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Showing most liked content since 03/30/2017 in all areas

  1. Hello Everyone, This training is an update to the Tea and Cookies training. The training covers fairly similar topics such as modeling, shading, lighting and rendering. The primary difference is that instead of Mantra the training focuses on using the third party render engines namely, Redshift, Octane and Arnold. The modeling part of the training covers a variety of techniques ranging from basic poly modeling, VDB, fluid simulations and even POP grains to build the scene. This shading and lighting part primarily focuses is on building all the various shaders required for the scene using a variety of procedural textures and bitmaps. The training will also cover SSS, displacement and building fluid shaders using absorption. We will also build relatively detailed metal and plastic shaders. Trailer for further details kindly click on the link given below http://www.rohandalvi.net/dessert/
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  2. Yesterday 80Lvl released a new post: https://80.lv/articles/procedural-technology-in-ghost-recon-wildlands/ It covers some of the design processes that were used and how Houdini assisted in them. The project itself has been a blast to work on! </plug> So I hope you like the article
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  3. Hi Guys, Long time Sharing some of the Fun Effects work done about a year ago for Dreamwork's Boss-Baby. Sorry for WIP takes, I don't have final renders. Cheers!
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  4. Hi folks..another project: I did that JellyFisfh using only particle..I hope like
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  5. And here is the second article: https://80.lv/articles/procedural-world-building-in-ghost-recon-wildlands/ I go over the workings of some of our most intricate tools Hope you enjoy the read.
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  6. Here is a vertexwrangle method for projecting cubic UVs on any kind of mesh: vector bbox = relbbox(0, @P); vector side = sign(@N); vector nml = abs(@N); vector size = getbbox_size(0); vector ratio = size / max(size); vector scale = bbox * ratio; if (nml.x == max(nml)) { @uv = set(scale.y * side.x, scale.z, 0); } else if (nml.y == max(nml)) { @uv = set(scale.x * side.y, scale.z, 0); @uv.y += 1; } else { @uv = set(scale.x * side.z, scale.y, 0); @uv.y += 2; } @uv *= 0.3333; @uv.x += 0.5;
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  7. Hello magicians, I tried to replicate a cool pattern picture I saw today as a way to practice: Couldn't get good results, this was my first try: And then this one: When I traslated to a face get even worst, any tips on how to achieve this kind of effect?, hip attached, sorry is kinda messy Thanks! honeycomb_pattern.hip
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  9. I made some renders using the constraints on impacts setup I made. The sims are pretty crappy, but the basics of the system seems to work solidly enough. It would just be a matter of tweaking all the settings to get a smoother result. Each pair of RBDs gets no more than 1 constraint. I think it might work better if I allowed a few more, as the RBDs can spin around on this constraint, which looks a bit unstable. I posted the hip files for this over here: http://richardlord.tumblr.com/post/159194692191/crappy-sims-of-a-system-that-builds-constraints-at
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  10. I love springs, but never attempted to make them in Houdini. I spent a few days making a SOP asset to do it. There's 4 types. 2 with hooks on the ends, 1 terminating in central lines, and another that has no end. There's also ramps for adjusting the radius and the distribution of the coils. All you need to do is feed it two points and it should just work........ The interface is not that great, some parameters dont do anything for certain spring types. Its not the fastest, its mostly made in VEX, and there are no uv's. All the stretching and scaling is also done in VEX that gets slow once there's tons of points. I put the hip here - http://richardlord.tumblr.com/post/159989136826/i-made-a-quick-spring-asset-because-i-love-springs
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  11. Hi all. I made something a few weeks ago that I thought might be useful, so I somewhat tutorialised it here: http://www.pixelninja.design/manhattan-voronoi-approximation/ Basically it's a method of achieving something close to a Manhattan-distance voronoi diagram. I hope someone out there finds this useful If anyone knows of a better method, or a method of achieving an actual Manhattan voronoi I'd love to hear it! ManhattanApproximation_01.hiplc
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  12. attached is one way how you can do this ... hth. petz resample1.hiplc
