Building a Custom Vampire Character from Scratch with CC5 and Unreal Engine 5.7

Hi, I’m Marlon R. Nuñez, Creative Director at Digito and the creator behind @mrnunez3D in YouTube. With over 13 years of experience in digital humans, real-time workflows, and stylized realism, I’ve worked across games, cinematics, and XR productions. This article breaks down how I built a fully custom vampire character using ZBrush, Character Creator 5, XGen, and Unreal Engine 5.7, testing the limits of CC5’s HD pipeline and real-time integration.

Over the past few weeks, I took on the challenge of creating a fully custom vampire character using ZBrush, Character Creator 5 (CC5), XGen, and Unreal Engine 5.7. This wasn't just about building a stylized character. It was about testing the limits of CC5’s new HD features, grooming workflows, facial animation, and real-time performance inside Unreal Engine. Here’s a breakdown of the entire process.

1. From CC5 blockout to ZBrush sculpt

I started by loading the default male avatar in CC5 as a base. Before even jumping into ZBrush, I used CC5’s powerful morph sliders to block out the overall shape of the character. This is a great starting point because it allows you to quickly define general proportions — like head size, neck length, torso width, and limb shape — all in a non-destructive way. Using morphs not only speeds up the design process but also helps establish a solid base mesh with clean topology, ready for sculpting fine details later on. From there, I exported it into ZBrush to begin sculpting. 

Using a combination of Clay Brush and Dam Standard 2, I carved in wrinkles, secondary forms, and facial structure. This brush combo helped me stay creative and stylize the character without losing realism. Once the primary and secondary forms were working, I used Polypaint to start visualizing the character’s tone.

The goal wasn’t to finalize everything in ZBrush, but rather to set up a clean sculpt ready for HD detailing back in CC5.

2. Refining with CC5 HD Features

Back in Character Creator 5, I brought in the sculpted mesh using GoZ. The new HD morphs and subdivision tools inside CC5 let me refine anatomical detail without switching back to ZBrush.

I adjusted muscle definition, sharpened key features, and used non-destructive morphs to fine-tune the look. Since the final result would be used in close-up renders and real-time sequences, this HD detailing step was essential.

3. Clothing and CC5 Edit Tools

Because my focus was the face, I didn’t spend time designing clothes from scratch. Instead, I used the free styling clothing pack in CC5 to mix and match different items.

I tested several coats and pants to get a gothic, modern vampire vibe. Once I settled on a base outfit, I exported the clothing back to ZBrush to sculpt unique folds and break symmetry — especially at the bottom of the coat to give it a jagged, dramatic feel.

One helpful trick during this stage is using the Edit Mesh tools inside CC5. These tools allow you to make precise tweaks directly on the clothing or body mesh — ideal for resolving minor overlaps, adjusting silhouettes, or even fixing mesh clipping and light skinning issues. They're especially useful when parts of the outfit intersect with the body during movement or when you need to make manual adjustments to avoid mesh clashing in animation. You can sculpt mesh regions, move vertices, and fix problem areas without having to re-export to ZBrush, which is a huge time-saver.

4. Grooming Hair in XGen (Maya)

For the hair, I wanted something stylized but rooted in realism. I used XGen Interactive Groom in Maya to create both the hair and brows.

Once done, I exported the grooms as Alembic caches. These were imported into Unreal Engine and bound to the head skeletal mesh using the Groom component. Rotation and scale adjustments were needed during import (Rotation X = 90, Scale Y = -1) to match orientation.

You can also watch the full process for the hair here:How to Create Metahuman Hair in XGEN and Unreal Engine Tutorial

5. Setting Up in Unreal Engine 5.7

I imported the CC5 character FBX with Morph Targets enabled to preserve facial blend shapes. Then I used the Create CC Control Rig function to automatically generate a control rig and blueprint compatible with UE5.

One key note: I switched the character to CC5 HD mode before exporting from CC5 to ensure full facial rig compatibility.

