I'm trying to apply one of CLO’s default motion files to the default female avatar and export it to work in another program (like Blender or C4D). I exported the avatar as an FBX file, but no matter which motion file I apply in CLO, the animation only imports up to frame 26 in both Blender and C4D.If I export as an ABC (Alembic) file, the full animation plays correctly in both programs — but since Alembic files don’t carry UV data, it creates problems with texturing. That’s why I would prefer to export using FBX.I remember FBX exports working fine in the past, but now it seems like something has changed. Is this a known issue?I've attached screenshots of my FBX export settings in CLO and the import settings in Blender. The motion file I applied has a total of 577 frames, but again, only 26 frames are imported into Blender and C4D. I’ve also confirmed that the Scene Time Warp in CLO is properly set to 1, so that shouldn’t be causing the issue.Is there currently a bug or known issue preventing full animation export through FBX? Or is it inherently difficult to export full motion via FBX from CLO, and ABC is the only reliable option?Is there any way to fix this?I’d really appreciate any solution or workaround.my CLO3D version : 2024.2.344<img src="https://storagefiles.clo-set.com/public/community/202504/fd8623731787430dbdfb3a29cb2584d3/images/e07d40c832644017a7ae74fd112638912.png" alt="e07d40c832644017a7ae74fd11263891" class="custom-image original-size" data-id="e07d40c832644017a7ae74fd11263891" data-width="757" data-height="1584"><img src="https://storagefiles.clo-set.com/public/community/202504/fd8623731787430dbdfb3a29cb2584d3/images/c64b4fa807cd41f794ab306c86beeca51.png" alt="c64b4fa807cd41f794ab306c86beeca5" class="custom-image original-size" data-id="c64b4fa807cd41f794ab306c86beeca5" data-width="3812" data-height="608"><img src="https://storagefiles.clo-set.com/public/community/202504/fd8623731787430dbdfb3a29cb2584d3/images/49b52dbb3723494f8e4ec08ad685e5e93.png" alt="49b52dbb3723494f8e4ec08ad685e5e9" class="custom-image original-size" data-id="49b52dbb3723494f8e4ec08ad685e5e9" data-width="679" data-height="1418">

Animation Export Issue (ABC, FBX)

