User manual

AlphaHuman Studio Standard

Your MetaHuman, animated in Blender.
Import a DNA, pose the real rig, put mocap on it, dress it and export it.

Windows · Blender 5.2+ · Unreal Engine plugin: 5.8

Open your first character → Save and export →

Start with a character

Already have an exported MetaHuman? Start here. If you still need its DNA and textures, follow the Unreal setup walkthrough first.

1. Install AlphaHuman Studio. Add our repository to Edit → Preferences → Get Extensions with your access token and press Install, or drag a ZIP onto a Blender window. Installation details.
2. Set your MetaHuman Source Folder. In the add-on preferences, choose the folder that holds your character folders. Each character keeps its head.dna, body.dna and Maps together.
3. Open the character. Drop head.dna onto the 3D viewport. Press N and open the AlphaHuman Studio tab.
4. Try the rig. Use Control Rig, Body Picker and Face Board in the Character panel. Add hair and clothes once you have exported them.
5. Save your work. Save the scene as a .blend, and export FBX or glTF when the shot is done.

What this is

AlphaHuman Studio Standard is a Blender add-on for animating MetaHuman characters. It loads a DNA's meshes, skeleton and face rig into your scene, and gives you the face board, the body control rig and a picker to pose and animate them, mocap retargeting with the feet kept on the floor, and lighting and export.

Hair and clothes are separate assets. Export them from Unreal with the free AlphaHuman Studio for Unreal plugin, then wear them in Blender.

Once you have the character files, Unreal does not need to be running to import, animate or save in Blender.

Standard and Pro

This manual is for Standard: everything it takes to make a MetaHuman your own and finish a shot with it — bring it in from Unreal, shape it in the Character Modeler, fix its expressions and its body's correctives, write the DNA back out, pose it on the real face rig and the body control rig, put mocap on it and plant its feet, dress it in its own hair and clothes, light it and export it. AlphaHuman Pro is where a scan becomes a character and a production is run; the table says what it adds.

What you need

First session: from Unreal to Blender

This walkthrough prepares a MetaHuman in Unreal, opens it in Blender, adds hair and clothes, and tries posing and animation.

If your character files are ready, skip to installing the add-on. Hair, clothes and mocap are optional.

1 · Get a DNA file out of Unreal

Everything starts from a .dna. AlphaHuman Studio does not include any MetaHumans, so you make one in Unreal first. You do this once per character.

Turn the MetaHuman plugin on.

1. Open your project in Unreal Engine 5.8.
2. Edit → Plugins, search for MetaHuman, and tick it on.
3. Restart the editor when it asks. The menus below do not appear until you do.

Make the character. In the Content Browser, right-click in an empty part of a folder and choose MetaHuman → MetaHuman Character, then double-click the new asset to open the MetaHuman Character editor.

For a first character, pick a preset — Vivian, say — and leave the face as it is.

Finish the character before you export it. Run these two, in this order. Both are buttons along the top of the MetaHuman Character editor, and both need you signed in to Epic's service:

1. Create Full Rig — turns the preset into a rigged MetaHuman. Without it the DNA has nothing driving the face.
2. Download Texture Sources — fetches the maps. Without it the export has no textures and the skin in Blender is a flat colour.

Use Create Full Rig, not Create Joints Only Rig, which leaves out the face behaviour. Save the character when the rig is on it.

2 · Assemble it for Unreal

Assembling turns the character into engine assets — meshes, materials, a skeleton — so it exists in Unreal for posing and rendering. The files Blender reads come from a separate export in the next step; you need both.

Open the Assembly tab on the left rail of the character editor:

Then press the green Assemble at the bottom.

When it finishes you have a folder of assets under Content/MetaHumans/<name>/:

3 · Write the DNA out for Blender

Go to Export on the left rail and run DCC Export. (Older tutorials show it under Assembly; it has its own section now.)

Give it a root folder, not a character folder. Make one folder to hold every MetaHuman you export, for example:

D:\_metahuman

The export makes the per-character folder inside it. Export two characters and you have:

D:\_metahuman\
    victor\
        ...the same again
    vivian\
        head.dna
        body.dna
        Maps\                vivian's textures
        Masks\
        ExportManifest.json
        vivian.png

Both DNA files have to be there — head.dna without body.dna beside it will not open. The textures give you skin, eyes and teeth instead of flat colours. Keep exporting into the same root: it is the folder you give the add-on.

4 · Install the add-on and point it at your characters

Install it from our site. Blender installs the add-on from our repository with your access token, and tells you when an update is out. Set it up once:

1. Make an access token on your Alpha Studio account's Keys page and copy it. It is shown once; if you lose it, make another.
2. In Blender, Edit → Preferences → Get Extensions (allow online access if Blender asks). Open the Repositories menu at the top right, press +, then Add Remote Repository.
3. Paste the repository address from the same page into URL, turn on Check for Updates on Startup and Requires Access Token, paste the token into Secret, and press Create.
4. Type AlphaHuman in the search box and press Install.

In the closed beta the address and the token are on your Beta page, and the button below is Activate Beta.

Or from a ZIP, as Superhive delivers it: drag the ZIP onto a Blender window and drop it, or use Edit → Preferences → Add-ons → Install from Disk… and pick it. A ZIP does not update itself.

Then find AlphaHuman Studio under Add-ons, make sure it is ticked on, and expand the entry to see its preferences.

Activate it, if you got it from our site. The copy from your Alpha Studio account runs on a computer you activated, free, for a year at a time. In the preferences press Activate: the browser opens your account on a page naming this computer; press Activate there too, and Blender picks the licence up by itself a few seconds later. Blender needs Preferences → System → Network → Allow Online Access for this one exchange; after it the add-on works offline. A year later the same button reads Renew for a Year. An account holds two computers; your account's Keys page lists them and releases one. The copy bought on Superhive needs none of this.

Standard and Pro on the same computer. Both can stay installed, but enable only one at a time. To switch, save your work, disable the current AlphaHuman in Preferences → Add-ons, enable the other edition, save preferences and restart Blender. If another AlphaHuman family member is active, the new one tells you which edition to disable. Each edition remembers its settings; character files keep their existing data. Once Pro works, you can remove the disabled older edition.

MetaHuman Source Folder. This is the one setting you have to fill in. Set it to the root folder you exported into, such as D:\_metahuman\. The same field is in the sidebar's Settings.

The line under the field says how many characters it found. If it says No folder under it holds both head.dna and body.dna, it is pointing one level too deep or at the wrong folder.

