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Hi @MichaelB1099 thanks for watching and for the questions. I totally had the same experience with iClone's CCrig to MetaHuman. It was working fantastic, taking the visemes, animation, expressions from iClone and then transferring those to the MetaHuman control rig, woohoo... but then I upgraded one of my Metahumans (since Metahuman's get versioned up on the Metahuman Creator automagically) and then it stopped working... Sooo, sooo annoying as it was just what I wanted. But in the end it was a blessing as it made me realize that I'm way better off using the CC4 / iClone characters and animations and just exporting those from iClone and importing as FBX into UE. The animation tools are so much faster for human character animation and blocking for my Animatic purposes that I'm sticking with that approach for now. I do love Metahumans, they are better if your end goal is more photorealism. Another alternative to you could try is LiveLink which was pretty impressive for bringing in the faces, but then I was having problems with the body's root position not coming in. So like I said, I'm sticking with the more robust pipeline of building in CC4, animating in iClone and then importing into UE as FBX. If I want to revise, then I'll do the animation revisions in iClone, export the FBX and bring it in again to UE, but un-checking Import Mesh, so it will only bring in the animation. Big tip is to turn off "reset motion root" in the export FBX setting in iClone first so you characters are always in the same world space (Default is on and it sets the initial position to world 0,0,0. Thanks again Michael!

@@DeanYurke I was hoping to get ccrig to work with iclone character to fine tune the only way to fine tune is use edit fkrig

@@michaelb1099 Yep that's the way I'm doing it for fine, fine, tuning where I don't want to go back into iClone, say for a head rotation adjustment. In Sequencer, I'll bake the iClone FBX to the fkrig and then add another Additive fkrig track on top so I can keyframe simple things, but using just rotations, nothing fancy. If you love your adjustments but then want to go back to iClone, then you can bake the fkrig back to an fbx animation, and export to iclone. Not pretty, but it works.

@@michaelb1099 One more thing is, when you try to bake the animation to the fkrig, have you tried disabling the Filter Asset By Skeleton (above the Bake to Control Rig option) If CCrig is installed then that might work. Add one for the head, and one for body. Been a while since I tried the CCrig, since I dropped for keeping it mostly in iClone.

@@DeanYurke have ccrig but won't allow bake face n body rig and doesn't do animation so will do edit fkrig

Fantastic! Thanks so much for taking the time to leave a comment @pgjohnson5504! Really happy that you're getting some benefit from them, fire away with questions as you learn to make your own movies. The process is always getting refined as I push through the film, so I'll add more as I move forward. Currently making a video about how I handle Bluescreen footage in my Unreal pipeline which I'm looking forward to sharing too. Thanks again!

Thank you @ThinkerYT your comment came exactly when I needed it and lifted my whole day! I’ve been slogging away on my next video so your encouragement really pushed me through the edit. Thank you!

Hi @testtube1842, we can! Just figured it out. We can't adjust them in the inspector in the main edit page, BUT if you open the custom title in the Fusion page, it gives you the same little font Ab adjust kerning option in the upper left hand of the viewer! Thanks for the comment, otherwise I'd never have investigated that!

Thank you Nicholas! I'm sure most editors would cringe at my bad practices (what no bins!) but hopefully it'll be a noob gateway video to becoming full Davinci geek like me : ) Thanks for the kind words!

Hi Josiahgil, I can't remember exact dates, but I think about 9 months for the first rejection. I remember submitting the application and then wondering if they'd ever received it, as all it said on the website after you submit it is, 'we'll take at from here.' There was no email confirmation or tracking number etc. After about 9 months I got a dreaded "unfortunately" email, so I was all feeling sorry for myself, but then the next day I got an email from them and they set up a zoom to discuss what I should do to apply again. So I made some changes and then resubmitted about 3 months later. Then after another six months it was accepted. Yay. The Megagrants team is significantly smaller now, so I'm not sure what it's like applying in 2025, but definitely worth a shot as it all helps you prepare a pitch package and organize your thoughts for marketing too. So even if you don't receive one, the effort still pays off. I received mine in 2023 but only announced just a couple of weeks ago as I wanted to be further along in my process before I shared my pipeline, since as you probably know, UE changes monthly so is always improving, refining workflows. Best of luck with your project!

@DeanYurke thanks for the info. I can see it's not as simple as I thought. I submitted a short title sequence demo of my animation through email, but this was 2 months after I applied. I will wait and see what happens. 🙏

Thank you! I’m really glad that you want more. I’m looking forward to creating the next sequence. I’ll try and keep it more consistent now I’ve adopted the iclone / unreal workflow. And at some point over the next couple of months I’m planning on upgrading some of the opening sequence of the film to full cinematic quality which I’ll share too. Thanks again @watchmypaws ❤

Brilliant! Thank you! I'm hoping that the more I make will help me find more efficient ways of blocking out the animatic. The absolute thing I love about this approach with Unreal is that the animatic and the final cinematic are the same Unreal project, nothing's wasted building an animatic as I'll just level up the environment and vehicles for the final movie and replace the digital humans with live action plates in engine. Being able to re-render shots in seconds rather than overnight on a render farm is so freeing creatively. Thanks for the support barefootash!

Thank you barefootash! If I wasn’t planning on replacing all of my digital humans with live action actors, then I’d definitely invest more time with the Metahuman pipeline and would probably learn Maya for the Metahuman DNA tools. But since I’ll be swapping them out with real actors, I found that the iClone pipeline was way faster especially with the content store and the transfer skin weight tools for repurposing existing clothes. The final turning point was when I upgraded from 5.3 to 5.4 and then the metahumans behaved differently and things stopped working. I’m sure I could have figured it out but I needed to focus on the big picture and finish the animatic. Reel 1 is done so ‘only’ 4 more to go oh boy! Hoping my pipeline will settle down a bit but change is par for the course with any leading edge software. Thanks for commenting!