6. Scene Assembly, Lighting, and FX

For lighting, I kept it simple: one spotlight, one point light, and a bit of color grading. To give the environment some energy, I added a Niagara fire effect in the background with a red tint, simulating a burning castle vibe.

This helped frame the character in a more cinematic way and added subtle motion behind the dialogue.

7. Facial Animation and Audio Sync

I recorded myself and exported the audio as a WAV file, which I used as the input for MetaHuman performance capture inside UE5.

Once the animation was generated, I disabled the head movement (to reuse the mocap animation) and combined the facial performance with the body motion.

Later, I ran into an issue with eye movement not tracking properly. The fix was enabling the Control Look At option inside the Control Rig and manually tweaking eye positions frame-by-frame for believability.

8. Solving Mesh Clipping and Skinning Bugs

In UE5, I noticed the coat mesh was intersecting with the body, even though this didn’t happen in CC5.

Using Vertex Sculpt tools inside the Skeletal Mesh Editor, I pushed the coat geometry to resolve the issue directly within Unreal. I also used animation curve editing to loop the walking motion and extend the sequence.

Final Thoughts

This workflow was a great mix of creative sculpting, technical problem solving, and real-time character performance. The CC5 HD features combined with Unreal Engine’s control rig tools gave me flexibility without sacrificing visual quality.

If you're building stylized or semi-realistic characters for games, cinematics, or virtual production, this approach is fast, efficient, and powerful.

FAQ

Can I animate ZBrush characters directly in Character Creator 5?Yes. With CC5’s GoZ Plus bridge, you can transfer your ZBrush sculpts, bake textures automatically, and animate them with body motions, facial expressions, and lip sync.

Do I need to retopologize my ZBrush sculpt before sending it to CC5?No. CC5’s neutral base mesh has clean topology and is animation-ready. You only need to sculpt details and then bake displacement and normal maps for transfer.

How does CC5 handle HD subdivision from ZBrush?CC5 supports adaptive subdivisions. You can send models back and forth at different levels (Lv0, Lv1, Lv2) and automatically generate optimized maps for each.

Can CC5 handle non-human characters sculpted in ZBrush?Yes. CC5 includes tools like Adjust Bones and Pose Offset to fix skeleton alignment, making even stylized or alien proportions fully animatable.

What animation features can I use once the sculpt is in CC5?You can apply motion capture, motion libraries, facial morphs, dynamic wrinkles, and voice-based lip sync to bring your ZBrush characters to life.

📺 Full video breakdown on YouTube: https://youtu.be/7zfJvWg4iqk

🏋🏻‍♀️ My Work:  https://www.instagram.com/mrnunez

 🔗 Brushes & tools available on Gumroad: https://mrnunez.gumroad.com/l/Hair_v2

 📩 Questions or collabs: marlon@mrnunez.com

Blender 4.5 Vulkan and the Birth of an Alien FormBlender 4.5 has arrived with one of its most anticipated updates: Vulkan support. For years, Blender relied on OpenGL as its viewport backend. Now, with Vulkan, the software finally steps into a modern graphics pipeline that promises smoother real-time performance and more efficient parallel processing.For me, this was the perfect excuse to start a new project: sculpting and rendering an alien form from outer space.

Sculpting the Unknown in ZBrush

Like most of my creatures, this one began as nothing more than a simple sphere in ZBrush. Using Dynamesh, I blocked out loose forms, stretching and pushing shapes without overthinking details. The key at this stage is to let the design emerge naturally.I wanted something that felt organic yet unsettling — a creature that could exist if we pointed a telescope at another star system.Once the base form took shape, I turned to Polygroups to establish structure and create workable topology. Since this was more of an artistic test than a production asset, I kept things light, avoiding tedious retopology in favor of speed.Alien sculpt full timelapse in Zbrush 2026

UVs and Texturing

Clean UVs are essential for complex organic models, so I jumped into RizomUV to set up UDIMs. This workflow scales beautifully for creatures, ensuring texture detail holds up even in extreme close-ups.For texturing, I used MARI, my preferred tool for large-scale assets. Its node-based workflow handles UDIMs efficiently and allows for fast iteration. I layered skin details, cavities, and subtle biological patterns to create something both alien and strangely believable.(For those who want the full deep dive into my MARI node setup, I’ve shared an extended breakdown in my memberships.)Texturing in MARI using the NODE system

