Unreal Engines Diary

Transitioning from UX Design to 3D Clothing and the Reality of Creative Problem Solving

This episode is a "dump of ideas"—a way to clear my mind as I transition into a new creative field. I’ve spent the last decade in UX design, but I can feel the market changing. Between AI and the "templating" of the web, the space for dedicated UX designers is shrinking, and I’m finding my future in the "massive niche" of virtual fashion for MetaHumans.

I’ve recently invested in Marvelous Designer, a powerful tool for digital outfit design. However, "life got in the way" in the form of overdue tax returns. Interestingly, I’ve been using AI to help me understand and file these forms without an accountant—a reassuring use of technology in a field I find unbearable. On the 3D side, I’ve been wrestling with the workflow between Marvelous Designer and Unreal Engine. It’s not "creative" work—it’s problem-solving—but it’s the price of entry for this playground.

I’ve made a conscious choice to avoid Pinterest and Instagram for inspiration because they are currently "polluted by AI." AI designs look feasible but often have construction flaws that make them impossible to recreate in 3D. Instead, I’m using Zalando—a real-world retailer—to study realistic fashion trends and product photography to ensure my digital creations look "down to earth" and feasible.

One realization that hit me hard recently is how temporary UX design is. I look at my old portfolio and see projects for high-end clients that no longer exist online because products changed or designs were scraped. Virtual fashion feels different. While software systems change, a well-designed digital collection can be "evergreen"—timeless designs that remain universal even if the format needs to be converted later.

I’m heading off on a two-week holiday soon, but I’m taking my laptop to commit to these MetaHuman animations and outfits. I’m done reflecting on the UX designer I "used to be"; it’s time to focus on the 3D designer I’m becoming.

Everyone knows it’s easy to start a project, but getting back to it when the excitement fades? That’s where the real struggle is. In this episode, I’m looking at how hard it is to maintain momentum—whether it’s podcasting or working in Unreal Engine—and how easily we get distracted by "shiny object syndrome," playing with Metahumans instead of actually building the world.

I also break down how I navigated this year’s Black Friday sales. I’ve realized that my materialism has shifted; I don't want physical objects anymore, I want digital ones. I want the satisfaction of owning 3D scans and building a virtual library, even if I never use half of it. I finally dipped into my wishlist to buy the Scans Factory Rome Italian Town pack. After using the Matrix City Sample for so long, I realized I needed to get away from that cold, cruel New York vibe and find something cozier—inspired by those beautiful Mediterranean levels in Hitman.

But building this movie brought me to a frustrating roadblock: Metahumans don’t have clothes. The new system is great, but unless you want a character in underwear or a sci-fi warrior suit, you’re out of luck. I rant a bit about the state of the marketplace—where a pair of virtual jeans costs €41 (which is what I’d pay for real trousers)—and why I refuse to spend €150 just to dress one background character.

This pushed me to a new solution: I picked up a license for Marvelous Designer. It’s a steep learning curve, but I’m excited to start stitching my own custom assets, even if it means working on a MacBook on the train. I also touch on the "hidden costs" of virtual production, including the "black magic" of Windows Firewalls blocking my new iPhone head rig for facial capture. Finally, to keep myself accountable, I committed to a four-year hosting deal with Hostinger—so now I have no excuse not to share the work I’m creating.

Takeaways:

• It's easy to start a project, but maintaining excitement and commitment is much harder over time.
• Black Friday can be a great opportunity to save money, but it's crucial to avoid impulse buying and stick to a wishlist.
• When creating virtual environments in Unreal Engine, managing asset clutter is essential for maintaining efficiency and creativity.
• The transition from physical to digital assets changes our perception of ownership and necessity, especially in creative projects.
• Investing in quality digital assets can enhance a project significantly, but it requires careful consideration of budget and utility.
• Finding appropriate outfits for digital characters can be surprisingly expensive and time-consuming, highlighting the challenges in digital fashion.

Links referenced in this episode:

• My personal podcast (cMonkX Podcast)
• hostinger.com
• fab.com
• Rome - Italian City - Unreal Engine Asset (Environment from Scans Factory)
• Face Motion Capture Head rig
• Hitman Game
• Unreal Engine :)

Email me at [email protected]

Keywords:

podcasting, Unreal Engine, Black Friday deals, digital assets, environment design, metahuman outfits, virtual clothing, 3D modeling, project management, asset optimization, creative workflow, game development, animation techniques, virtual reality, podcast production, content creation, digital marketplace, asset packs, online resources, creative accountability

This episode is basically a production diary where I talk about my journey with Unreal Engine. The main focus is on shifting from just learning forever to actually finishing projects. I want to create a space to share insights that might click with you if you're on a similar path—dealing with that mix of excitement and those moments where you just feel discouraged.

Over the last two years, I've hit a lot of walls working on different things, which often left me feeling disappointed because I didn't finish them. In this episode, I talk about why I’m optimizing my workflow and the new tech investments I’ve made to level up, especially for cinematics. I also really want to invite you to connect and collaborate so we can build a community of people who are passionate about mastering Unreal.

I’m taking a deep dive into the creative process here, sharing my personal experiences and thoughts on how I learn. It’s an informal, introspective look at my time with the software. I want to bring you into my world, which can feel a bit isolating, but I’m really looking for that connection with like-minded creators.

I talk about the emotional ups and downs—the thrill and the despair—that come with this kind of work. I also get into the technical struggles, like hardware limits and figuring out advanced stuff like Metahumans. Moving from a MacBook to a proper PC setup was a huge milestone for me to improve my work and finally get those polished results. It’s all about moving away from just experimenting and actually completing meaningful projects.

I’m encouraging you to reach out because I bought a face capture rig recently, which is a real step toward my cinematic goals, and I want to share that. I wrap things up by emphasizing how important shared experiences are and the potential of mastering Unreal. I want to break out of the solitary creative bubble. I hope this story not only informs you but inspires you to start your own journey of discovery and creation.

Takeaways:

• The podcast serves as a personal diary where I share my experiences with Unreal Engine.
• I aim to regularly update listeners about my projects and discovered tutorials related to Unreal Engine.
• The journey of learning often involves both enthusiasm and discouragement, which I have experienced firsthand.
• I have transitioned to using a PC for Unreal Engine, seeking to enhance my creative output significantly.
• My commitment to complete projects stems from a desire to share my work and possibly monetize it.
• I have invested in equipment for face capture to enhance my filmmaking capabilities using Unreal Engine.

contact me at: [email protected]