5 · Bring the hair over

Hair is not in the DNA, so it needs its own export from Unreal, as Alembic. This is done by AlphaHuman Studio for Unreal, the companion plugin, free on Fab. Install it (see Install), then:

1. Tools → AlphaHuman Studio → Export Grooms. The submenu lists the MetaHumans in your project.
2. Pick the character, vivian, or All Characters at the bottom.
3. When it asks for a folder, give it the same MetaHuman root — D:\_metahuman — not the character's own folder.

The hair is written to a Grooms folder inside the character's folder, beside the DNA, which is where the add-on looks for it. The polygon cards come out too, into Grooms/Cards; see Strands or cards.

6 · Open the character

Drag head.dna out of the character's folder and drop it on a Blender viewport. There is no import dialog.

A few seconds later the character is in the scene, already rigged: the face rig and the body control rig are on it and ready to move.

Everything from here is in the sidebar, under the AlphaHuman Studio tab (press N in the viewport if the sidebar is closed). With no character in the scene the tab offers the characters in your MetaHuman Source Folder, each with its picture. The first one is already chosen: press Import DNA, or pick another from the list first. The Head and Body fields under the list take a DNA from anywhere else, and a Recently opened list holds the last eight characters, with their pictures.

Under the character's name, the Character panel holds the controls a session runs on:

The picker and the board open in their own windows. Once open, their buttons read Close Picker and Close Face Board.

7 · Put the hair on

The character arrives bald. There are four ways to put hair on.

When the character lands

If the grooms are in a Grooms folder beside the DNA, a window lists what it found as the character arrives. Press OK to put the hair on, or Esc to skip it. To stop the question, tick Remember this, stop asking, or set Import Options → Hair On Import.

The button in the Hair section

Turn on the Hair section with its icon on the section strip. When there is hair beside the character that it is not wearing, the wide button says so, for example Import 6 Beside This Character. Press it. Pressing it again later does not double anything up.

The Hair Library

Hair Library (n)... lists the hair of every character under the MetaHuman Source Folder, with a tab each for hair, eyebrows, eyelashes, beards, moustaches, goatees and peach fuzz, and a picture of each groom on this character's head.

1. Press Hair Library (n)....
2. Tick the grooms you want, on as many tabs as you like. The grey name under a picture is the character it comes from.
3. Press Wear Selected. Each groom is fitted to this head.

Hair the character already wears shows a tick and cannot be picked twice. The first time, the button reads Looking for hair... and the window Drawing pictures... for a moment; move the mouse over the window to see new pictures as they appear.

Choosing the files yourself

For hair kept somewhere else, press the folder icon at the end of the row (or Import Groom... when there is nothing beside the character).

1. Browse to the grooms folder, such as D:\_metahuman\vivian\Grooms\.
2. Select the files you want; A selects everything. A MetaHuman usually has hair, eyebrows, eyelashes and peach fuzz, and may have a beard or moustache.
3. Leave the two options as they are and press import.

The grooms sit on the head and follow it from then on.

8 · Put clothes on it

Clothes come over like the hair: in Unreal, Tools → AlphaHuman Studio → Export Clothes…, into the same export root. Each garment gets a folder under <root>/Clothes/ and is then available to every character.

In Blender, in the AlphaHuman workspace, turn on the Clothes section. Under On the shelf is a row per garment with a small picture; click a garment's name to put it on. Look through N garment(s)… shows the shelf as larger pictures, and the folder icon beside On the shelf opens a garment folder from anywhere else.

The garment is fitted to your character and skinned to its rig, so it follows poses and animation. The skin under it is hidden as the first garment goes on, so the body does not poke through.

Then pose the character and check the shoulders and the crotch. The swatches change its colour. See Clothes in detail.

9 · Pose it

The body rig and the face rig match Unreal's: the same controls, doing the same things, under the same names.

The face board lays every face control out flat, so you can reach all of them at once and watch the face while you work. The strip along its top:

Right-click resets. Select controls and right-click to zero them; with nothing selected, right-click clears the whole board. Alt+G does the same. Navigation is written along the bottom edge of both windows — wheel to zoom, middle mouse to pan, Home to reset the view.

The body picker selects controls and carries the rig's switches. The sliders set IK/FK blend per arm and per leg (arm L, leg R and so on, with 0 and 1 buttons for the two ends), each limb's stretch, and on the left spine ik, spine stretch and rig mode; on the right head ik on, neck snc and head hold. The pose tools are the rows underneath:

The swaps work with or without a selection.

Put the face cam up while you pose. Face Cam opens a camera on the face that follows the head, so the expression stays framed while you work on the pose in the main viewport. See the face cam.

10 · Put a mocap clip on it

The Animation section puts motion capture on the character's own controls, as a new action you can edit like hand animation. There is no mapping to set up.

The clip lands on the character's FK controls. Leave Keep Source off unless you want the imported skeleton kept. For BVH, change Scale (0.01) only if a clip arrives far too big or small.

A file with several clips asks which one you meant: pick it from the list. With two characters in the scene, it also asks which character gets it, then offers the rest for the other one, so a two-actor session lands on both from one import.

Below the retarget buttons, Bake Legs to IK and Bake Arms to IK move the result onto the IK controls, Make Switches Unreal-Safe prepares the IK/FK switches for Unreal, and Clear with Face, Body or Both removes animation from the character. Then run Foot Contact Cleanup to plant the feet. See Animation in detail.

11 · Animation to and from Unreal, as files

Control rig animation travels as a file, in both directions. In the Animation panel's Control Rig FBX box:

12 · The skin moves with the expression

The textures follow the face. Squeeze the brows together and the crease appears in the skin; open the jaw and the stretch shows. This happens by itself, as it does in the engine.

13 · Two characters

You can have more than one character in a scene — two in Standard, as many as you like in Pro. Drop another head.dna into the viewport, or press + in the Character panel's header, and it arrives with its own rig and face board. In Standard, remove one (the bin beside the +) to bring in a third.

With more than one character, a row of names appears at the top of the AlphaHuman Studio panel:

Click a name to make it the active character. Every section, the picker and the face board then work on that character.

Add and remove characters from the panel header. The + at the right of the Character panel's header lists the characters in your MetaHuman Source Folder, with their pictures: click one and it comes in, head and body. Browse for a DNA... at the bottom of the list takes one from anywhere else, and dropping a .dna into the viewport does the same. Standard holds two characters in a scene; the + is there while there is room. Remove Character removes the active character after asking — its meshes, hair, clothes, control rig, face board and face camera go with it, and nothing on disk is touched.