Great stuff Tom! Thank you! I’m surprised how many people don’t realize that there’s a free version which is more than capable for most tasks.

I miss the magnetic timeline from amFCPX but hoping they’ll do something similar one day. Having fusion in the timeline is the killer feature for me. No having to leave the edit for simple comps is gold.

Thank you destination moon! Being able to create the mine in VR before the real build saved so much time and uncertainty for the shoot. Especially being able to flood it for real. I’ll always be incredibly grateful to the actors and crew who spent days sopping wet in that set! If you’re in the US ithevfilms streaming free on RUclips movies here; ruclips.net/video/idLJodsQCuQ/видео.htmlsi=HfTxqI_rVyZ9DpYf

Thank you Destination for the support! It’s so cool that a project that I had to put in a drawer for 20 years is now possible with these realtime solutions AND that they’re practically free for indie artists, UE, Davinci, Blender (Though I do spend loads on the various asset stores and reallusion, but they save me days of work). Thanks for taking the time to comment!

Thank you Kwasi! I really appreciate the support and the exceptionally kind words. I’ve been incredibly blessed to have worked on so many films over the years. I’m really enjoying starting a channel and get to share my personal projects and pipeline, it’s a lonely world sometimes spending weeks hammering away at a keyboard for a few frames of animation so thank you for the encouragement!

Thank you so much @BMANS_VFX for the support! I'm excited for the entire Virtual Production industry too. Real-time tools are so revolutionary especially for the indie artist. We don't need a 400 machine render farm anymore to produce a movie! And with AI getting more and more useable for artists, it's mind blowing and equally terrifying what's around the corner! Still, the most important thing is... story, story, story! Thank you!

Thank you @KwasiAnimationStudio I really appreciate the support. It's going to take me years and years to make, but for me I always want to tell long form stories and that's part of the price. I'm really happy though that I made this channel and get to share the process with you. It's a real motivation to keep pushing! Thanks for taking the time to comment, and please fire away if you have any questions!

Thank you Elvis! I'm just playing with the awesome tools that Epic made and kitbashing as much as I can from the marketplace (now called fab)! Which reminds me, everyone run right now to fab.com and claim the free Quixel Megascans library before it expires in Jan 1.

Thank you! Yes definitely going to document my bluescreen process next. The first video will be with just with static cameras and subtle moves so as to not scare everyone off and then the follow up will be using cameras with moves on. The huge advantage that we have using a non-live bluescreen technique is that we get lock solid VFX style camera match moves. In this video I was using Nuke to create the camera track with the actress, but not everyone has access to NukeX so I want to try out Resolve's tracking or maybe even get a copy of synth eyes. Several tricks for camera tracking are shoot oversized frames with lots of markers outside of the action area so that the CMM software has more data to use. So use a wider lens, smaller in frame and a higher resolution. Secondly shoot rectilinear spherical lenses, to avoid camera lens distortion too. Thank you for the encouragement!!

@ Thanks very much for your feedback! Looking forward to your future videos. Subscribed!!

Thank you so much! I literally feel like a kid again, playing with my action figures. We have such neat toys!

Thank you Knightlightshow! The channel was originally made 5 years ago for my first feature film about, literally, a gold mine! (Stay Out Stay Alive - trailer on my page and a BTS). Over the last couple of years I’ve been working on x0dus, but wanted to be at a stage where my pipeline was more developed before sharing the project. Also over that time I’ve been relying so much on RUclips to learn UE and Davinci, plus a whole bunch of nerdy stuff that I wanted to contribute too. And since I dot between so many bits of software I wanted to remember what I did too! So I finally put together a bunch of videos and relaunched today (Thanks to Epic!)! So thank you again for the encouraging words and please let everyone you know who’s into this next-gen filmmaky stuff about the channel, that would be awesome!

Neither here on YT and I produced the first Virtual Production feature film 😅 🥷

For years I never really thought about kerning in general until one day my German friend pointed it out to me, and ever since then I can’t unsee it! So glad I found that tiny button top left of the viewer in fusion! Thanks for the encouragement KandGProductions really happy that it helped!

Thank YOU Matthew! I went down so many false leads hunting for a solution that when I found yours that finally fixed it, and in a super simple way, I jumped for joy! Thank you for taking the time to share your knowledge on the Black Magic forums, I for one really appreciated it! You rock!

I’m really happy you found it useful, thank you!

Hey Dean! I'm just learning Davinci so I'll be checking out the rest of your videos for sure!

Thanks Tom! It was a little daunting starting out with davinci because it can do so much. But the investment in time is so worth it!

Amazing. Please share your knowledge so we can learn from you

@@dddharmeshabsolutely!

Thank you!

Thanks Karen! Some of the music is available on Lawson Rollins' - Dark Matter, but if there's a specific piece you'd like I can upload it to this channel, so let me know, thanks! www.amazon.com/Dark-Matter-Music-Lawson-Rollins/dp/B07MYM4MQ9

@@DeanYurke Thanks so much, Dean! Just listened to each song sample on Dark Matter. I’ll be watching the movie again soon, so if there’s music I’d like that’s not available on Lawson’s CD, I’ll let you know. Thx again! ☺️

Starla and Andrew did phenomenal work with the Production Design and Art Direction. I'm working on a behind the scenes video showing how the mine was built so please subscribe so you'll be notified when it goes live. Thanks Ameera!