During the export stage of animation production, I conducted meticulous checks and adjustments to address various potential issues, especially clipping problems. To tackle this, I fully utilized the features of the X-Form Editor, accurately identifying and fixing any clipping points on the model’s surface.

When exporting files, I adopted two different methods tailored to the needs of each character. For the big monkey’s animation, I opted for the FBX file format. I exported the baked skeletal animation and matched it to the skeletal structure of the animation sequence before importing it into Unreal Engine (UE) as an animation sequence. This approach effectively preserved the details of the skeletal animation and seamlessly integrated with the engine’s controller system.

For the little monkey’s animation, which involved complex geometry deformations, I used the Alembic (ABC) format for export. The ABC format excels at capturing intricate geometric caches, making it ideal for scenes requiring high-fidelity dynamic effects. However, its drawback is the inability to directly retain material information, necessitating reapplication in the engine. To resolve this, I first imported the little monkey’s FBX model into UE to retrieve the material ball resources. Then, I applied these materials to the corresponding ABC file’s material slots, successfully restoring the character’s materials. While this method added complexity to the workflow, it ensured that the materials and animation were perfectly synchronized in the final render.

Throughout the export process, I rigorously tested various aspects, such as animation smoothness at different frame rates, accurate material map loading, and consistency of the model’s physical attributes within the scene. These detailed efforts not only guaranteed the quality of the final animation but also provided a solid foundation for subsequent rendering and post-production.