The eye beside each name shows or hides that whole character in the viewport — body, hair, clothes, control rig and face board together — so you can work on one without the others in the way. It is the character's own row in the outliner, so anything you hid inside it stays hidden when it comes back, and it does not change what renders.

Clicking the character in the viewport does the same. In Object Mode, anything belonging to it counts — a control, the body, the head, a groom. The row is for a character you cannot easily click, such as one standing behind another.

• Only the active character stays in Pose Mode.
• Only the active character follows playback; the others hold their pose, which keeps a busy scene responsive.

Past ordinary use

Everything so far uses a MetaHuman as it arrived. Standard also changes one:

Making a custom character

Shape is changed in the Character Modeler, the Model section of the same sidebar tab. The modeller and the rig side pass the character back and forth as often as you like: shape it, send it over to be rigged, check it working, come back and change it.

You can shape a character in two ways, and combine them:

• sliders for proportion, the size of parts, and the face's features, plus Mix to blend towards other characters;
• sculpting the mesh directly, for everything else;

Sculpting does not cost you the rig. When you reshape, the rig is rebuilt to fit the new shape, so the result is as fully rigged as the character you started from.

Two ways in

You do not lose the other half

While you work on a character's shape, the rest of AlphaHuman Studio still works on it. You can put an expression on it to see whether the new face holds up, go back to the original face, or use the control rig.

Eyes and teeth

The eyeballs follow the eye you sculpt and size themselves to the head. If they end up standing proud of the lids, sitting too deep, or the wrong size, set them by hand in the Eyes fold: Size, Out, Up and Forward, each with its own reset, and Put It Back for all four. Out moves the pair apart or together.

The Teeth & Tongue fold has the same four controls. The teeth can also be sculpted with Sculpt The Teeth (see Character Modeler in detail).

Every route ends at Reshape

However the shape got there, it becomes a working character through Reshape. Press Reshape & Return in the viewport tool header; it hands the character over and runs the whole reshape. If you have not changed anything yet, the button reads Open in AlphaHuman and simply opens the DNA as it is.

For an ordinary human face, that is the end of it. Pose it and it behaves. Two cases ask for more: a shape far outside the human range, and expressions you want pushed further than the character does them. Both are the Expression Editor's job.

It never becomes final

Reshape is not a one-way step. After it, go back to the modeller and change the character again, as many times as you like. Export the DNA at any point and you have a complete character; open that DNA later and carry on from it. You do not have to get the shape right before you rig it.

Example: feet for heels

Under Parameters → Parts, Heel rise lifts the heel while the ball of the foot stays down — the shape of a foot in a high-heeled shoe. Sole thickness and Foot height are beside it, and you can sculpt the arch on top.

Then reshape. The rig is built from the new shape, so the foot controls roll and plant where that foot does. Export the DNA, import it over the character in Unreal, and the engine's rig matches too.

Facial editing

Facial editing is where you decide what a face's expressions do. There are two ways in: the Expression Editor, when you know which expression is wrong, and Fix Expression, when you only know that a pose looks wrong.

The Expression Editor

Open it from DNA Editor → Facial Expression Editor → Open Expression Editor. It splits the screen, or reuses a node editor if one is open; Open in a New Window gives it a window of its own. Closing it puts your screen back as it was.

It needs the face rig running; the panel says so if it is not.

The expressions are laid out as a node graph. Panning, zooming, box-select and frame-all work as in any Blender node editor. Nodes are coloured by kind — plain expressions and the combinations built on them — and the ones that only exist at LOD0 are marked.

The editor's controls are in its own sidebar, under the AlphaHuman tab. At the top, a search field finds expressions by name and says how many match. Then two views:

Click a node and the face wears that expression at full strength.

The Selected section describes the selected expression: whether it is a primitive or a combination, how many joints, blend shapes and maps it drives, and the lowest LOD it survives to. A combination has Hold Still (L), which keeps it where it is when an expression it is built from is corrected. Often Visited lists the expressions you use most, with Forget All to clear it.

Sculpting an expression

Select an expression and press Sculpt This Expression in the Selected section. The face is posed at that expression and you sculpt it directly. While you do, the editor's sidebar shows only the sitting:

Outside a sitting, Mirror to Other Side in the Selected section replaces the other side's expression with this one reflected. The changes are written into the DNA when you export it.

Fix Expression

Sometimes no single expression is wrong: several are firing at once and it is their sum that looks bad. Fix Expression works from the pose instead.

Start it with Fix This on a frame of Check Face & Body ROM.

1. Pose the face until you are looking at what is wrong.
2. Start the fix. The face rig is held where it is.
3. Sculpt the head into what it should be.
4. Apply.

While the fix is open, the panel lists every target the expression uses, with how strongly it uses each, and a tick per row. Untick a row and that target takes no share. The line above the list counts how many will take the fix.

Other expressions that share those targets change too. The fix needs the face rig running, and a pose that fires a corrective at all: a pose that only moves joints — the eyes looking, the head turning — says so instead of offering the button.

RBF body deform

The RBF Pose Editor is at the foot of the DNA Editor section, in the sidebar.

The body has correctives: shapes that fire as a joint bends, so an elbow creases instead of collapsing and a shoulder keeps its volume when the arm goes up. Each joint has a set of poses it knows about, and this is where you edit them. It matters most when you have changed the body's proportions a lot.

How you work in it

1. Start Edit reads the body's solvers into the editor: a list of driver joints — calf_l, clavicle_r, foot_l and the rest — which you can narrow by joint group, by side (Both / L / R) and by search. Afterwards the button reads Reload from DNA.
2. Pick a solver. The panel shows which joints drive it, its type, and how many poses it has, then its settings: Radius, with the automatic-radius icon button beside it; Weight Threshold, below which a pose weight counts as zero; and Function, Distance and Normalize. Twist Axis only applies to the two angle distances and is greyed otherwise. Below that is the pose list, each pose with its weight.
3. Pick a pose. The Pose slider moves the skeleton between that pose and where the bones were, and the correctives fire as it does — the middle of the slider is the corrective at half strength. The two icon buttons at its end go straight to the pose and restore the bones.
4. Adjust Correctives gives you the corrective joints for that pose. They are small and often inside the body, so the panel lists the ones on screen — click a row to move the gizmo to it. Joints shows the skeleton, and the icon beside it draws the rig in front of the mesh.
5. Drag them until the silhouette is right.

