For this project, I animated characters in Maya using environment assets imported from Unreal Engine. Once animation was complete, I brought the character meshes, skeletons, and textures back into Unreal Engine, where I assembled the environment, set up lighting and cameras, and rendered each shot in real time.

To keep the pipeline organized, I worked from a single Master Maya scene and duplicated it for each shot. This made it easier to track shot-specific changes while keeping animation and asset updates consistent across the project.

For this project, I developed a multi-software pipeline starting with motion capture data recorded in Rokoko. After cleaning and retargeting the animation in Maya, I imported the asset to Houdini to create a voronoi fracture simulation. The final simulation and animation were then integrated into Unreal Engine, where I managed the environment assembly, cinematic camera work, and real-time rendering tools.

To ensure technical efficiency throughout this cohesive workflow, I utilized FBX and Advanced Skeleton to bridge the data between Rokoko and Maya. For the subsequent handoffs between Maya, Houdini, and Unreal Engine, I relied on the Alembic file format, which maintained high-fidelity geometry and simulation data while optimizing performance across the entire production pipeline.