Ugly Sweater Edition

Timeless Fairway

Gender & Age

Style

Genre & Mood

Objective

inZOI

VRChat

Garment

<h2 style="text-align: center">Meet Anny Han, a 3D fashion and graphic designer with a deep background in pattern making and garment construction. By bridging traditional techniques with digital tools, she created a realistic, emotionally resonant digital fashion, resulting to her award of 2nd Place in the <a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/contest/mdcc2025vol2">Marvelous Designer Creator's Contest Vol.2 " TOKYO CONTINUUM - 東京進化系 -"!</a></h2><hr><img src="https://storagefiles.clo-set.com/public/community/202512/6db6acc9f1144f13a8bd11a6a0645519/images/44e8b1862dea4ef4aeaac508b9fdf6ef4.webp" alt="44e8b1862dea4ef4aeaac508b9fdf6ef" class="custom-image original-size" data-id="44e8b1862dea4ef4aeaac508b9fdf6ef" data-width="1200" data-height="1600"><a target="_blank" rel="noopener noreferrer nofollow" href="https://connect.clo-set.com/detail/57c70236280a403997e3eef3deae4f99">花と爆 (Hana to Baku)</a><hr><h3>1. Artist Introduction: please tell us about yourself.</h3>Anny Han: Hello, my name is Anny Han, and I am a 3D fashion and graphic designer.I currently work in fashion product development, using CLO and Marvelous Designer to create realistic digital garments based on my background in pattern making and construction. I first started learning 3D to improve communication and speed within the development process, and it soon became an essential tool for expressing my own creative world.I joined this contest to explore new styles and push myself beyond my usual workflow as a creator. Through this experience, I gained clearer direction in building my own aesthetic and artistic identity in 3D.<img src="https://storagefiles.clo-set.com/public/community/202512/6db6acc9f1144f13a8bd11a6a0645519/images/5d97640ccfb84ee29598e03aeb2b69b9image.png" alt="5d97640ccfb84ee29598e03aeb2b69b9" class="custom-image original-size" data-id="5d97640ccfb84ee29598e03aeb2b69b9" data-width="954" data-height="716"><hr><h3>2. We’d like to hear more about the art direction in your Creator’s contest 2025 Vol.3. What was the visual style you were aiming for?</h3>Anny Han: For this project, I aimed to express the dual identity experienced by many young people living in modern cities.The “Bomb (ボム)” on the back and the “Flower (花)” in the hand symbolize the contrast between destruction and beauty, resistance and acceptance—visualizing the conflicting emotions that coexist within today’s youth.The overall art direction focused on the intersection of tradition and modernity. Inspired by traditional Japanese silhouettes and textiles, I reinterpreted these heritage elements through a contemporary and functional lens. I incorporated delicate stitchwork inspired by Sashiko, a traditional Japanese embroidery technique, to bring a rhythmic and meditative craftsmanship to the garment.To balance this with a modern sensibility, I added technical pockets and a bold graphic bag to enhance practicality, creating a bridge between the past and the future.The flower motif, blooming like an explosion, serves as the centerpiece of the look—turning the garment into a powerful form of visual storytelling.<img src="https://storagefiles.clo-set.com/public/marketplace/202505/57c70236280a403997e3eef3deae4f99/thumbnail/2.png?resize=1&amp;f=webp&amp;w=1680&amp;fit=scale-down" alt="3D 花と爆 (Hana to Baku) Model" class="custom-image original-size"><hr><h3>3. Would you be able to give us a quick overview of the different tools you use in your pipeline with a focus on Marvelous Designer? Have you encountered any challenges and how have you overcome them?</h3><img src="https://storagefiles.clo-set.com/public/community/202512/6db6acc9f1144f13a8bd11a6a0645519/images/a937a8de69ef46f0b15868e10901916cimage.png" alt="a937a8de69ef46f0b15868e10901916c" class="custom-image original-size" data-id="a937a8de69ef46f0b15868e10901916c" data-width="975" data-height="731">Anny Han: I began by creating the garment 2D pattern in a CLO program. Thanks to my background in pattern making, building the base structure was not difficult, but I focused on ensuring the garment made structural sense in real life.In Marvelous Designer, I refined the silhouette by adjusting ease, natural wrinkles, and three-dimensional shape. After assembling the garment, I conducted quick color tests directly inside MD to explore different palettes. Separating parts into UV areas allowed me to manage materials and colors more efficiently throughout the process.<hr><h3>4. Are there any tips and tricks with Marvelous Designer that you can share with the community?</h3>Anny Han: One thing I’ve learned is that continuously studying other creators’ work is essential. Seeing different approaches and styles always pushes me to grow, and I still feel that I have a lot to learn.Rather than relying only on my own habits, I try to broaden my perspective by observing how others use Marvelous Designer and how they express details.These days, I believe combining Marvelous Designer with AI tools can elevate the quality of a project even further—whether for ideation, reference gathering, or enhancing the final presentation.Staying open to new tools and new ways of working is, for me, the most important tip.<hr>

Meet Anny Han: 2nd Place Winner of MDCC Vol.2!