Enter Blender 4.5 and VulkanWith the sculpt and textures ready, it was time to bring everything into Blender 4.5.Here’s the key point: Cycles itself doesn’t render with Vulkan — it still relies on CUDA, OptiX, HIP, or oneAPI. But the viewport rendering and display pipeline are now powered by Vulkan, replacing the aging OpenGL system. The result is a smoother, more responsive experience when orbiting around your scene, tweaking shaders, or previewing your render in real time.For artists, this makes a big difference. It doesn’t magically make Cycles faster, but it makes the process of working in Blender feel much more modern and efficient.

This project was more than just a creature sculpt — it was a way to test how Blender is evolving with Vulkan and how our workflows as digital artists can keep pushing forward.From ZBrush sculpting to RizomUV and MARI texturing, all the way to Blender Vulkan rendering, the pipeline reminded me of how interconnected creativity and technology really are.Whether you’re an artist, a sci-fi enthusiast, or just curious about what Blender 4.5 can do, one thing’s for sure: the future of digital creation feels just a little bit more out of this world.

Huion Kamvas 13 Gen 3 Review – Can It Handle 3D Sculpting?

When it comes to choosing a display tablet for 3D work, size, resolution, and pen performance all play a huge role. So when I got my hands on the Huion Kamvas 13 Gen 3, I had one big question: Can a budget-friendly, 13-inch tablet handle serious 3D sculpting and texturing?

To find out, I put it through its paces in ZBrush, sculpting Warwick from Arcane. Here’s what worked, what didn’t, and whether this tablet is a good choice for 3D artists.

First Impressions – Compact, Well-Built, and Matte Screen Goodness

Right out of the box, the Kamvas 13 Gen 3 feels well-built for its price. It’s lightweight and compact, making it super portable. The 13.3-inch display runs at 1920x1080 resolution, which is standard for entry-level tablets. It’s also noticeably more vibrant than older models, covering 99% of the sRGB and Rec.709 color gamuts—a plus for anyone doing texture work.

One of the first things I noticed was the matte screen texture. Huion calls this their Canvas Glass technology, and it’s designed to reduce glare and provide a more paper-like feel. I was pleasantly surprised by how nice it felt—just the right amount of friction for a natural drawing experience. I didn’t even need to wear the usual drawing glove.

Setup was easy, too. Calibration was quick, and like most display tablets, you can set up custom profiles for different software, which is useful when switching between sculpting, texturing, and painting.

Sculpting Test – How Does It Handle in ZBrush?

For this test, I sculpted Warwick from Arcane, which meant a lot of fine detailing—fur, scars, and mechanical elements. Here’s where things got interesting.

Pen Performance – Surprisingly Good

Huion’s latest PenTech 4.0 technology delivers a battery-free pen with three customizable side buttons and a dust-proof grip. It felt smooth, precise, and responsive, with no noticeable lag. Pressure sensitivity worked well, especially for organic sculpting. Compared to my Xencelabs pen, I actually liked the extra third button—it’s small, but having one more shortcut is always helpful.

Screen Resolution – 1080p Feels Tight for Sculpting

This is where I ran into some issues. 1920x1080 on a 13-inch screen sounds fine on paper, but in reality, I found myself constantly zooming in and out to see details properly. For sculpting in ZBrush, especially when working on fine textures, I really missed having 4K resolution. If you’re used to working on a higher-res screen, this will be noticeable.

Tablet Size – A Bit Cramped for 3D Work

The 13.3-inch display might work well for 2D artists, but for sculpting, it felt too small. I had to constantly adjust my workspace to see everything clearly, which slowed down my workflow. If this tablet were touchscreen, I could justify the smaller size, but without that feature, it’s just not ideal for sculpting.

