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CASE STUDIES

ZOMAX‘52HZ’

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by Cornelius Dämmrich - 3D CG Artist at Studio at Zomax
It's like one of these rare cases where you wish for something easy to create 3D clothes, but can't think of anything that comes near to "perfect solution". Before Marvelous Designer, I used really primitive and slow cloth simulations that didn’t come anywhere near to what I am capable of doing now. I used to struggle with a simple blanket, now I can build a whole spacesuit in less than few hours.
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Can you briefly describe about yourself?
My name is Cornelius Dämmrich, a 3D Artist at ZOMAX. I have been working for 13 years and mostly known for hyper realistic and heavily detailed 3D scenes.



Which features do you think is the most powerful advantage in the MD compared to other clothing simulation tool when you were using it for 52Hz?
When I planned the project I thought it would take at least 3 weeks to build the spacesuit for Astronaut floating in front of the Phone booth. I never created anything ""complex"" in Marvelous Designer before this project and was happy that i managed to create them all with few clicks. Marvelous Designer manual, tutorials on YouTube helped me a lot working on the spacesuit. I got the grip all about Marvelous Designer in less than a day and I think the most powerful advantage to me is by far speed. I'm not a character artist at all and it's just great to see cloth be simulated and manipulated in real time - no need for sculpting or caching simulations before I can see a result.



Which features do you want to see from MD in the future version?
I'd love to see rigid body simulations combined with cloth simulations. That would be super handy to apply heavier parts (for example the helmet or connections on a spacesuit) to a piece of clothing and see both of them simulated in real time. Currently I freeze some parts of pattern to make them completely static. It would help to freeze parts of the pattern but include them to the simulation at the same time, just like a rigid body.



Would you recommend MD to CG artist and why is that?
No need for that, since everybody use Marvelous Designer for 3D clothes modeling anyway, but for sure I would recommend it, because it's the easiest and fastest cloth tool in the market.


DIGIC PICTURES‘GAME CINEMATICS’

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by Diana Sindel – Junior character artist in Digic Pictures
Marvelous Designer is very user friendly, and one can quickly get used to its interface. Due to my experience in apparel making, using Marvelous Designer is the fastest and easiest pattern based modelling method for creating realistic simulated clothes. It is very useful that, in contrast to poly modelling, I can add more material to the fabric in a controlled way, which makes it easier to create realistic cloth simulation.
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Can you briefly introduce yourself?
My name is Diana Sindel. I started working at Digic Pictures as a junior character modeler three years ago, and currently I am the only one who uses Marvelous Designer at Digic Pictures. Previously, I worked in the clothing industry and as a 2D graphic artist. Later, I started learning 3D graphics on my own, as a hobby. With the help of Marvelous Designer, I can employ both my computer graphics and apparel production skills at the same time.



Would you recommend MD to a CG artist and why?
Marvelous Designer is very user friendly, and one can quickly get used to its interface. Due to my experience in apparel making, using Marvelous Designer is the fastest and easiest pattern based modelling method for creating realistic simulated clothes. It is very useful that, in contrast to poly modelling, I can add more material to the fabric in a controlled way, which makes it easier to create realistic cloth simulation. One of the major drawbacks of traditional poly modelling is that during simulation, clothes start to stretch and "tear", because artists can't properly define the amount of extra material that is required to make it look realistic (in case of shirt sleeves or the back of a jacket, for example).



In your project, what were the elements where Marvelous Designer was used?
I used Marvelous Designer while working on Assassin's Creed, The Witcher 3, MeTube 2 and several other projects. I have used it predominantly for making clothes and various garments (scarves, caps, gloves, shirts, tees, trousers, skirts). Later, I started designing accessories in Marvelous Designer, too (tents, foils, body bags, draperies, pillowcases, curtains and custom MoCap suits for dogs and horses).