One side does both

While adjusting, commit with:

Isolate Column, under those buttons, puts the fix only into the column this pose drives hardest. Use it when a correction is leaking into poses it should not affect.

Fix one arm and take both. The mirrored side is worked out for that side's own joints, not simply flipped.

Adding poses, and writing it back

Stand the driver bones where you want and press + beside the pose list to capture a new pose. It asks for a Name, a Scale for how strongly its output is applied, and Also Add Mirrored. − deletes the selected pose. Both are queued, and the count of what is waiting shows on Write RBF to DNA, at the top of the editor.

Nothing is in the DNA until you say so:

• Write RBF to DNA writes everything — the settings, the adjustments, the added and deleted poses — in one pass.
• Revert Edits drops the lot and goes back to what the DNA says.

The sidebar, and how it is arranged

Everything lives in the AlphaHuman Studio tab of the 3D viewport's sidebar. Press N if the sidebar is closed.

One tab, one strip

The Character panel is at the top: the characters in the scene, import, and the Control Rig, Body Picker, Face Board and Face Cam buttons. Under it, a strip of icons shows or hides the sections: Rig, Animation, Hair, Clothes, Materials and Export, with Settings and About at the end of the row. Alt-click an icon to show that section alone. Which sections are on is saved with the scene.

Character names appear 15 cm above the visible head in the viewport. They follow the animated head, stay horizontal on screen, and do not appear in renders. Hide viewport overlays to hide them.

Character Modeler in detail

Opening a character

With no character open, the Character Modeler panel lists every character under your character folder, with a picture of the one selected. Pick one and press Open. The refresh button beside the list scans the folder again after you export a new character. Open another… browses for a character that is not under that folder — choose its head.dna; body.dna has to be beside it.

The star beside Open is Make This The Start Character. The Mix slots are set in the Mix block, not here.

If the list is empty, the panel says so: set the character folder in the add-on preferences.

Its own sections, and the strip that never scrolls

Once a character is open, its name is at the top of the panel (the × closes it) and the modeller has its own row of icons. Click shows or hides a section, Alt-click shows one alone:

Turning the last section off turns it back on, so the strip is never empty.

Three things sit on the strip under the viewport's main header instead of in the sidebar, so they never scroll away: which character is open, the grips and the level under the brush.

Levels: sculpt where the work belongs

The modeller gives you three editing levels, listed under Sculpt at with their vertex counts. L0 is the finest and is marked final:

• the finest for detail;
• the coarsest for whole-body proportion, where a few vertices move a silhouette;
• and one in between.

Sculpt at any level and every other level follows. Switching level in the middle of a sculpt keeps you sculpting, on the new level, so you can block a shape in coarse and step down for the detail.

Watch, off to the side puts a second level up beside the one you are working on (Off removes it). Follow the brush keeps it updating as you sculpt.

What runs while you carve

Under the levels, in the Sculpt section:

Handles

In the Sculpt section, Show beside Handles puts proportion handles on the character. Drag one and the bone stretches, with the rest of the body following. Hide takes them away.

Set As Neutral is optional. A drag counts as soon as you make it; this button makes the current shape the character's own and puts the sliders back to neutral, so the next changes are measured from here.

Proportion, parameters and grips

At the top of Create:

• Proportion library. + saves the current proportions under a name. Pick a saved set from the pictures, press Use Proportions to apply it to the open character, or the bin to delete it.
• The readout. Proportion shows the character's height and its head height in centimetres. Outside 135–220 cm a red line says so: the mesh still works, but Unreal's assembly, the body correctives and retargeted animation are built for a person in that range.
• Views. Two rows — Front, 3/4 and Side for the body, the same for the face — see Where to stand.

The Parameters fold holds the sliders, in this order: the Mix block; the general proportions (Height, Head units, leg length, shoulders, chest, waist, hips, neck, bust and more); Parts, the limbs and feet; and Face, 43 sliders in folds of their own — Skull, Brow and eyes, Ears, Cheeks, Nose, Mouth and Jaw and chin. Only Skull starts open.

Every slider has its own reset arrow, live only when the slider has moved. Blender's right-click reset does not work on these.

The feet

Under Foot size the panel shows what the foot measures now, heel to toe — for example heel to toe 28.7 cm (287 mm). It is measured on the character as it stands, so height, Mix and sculpting change it too. The Ruler button (Things to judge against) draws the same measurement along the foot.

A raised Heel rise makes the reading shorter: the foot folds at the ball, and a folded foot is shorter heel to toe.

Grips

In the Drag section, Show the grips puts the parameters into the viewport as dots on the character. Drag a dot and it sets its slider. Object Mode only.

Body and Face are two separate switches: turn on either, both or neither. Body covers height, proportion and girth, the limbs, the neck and the head's size; Face covers the skull, eyes, nose, mouth, jaw, cheeks and ears. Grip size draws all the dots bigger or smaller.

Mix

Mix blends the character you are working on towards up to four other MetaHumans, in slots A to D. It is the first fold inside Parameters and starts open.

Each slot is a face you click. Click a slot and your characters open as a grid of pictures; click a face to put that character in the slot. The first entry, empty, clears the slot. A character with no picture beside its DNA still appears in the grid, without a face.

An empty slot is one line — its box, its letter and the word empty. A filled slot shows the face, the character's name and two sliders, Face and Body, each with its reset arrow.

0 leaves the character alone. Every slider starts at 0. At 1 you land on that slot's character exactly; two sliders at 0.5 land halfway between them. If the sliders add up to more than 1 they are scaled down together, so the result is always a blend of real faces.

Height is not mixed. Each slot is fitted to the open character's height first, so Mix changes the proportions that make up the height — head, legs, ribcage — and leaves Height to its slider.

The header reads reading N... while the slot characters are loaded from disk after a character opens, then N of 4. You can move a slider meanwhile; it waits for the reading to finish.

Shoes: Sole thickness and Heel rise

A character in shoes stands higher than it does barefoot. Two sliders in Parts model that, lift the character, and draw a sole and a heel block under the foot:

The sole and heel are not part of the character. They sit in their own collection, the brush cannot reach them, and they do not go over to AlphaHuman.

Once either slider is above zero, a Tipped / Raised ankle switch appears under the parameters. Tipped is the shape a foot takes in a shoe. Raised ankle keeps the sole flat and raises the ankle — choose it when the character is going to Unreal, because that is the shape MetaHuman's assembly keeps.