Shortcuts and Dial Controllers – Not Enough for 3D

The Kamvas 13 comes with two dial controllers and five press keys, all customizable. These work great for 2D workflows, but for 3D? Not as much. As a sculptor, I rely on a ton of shortcuts, and five buttons just aren’t enough. I ended up ignoring them and sticking with my keyboard instead.

The radial menu built into the pen is a nice feature—it gives you six quick shortcuts—but I found it a bit limited. Ideally, it would allow for more than six commands and let you rename them instead of just assigning shortcuts.

Final Verdict – Who Is This Tablet For?

The Huion Kamvas 13 Gen 3 is a solid display tablet, but is it good for 3D artists? Here’s the breakdown:

Who Should Consider It?

✅ Beginners on a budget – If you’re just starting with digital sculpting and need an affordable tablet, this is a great option.✅ Artists who need a portable setup – If you travel or work on the go, the compact size is a plus.✅ 2D artists and texture painters – The vibrant colors and matte screen make it a strong choice for 2D work and texture painting.

Who Should Look Elsewhere?

❌ Serious 3D artists – The 1080p resolution and small screen make detailed sculpting harder. If you work with high-res assets, consider a larger or 4K display.❌ Artists who need a touchscreen – If you like to rotate, pinch, and zoom directly on the screen, this isn’t the tablet for you.❌ Shortcut-heavy workflows – The limited buttons and radial menu aren’t enough for complex 3D workflows.

Final Thoughts

At $250, the Huion Kamvas 13 Gen 3 is a good entry-level option for digital artists, especially for 2D work and texture painting. However, for 3D sculpting, the low resolution, small size, and lack of touchscreen make it a bit frustrating.

Would I use this as my daily 3D sculpting tablet? No. But if you’re a beginner, working on a budget, or need a portable second screen for sculpting and texturing on the go, it could be a worthwhile option.

Let me know—would you use a 13-inch tablet for 3D work? Or do you need a bigger screen to stay productive?

Step-by-Step Tutorial: Wrapping Models and Transferring Textures Using Faceform Wrap

This tutorial will guide you through the process of wrapping 3D models and transferring textures using Faceform Wrap. This technique is commonly used by professionals to streamline their workflow and achieve high-quality results. Let’s dive into the detailed steps!

https://youtu.be/813BCbIwGiE?si=xQdcYeScwGBEXyEw

Step 1: Load Your Geometry

Start by loading the first geometry. In this case, we will use the Lucy Liu model. Navigate to the viewport 3D tab and select the visualizer model under the editor. You’ll find options for turning the wireframe on and off, which can be useful for visualization. To rename your geometry, press F2 over the geometry node.

Step 2: Load the Second Geometry

Next, load the second geometry, which will be the XYZ face geometry. This model is beneficial because it comes with a variety of baked maps that we will transfer later. After loading, quickly rename it to XYZ for easy reference.

Step 3: Create Splines for the Wrapping Process

Now, create a new node called “Select Points with Splines”. This node is preferred over the older “Select by Points” because it makes the wrapping process smoother. Ensure to keep it topological, as both meshes are topologically symmetrical. This is crucial for the wrapping process.

When creating splines, pay attention to the order and direction in which you create them. Typically, for heads, splines should be created for the eyelids, nasolabial fold, the Vermilion border (mouth), ears, and neck. This setup usually provides enough control for the wrapping process.

If you happen to place the splines incorrectly, don’t worry; you can reshape them later. It’s important to ensure that both geometries have the same number of splines, which can be checked in the visual editor.

Step 4: Pair the Points

Create a “Point to Pairs” node to link both geometries together. This step will help you verify that both geometries are aligned correctly.

Step 5: Fast Wrapping Node

Next, create a “Fast Wrapping” node. You might wonder why to use a fast wrapping node instead of the standard one. Based on experience, fast wrapping tends to produce a better initial result, which can then be refined further.

Step 6: Fix Artifacts with the Brush Node

After wrapping, use the “Brush Node” to fix any small artifacts that may have occurred during the wrapping process. Adjust the radius of the brush to suit your needs. The two main brushes to use are the “Relax Projection” and “Move Projection”. These will help address any topology issues effectively.

