I’ve been working on a third person exploration and adventure game called ‘The Nomad’ for the past 8 months, and I wanted to share some of the techniques I had learned in this time.

The topic of discussion today is Vertex based animations.

Before we get to that, let us digress for a wider examination of animation pipelines in general, to gain a little perspective.

Animation is probably one the most important factors in making a game feel responsive and lifelike (not to be confused with realistic). Animation is in essence the art of making something static feel like it is in motion.

Human beings are great at perceiving motion and as such it’s one of the more prominent ways with which games engage players, both mechanically and aesthetically.

In 3D animation, there are a few broad categories with which animation is implemented, each with their own pipelines and quirks:

1. Vertex animation: This used to be the most widespread way to animate things back when the first wave of 3D games came out and the hardware wasn’t usually capable of handling the complicated (and expensive) concatenated transformations of skeletal animations. It’s easy to do but hard to reach good results with. It also happens to be what we’re talking about today.
2. Skeletal animation: This method is the most commonly used for 3D animation nowadays, and when supplemented with the powerful tool of Inverse Kinematics it can achieve really smooth and organic results. It’s probably the most flexible out of all of these methods, and the sheer number of tools for this pipeline make it a very attractive option.
3. Procedural animation: This method is a little less commonly seen, and I can guess that’s because it is probably non-trivial to implement and has very specific use cases as opposed to the other two methods. Some games that use it to good effect include Grow Home, QWOP, Overgrowth and so forth.
4. Physically-based Simulation: Similar to the procedural animation though slightly different, this is animation that utilizes simulation of some natural substance like fluid, cloth in order to create the animation of the mesh. A popular game that uses this method is Journey with its cloth creatures and main character created almost entirely out of cloth.

With that out of the way, let us explore how to get vertex animations in UE4.

The method that is described here involves morph targets.

In a morph target animation, a “deformed” version of a mesh is stored as a series of vertex positions. In each key frame of an animation, the vertices are then interpolated between these stored positions.

That’s fairly simple to understand. And you can see why it falls under the blanket of a vertex animation.

The kind folks at Epic have written a MaxScript that enables any Editable Poly mesh with keyframed animations to have its animations written out into a texture. The only downside to this method is that the mesh can have at max 8192 vertices.

In your Engine installation folder look for “Epic Games\EngineVersion\Engine\Extras\3dsMaxScripts\VertexAnimationTools”

It’s straightforward to use and this tutorial will explain the details behind it and the material you will need to create in order to view this animation in the engine:

But just in case, here’s a screenshot of that material too:

Hope this is helpful to someone!