Things to judge against

The On screen row in Create, under the views. Apart from Feet on floor, the buttons are icons:

Reset Proportions, at the bottom of the panel while Create is on, puts every proportion back to where the character opened. It does not touch what you sculpted.

Where to stand

The view buttons in Create are two rows of three: Front, 3/4 and Side for the body, and the same for the face. All six are orthographic, so widths read true.

The button at the end of each row splits the screen into viewports at those three angles. With more than one viewport up, the same button joins them back into one.

What the model wears while you work

A three-way switch under the row of judging aids:

Any subset works — only guide_head.png gives you head guides and nothing else. Press Rebuild Materials in the Shading section, or restart Blender, after adding them. Updating the add-on replaces its folder, so keep a copy of the files.

Check poses

Three poses open the mouth so you can judge the face and what is inside it while you model:

• Ah~ — open the jaw;
• Ee~ — show the teeth;
• Le~ — put the tongue out.

They are the rig's own poses, and striking one also draws the face as a cage so you can see inside. They need the character's DNA and the rig tools; without them the buttons do not appear.

Sculpting the teeth

Open the Teeth & Tongue fold under Create. It holds:

• Size, Out, Up and Forward to place the mouth, each with a reset, and Put It Back for all four. The Eyes fold above has the same four for the eyes.
• Sculpt The Teeth. If the character carries more than one mouth mesh, each is listed so you can pick which one to sculpt.
• The three check poses by name: Ah~ Open The Jaw, Ee~ Show The Teeth, Le~ Put The Tongue Out.

A line says how far the teeth have been sculpted from the DNA's own. Sculpt The Teeth is greyed while a check pose is on — take the pose off first.

The sitting takes over the top of the panel: the viewport turns side-on, the face becomes a cage to judge depth against, and X mirror is on. Hide The Face removes the cage; Show The Face brings it back. Done keeps the result; Revert throws it away. Changing level, striking a check pose or handing over closes the sitting and keeps your work.

Materials on this level

The Shading section shows the material slots of the level you are on. Slot 0 is the head and slot 1 the body.

Rebuild Materials reads the Maps folder beside the DNA again, for textures added after the character was opened. The line under it says how many maps were found, or that there is no Maps folder and the character is wearing flat colours.

Leaving, and coming back

The handoff

The button beside the character name in the viewport tool header hands the character to the rig half:

• Reshape & Return once you have modelled something. It hands the character over and starts the reshape run.
• Open in AlphaHuman when nothing has been modelled yet. It hands over the DNA as it is.

On the way out, the copies from Copy It Out To Sculpt are hidden and the modeller's levels, handles, ruler and watch level are put away. Touching a level brings them back. The redo panel has switches for each of these steps, including Hide the copies.

The DNA Editor section

Everything that changes the DNA itself: the DNA Editor section of the strip.

To change the character's shape, turn on the Model section and press Send to Character Modeler. The button is greyed when the character's DNA files cannot be found.

The DNA Editor contains these sub-sections:

If sculpted expressions are waiting to be written, a line says how many, with Write Correctives on it.

While a job is in hand — a reshape running, or a check pass loaded — the section shows that job alone, with its name at the top.

The reshape run

A reshape starts by itself when the Character Modeler hands a character over. It appears at the top of the sidebar under Modelled shape handed over (its × puts the notice away), and in the DNA Editor section, in a Reshape box. It shows one state at a time:

• at rest — The handoff runs this by itself;
• running — the four steps ticked as they land (Fit The Joints, Freeze The Skeleton, Take The Sculpt, Write The DNA), with a red WORKING line while one is in progress;
• stopped — the reason, and Reshape (or Carry On, if some steps landed) to go again;
• finished — Reshape complete and the file that was written, with Finish to put the box away and Write Again to run the last step once more.

A new handoff never touches a run that is already part way.

Details

A fold at the bottom of the Reshape box. You do not need it for an ordinary run.

Check Face & Body ROM

After a reshape, this is how you find where the face or body does not work. It loads a range-of-motion animation onto the character's controls; step through it and watch for what breaks.

Before a pass is loaded:

With a pass loaded:

Fix what you find without leaving the pass. On a face expression, Fix This opens the expression fix right there (the face rig has to be running). On a body frame the button is Adjust Correctives, which opens the RBF editor's adjustment. A face frame that only moves joints — the eyes looking, the jaw swinging — has no corrective to fix, and the panel says so. After you apply a fix, the pass is still loaded and Next carries on.

Against a real performance

A generated pass moves one control at a time. With Unreal to hand, From Unreal... loads the engine's own ROM takes, where several correctives fire together. Stepping, ticking and fixing work the same way.

Rig Options

How the face rig and body rig run and are drawn. Nothing in here changes the character. Rig Options is the Rig section; the controls you reach for constantly are at the top of the Character panel instead.

The top of the Character panel

Portrait Light, the three-point lighting preset, is not here: it lights the character rather than the rig, and sits in the Lighting panel at the foot of the tab — below.

With more than one character in the scene, a row of their names above these buttons chooses which one the tab works on.

If the character's rig was built by an older version of the add-on, a red Rig is from an older build box appears with Rebuild Control Rig in it.

General

If the panel says the character has no shape keys, import it again with Shape Keys on. If a red line says the face board's switches are missing, reopen the face board.

The face rig starts by itself when a character is imported (Start Rig in Import options). If it is not running, press Start Face Rig in the Character panel, above Face Board. The FK/IK switches and foot pivots are on the body picker.

Face Board

This section only appears once an armature face board has been built. The ordinary face board, opened with Face Board in the Character panel, needs nothing here.

With an armature board, this shows the board object with an eye to hide it, and:

Control Rig Handles

How the body rig's controls are drawn:

All of these apply to the active character's rig straight away.

Face Cam settings

The Face Cam section holds the camera's settings (the camera itself is described further down):

Once there is a camera, a row names it, with an eye that shows or hides the camera object in the viewports. It keeps following the head while hidden.

LOD

Which level of detail of the character is in the scene: Head and Body sliders, and Matched, which keeps the body at the head's level.

The section only appears when more than one level was imported. An ordinary import brings LOD0 alone.

Animation in detail

The Animation panel appears once the character has a body control rig. It holds Retarget, Foot Contact Cleanup, Control Rig FBX and Skeleton FBX.