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  13. When mysterious stuff like this happen, I find it best to rebuild the scene. The easiest way is to use opscript to write a script that recreates all the nodes. Open a hscript textport and type: opcf / ; opscript -b -r -s * > /tmp/foo.cmd And in a new empty scene type: source /tmp/foo.cmd ... and you have a new scene as if created by hand node by node. Note that any locked ops will not come through though. (I am sure there is a 500-line python equivalent too. )
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  14. Hi all, I've just finished a little personal project that was featured in our studio (Tendril) during the welcome party for the last FITC/Toronto. All Houdini and Mantra. Cheers
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  15. Hello fellow Houdniks, FMX is around the corner again and of course there will be another user-meeting this year. od-lunch will be on Wednesday May 3 during the official FMX lunch break from 1PM-2PM. I made a reservation for 20 people at the restaurant “Logo” directly inside “Haus der Wirtschaft” (the FMX venue). No registration this year - first come first served! There will be one more reminder posting here one day before but you better save the date already! Looking forward to seeing you again! Reply here so we can see who's coming! Cheers Oliver
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  16. I've made an attempt to support Cryptomatte in Mantra, just stopped the work due to the lack of spare time + SESI warnings that pixel filter API soon will to be changed with introduction of adaptive sampling in H16 == waste of time. Since it didn't happened I'm more into it than not just haven't found a moment to finish it yet. Feel free to encourage me or do it yourself http://github.com/symek/automattes (code is little blotted because, well because...)
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  17. Laaate to this thread but in case someone is still wondering about that old skyscraper. I worked on it. It was presimmed and baked out to boneanimation. We didn't have alembic support during BF4. There are also a couple of versions of it for different platforms. All the smoke and small debris were made using Frostbite.
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  18. Hi, this formula is about offsetting animation of several objects (or points, etc.) over a period of time, in such a way that the interval of time for each object is related to number of objects and the desired period of time. Let's say you have 10 objects, and you want to animate all of them over 3 seconds, with some time offset for each object. With this formula you can change the number of objects, adjust the amount of offset or adjust the period of time, and each object will automatically adjust its start and end time, so all object animation will fit within the specified period of time. I came up with this formula when I was working on AfterEffects. I was always looking for a procedural way to offset animation of several layers. this is the formula: n = numLayers - .. offset 0 --> 1 progress 0 --> 100 Start: 100 * (index - 1) * offset / n End: 100 - (100 * (n - index) * offset) / n ease(progress, start, end, 0, 100) Recently, I started learning Houdini and VEX. I was curious to see the application of this formula inside Houdini. then I found this thread: http://forums.odforce.net/topic/24056-learning-vex-via-animated-gifs-bees-bombs/ in the example of Twisting Box, matt uses "smooth" function. this is what I was looking for: smooth() function in Houdini is the equivalent to ease() function in AfterEffects. The attached hip file contains 2 applications of the formula, one based on the number of objects to be stamped (using @ptnum); the second based on the position of points (@P.z) offsetAnimation.hipnc
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  20. what if you simply calculate the circumference and divide it by the number of polywire´s division? resample2.hiplc
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  21. You could start with the documentation then try to tutorials at SideFX - https://www.sidefx.com/tutorials/vexvops-01-intro-to-vex-and-vops/ https://www.sidefx.com/tutorials/vex-wrangle-workshop/ https://www.sidefx.com/tutorials/houdini-illume-webinar-vex/ Matt Estela has some great info on Tokeru: http://www.tokeru.com/cgwiki/?title=HoudiniVex
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  22. Here is how you can get something similar to original image. It is easy on a plane, but harder on a random model with Divide's "Compute Dual" applied. The fluffiness goes from small noise displace, I suppose. honeycombs.hipnc
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  23. I have put together a short video that demonstrates how to morph fluid between two shapes. It also demonstrates how to cause velocity to revolve around the shape.
