Back
UNREAL FELLOWSHIP • Animation
Unreal Animation Fellowship
Real time short film production inside Unreal Engine 5
UNREAL FELLOWSHIP • Animation
Unreal Animation Fellowship
Real time short film production inside Unreal Engine 5
UNREAL FELLOWSHIP • Animation
Unreal Animation Fellowship
Real time short film production inside Unreal Engine 5
ROLE
Animator
TEAM
Animation
Product
Unreal Engine
Timeline
3 Weeks (Intensive)
ROLE
Animator
TEAM
Animation
Product
Unreal Engine
Timeline
3 Weeks (Intensive)
ROLE
Animator
TEAM
Animation
Product
Unreal Engine
Timeline
3 Weeks (Intensive)
01. Overview
Produced during the intensive 3-week Unreal Fellowship, "The Little Dragon" is a narrative short created entirely from scratch. The program imposed a strict constraint: no external DCCs (like Maya or Blender) were allowed. This meant every aspect of production—from layout and animation to lighting and final rendering—had to be executed 100% within Unreal Engine 5.
01. Overview
Produced during the intensive 3-week Unreal Fellowship, "The Little Dragon" is a narrative short created entirely from scratch. The program imposed a strict constraint: no external DCCs (like Maya or Blender) were allowed. This meant every aspect of production—from layout and animation to lighting and final rendering—had to be executed 100% within Unreal Engine 5.
01. Overview
Produced during the intensive 3-week Unreal Fellowship, "The Little Dragon" is a narrative short created entirely from scratch. The program imposed a strict constraint: no external DCCs (like Maya or Blender) were allowed. This meant every aspect of production—from layout and animation to lighting and final rendering—had to be executed 100% within Unreal Engine 5.
02. The Workflow
To meet the "in-engine only" requirement, I mastered Unreal’s native creative suite. I utilized Control Rig to keyframe animate the characters directly in the viewport, building the performance from scratch without external motion data. Sequencer was used for all cinematography and editing, allowing me to iterate on the storytelling in real-time. This workflow proved that a high-fidelity cinematic pipeline can exist entirely inside the engine.
02. The Workflow
To meet the "in-engine only" requirement, I mastered Unreal’s native creative suite. I utilized Control Rig to keyframe animate the characters directly in the viewport, building the performance from scratch without external motion data. Sequencer was used for all cinematography and editing, allowing me to iterate on the storytelling in real-time. This workflow proved that a high-fidelity cinematic pipeline can exist entirely inside the engine.
02. The Workflow
To meet the "in-engine only" requirement, I mastered Unreal’s native creative suite. I utilized Control Rig to keyframe animate the characters directly in the viewport, building the performance from scratch without external motion data. Sequencer was used for all cinematography and editing, allowing me to iterate on the storytelling in real-time. This workflow proved that a high-fidelity cinematic pipeline can exist entirely inside the engine.
03. Outcome
The result is a complete animated short delivered under a strict deadline. By removing the need for file exports and round-tripping between software, I was able to focus purely on the visual storytelling, using Lumen for dynamic lighting to drive the mood of the piece.
03. Outcome
The result is a complete animated short delivered under a strict deadline. By removing the need for file exports and round-tripping between software, I was able to focus purely on the visual storytelling, using Lumen for dynamic lighting to drive the mood of the piece.
03. Outcome
The result is a complete animated short delivered under a strict deadline. By removing the need for file exports and round-tripping between software, I was able to focus purely on the visual storytelling, using Lumen for dynamic lighting to drive the mood of the piece.