Each group inside Animation starts collapsed. Click the arrow beside its title to open or close it independently. Blender remembers the open groups in that editor, so you can keep only the tools you are using visible.

Retarget

Retarget FBX and Retarget BVH are described in step 10. You can also pick an armature already in the scene in the field and press Retarget. A file holding more than one clip asks which clip to place and, with two characters in the scene, which character gets it.

The clip keeps the character's own shoulder shape and finger curl, and plays the source's motion on top. A clenched fist closes with the thumb tucked in.

The clip lands on the FK controls. Then:

Where the take stands: the floor

The top of Foot Contact Cleanup shows where the take stands, so you can check it by eye before anything is planted.

• Floor Height is where the floor is.
• The line under it reads, for example, Lowest point −3.7 mm: the take's lowest foot point, measured from that floor (minus is below it). The refresh button measures again after you edit the animation; the eye hides the drawing.
• An orange dashed outline in the viewport marks the lowest point.
• A translucent blue box runs from Floor Height up to Contact Height over where the feet travel. A foot inside it counts as standing.

Put Lowest on Floor moves the whole take up or down so its lowest point sits on Floor Height. It changes the take itself and turns Fit Take to Floor off. Undo takes it back.

Do this first, then plant. If the feet never reach the blue box, the take is floating. If a lifted foot sits inside it, lower Contact Height, or that foot will be planted in the air.

Foot Contact Cleanup

Feet in mocap often slide or sink. The cleanup plants them where they touch the floor.

1. Set the scene's start and end frames to the part of the take you want.
2. Open Animation → Foot Contact Cleanup.
3. Set Floor Height to the floor under the character.
4. Press Preview Foot Cleanup. The button shows its progress; Esc stops it and puts the previous take back. The corrected take plays when it is done.
5. Press Original and Corrected to compare.
6. Press Keep Bake to keep the corrected take, or Remove Cleanup to go back to the original. Face animation is kept either way.

If you change a setting, the panel says Recalculate after changes and Keep Bake is greyed out. Press Recalculate Preview. After retargeting a new clip, run the preview again.

Fit Take to Floor (on) first moves the take so it stands on Floor Height; the panel says how far, for example Lowered 65 mm. Only the corrected take moves. Turn it off when the clip's height is already right.

Plant Toes on Floor (on) lays the toes flat on the floor while the foot is planted, whether they were sinking or pointing up.

Contact Settings holds the rest. You rarely need them:

Control Rig FBX

Animation as a file, in and out, landing on a Control Rig track in Unreal's Sequencer — see step 12. The Face and Body toggles decide which halves every button in the box acts on: Export FBX writes those halves (both writes two files), Import FBX accepts them, and the bin clears them from the character.

Skeleton FBX

Export Skeleton FBX (baked) writes the animation baked onto the joints. It imports into Unreal as an Animation Sequence on the skeleton — no Control Rig track, no geometry. Baking the RBF correctives and the face blend shapes are options in its dialog.

Materials, lighting and what is on screen

The Materials & Display section covers the parts list, materials and how the skeleton is drawn. Portrait Light, in the Lighting panel at the foot of the tab, and Face Cam, in the Character panel, are described here too.

Textures are read from the Maps folder beside the DNA. A map the character does not carry is taken from a base asset folder beside your characters, if there is one.

Parts

Every mesh of the character at the level on screen, as a grid: head, body, eyes, eyeshell, eyelashes, teeth, saliva, cartilage. Click a name to show or hide that part; the dot beside it shows that part alone. Use it to get the eyelashes out of the way when you look closely at a brow.

Materials

Build Materials shades the character from its textures. It reads Rebuild Materials once every mesh has one. The skin is shaded as Unreal shades it: a tight highlight over a broad one, and a fine web of creases and pores that shows close up.

Skeleton

Skeleton shows or hides the character's joints. The button beside it draws them in front of the mesh. Simple Joints draws the skeleton as spheres instead of Blender's bone shapes; Plain Bones switches back.

What is in the file

At the bottom: how many bones, meshes and shape keys the character has, and the names of the DNA files it came from.

Teeth, gums and tongue

The mouth material works out its roughness from the colour map, so the teeth stay glossy while the gums and tongue get a softer highlight. There is nothing to set.

Portrait Light

A three-point lighting preset — key, fill and rim — aimed at the character's head. Press Portrait Light in the Lighting panel — the last panel on the tab — to add it and again to remove it. It lives in its own collection, so removing it leaves the file as it was.

The exposure is the same whatever the character's size. The lights follow the head's position, so a character that kneels or walks keeps its lighting, but they do not turn with the head.

While the light is on:

• Strength scales all three lamps against the exposure the preset measured; 1 gives it back exactly. Turn it down when an Environment Light is doing part of the work.
• Turn swings all three lights round the head together, keeping their distances and angles. The pivot is an empty at the head in the same collection; rotating it by hand does the same, and the slider follows.
• Extras is Blender's viewport overlay that draws the lamps' wire outlines (along with cameras and empties). Turn it off to get the outlines off the face. The button stays on the row whenever Extras is off, so you can always turn it back on.

Environment Light

Lights the scene with an HDRI — a picture of a place, a sky, a room, a street — from every direction at once, with that place's colours in the skin. Press Environment Light in the Lighting panel, under Portrait Light.

• The picture is a thumbnail of the chosen HDRI; click it for all of them. Blender's own eight — City, Courtyard, Forest, Interior, Night, Studio, Sunrise and Sunset — are listed, read from the Blender you are running. The folder button chooses a file of your own.
• Strength is how bright the place is; Turn swings it round the character.
• Show as Background off keeps the place lighting the character but puts a dark grey behind it, so the face stands against nothing that competes with it.

It works with Portrait Light or without it: the place for colour and fill, the lamps turned down with their Strength for shape. Turning it off puts back the world the scene had. Blender's HDRIs are small, so seen as a background they are soft; a sharp background wants a high-resolution file of your own. It shows in Rendered and Material Preview shading and in Cycles and EEVEE renders.

Face Cam

A camera in front of the face, shown live in a window of its own — park it beside the face board — or in half the viewport (Split Viewport in Face Cam settings).

It follows the head: the character can walk, turn or be animated and the face stays framed, so you can work in the main viewport at any size and angle.

• Face Cam reads Close Face Cam while open. Closing it leaves the camera in the scene, so any change you made to it is kept.
• The magnifier beside the button restores the default framing; the × removes the camera.
• While it is open, a row of four shading buttons — Wireframe, Solid, Material, Rendered — sets the face cam's shading independently of the main viewport.

