That’s the challenge. Regarding Unreal Engine, deformations had to reach a certain quality standard while remaining fast enough to compute for the real-time system.
Therefore, we worked in control rig only, with an approach similar to the one used for White-Fang, but with the real-time constraints (no blendshapes, limited number of influences …).
Regarding the facial rig, the number of expressions had been defined beforehand for a good optimization of the rig performances.
Similarly, the clothes were not simulated live but in baked from the dynamic Control Rig.
Thus the complete project benefited specific attention to deformations and their performance, in order to adapt to the real time constraints while meeting the artistic needs.