Could you describe challenges in which Marvelous Designer was of use to you and go into detail regarding how Marvelous Designer helped overcome them?
The most challenging thing for me was sewing the MoCap suit for a horse. I created the pattern in Marvelous Designer, and used it to sew the suit itself. After measuring the horse, we created an avatar that I used to make the suit, and by importing the data of the moving horse (Maya cache) we could also simulate the suit to see how it fits. It was very helpful that we could set the material quality of the suit, and during the tests, we could see where we need extra fabric, and where we should make it more formfitting. There were several errors that came to surface this way before the actual sewing took place, and thus the horse required less fitting sessions.



Which features would you want to see from MD in future versions?
Some basic movements: bending/flexing of the arms and legs, and thus creating wrinkles on the clothes and sewing in a 3D view a possibility to freeze in one pattern (not by using pins) it is difficult to work with more than one layers during simulation, because they are often simulated together despite their different settings


CD PROJEKT RED‘THE WITCHER 3: WILD HUNT’

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by Wojciech Michalski – Character Artist at CD PROJEKT RED
I can wholeheartedly recommend Marvelous Designer to any CG artist looking for fast, intuitive and, most of all, effective fabric simulation software. The team behind Marvelous Designer knows exactly how popular it is becoming in the industry and continues to make it even more useful and user friendly.
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Could you briefly describe about yourself?
Hi, my name is Wojciech Michalski and I’m a Character Artist at CD PROJEKT RED. For the past three years I’ve been working on The Witcher 3: Wild Hunt, and Marvelous Designer was a very useful tool in the process of character creation.



Which features do you think provide MD with a powerful advantage in comparison to other clothing simulation tools?
The way I see it, Marvelous Designer offers unrivalled speed and efficiency, making work on projects and applying changes a virtually effortless process. The breadth of its features made it an invaluable asset not only in character creation, but also while working on environment assets, quest items, as well as material prototypes, which Marvelous Designer allowed us to dynamically simulate directly within the game environment.



Which features would you want to see from MD in future versions?
I'd be happy to see the Synchronize Patterns feature making its way back to Marvelous Designer. Improvements and new features introduced with each iteration of the program, like layer duplication and FBX format integration, have been coming regularly, making an already great tool even better.



Would you recommend MD to a CG artist and why?
I can wholeheartedly recommend Marvelous Designer to any CG artist looking for fast, intuitive and, most of all, effective fabric simulation software. The team behind Marvelous Designer knows exactly how popular it is becoming in the industry and continues to make it even more useful and user friendly.


FLIPPEDNORMALS‘CONCEPTING WITH MARVELOUS DESIGNER & ZBRUSH’

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by Morten Jeager – 3D Character Artist at FlippedNormals
I love the speed and ease of use that Marvelous Designer provides. Being able to jump in and create useable clothing quickly is something I enjoy immensely. I feel because Marvelous Designer is tailored to artists, it’s super easy to change the look and style of fabrics in any way I want.
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Could you briefly describe about yourself?
My name is Morten and I work as a 3d character artist for Framestore in London. My professional work mostly revolves around Hollywood VFX but whenever I have time to work on my own projects I like to experiment with 3d and steer away from the realism that I do every day. I’ve been doing 3d since I was 15 year old, and my path has taken me through a lot of different branches. I’ve tried everything from effects to animation. Ultimately I found a passion for characters and that’s what motivates me. I’m also the co-founder of the tutorial site FlippedNormals where we work to create the highest quality tutorials for anyone getting into 3d as well a seasoned professionals. Teaching this way has sparked something amazing, and passing on the knowledge that I’ve have is probably the most fulfilling thing I’ve ever done.



Which features do you think is the most powerful advantage in the MD compared to other clothing simulation tool when you were using it for PROJECT?
I love the speed and ease of use that Marvelous Designer provides. Being able to jump in and create useable clothing quickly is something I enjoy immensely. I feel because Marvelous Designer is tailored to artists, it’s super easy to change the look and style of fabrics in any way I want. After the most recent update I’ve been using Symmetric Sewing and Merging a lot, this has meant that can focus more on creating fabrics instead of worrying my sewing. This is a great example of the how the developers listen to the community and provide the features we really need.