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  24. There are so many nice example files on this website that I am often searching for. I wanted to use this page as a link page to other posts that I find useful, hopefully you will too. Displaced UV Mapped Tubes Particles Break Fracture Glue Bonds Render Colorized Smoke With OpenGL Rop Moon DEM Data Creates Model Python Script Make A Belly Bounce Helicopter Dust Effect Conform Design To Surface Benjamin Button Intro Sequence UV Style Mapping UV Box and Multiple Projection Styles Ping Pong Frame Expression Instance vs. Copy (Instance Is Faster) Particle Bug Swarm Over Vertical and Horizontal Geometry Rolling Cube Rounded Plexus Style Effect Pyro Smoke UpRes Smoke Trails From Debris Align Object Along Path Fading Trail From Moving Point Swiss Cheese VDB To Polygons Get Rid Of Mushroom Shape In Pyro Sim A Tornado Ball Of Yarn Particles Erode Surface Unroll Paper Burrow Under Brick Road Non Overlapping Copies Build Wall Brick-By-Brick FLIP Fluid Thin Sheets Smoke Colored Like Image Volumetric Spotlight Moving Geometry Using VEX Matt's Galaxy Diego's Vortex Cloud Loopable Flag In Wind Eetu's Lab <--Must See! Wolverine's Claws (Fracture By Impact) Houdini To Clarisse OBJ Exporter Skrinkwrap One Mesh Over Another Differential Growth Of Curve Over Surface Rolling Clouds Ramen Noodles Basic Fracture Extrude Match Primitive Number To Point Number Grains Activate In Chunks Fracture Wooden Planks Merge Two Geometry Via Modulus Fill Font With Fluid DNA Over Model Surface VDB Morph From One Shape To Another Bend Font Along Curve Ripple Obstacle Across 3D Surface Arnold Style Light Blocker Sphere Dripping Water (cool) Exploded View Via Name Attribute VEX Get Obj Matrix Parts eetu's inflate cloth Ice Grows Over Fire Flying Bird As Particles DEM Image To Modeled Terrain Pyro Temperature Ignition Extrude Like Blender's Bevel Profile Particles Flock To And Around Obstacles BVH Carnegie Mellon Mocap Tweaker (python script) Rolling FLIP Cube Crowd Agents Follow Paths Keep Particles On Deforming Surface Particle Beam Effect Bendy Mograph Text Font Flay Technique Curly Abstract Geometry Melt Based Upon Temperature Large Ship FLIP Wake (geo driven velocity pumps) Create Holes In Geo At Point Locations Cloth Blown Apart By Wind Cloth Based Paper Confetti Denim Stitching For Fonts Model A Raspberry Crumple Piece Of Paper Instanced Forest Floor Scene FLIP pushes FEM Object Animated Crack Colorize Maya nParticles inside an Alembic Path Grows Inside Shape Steam Train Smoke From Chimney Using Buoyancy Field On RBDs In FLIP Fluid Fracture Along A Path COP Based Comet Trail eetu's Raidal FLIP Pump Drip Down Sides A Simple Tornado Point Cloud Dual Colored Smoke Grenades Particles Generate Pyro Fuel Stick RBDs To Transforming Object Convert Noise To Lines Cloth Weighs Down Wire (with snap back) Create Up Vector For Twisting Curve (i.e. loop-d-loop) VDB Gowth Effect Space Colonization Zombie L-System Vine Growth Over Trunk FLIP Fluid Erosion Of GEO Surface Vein Growth And Space Colonization Force Only Affects Particle Inside Masked Area Water Ball External Velocity Field Changes POP particle direction Bullet-Help Small Pieces Come To A Stop Lightning Around Object Effect Fracture Reveals Object Inside Nike Triangle Shoe Effect Smoke Upres Example Julien's 2011 Volcano Rolling Pyroclastic FLIP Fluid Shape Morph (with overshoot) Object Moves Through Snow Or Mud Scene As Python Code Ramp Scale Over Time Tiggered By Effector Lattice Deforms Volume Continuous Geometric Trail Gas Enforce Boundary Mantra 2D And 3D Velocity Pass Monte Carlo Scatter Fill A Shape Crowd Seek Goal Then Stop A Bunch Of Worms Potential Field Lines Around Postive and Negative Charges Earthquake Wall Fracture Instance Animated Geometry (multiple techniques) Flip Fluid Attracted To Geometry Shape Wrap Geo Like Wrap3 Polywire or Curve Taper Number Of Points From Second Input (VEX) Bullet Custom Deformable Metal Constraint Torn Paper Edge Deflate Cube Rotate, Orient and Alignment Examples 3D Lines From 2D Image (designy) Make Curves In VEX Avalanche Smoke Effect Instant Meshes (Auto-Retopo) Duplicate Objects With VEX Polywire Lightning VEX Rotate Instances Along Curved Geometry Dual Wind RBD Leaf Blowing Automatic UV Cubic Projection (works on most shapes) RBD Scatter Over Deforming Person Mesh Useful Websites: Tokeru Houdini Houdini Vex Houdini Python FX Thinking iHoudini Ryoji Video Tutorials: Peter Quint Rohan Dalvi Ben Watts Design Yancy Lindquist Contained Liquids Moving Fem Thing Dent By Rigid Bodies Animating Font Profiles Guillaume Fradin's Mocap Crowd Series(no longer available) Swirly Trails Over Surface http://forums.odforce.net/topic/24861-atoms-video-tutorials/ http://forums.odforce.net/topic/17105-short-and-sweet-op-centric-lessons/page-5#entry127846 Entagma
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  25. also, you can select all mantra nodes one by one, then click render, that way it will render from the last selected trough first selected. if you connect mantra nodes one after another, selecting the last one and click render, will render all mantra nodes one frame at a time.
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  26. Thank you! Here are some new projects I haven't shared in here yet.
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  27. Something I`m working on right now. Rendered with Arnold in C4D.
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  28. Im not sure exactly what you want as I'm not near Houdini, but to manipulate transforms of packed geo, you dont need to pack and unpack, just use the intrinsic. You also need to force dop's to rebuild the collision hull by setting the id to -1 (I think). Its tricky as you need to keep all the velocity's working. I got all this to work here in this scene. http://richardlord.tumblr.com/post/157573190741/hip-file-example-of-how-to-scale-packed
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  29. Yes, Houdini 16 ships with a built-in Intel OpenCL CPU driver on Linux and Windows, and should fall back to in on any machine where a GPU is not present (e.g. a render farm machine). We have seen a few cases where library conflicts prevent it from loading, but you should see "Unable to load HFS OpenCL driver" if that's the case. Usually you can do: $ hgpuinfo -l [*HFS OpenCL Platform*] Intel(R) OpenCL Platform Vendor Intel(R) Corporation Platform Version OpenCL 1.2 LINUX OpenCL Device Intel(R) Xeon(R) CPU X5650 @ 2.67GHz OpenCL Type CPU Device Version OpenCL 1.2 (Build 57) Frequency 2670 MHz Compute Units 24 Device Address Bits 64 Global Memory 24102 MB Max Allocation 6025 MB Global Cache 256 KB Max Constant Args 480 Max Constant Size 128 KB Local Mem Size 32 KB 2D Image Support 16384x16384 3D Image Support 2048x2048x2048 ..... That HFS driver should always be first, so that if you do HOUDINI_OCL_DEVICETYPE=CPU it will be the device chosen. Also: $ hconfig -h HOUDINI_USE_HFS_OCL HOUDINI_USE_HFS_OCL Set to its default value of 1, this variable tells Houdini to load the built-in CPU OpenCL driver that is shipped in $HFS (64-bit Windows and Linux only). This built-in CPU device can be selected using the regular OpenCL device specifications, e.g. HOUDINI_OCL_DEVICETYPE=CPU. Houdini will also fall back to using this driver if the usual OpenCL device selection process fails, making it safer to submit OpenCL jobs to a renderfarm that has no GPUs. Set this variable to 2 to disable this fallback mechanism, or 0 to disable the built-in device completely. On OSX this variable has no effect.
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  30. Great look! You can also turn a sphere into a mushroom by ramping its vertical bounding box to the point positions: vector bbox = relbbox(0, @P); float shape = chramp('Shape', bbox.y); float width = chramp('Width', bbox.y); @P.y = shape; @P *= set(width, 1, width); That way an artist just needs 2 ramp parameter curves to create all sorts of mushroom shapes. It is quite versatile, I think.. In the end you can assign a displacement shader that adds all the necessary detail at render time.