Step 7: Create a Final Wrapping Node

Create a wrapping node to finalize the geometry. In this node, set up the input and output without selecting by points. This will help fix any small intersections and relax the geometry further.

Step 8: Transfer the Textures

Now, it’s time to transfer the textures. Create a “Transfer Texture” node. In this setup, invert the inputs where the first input will be the XYZ head, and the second input will be your newly wrapped base mesh. Load the albedo map on top of the XYZ head.

To isolate and view the transfer result, hit control and display the node. You may need to adjust the resolution; while the XYZ maps come in 16K, for efficiency, set it to 4K for quicker transfers.

Step 9: Extrapolate Image Node

If you notice any empty spaces in the texture transfer, you can fix that by creating an “Extrapolate Image” node. This will help fill in the gaps effectively.

Step 10: Duplicate and Finalize the Transfer

Duplicate the initial geometry and place it at the end of your chain. Set the image input to your transferred textures. At this point, you may notice some errors, particularly around the eyelids. To address this, create a “Blend Shape” node.

Load the blend shape geometry, which typically includes a closed-eye version. Set the first input to the open eyelid and the second to the closed version. A blend shape value of 0.5 is recommended for optimal texture transfer.

Step 11: Final Adjustments

Make sure to reconnect your nodes properly and address any remaining topology issues manually. Spend extra time on tricky areas like the eyelids, as they often require more attention.

Step 12: Save Your Work

Once everything looks good, create a “Save Image” node to finalize your template. Name it appropriately and compute the current frame. You can choose different formats depending on the source image you’re using.

Conclusion

With this process, you now have a professional template ready for use. Faceform Wrap simplifies the workflow of wrapping models and transferring textures, making it a top choice for artists aiming for efficiency and quality. If you’re looking to enhance your 3D modeling skills, using Faceform Wrap is definitely the way to go!

YOUTUBE TUTORIAL: https://www.youtube.com/watch?v=BrfkZ7fUN-s

When I first started sculpting in ZBrush, one of the hardest things for me was figuring out how to block out the basic shapes of a head. I used to get caught up in the details way too early, and it always made things harder down the line. Over time, I learned that focusing on the foundation first is the key to smoother, faster results. Now, blocking out a head is one of my favorite steps, and I want to share a few tips that have really helped me refine my process.

1️⃣ Start with a solid base:Setting up a clean base mesh early on makes the rest of the sculpting process way easier and more efficient.

2️⃣ Focus on major forms first:Before jumping into details, I always start by defining the large shapes to give the head its overall structure.

3️⃣ Block out key facial features:Getting the basic shapes of the eyes, nose, and mouth in place early helps with proportions and flow later on.

4️⃣ Refine and adjust proportions:Once the blockout is done, it's time to go back and fine-tune everything, making sure all features are in harmony.

This approach keeps the workflow smooth and ensures a strong sculpting foundation. Feel free to share your own tips in the comments!

#ZBrush #3DArt #DigitalSculpting #BlockoutTechniques #ProTips #3DModeling

Wanted to share my first 3D character in Blender. I started my journey from Blender Guru's iconic Donut tutorial, I'll walk you through my step-by-step process of self-teaching and mastering Blender.  From mastering the fundamentals to crafting my own girl 3D model with unique toon shading techniques and using Blender Grease Pencil. 

All in 13 days. 

This video is packed with insights and tips for beginners eager to explore Blender.

2 months ago I had my very last Wacom Driver issue: Driver not found. Im sure you know what I am talking about!

So I decided to jump into the market on the search of a new Drawing tablet. My requests:

- Reliable

- good price

- Pen sensitivity

I've been working with the nw XenceLabs tablet for the last 2 months and I am very suprised with the results. Here you can find my personal review on this tablet. Hope you enjoy it!

Hey everyone,

I just released this video showcasing how to sculpt hair inside Zbrush using the Hair IMM  brush 2.0 that you can download.

 Let me know if you find it useful!

https://youtu.be/BzPPd0ifdAM?si=tAo_wsmwF8lVQUV8