Which features do you want to see from MD in the future version?
In my day to day work I often work with very complex patterns and the layering is a great tool for just that. But being able to shift layers around to go below layer 0 would be amazing. Sometimes during a project you start adding fabrics underneath what you have already done, and having to reshuffle existing layers can be bit of a pain. Another extremely helpful feature would be the integration of a reference system. Being able to load in templates of fabrics without having it be 3d geometry could really help speed up the scenes, if this could be bundles with some accurate measurements for the reference plane, we would have all we need.



Would you recommend MD to CG artist and why is that?
Any artist who is serious about character work needs this in their arsenal, I can’t stress this enough. Whether you’re working in film, games or just starting out this will give you a serious edge when creating fabrics for any character. You simply can’t get close to the level of detail and believability you need without Marvelous Designer. Marvelous Designer has become the standard in both industries when creating clothing for our characters and it’s easy to see why.


PEARL ABYSS ‘BLACK DESERT’

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by YoontekOh - Senior Character Artist at Pearl Abyss
With Marvelous Designer, we managed to create character’s clothes quickly and they looked totally realistic. Even though i had no knowledge on fashion, it wasn’t challenge for me at all as it’s easy to use. Marvelous Designer allowed us to work faster and bring us better quality of 3D clothes, yet also put more and more details and love into our characters with a lot of flexibility.
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Could you give us an overview of Pearl Abyss? What is your background and what are some of the projects you've worked on?
I’m Yoontek-Oh, a senior character artist at Pearl Abyss. I have been currently involved in the project called ‘Pearl Abyss’ which was founded in September 2010 and has recently developed and published the MMORPG game called “Black Desert’. Black Desert is an upcoming sandbox-oriented massively multiplayer online role-playing game by Korean video game developer Pearl Abyss. Black Desert takes place in a high fantasy setting and revolves around the conflict between two rival nations, the Republic of Calpheon and the Kingdom of Valencia.



How long have you been working in the industry?
I have been involved in CG for 11years so far. I was actually majored in industrial design at Kukmin University and after graduation I had the chance to experience a lot of different types of projects and studios. Character modeling is one of the best I have had the pleasure. I've had fun with character modeling.



In your project, what were the elements where Marvelous Designer was used?
Marvelous Designer was used in creation of objects for Monster and Background in PC and NPC. When we first started our project ‘Black Desert’, I have started using Marvelous Designer to design capes, skirts and hoodies for this project. I became a big fan of Marvelous Designer as it allowed us to generate 3D clothes quickly from scratch. I have found myself using Marvelous Designer a lot more for concept work over the last couple of years, mainly because of its newer features such as Symmetric Editing.



Why did you use Marvelous Designer for these creatures?
With Marvelous Designer, we managed to create character’s clothes quickly and they looked totally realistic. Even though i had no knowledge on fashion, it wasn’t challenge for me at all as it’s easy to use. Marvelous Designer allowed us to work faster and bring us better quality of 3D clothes, yet also put more and more details and love into our characters with a lot of flexibility.



Could you describe challenges in which Marvelous Designer was of use to you and go into detail regarding how Marvelous Designer helped overcome them?
It wasn’t easy to fit 3D clothes to avatars at first but it didn’t take long to get used to play Marvelous Designer. With Marvelous Designer it is really easy to play with shapes and try different designs. The best thing about making 3D clothes in Marvelous Designer is starting modeling from scratch and simulate the 3D clothes in real time for a lot of major variations. We saved significant amounts of time creating 3D clothing with a pattern based approach of Marvelous Designer.