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  31. You don't have to limit yourself to just image render dependencies in your ROP networks either! You can lay down say, a Geometry ROP, which could be caching out a sim, and then a mantra rop to kick off a low res render of the sim as soon as it's finished, then maybe a high res render if you think the first two steps might be done before you get back. Just be sure to tell it whether you want it to go 'Node by node' or 'Frame by frame', and also if you don't need the frame range of the upper most ROP, set the frame range drop down to 'Strict', so you can do single frames or smaller frame ranges for certain things.
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  32. Here is the asset with some corrections: Changelog : Added global deformer Global details Particular detail Noise options for the veil Added colour (just for fun, I'll render in Octane for C4D) Fixed inner cap subdivision Fixed hair direction Replaced wireframe with polywire with less divs. Added random pscale to dots Changed some parameter names (I was being repetitive) and also added some subfolders. Used the "lock" option with parameters I think that work so I don't destroy the mushroom just in case, had some weird issues (I guess because of scales) when doing the setup, sometimes displacement went crazy. Questions: 1) In terms of organization (this is for me, but to learn in case I did some of this for work) what is better to use, network box with colors? or subnetworks? 2) Dumb question, how do I set the ramp parameter to be vertical instead of horizontal? (solved, plugged a uv coords > t) 3) I added "detail" to each object, but I would like to add an "total detail" for the entire object, problem is if I put the each object detail and max, and then add on top of that the global detail will go nuts, should I use some vex here with conditions? 4) Is there a way, in the parameter interface, lets say I specify a range from 0 to 0.25 locked, but I want to be shown in the interface as 0-1, tried with fit range wich helped but still not figure out how to manage this in some parts like a primitive default properties 5) For "enable / disable" options I used a switch node, I noticed there is a "Toggle" option in the parameter interface but dont know how to link to the enable/disable stuff 6) What would be the best way to simulate the Veil break? tried with a ripple and deformers with no luck 7) Last but not least, there are TONS different types of shrooms, I think that the setup could work for the ones I attached in this ref, but there are others that are like caps only growing on a tree that would need a new setup. As for the ones on my ref, I wanted to ask should I make a copy of the mushroom asset and work on it? (that would be the cheap way) or modify te current setup so I can pick different styles of inside cap patterns with ie: a switch? that would be a good excercise I think, let me know what you think about the references please, pretty excited with my first hda, although the 0.02931 numbers on the setup are driving me nuts
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  33. Just throwing this one out there. I keep seeing people looking for easy ways to control attributes, a lot of whom reference C4D's effectors. So I made one. It's come in handy a few times already so I thought I'd package it up nicely and upload it. Let me know if you find it useful, find some bugs, or have any questions MT_PlainEffector.hdalc
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  34. Lazy way that's probably not mathematically accurate but looks similar is to grid snap after you resample. manhat_voronoi.hipnc
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  35. SideFX is pleased to announce some exciting changes to Houdini Engine licensing that lets studios use their licenses on the cloud and gives them access to affordable monthly and weekly licenses for greater flexibility: 1) All Houdini Engine floating licenses have been automatically upgraded to Global Access Licences for no additional cost - allowing users to to bring licenses to the cloud for their own use. Until today, Houdini Engine floating licenses were available as either Local Access, which could only be used in a single facility, or Global Access, which could be shared with remote facilities or used on the cloud. Now all Houdini Engine floating licenses are Global Access, yet retain the same price as the Local Access licenses. 2) Weekly rentals have been added to the existing annual and monthly rental options for greater flexibility – price is $35 USD for seven consecutive days. 3) Monthly rental pricing has been significantly reduced - from $195 per month, to $100 per month - making short-term rentals an even more viable option. This shift aligns with the rental price drops for other Houdini products. LEARN MORE
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  36. Reference gif: https://beesandbombs.tumblr.com/image/151561586564 My gif: Hip file, this does help a lot to learn and understand VEX. thirdLoop.hiplc
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  37. I have a hip file I use a bunch which contains some of the common tricks I always need, but constantly forget how to do. I thought i'd share it. Mostly its VEX/VOPS stuff to manipulate point transforms, a lot of it revolves around creating and using the orient attribute. I'll update it as I go I imagine. When I discover something new, I plan to throw it in here to prevent it eroding from my brain. Must give a shout out to mestela - http://www.tokeru.com/cgwiki/index.php?title=HoudiniVex , f1480187 and anim, who have helped me understand these things a bunch (even if they don't realize it). Thanks chaps! http://richardlord.tumblr.com/post/159277887181/ive-started-collecting-a-bunch-of-tricks-i-use-a
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  38. Mainly I just wanted to create a training using the other renderers available for Houdini. That was the primary reason. The other reason was speed. Literally every major object in the scene has either SSS or absorption or both. Mantra is never happy with either of those things. I'm not saying it doesn't give the results . It just gives it really really slowly. Which is why for the initial bit I focused on the GPU renderers. I still might make a version for Mantra when I start working on the Arnold version. I just haven't decided yet. I guess you'll find out in May.
