Charly 3D Tutors

Ornatrix Groom Color Workflow: Cinema 4D to Unreal Engine Vertex Color In this Ornatrix Cinema 4D to Unreal Engine tutorial, I show how to export painted hair colors from Ornatrix C4D and transfer them into Unreal Engine using Vertex Color . This workflow is useful when you need precise control over colored hair or fur across different applications, especially when working with custom groom shaders or modified MetaHuman hair materials in Unreal Engine. What This Tutorial Covers The main goal of this lesson is to keep painted groom color data intact when moving an Ornatrix groom from Cinema 4D into Unreal Engine. Instead of losing the color information during export, we use the correct groom_Color channel and import it into Unreal Engine through the Color attribute. This is a practical workflow for 3D artists, groom artists, character artists, and technical artists who work with Ornatrix, Cinema 4D, Unreal Engine 5 , and custom hair or fur materials. You Will Learn H...

Learn how to paint hair and fur colors in Ornatrix and export them correctly to Unreal Engine 5 using the required groom_Color channel. In this quick tutorial, I show a compact workflow for setting up a custom groom color channel, painting color data, projecting textures, and exporting the groom with Ornatrix Alembic for UE5. The key point: Unreal Engine reads painted groom color data only when the channel is named exactly groom_Color . What you will learn How to add an Edit Guides modifier on top of HairFromGuides How to use the Paint Tool to create a custom grooming channel How to set up the mandatory groom_Color channel for Unreal Engine How to adjust texture projection using shortcuts How to export the groom with Ornatrix Alembic How to enable the Unreal Engine Export option for UE5 Watch the tutorial This is a compact production-friendly workflow for artists who need to transfer painted hair, fur, or groom color data from Ornatrix t...

Introduction to Ornatrix 9 for 3ds Max - Create Brush Pipeline Part 4 Part 4 of my Introduction to Ornatrix 9 for 3ds Max tutorial series is now available. In this episode, I continue working with my Create Brush Pipeline inside Ornatrix 9 for 3ds Max. This series is focused on a practical brush-driven grooming workflow, where the hairstyle is built step by step, section by section, with more direct control over the final shape. Unlike a workflow based only on masks, this approach allows you to shape the groom more manually while constantly checking the structure, guide flow, clumps and preview result. What is covered in Part 4? Organizing guide sections with Select By Group Adding controlled randomness to guides Using Edit Guides after HairFromGuides Smoothing the groom with Ornatrix Strand Detail Working with Point Count for smoother long hair Shaping hair clumps with Create Brush in Random mode Using baked guides to control custom hair shapes ...

Autodesk Member Spotlight: My Journey in 3D Grooming, LookDev, and Education I’m happy to share that Autodesk Community featured me in a new Member Spotlight interview. In this conversation, I talk about my journey in 3D art , how I found my path in grooming and look development , and how teaching and sharing knowledge gradually became an important part of my professional life. We also touched on several topics that have shaped my career over the years: how one small question from a viewer helped define my specialization my experience working on character-focused projects for cinematics and games the difference between offline and real-time workflows why I prefer deep focus on one project instead of splitting attention across many tasks how R&D, personal projects, and knowledge-sharing can open unexpected creative opportunities For me, this interview is not only about milestones. It is also about growth, consistency, curiosity, and staying connected to t...

In this tutorial, you will learn how to control hair distribution in Cinema 4D using the "Warp Roots" modifier in Ornatrix. If you have ever struggled with uneven hair, fur, or feather placement, this workflow gives you precise, paint-based control over root positions directly on the surface. This technique is especially useful for: feathers and stylized grooms sparse fur setups art-directed hair distribution What You Will Learn why hair distribution can be difficult to control how to add the "Warp Roots" modifier to your Ornatrix stack why proper UVs are required for this workflow how to create a Per-Strand channel with Edit Guides how to visualize strand channels for easier painting how lighter and darker values affect root bunching and spreading how to refine the result using Strength and Resolution Chapters 00:00 - Why hair distribution is difficult 00:18 - Adding Warp Roots and UV requirements 00:31 ...

Introduction to Ornatrix - Episode 5: Creating Natural Bangs in 3ds Max In Episode 5 of the "Introduction to Ornatrix " series, we focus on one of the most important steps in hair grooming - creating a natural transition from the parting to the bangs. This stage often defines whether the hair will look believable or artificial, especially in close-up character work. Why Bangs Are Difficult in Grooming Bangs may seem simple at first, but this is exactly where many grooming setups start to break. Incorrect guide flow Wrong root direction Lack of smooth interpolation If these elements are not handled correctly, the hair quickly loses its natural structure and starts to feel artificial. Workflow Overview In this tutorial, I go through a clean and production-oriented workflow for building a smooth transition from the parting to the fringe. Using the Plant Tool for precise guide placement Interpolating between guides to create smooth hair flow ...

How to Generate Hair Cards in Ornatrix for Cinema 4D If you work with digital hair in games, stylized characters , or real-time pipelines, hair cards are still one of the most practical solutions. In this tutorial, I show how to generate hair cards automatically in Ornatrix for Cinema 4D using the Mesh from Strands workflow . This approach helps convert dense strand-based hair into cleaner, more optimized geometry that can be used for game-ready assets , stylized characters, and real-time character production. Why this workflow matters Building hair cards by hand can take a lot of time, especially when you already have a detailed groom. With Ornatrix for Cinema 4D, you can speed up the process by turning strands into mesh-based hair cards directly inside your grooming workflow. This makes the technique especially useful for: game character hair stylized hairstyles real-time character production Unreal Engine pipelines optimization of complex hair grooms ...