MOFAC & ALFRED ‘MAPLE STORY2’

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by Heesuk Choi - 3D Design Director at Mofac & Alfred
Marvelous Designer was used in character modeling and simulation for more detailed wrinkles and I believe this is indispensable that we couldn’t imagine modeling 3D clothes without. It saved our time on modeling 3D clothes and interface of Marvelous Designer is interactive and easy-to-use.
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Could you give us an overview of MOFAC & ALFRED? What is your background and what are some of the projects you've worked on?
MOFAC & ALFRED is a CG animation and motion graphics company that has created a unique visual effect for 4 years. Our first project was FREE STYLE2 and we’ve been recently working on the VFX project for mobile game, ‘Maple Story2’ which Marvelous Designer was used in.



How long have you been working in the industry?
I am Heeseok-Choi, a 3D Design director at MOFAC & ALFRED. I have been working in the industry for the past 10 years. I started with product design and then moved into modeling after that.



In your project, what were the elements where Marvelous Designer was used?
Marvelous Designer was used in character modeling and simulation for more detailed wrinkles and I believe this is indispensable that we couldn’t imagine modeling 3D clothes without.



Why did you use Marvelous Designer for these creatures?
The biggest advantage of Marvelous Designer is speed of simulation. It saved our time on modeling 3D clothes and interface of Marvelous Designer is interactive and easy-to-use. The 3D clothes we created using Marvelous Designer were transformed for another characters.



Could you describe challenges in which Marvelous Designer was of use to you and go into detail regarding how Marvelous Designer helped overcome them?
We’re satisfied with modeling in terms of 3D clothes creation. The challenge we encountered was applying physical property on each fabrics. It wasn’t easy for me to set physical property but I was getting used to the skills for this. And I hope animation editing feature in Marvelous Designer will be enhanced.


MOFAC & ALFRED ‘BLADE’

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by Heesuk Choi - 3D Design Director at Mofac & Alfred
With Marvelous Designer you can design in 2D and it can be reflected directly in 3D to see some changes. This has broken down many barriers!! It represents a tremendous savings in time of creative production. I have tried other similar programs but I didn't feel too comfortable with them.
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Could you give us an overview of MOFAC & ALFRED? What is your background and what are some of the projects you've worked on?
MOFAC & ALFRED is a CG animation and motion graphics company that has created a unique visual effect for 4 years. Our first project was FREE STYLE2 and we’ve been recently working on the VFX project for mobile game, ‘BLADE’ which Marvelous Designer was used in.



How long have you been working in the industry?
I am Heeseok-Choi, a 3D Design director at MOFAC & ALFRED. I have been working in the industry for the past 10 years. I started with product design and then moved into modeling after that.



In your project, what were the elements where Marvelous Designer was used?
Marvelous Designer was used in creation of objects for Monster and Background in PC and NPC. When we first started our project ‘Black Desert’, I have started using Marvelous Designer to design capes, skirts and hoodies for this project. I became a big fan of Marvelous Designer as it allowed us to generate 3D clothes quickly from scratch. I have found myself using Marvelous Designer a lot more for concept work over the last couple of years, mainly because of its newer features such as Symmetric Editing.



Why did you use Marvelous Designer for these creatures?
I tried Marvelous Designer and it was AWESOME. Due to time constraints I chose Marvelous Designer for 3D modeling and simulation.



Could you describe challenges in which Marvelous Designer was of use to you and go into detail regarding how Marvelous Designer helped overcome them?
We always encountered the problem that designs could work well in 2D but not in 3D, or vice versa. With Marvelous Designer you can design in 2D and it can be reflected directly in 3D to see some changes. This has broken down many barriers!! It represents a tremendous savings in time of creative production. I have tried other similar programs but I didn't feel too comfortable with them. I still remember the feeling I had when I was able to make my first things in Marvelous Designer. I thought, “This is my program.” For someone who is starting out I would say that Marvelous Designer is a tool that you can express yourself.


