated garments back to Unreal Engine using the CLO / Marvelous Designer LiveSync 2 plugin.<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=3Cp2ngrgEHo">My Exact CLO3D to Unreal Engine 5.7 Workflow</a>Discover how to move your CLO assets into Unreal Engine in this beginners’ tutorial by aschno. She covers everything from installation and plugins to UI navigation, target lighting, MetaHuman import, and CLO LiveSync integration.<h1>Using your assets in Unreal Engine</h1>Once you’ve decked out your MetaHuman in their new clothes, you can use Unreal Engine’s Chaos Cloth system to bring realistic cloth movement that responds to character motion, gravity, and wind. <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=IzmJnTnphBc">Chaos Cloth Demystified: A Practical Guide for Artists </a>In this session recorded at Unreal Fest Orlando 2025, we unlock the full potential of Chaos Cloth with an artist-friendly guide to creating a robust production-ready pipeline. <a target="_blank" rel="noopener noreferrer nofollow" href="https://dev.epicgames.com/community/profile/Gk/gozerKeymaster">Official documentation by Tim Brakensiek</a>Epic’s Tim Brakensiek has put together a number of tutorial videos that explore different Chaos Cloth workflows, from resizing outfits to fixing collision issues. Check them out. Artist Credit We’d like to extend a special thanks to the artists whose works we’ve shared in the webinar or in this resource list. Make sure to check out <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/aschno/">@aschno Anna Liedtke</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/reve.riola/">Riola</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/blockschmidt/">Blockschmidt</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/orchidea3d/">Vesna Stawa | Orchidea3D</a>, and<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/cinematographydb/"> Matt Workman</a>.

Tailoring for MetaHumans: CLO and Marvelous Designer to Unreal Engine Live Demo

FANTASY ARCHIVES - 幻想様式帖 -

Behind the Scenes of ‘Mirage’: Capturing the Desert Wind

Marvelous Designer Official

Marvelous Designer Official