<h2 style="text-align: center">"<a target="_blank" rel="noopener" class="ng-star-inserted" href="https://yoyogi-mori.booth.pm/">YOYOGI MORI</a>" is a 3D avatar clothing brand operated by Tenju Co., Ltd. It is a creative collective dedicated to producing captivating virtual wear under the slogan "A brand you can rely on for the long term."</h2><h2 style="text-align: center">In this interview, we speak with a YOYOGI MORI designer responsible for 3D patterning, using Marvelous Designer and avatar setup. They discuss their dedication to the craft of fashion production and the philosophy behind the brand.</h2><hr><div data-youtube-video="" style="padding:56.25% 0 0 0; position:relative;"><iframe src="https://www.youtube.com/embed/xxdzw0Ajep4" 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><h2>Artist and Brand Introduction</h2>Q. First, could you please introduce yourself and "YOYOGI MORI"? What kind of activities do you do?A. "YOYOGI MORI" is a 3D avatar clothing brand operated by Tenju Co., Ltd. It is a circle activity that creates attractive virtual wear through collaborations with various creators. After graduating from Bunka Fashion College, I joined Tenju Co., Ltd. with whom I had a relationship while still a student.Currently, I am mainly in charge of 3D sewing using Marvelous Designer, avatar setup, and product production management. Personally, I also create real-world costumes and engage in musical activities.<hr><h2>Brand Theme and Aesthetics</h2>Q. YOYOGI MORI's works have a unique worldview and fashion sense. Please tell us about the themes and aesthetics the brand cherishes.<img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/7bbebb98256a40d389ee203c3d7531e1bca8c654-0a11-4b3b-93e1-bdce01ceb55f_base_resized.jpg" alt="7bbebb98256a40d389ee203c3d7531e1" class="custom-image original-size" data-id="7bbebb98256a40d389ee203c3d7531e1" data-width="1024" data-height="1024">A. Our goal is for YOYOGI MORI to be recognized by users as "a brand they can rely on for the long term." To achieve this, we go beyond simply selling 3D avatars; we provide an experience where value continues to rise after purchase through continuous updates and support. Furthermore, by expressing a consistent worldview across the entire brand rather than treating works as standalone items, we aim to be an entity where "owning a YOYOGI MORI product is in itself a status symbol and a proof of reliability."Our stated brand philosophy is "to cultivate a culture of cherishing 3D avatars." We view avatars not merely as data, but as extensions of one's own body. By setting appropriate prices and clear terms of use, we provide peace of mind to users while building a foundation where creators can work healthily. We will continue our activities with the ideal vision of a future where "grandparents can gift avatars to their grandchildren," while returning value to both users and creators.<hr><h2>Significance of Fashion in VRChat</h2>Q. What appeal or significance do you feel in creating fashion for VRChat?<img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/ea17642397884b37a01b9a5bf75996591d75b322-cc49-4b43-a2fa-6c14b43ba129_base_resized.jpg" alt="ea17642397884b37a01b9a5bf7599659" class="custom-image original-size" data-id="ea17642397884b37a01b9a5bf7599659" data-width="1024" data-height="1024">A. As a clothing enthusiast, I love the feeling of engaging in cutting-edge creation within the apparel industry, which has such a long history. I see great potential in "virtual wear"—a form of clothing creation that is possible precisely because of the era we live in.<hr><h2>Production Flow with Marvelous Designer</h2>Q. How is Marvelous Designer utilized in your usual production workflow?A. [Pattern Making and Sewing] After creating and sewing the patterns, I use layer functions and strengthening to roughly approach the final shape. Since this design utilized many pleats, I used the Pleats function. Unsewn parts tend to float, so I used tacks to hold them down and make them look neat.<img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/aa48403fbe4743c0b129da757d7076af%E5%9E%8B%E7%B4%99.png" alt="aa48403fbe4743c0b129da757d7076af" class="custom-image original-size" data-id="aa48403fbe4743c0b129da757d7076af" data-width="1589" data-height="1000"><img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/eeb2d14656e54b3ca7a86668d5c955f7%E3%82%BF%E3%83%83%E3%82%AF.png" alt="eeb2d14656e54b3ca7a86668d5c955f7" class="custom-image original-size" data-id="eeb2d14656e54b3ca7a86668d5c955f7" data-width="1571" data-height="1001">Pattern making using the Pleats function and Tacks[Simulation and Wrinkle Creation] To create the desired wrinkles, I re-simulate while gradually changing settings and patterns, using partial freezing or pins during this process. If symmetrical wrinkles are acceptable, I find it convenient to detail one side, then use partial solidification (except near the seam allowance) to create a symmetric pattern.