UBISOFT‘ASSASSIN´S CREED UNITY’

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by Boyon Raphael - Senior Character Artist in Ubisoft Montreal
Marvelous Designers simulations are better than any other package on the market. I think Marvelous designer made the same type of impression to us artists as Zbrush did back in the days. It's so powerful that it completely changed our workflow for the better.
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Vince Rizzi - Senior Character Artist in Ubisoft Montreal
I definitely recommend Marvelous Designer to cg artists who are looking to save lots of time and take the guesswork out of creating credible cloth. Marvelous Designer is a very consistent and easy way of getting ultra-realistic clothing quickly which is extremely important on productions.
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by Boyon Raphael - Senior Character Artist in Ubisoft Montreal
Marvelous Designers simulations are better than any other package on the market. I think Marvelous designer made the same type of impression to us artists as Zbrush did back in the days. It's so powerful that it completely changed our workflow for the better.

Can you briefly introduce yourself?
My name is Vince Rizzi. I was a senior character artist on Assassin’s Creed Unity. I’ve been at Ubisoft for almost 6 years.
Working on ACU drastically changed the way I work, primarily because of the use Marvelous Designer in the pipeline.



Which features do you think provide MD with a powerful advantage in comparison to other clothing simulation tools?
I really enjoyed the fact that the simulated cloth models automatically had UVs right from the start, which is basically your pattern you built the garment with. This was useful for me in such cases where I would apply patterns/fabric details to the garment or paint stuff like stitching in Photoshop and apply it to the 3d model afterwards as a map.



Which features would you want to see from MD in future versions?
I’m pretty happy with the program as it is currently, but If I would have to improve on it I would say to stabilize the software’s ability with working with more complex shapes like knots, or scarves for example. Garments that have lots of twists and turns and that overlap with itself can be a little difficult to work with at times.



Would you recommend MD to a CG artist and why?
I definitely recommend Marvelous Designer to cg artists who are looking to save lots of time and take the guesswork out of creating credible cloth.
Marvelous Designer is a very consistent and easy way of getting ultra-realistic clothing quickly which is extremely important on productions.

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by Vince Rizzi, Senior Character Artist in Ubisoft Montreal
I definitely recommend Marvelous Designer to cg artists who are looking to save lots of time and take the guesswork out of creating credible cloth. Marvelous Designer is a very consistent and easy way of getting ultra-realistic clothing quickly which is extremely important on productions.

Can you briefly introduce yourself?
My name is Vince Rizzi. I was a senior character artist on Assassin’s Creed Unity. I’ve been at Ubisoft for almost 6 years.
Working on ACU drastically changed the way I work, primarily because of the use Marvelous Designer in the pipeline.



Which features do you think provide MD with a powerful advantage in comparison to other clothing simulation tools?
I really enjoyed the fact that the simulated cloth models automatically had UVs right from the start, which is basically your pattern you built the garment with. This was useful for me in such cases where I would apply patterns/fabric details to the garment or paint stuff like stitching in Photoshop and apply it to the 3d model afterwards as a map.



Which features would you want to see from MD in future versions?
I’m pretty happy with the program as it is currently, but If I would have to improve on it I would say to stabilize the software’s ability with working with more complex shapes like knots, or scarves for example. Garments that have lots of twists and turns and that overlap with itself can be a little difficult to work with at times.



Would you recommend MD to a CG artist and why?
I definitely recommend Marvelous Designer to cg artists who are looking to save lots of time and take the guesswork out of creating credible cloth.
Marvelous Designer is a very consistent and easy way of getting ultra-realistic clothing quickly which is extremely important on productions.


PASSION PICTURES Nike ‘The Last Game’

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by Jamie Franks - Lead Effects Artist at Passion Pictures London
Marvelous Designer has become a fundamental part of our toolset for creating digital garments and cloth simulations, I’m yet to see another system that allows you to model and visualize how a garment will look in its draped form. Also the way it handles multiple layers and detail, with such speed, accuracy and stability is simply amazing.
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Can you briefly describe yourself and your recent projects?
I am a Lead Effects Artist at Passion London and have been part of the Passion team for the last 7 years, I have been involved in creating character effects for the Harmonix Rockband Cinematics, Gorrilaz promos, Compare the Meerkat adverts, BBC Olympics 2012 and most recently a 5 minute short film for Nike’s World cup Campaign.