The engine's own face cam is in AlphaHuman MH Control, so with AlphaHuman Pro's live link up you can watch the same performance on both sides.

Hair in detail

Grooms come over from Unreal — see step 5 — and the Hair section is where they live afterwards. If the character has no hair yet, the section tells you where to export it: Tools → AlphaHuman Studio → Export Grooms in Unreal.

There are four ways to bring hair in:

Hair goes in its own collection under the character, so hiding the character in the Outliner hides its hair too. A sheet over the viewport names each groom as it goes on.

The groom list

Breeze Standard

Standard's way to make hair move. Pro replaces it with hair physics, which simulates every strand.

Breeze puts a gentle movement through the scalp hair. It is not a simulation: there is nothing to bake, and scrubbing back to a frame gives the same result. Press it again to stop. Brows, lashes, beards and peach fuzz are left still.

Two controls appear beside the button once it is on:

Hide Hair While Playing

On by default. Hair is taken off while the animation plays and put back when it stops, because grooms make playback slow even when they are not moving. Density does not make playback faster — it only makes the hair cheaper to draw. A groom you had already hidden stays hidden.

Density

Grooms arrive at full density. Thinning them makes the hair look thinner, so judge a character at full density. Use the density sliders only when the scene is too heavy to work in; a render always uses every strand.

There are two sliders, and they multiply. All Grooms, beside the eye above the list, sets how much of every groom is drawn; Viewport Density, under an opened groom, sets that groom's own. Turning All Grooms down keeps the balance you set between grooms.

Strands or cards

A MetaHuman's hair comes two ways. Strands are the full groom. Cards are ribbons with hair painted on them, the lighter version games use.

Press Strands or Cards at the top of an opened groom, or above the list to switch every groom.

Not every groom has cards. Eyelashes and peach fuzz never do. When cards are missing, the groom says why:

• this groom has no cards — the Unreal asset has none.
• its card archive carries no mesh — the cards came out empty.
• this groom was exported before cards were carried — export it from Unreal again.

Card controls

Width

Width, at the top of an opened groom's strand settings, multiplies how thick each strand is drawn. 1 is the thickness the groom had in Unreal. Raise it for a groom that looks too faint — around 2 makes a fine eyebrow clearly visible.

Cards follow it automatically: moving Width also sets the card set's Fullness and Strength. Card settings you adjust by hand are kept until Width is changed again, or until you press Match Strands.

Colour and cinematic rendering

An opened groom's strand settings are, in order: Width, Viewport Density, and the hair colour. Highlight controls follow the scene's render engine:

For a cinematic finish, choose Cycles and use Rendered viewport shading. Material Preview still uses EEVEE, even when the scene engine is Cycles. The two engines use different hair lighting and will not match exactly. Cycles uses its own physical hair shader and colour absorption, without the extra EEVEE sheen. For hair that washes out under backlighting, adjust Color Depth. Surface highlights are controlled by roughness and physical reflection while looking through Cycles.

Existing AlphaHuman strand materials update when the file is opened or the add-on is enabled, keeping their colour swatches and shading settings while adding the Cycles colour-depth correction. Kept hairstyles also retain the Cycles model, colour depth and reflection controls. Colour uses a shared swatch; melanin can still be authored directly in the material for a Cycles-only look.

The colour Unreal gave it

Hair exported with the current AlphaHuman Studio for Unreal brings the character's own hair colour: not one colour, but the whole of MetaHuman's hair colouring — each strand a little different, an ombre along the lengths, highlight streaks, grey strands — worked out strand by strand the way Unreal does. Eyebrows, lashes and beards come in the same way. Hair exported before that comes in dark brown; export it again to get its colour.

Cards take the strands' colour, without the ombre and the streaks, which a card set does not carry. Changing the colour on the strands and pressing Match Strands carries the change to them.

Clothes in detail

A MetaHuman's clothes are not in its DNA. They live in the Unreal project — the outfits a character was assembled with, or outfit and cloth assets from Fab — and the AlphaHuman Studio plugin exports them for Blender. The Clothes section of the AlphaHuman workspace is where they are worn.

Getting them out of Unreal

In Unreal, Tools → AlphaHuman Studio → Export Clothes… opens the Export Clothes window, showing every garment in the project as a tile.

1. Set Export root (or use Browse...) to the folder your characters are in — the same folder as the add-on's MetaHuman Source Folder. It is remembered.
2. Click the garments you want; the whole tile is the switch. Under each name it says what kind of asset it is, or when it was last exported. Hover a tile for its full path. Search filters the tiles, Select Shown and Select None change the selection, and the count shows how many are chosen.
3. Press Export.

Each garment gets its own folder under <export root>/Clothes/, holding its pieces, the body it was cut for, its skin weights, its textures and a thumbnail. The folder is named for the pack the garment came in and then the asset (paladin_OA_ma_chest_05_a), because packs reuse asset names; the Clothes list shows the same name. Exporting the same garment again overwrites it. Rescan refreshes the list after you add assets to the project.

Putting one on

Open a character, then the Clothes section in the AlphaHuman workspace. On the shelf lists every garment under Clothes in your MetaHuman Source Folder, with a small picture. Click a garment's name to put it on. The folder icon beside the heading opens a garment folder from anywhere else.

Look through n garment(s)... opens the shelf as a window of large pictures. Click one to put it on, or the X at the top right to close it. The window stays inside Blender's own window and takes as many columns as fit there; hover a name to read all of it.

The shelf also tells you when something is wrong:

• no MetaHuman Source Folder set — choose it in Settings or the add-on preferences.
• nothing under Clothes — export some from Unreal, or use Open a garment folder....
• A garment with a red error icon cannot be worn; the line under it says why.
• A broken-link icon means the garment was exported without the body it was cut for. It still fits, but clings. Export it again with The body it was cut for on.
• The Character Modeler is open — clothes wait while the character is being reshaped. Close the modeller, or press Reshape & Return, then dress it.

Wait for the progress report to finish. The garment is resized and fitted to the character, and then follows the rig when you pose or animate. Skin under the clothes is hidden automatically — see Hiding the skin underneath.

The header row, Wearing, has these buttons, left to right:

Hiding the skin underneath

Skin covered by visible clothes is hidden automatically, on both the body and the head (the head mesh includes the upper chest). Hiding turns on with the first garment. Use Hide Skin Under Clothes, the first button on the header row, to turn it off or on; once you turn it off, new clothes leave it off. Skin under the roots of the hair is never hidden.

