Every tool, signed.

Monarch, a 2,707-element game tree, in Pivot Painter wind. Every branch and leaf card rotates about its own baked pivot and carries its children with it. The hierarchy lives in two small data textures; all the motion is vertex shader. Pivot Painter Lab bakes trees like this inside Unreal.

Wisp, a 36-element test tree: its leaves are clustered cards, so each cluster sways as one element. Its file ships no colour textures, so it renders in flat colours. Pivot Painter Lab bakes trees like this inside Unreal.

A procedural fern: 395 elements, solved by the same pipeline as an uploaded tree, with its crown pinned as the root. One wind drives it and the tree, so the controls are shared. Pivot Painter Lab does this bake in Unreal.

Blue Soldier (Quaternius, CC0) baked to Bone VAT: 23 joints × 330 frames, 7 clips, in two float textures. No skeleton or animation mixer runs; the vertex shader reads each joint per frame. VAT Management Suite creates and imports VATs in Unreal.

The same walk baked to Vertex VAT: all 5,542 vertices stored at each of 38 frames, 2.9 MB for one clip where the Bone kit carries 7 clips in 0.6 MB. Vertex mode needs no joints, which is why it suits cloth and simulations. VAT Management Suite creates and imports VATs in Unreal.

Our procedural test biped: 52 joints and a 36-frame walk, baked to Bone VAT through the same pipeline as the soldier. VAT Management Suite creates and imports VATs in Unreal.

Each vertex coloured by the joints it follows, blended by weight. A Bone kit keeps four joints and weights per vertex; the joints’ motion lives in the textures.

The triangles the GPU draws. Every vertex is placed by the vertex shader from the baked textures.

One draw call per material, however many characters: each instance carries its own clip, time offset and speed in an instanced attribute, so the CPU updates one number per frame. VAT Management Suite bakes characters for crowds like this in Unreal.

Every character is a position, a heading and a state. Soft steering turns it away from neighbours and obstacles, then hard constraints keep bodies apart and out of the crates. They walk between the rings, some run, and a jam makes them wait. Click the ground to call the ones nearby. One draw call per material: each instance carries its own clip, time offset and speed. VAT Management Suite bakes characters for crowds like this in Unreal.

Each character tinted by where its own playhead is in its clip, as in EQ VAT Lab’s crowd demo. Neighbours differ because every instance runs its own clock.

Which clip each character plays. All of them come from one pair of textures.

One colour per element: each is a rigid piece that rotates about its own pivot. The solver split the mesh into these pieces; the count is in the toolbar.

The wind level baked into each element picks its strength and speed. Leaves add their own flutter on top.

Parent hops from the root. A leaf moves with its own sway on top of its twig’s, its branch’s and the trunk’s.

Every element’s pivot, linked to its parent’s. The points are moved by the same vertex shader as the mesh, so they ride their branches.

One colour per element: each is a rigid piece that rotates about its own pivot. The solver split the mesh into these pieces; the count is in the toolbar.

The wind level baked into each element picks its strength and speed. Leaves add their own flutter on top.

Parent hops from the root. A leaf moves with its own sway on top of its twig’s, its branch’s and the trunk’s.

Every element’s pivot, linked to its parent’s. The points are moved by the same vertex shader as the mesh, so they ride their branches.

• Trunk
• Branch
• Twig
• Leaf

• Root
• 1 hop
• 2 hops
• 3+ hops