The Last Game was one of the biggest and most challenging animation projects Passion has produced to date. An unbelievable amount of effort and detail was put into the film both creatively and technically which I feel really paid off in the final picture. There were many challenging elements during production but the most demanding task for the effects team was the amount of character costumes and the complexity and speed of some of the animations. There were 8 hero characters including Cristiano Ronaldo, Neymar, Wayne Rooney, Tim Howard, David Luiz, Iniesta, Zlatan Ibrahimovic and Frank Ribery, with each player having three costume changes throughout the film. There were also 20+ secondary characters that needed garment creation and simulations, and Marvelous Designer offered us a tool that we could be confident with and rely on to get through such a large volume of work.

Another interesting use of MD3 on this project was for the giant sculptures in the Temple sequence. We simulated the football kits to generate various cloth poses and then took them into Zbrush to carve in some faceted detailing. These went down really well with the client and they eventually became life size 3D prints that were exhibited at Nike stores across the world.



Which features do you think provide a powerful advantage for MD compared to other clothing simulation tools?
The garment modelling is definitely the most powerful part in my opinion. It is very fast and intuitive to work with and it produces some really great results in a short amount of time. Many cg artists underestimate the importance of having a well prepared cloth geometry at the first stage of production. If the topology is clean and evenly spaced, collider intersections are already solved and the cloth fits well onto your character. Most of your battles are already solved.

This is something that comes for free when using MD3. The simulation side of Marvelous is very fast and yields some impressive results, but its collision accuracy is also its worst enemy when working with cartoon style characters as you tend to get a lot of self-intersection around tops of arms and upper legs.

In these cases we have to spend time preparing the animated meshes to avoid these self-intersections and often need to go between departments to move arms or legs to allow for cloth clearance. I would love to see some more controllability that would allow us to work through these kinds of issues and avoid having to go back to the animation stage.



Would you recommend MD to a CG artist and why?
Marvelous Designer has become a fundamental part of our toolset for creating digital garments and cloth simulations. I’m yet to see another system that allows you to model and visualize how a garment will look in its draped form. Also the way it handles multiple layers and detail, with such speed, accuracy and stability is simply amazing.
We look forward to seeing what new developments and features the MD team bring in the coming releases.


PASSION PICTURESLONDON OLYMPICS ‘STADIUM UK’

BBC’s marketing campaign and title sequences for the 2012 London Olympics entitled “Stadium UK”. The animation was directed by Passion’s Pete Candeland and the campaign was devised by executive creative director Damon Collins. Jamie Franks pioneered the use of Marvelous Designer in the animation.

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WETA DIGITAL‘THE HOBBIT’

For The Hobbit we wanted to create a larger number of clothes that would be indistinguishable from the behaviour of real clothes when simulated. To do this we chose a pattern-based approach at the modelling stage that could accurately create the volume of the real clothing.

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Weta Digital’s core focus is the creation of top-quality feature film visual effects. From Lord Of The Rings to King Kong it has been responsible for some of cinema’s most recent memorable moments, each achieved by a team of dedicated and highly professional artists.

One of the many tasks the studio must complete in such films is the creation of digital double characters. These digital versions of the characters are used in place of real actors in situations where it would be too dangerous to use a real person or it was simply not possible to shoot the scene with a live actor.

These digital doubles need to move and act like the live action character, indistinguishable from the real thing. That means their clothes need to move naturally too. As such, Weta Digital must use dynamic simulations on the hair, skin and clothing of each digital double to impart in them a high level of realistic movement. These simulations replicate the effect a real environment would have on an actor and his/her clothing on a live set.