1. With hiding on, press the brush button (Paint What Is Hidden). You do not need to select anything first. The clothes become see-through.
2. A painting row appears with Body and Head. Click one to paint on it. The eye beside each turns that surface off so strokes cannot land on it; one surface must stay on.
3. Paint to hide skin; Ctrl-paint to bring it back. Strokes are mirrored (turn off X mirror in the Weight Paint header for one side only).
4. Press the brush button again — it is red while you paint — to finish.

Colour

A MetaHuman garment's colours can be changed. Under each worn garment is one swatch per colour zone — one, two or three, depending on the garment. Drag a swatch to recolour that zone everywhere it appears; the weave, seams and wear stay in place. An outfit with more than one fabric has a row of swatches for each, named after its Unreal material.

Garments from other packs — armour, costumes — are often painted instead: a colour map, a normal map and an ORM map (occlusion, roughness, metal). Those come in with their textures as painted. If the pack recolours through a tint mask, as Polyphoria's armour does, each tinted region takes the colour the Unreal material gave it. These have no swatches on the panel yet; the region colours are nodes named AlphaHuman Tint … in the material, in the Shader Editor.

Under the swatches:

Everything the Unreal material carried is recorded in cloth.json in the garment's folder, for anyone building their own shader.

Export

Writing files out

The Export section writes the character as a DNA, or as FBX, glTF or USD.

1. Set an export folder.
2. Type a Name, or leave it empty to use the character's name.
3. Choose one or more formats.
4. Set the options below.
5. Press Export Files.

Import options

Import Options, a closed panel under the main panel, decides how the next character comes in.

With no character in the scene, pick the Head DNA (the Body fills in), choose Parts (Head + Body, Head only or Body only) and press Import DNA. Or drop the .dna on the viewport.

Click a character in Recently opened to open it again. Its × takes it off the list; no file is deleted.

Under After Import:

About

The About section is the first button on the AlphaHuman workspace's section strip. It works without a character in the scene. Read it before writing to support.

If a compute tool cannot be found, it is listed here in red. The preferences show every place it was looked for.

Preferences

Open Edit → Preferences → Add-ons and expand AlphaHuman Studio. The only field you must fill in is the MetaHuman Source Folder.

If a red box says Core tools not found, reinstall the add-on. If the box is still there, send us what it says.

Getting a changed DNA back into Unreal

Whatever you changed in Blender — the shape, the expressions, the body's correctives — goes back into Unreal as a DNA.

Write it out

In the Export section, tick DNA and press Export DNA. You get a head.dna and a body.dna.

Read it back in

Import into a new MetaHuman Character rather than the one you started from, so you can still compare or go back.

1. Open the new character and go to Import on the left rail.
2. Choose From DNA along the top.
3. Set the mode to Replace.
4. Under Files, set DNA Head and DNA Body to the two files you exported.
5. Tick Import Whole Rig. It is off by default.
6. Press Apply.

Leave the Body Mesh and Body Joints options underneath at their defaults (all on).

Then assemble, as in step 2. After that it is an ordinary MetaHuman again.

AlphaHuman Studio for Unreal

The Unreal half of the product, a plugin called AlphaHuman Studio. Its panel, AlphaHuman MH Control, poses a MetaHuman in the Unreal editor — the same face board as the add-on, a body picker, symmetry and mirror tools, a pose library and a face camera. It also exports a character's hair and clothes for Blender.

You need it for hair and clothes. The rest is useful on its own. It is a separate download, free: get AlphaHuman Studio for Unreal on Fab, Epic's store. The live link from Blender is AlphaHuman Pro's, with an Unreal plugin of its own.

Everything it offers is in one menu, Tools → AlphaHuman Studio:

Install

From Fab. Add the plugin to your library from its Fab page, then in the Epic Games Launcher open Unreal Engine → Library, find it under Fab Library and press Install to Engine for 5.8. Close the Unreal editor first. Open any project; the menu is at Tools → AlphaHuman Studio.

From a setup program. If you were sent one instead, it is called AlphaHumanStudio-<version>-UE5.8-Setup.exe. It installs into your Unreal Engine 5.8 itself, so it is on in every project that uses that engine. Use one or the other, never both.

1. Close the Unreal editor.
2. Run the setup and allow it administrator permission — the engine lives under Program Files.
3. Check the engine folder. The setup finds your Unreal Engine 5.8 — installed through the Epic Games Launcher, or a source build — and fills it in. Next only accepts a 5.8 engine folder; if yours is somewhere else, Browse to it.
4. Open any project. The menu is at Tools → AlphaHuman Studio.

The plugin goes into <UE_5.8>\Engine\Plugins\Marketplace\AlphaHumanStudio. Running a newer setup replaces the old copy, including one installed under the plugin's old name, MHControlPanel. To remove it, uninstall AlphaHuman Studio for Unreal Engine 5.8 from Windows Settings → Apps.

To have it in one project only, use AlphaHumanStudio-<version>-UE5.8.zip instead: copy its AlphaHumanStudio folder into that project's Plugins folder. Use the setup or the zip, never both.

It turns on the Unreal plugins it needs if they are off: Control Rig, Level Sequence Editor, Hair Strands, Chaos Cloth Asset and Chaos Outfit Asset.

Using it

Three tabs — Face, Body and Poses — above a dropdown choosing which MetaHuman in the level you are driving. Refresh rescans the level. Face Cam shows a camera in front of the face, and Face Light lights the face with its own spotlight (face cam only).

Face is the same board as in Blender, with Symmetry, Tweakers, Key Sel, Key All, Reset Sel and Reset All. Fit resets zoom and pan. Right-click puts the selected handles back (every handle, when nothing is selected), as on the Blender board; the middle button pans.

Body is the body picker: Select All, Key Sel, Reset Sel, Reset All, Symmetry, Copy L→R / Copy R→L to mirror one side onto the other, Swap Arms, Swap Legs, Swap Upper and Swap Lower, and the Toes, Labels and Show Ctrls toggles.

Poses is a pose library. Filter it by Face, Hand, Body or All. Type a pose name and press Save (for hands, Save L or Save R). On a saved pose, set Blend and press Apply; the × deletes it.

Troubleshooting

Support

support@alphahumanstudio.com

Tell us the Blender version, the Unreal version if the engine is involved, the edition and version from the About section, and exactly what the panel or status bar said.