How to Create Volumetric Hair Meshes in Ornatrix for Cinema 4D If you are working on real-time apps, creating stylized characters, or preparing models for 3D printing , you know the pain of manual hair retopology . Converting dynamic grooms into clean, closed geometry can take hours of tedious work. What if you could fully automate this workflow? With Ornatrix for Cinema 4D , generating grouped hair meshes is a 100% procedural, non-destructive process. Let's break down how to instantly convert your hair guides into volumetric geometry. The Procedural Grooming Workflow In this tutorial, we will cover how to easily generate a grouped hair mesh using pre-clumped hair. Instead of modeling by hand, we let the modifier stack do the heavy lifting. Step-by-Step: From Strands to Volumetric Mesh 1. Procedural Clump Meshing Open a scene containing some pre-clumped hair. Select the Clump operator and, in the Object Tab under the Sub-Clump section, turn on the "...

Mastering Complex Hair: How to Merge Grooms in Ornatrix C4D (Non-Destructive Workflow) If you have ever tried to groom a photorealistic character in Cinema 4D , you know the struggle. You start with the main hair, then add a beard, then eyebrows, then peach fuzz. Before you know it, you have millions of strands crammed into a single Ornatrix operator stack . The viewport lags. The stack takes forever to calculate. And if the Art Director asks you to "just tweak the mustache," you have to wait for the entire head of hair to update. There is a better way. In today's workflow breakdown, I am going to show you the "Divide and Conquer" method using the Merge Operator in Ornatrix for C4D .

How to Extend 3D Hair in Cinema 4D Without Losing Shape: Ornatrix Tutorial Welcome to another Charly Tutors grooming guide. Today we are diving into a common issue every 3D artist faces when working with hair simulation and grooming pipelines in Maxon Cinema 4D . The Pain: Unnaturally Straight Hair Ends If you have ever tried to increase the overall length of your grooms in 3D, you know the struggle. You spend hours brushing and styling the perfect flow, but the moment you tweak the "Strand Length" parameter, the ends shoot out completely straight. They start looking like stiff wires, and you instantly lose the entire dynamic curve of the hairstyle. The Solution: Curved Extension in the Length Operator To fix this natively within Ornatrix for Cinema 4D , we need to look inside the Length Operator . Instead of manually adjusting vertices or completely rebuilding the guides from scratch, there is a simple checkbox that changes the game - the "Curved Extension...

Ornatrix 9 Masks Pipeline Guide: Modifier Stack Cleanup & Guide Group Management Welcome back to CHARLY TUTORS . I am Andrew Krivulya (Charly), and today we continue our " Ornatrix 9 Masks Pipeline" series. In Episode 3, we dive into the technical hygiene of your grooming project: cleaning up the modifier stack and mastering guide groups for precise control. THE PAIN POINT: VIEWPORT LAG & STACK CHAOS A cluttered modifier stack is the enemy of any 3D Grooming Artist. Without proper cleanup, 3ds Max scenes become heavy, and managing thousands of guides becomes a nightmare. Gaps in hair coverage and messy intersections often result from a lack of organization in guide groups. THE SOLUTION: HARDWARE POWER & SOFTWARE PRECISION To maintain a fluid workflow in 2026, I rely on the MSI Titan 18 HX AI . Powered by the NVIDIA GeForce RTX 5090 with 24 GB of GDDR7 memory, this machine allows me to handle high-density previews of 100,000+ hairs with Path Tracing e...

  Introduction: The "Bald Spot" Problem One of the most common issues in 3D hair grooming is uneven density. When you create your initial guides from the mesh, you often end up with gaps or "bald spots" that ruin the final interpolation . Many junior artists try to fix this by manually creating single guides and dragging them into place.  Stop doing this.  It leads to "crossing" artifacts where the new guide doesn't match the flow of its neighbors. In  Part 3  of my  Introduction to Ornatrix 9  series, I am going to show you the engineered approach using the  Create Brush  pipeline. The Workflow: Math Over Manual Labor Here is the breakdown of the techniques demonstrated in the video: 1. The Plant Tool Instead of guessing where a guide should go, use the "Plant" tool. It calculates the vector interpolation between two selected existing guides. This ensures that the new hair root inherits the exact direction and curvature of the surrounding f...

Welcome to Episode 4! In this installment of the Introduction to Ornatrix 3ds Max Shorts Series , we focus on the frontal area of the hairstyle - the bangs (or fringe). This is often the most critical part of a character's groom because it directly frames the face. However, manual grooming in this area can lead to some common geometry issues . Below is the breakdown of the workflow shown in the video. 1. Control Your Extensions When brushing hair forward for the bangs, you might notice the strands extending in unpredictable arcs. This is usually caused by the " Curved Extensions " option in the Brush settings . The Fix: Turn "Curved Extensions" OFF when defining the initial shape of the bangs. This gives you direct linear control over where the tips end up. 2. The Power of Interpolation Never leave large gaps between your main guides. Using the Plant Guide Tool with the Interpolation mode active allows you to create new guides that automa...

  The " Uncanny Valley " often hides in the forehead. Specifically, in how the hair transitions from the scalp (the parting) and how the bangs sit relative to the face. In  Episode 3  of our specialized Grooming Course, we tackle the most defining area of any hairstyle: The Parting and The Bangs . The Problem: Grooming on Proxies Many 3D artists make a fundamental mistake: they judge hair volume based solely on the low-poly proxy mesh ( retopo ). The problem? A proxy mesh is an approximation. It often lacks the subtle surface nuances of the real head. If you groom the bangs "by eye" on a proxy, you often end up with two issues: The "Wig" Effect:  The hair sits too high/far from the skin. The "Clip" Effect:  The hair intersects with the real volume of the forehead when rendered. The Solution: Raw Scan as a Reference In this tutorial, I demonstrate a production-proven technique:  Loading the Raw High-Res Scan . I don't just use this for colli...