For The Hobbit we wanted to create a larger number of clothes that would be indistinguishable from the behaviour of real clothes when simulated. To do this we chose a pattern-based approach at the modelling stage that could accurately create the volume of the real clothing. Marvelous Designer 2 was chosen for this because it had a fast and stable solver for draping the clothes when modelling and a simple, user-friendly interface.

The patterns for the live action costumes used-on set were available for us to use as templates for our digital cloth patterns. We then created accurate digital copies of the characters bodies from reference pictures and scans and used these as our model-avatars.

Although we did not render the geometry from Marvelous Designer 2, the wrinkles and draping the software produced were an invaluable starting point. This geometry was used as a template and its topology rebuilt in Maya with seams, buttons and other details added. This was then used as the hero digital costume for our Models Department.

The Marvelous Designer 2 geometry was also rebuilt in our Creatures department with topology that fed into their cloth simulation approach. The hero geometry was wrapped or attached to the simulation geometry, which was invisible in the final renders.

For The Hobbit we had to produce a digital double of nearly all of the characters seen in the movie. This amounted to hundreds clothing elements - most of which used Marvelous Designer 2 in their creation. The most intensive use was the dwarf costumes, which had up to five layers of clothing. The ability to manage that many layers in Marvelous Designer 2 was a real bonus and made the set up for cloth solves simpler and more stable.

Even though Marvelous Designer 2 was created as a tool for the fashion industry it was adaptable enough to meet our needs for filmmaking. We were very happy with the results.

-James Moore, Senior Modeller, Weta Digital

Article link : http://www.3dartistonline.com/news/2013/05/the-hobbit-marvelous-designer-2/


UBISOFT ‘ASSASSIN’S CREED UNITY’

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Alexandre Rene - Character Artist at Ubisoft Montreal
Marvelous Designer proved its worth on Assassin’s Creed Revelations, first project at Ubisoft to incorporate it’s use. Marvelous Designer has been really good at iterating on the software making it easier for us to use and include in our pipeline. Marvelous Designer was the obvious choice for our large scale project. In my opinion, Marvelous Designer is the definitive tool for clothes modeling.
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Can you briefly introduce yourself?

Alexandre Rene, Character Artist and Marvelous Designer Specialist at Ubisoft Montreal.
I’ve used Marvelous Designer while working on Assassin's Creed Unity and Assassin's Creed Revelations.



Which features do you think provide a powerful advantage for MD compared to other clothing simulation tools?

The complete feature set of Marvelous Designer, all features work together.



Which features do you think provide a powerful advantage for MD comparison to other clothing simulation tools?

Skin is not solid like marble and so the way that Marvelous designer simulates on the avatar should reflect that, make a flag for “soft surface” in avatar options.



Would you recommend MD to a CG artist and why?

I’ve recommended Marvelous Designer to the team here in Montreal for the past 4 years. Marvelous Designer just makes sense for clothing assets.


KONAMI‘METAL GEAR SOLID V’

Marvelous Designer was a key component in Metal Gear Solid 5’s Fox Engine. The video is a demo presented at GDC 2013 by Kojima Production, Konami.

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Can you briefly introduce yourself?
I have been a part of Kojima Productions since MGS 4, and I have been in charge as the character lead for MGSV.
I oversee the overall character creation process from schedule management for the department, decision making of the character spec, organizing the workflow, outsourcing management, quality improvement process and so on.



Which features do you think provide MD with a powerful advantage in comparison to other clothing simulation tools when you were using it for the “MGS5” project (NextGen)?
Virtual representation of clothing has always been a big challenge in the area of modeling.
We have been widely researching from multiple cloth simulation tools to 3D scanning system, but MD was the only product to fully meet our requirements from quality, functionality, speed, and data compatibility.
The most powerful advantage I would say is the overall features.



Which features do you think provide a powerful advantage for MD comparison to other clothing simulation tools?

Any features needed for game development and CG features creation. I specifically would like to see quad polygon implemented.



Would you recommend MD to a CG artist and why?

Yes, definitely. The whole process of creation will be entirely changed by using MD. There's no reason not to use it.