<img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/2fb780d5b34a470aa2b01feabc8166dc%E3%82%B7%E3%83%AF%E3%81%AE%E4%BD%9C%E3%82%8A%E3%81%93%E3%81%BF.png" alt="2fb780d5b34a470aa2b01feabc8166dc" class="custom-image original-size" data-id="2fb780d5b34a470aa2b01feabc8166dc" data-width="1385" data-height="672"><img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/baa3bde7c1a844a4b1dafceedc6005a4%E9%83%A8%E5%88%86%E5%9B%BA%E5%AE%9A.png" alt="baa3bde7c1a844a4b1dafceedc6005a4" class="custom-image original-size" data-id="baa3bde7c1a844a4b1dafceedc6005a4" data-width="742" data-height="741">Adjusting wrinkles using pins and partial freezing[Final Details] In 3D, how you create "cool wrinkles" changes the density of information and the final impression, so I put a lot of effort into parts that are likely to move. I think the best part of Marvelous Designer is the ability to create wrinkles that convey fine material texture. Since unwanted wrinkles can be removed later, I focus on building it up to a state where the wrinkles look cool as the finished form.<img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/20272871bca44a70833f13635e86023c%E5%AE%8C%E6%88%90.png" alt="20272871bca44a70833f13635e86023c" class="custom-image original-size" data-id="20272871bca44a70833f13635e86023c" data-width="1372" data-height="668"><img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/c8a04911e42e476b91dc98ee3d2d92bf%E3%83%87%E3%82%A3%E3%83%86%E3%83%BC%E3%83%AB.png" alt="c8a04911e42e476b91dc98ee3d2d92bf" class="custom-image original-size" data-id="c8a04911e42e476b91dc98ee3d2d92bf" data-width="1175" data-height="677">Wrinkle details on the finished outfit<hr><h2>Role and Benefits in Team Production</h2>Q. I understand YOYOGI MORI is a small team production. Are there any moments in the process where Marvelous Designer proves particularly useful?A. If we are talking about the benefits of a small team, it's that each person's area of expertise is easily utilized. I believe that having someone who loves clothes handle the clothing parts results in a better product than having a 3D modeler try to sculpt "clothing-like" wrinkles. A major advantage is being able to achieve differences in fabric texture and wrinkles resulting from patterns, which are difficult to express with the sculpting functions found in existing 3D tools. Also, conceptually speaking, since we can create models just like drafting actual clothing patterns, it allows us to imbue the finished product with a persuasive power as clothing, which is a wonderful point.<hr><h2>Production Challenges and Solutions</h2>Q. What difficulties did you face when using Marvelous Designer for VRChat clothing production, and how did you solve them?A. Regarding VRChat specifically, we are often forced to create costumes in a T-pose by convention. In that case, it is difficult to secure the height of the sleeve cap, making it hard to produce items like jackets and shirts where the shoulder silhouette is crucial. At YOYOGI MORI, we solve the aesthetic issues to some extent by using an A-pose as our standard.Also, comparing actual humans to avatar body types, avatars often have extremely distinct proportions. Creating patterns based on realistic senses often resulted in an awkward look. In such cases, I try to approach the intended shape by taking finer darts or using freezing and strengthening on specific parts only.<hr><h2>Future Outlook</h2>Q. Are there any themes or directions you would like to challenge in future productions using Marvelous Designer?A. I would like to tackle products that cannot be expressed in real-world apparel. Currently, we mostly make things that can actually be produced, so I want to pursue what is possible because it is virtual. I think it would be amazing to layer the reality that only Marvelous Designer can produce on top of that, creating items that cannot exist in reality yet possess a strong sense of presence.<img src="https://storagefiles.clo-set.com/public/community/202512/b16c7780fc0f416caddd4a95f5df96f9/images/06d07e07e8ac4a16b0a68d8b66fa82a79d0a579a-3597-4e56-ada0-70f21df2e1f9_base_resized.jpg" alt="06d07e07e8ac4a16b0a68d8b66fa82a7" class="custom-image original-size" data-id="06d07e07e8ac4a16b0a68d8b66fa82a7" data-width="1024" data-height="1024"><h2>Message to VRChat Avatar/Clothing Creators</h2>Q. Please give some advice or a message to VRChat creators who want to try using Marvelous Designer.A. Some might shy away because they have no experience with actual clothing construction. However, a T-shirt can be made with just three pattern pieces: front body, back body, and sleeve. Marvelous Designer's functions can be completed with just drafting and sewing, so I would like you to try it once and experience the realistic wrinkles. I think it's fun just to make one item and try changing the simulation fabric settings.<hr><h2>Credits</h2>Avatar &amp; Costume Images/Video: From YOYOGI MORI BOOTH Page "<a target="_blank" rel="noopener noreferrer nofollow" href="https://yoyogi-mori.booth.pm/items/6195966">[VRC / VRM Compatible 3D Model] Haysblanks ver1.03</a>" Marvelous Designer Avatar Costume Production Images: Tenju Co., Ltd.

[EN] YOYOGI MORI: Designing Avatars and Fashion for Virtual Reality

Animation Export Issue (ABC, FBX)

machine.k

machine.k