Process of Making Garment Animation


Tips and tricks for creating stable and realistic Garment Animations for Garments with multiple layers.



1. Optimize the 3D Garment for Animation

Complex and heavy Garments will slow down the Animation recording speed and will require additional time to stabilize. Making the Garment file lighter will optimize the Garment Animation.
Follow the steps below to make the Garmet file lighter:

    • Increase the Particle Distance to 20mm for Patterns or Garments that are not as visible such as Patterns associated with the internal portion of the Garment (e.g. lining). Delete any Patterns that are not visible at all. If there are Patterns where only a small portion is visible, Cut and Delete any portions of the Pattern that are unnecessary for Animation.
    • For visible Patterns on the outside of the Garment that do not require a high level of wrinkle and fold articulation, increase the Particle Distance to 10mm.
    • For visible Patterns on the outside of the Garment that do require a high level of wrinkle and fold articulation, apply a Particle Distance of 5mm. If there is a large quantity of Patterns that require a Particle Distance of 5mm, set all of these Patterns to 7mm.


2. Affix the Garment

If certain portions of the Garment are not affixed to the Avatar while recording the Animation, the Garment will move drastically around the Avatar due to collision aversion. This creates an Animation recording that is very unrealistic. To reduce this movement and create a more realistic recording, certain parts of the Garment will need to be affixed to the Avatar of the Garment itself.

    • Affix the shoulders and sides of the Garment and Avatar together with functions like Avatar Tape and Tack on Avatar.
    • Affix any details that hang or portions of the Garment that overlap with the Tack function.


3. Increase the Transition Animation Time

Increase the Transition Animation time for heavier Garments. In the Animation dialogue, enter 5 FPS to stabilize the Simulation during the transition. This will reduce the amount of collision that occurs due to the movement of the Avatar.

4. Set Simulation Quality to Complete for the Transition Animation

Setting the Simulation Quality to Complete for the Transition Animation recording will minimize the collision between the Avatar and Garment, as the likelihood of collision is high during the beginning of the Transition Animation.

 However, to save time, the Simulation Quality can be set to Normal for the middle portion of the Transition Animation recording, but similar to the beginning of the Transition Animation, the likelihood of collision occurring at the end of the Transition Animation is also high. Therefore, make sure to set the Simulation Quality back to Complete for the end of the Transition Animation.

5. Reevaluate the Drape of the 3D Garment after the Transition Animation is Recorded

As the Avatar moves, portions of the Garment may collide. Although the 3D Garment may appear fine when Simulation is turned off, if any part of the Garment collided during the Transition Animation, this may cause the rest of the Garment Animation recording to be unstable. After the Transition Animation is complete, follow the steps below:

    1. Return to Simulation Mode.


      Starting with v.2.5.0, utilize the Simulation toolbar while Animations are not being recorded in Animation mode.

    2. Activate Simulation and make sure the simulated drape is stable for the entire 3D Garment.
    3. If any part of the 3D Garment is unstable, use the Select/Move tool with Simulation activated to adjust the drape until it is stabilized.
    4. Once the 3D Garment has been stabilized, go back to Animation Mode.


6. Set the Simulation Quality to Complete when recording the actual Garment Animation.

Maintain a Simulation Quality of Complete when recording the actual Garment Animation. Complete offers a more realistic expression of Garment movement than Normal. For any final recordings of Garment Animation, make sure the Simulation Quality is set to Complete.

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