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  39. You have to personally set $HOUDINI_PATH as a system environment variable. It does not automatically get created, by default it will only reference your $HOME directory. In either case you will need to manually create the scripts/python directory in the respective directory. an example would be $HOUDINI_PATH = z:/projects/1234_asuscommercial/projectResources/houdini/ and then within that directory, add /scripts/python
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  40. Ended up with this result Cheers!
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  41. I think tetrahedron was simply scaled/sculpted under the shoe's surface and animated between two states. Geometries can be remeshed with SDFs and combined, with possible smoothing, to blend smoother. Tetrahedron should have interesting topology, not just uniform triangles, it will allow nice looking extrude appearing on it's surface after transforming. nike.hipnc
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  42. Here's a super simple setup for you. pop.attribute.transfer.hiplc
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  43. This approach is a little heavy, but it works. Tried cunning things with carves and adjustPrimLength that's been discussed here, but the problem is the polylines have all sorts of orientations, so growing them in that fashion often makes them grow opposite to the overall flow. The base idea here is the same as the infection/growth stuff that all the kids are doing nowadays. Growing_lines_between_points_me.hipnc
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  44. Hello, I've revamped this thing in H16. Basically it's same, just changed a long distance geometry query to VDB sampling, it seems to fits best. Also added some auxiliary functionalities, like reversing polygons if needed, uv creation and such. It's created by H SOP and VOP arsenal. Get hiplc here. How it works: First step is volume sample of VDB representation of another mesh. Sampled SDF is saved as float attribute, zero SDF is used by PolyCut SOP to create intersection curve. Final offset Cuts on meshes are also PolyCut SOP done by spatial query, XYZ Distance VOP and such. Intersection curve is re-sampled down and converted to NURBS, to get as much smooth fillet. From that curve, there's spatial query to cuts on meshes, to get closed points. In next step, curve is re-sampled again to final fillet resolution, also there's new spatial query to cuts, this time only to match the final position, while orientations are derived from low res curve. This is to avoid 'bulging', invoked by linear cuts over polygons. Last step is six point bezier curve, well known as G2 blend in NurbS world, used to loft the fillets, by Skin SOP. More specific, what it can and can not do: - it automatically creates NURBS style fillets around intersections of two polygon meshes. - it wants two closed meshes as inputs, while second mesh has to be perfectly closed (no boundary edges) - will see is there a simple way to improve that. - it is able to perform fillets over fillets - only in case of closed second input. - it is able to deal with multiple intersections, or multiple (closed) volumes, let's say created by Merge SOP. - it creates fillets from union, intersection or subtraction. Default is union. - it creates UVs on fillets. If there are existing UVs on inputs, H will keep them. - it aligns normals (or exactly, vertex order) of created fillet, to first input. - each intersection has to be 'closed', that is, resulting in closed curve, in order to work properly. - meshes has to be nicely subdivided before inputs. It's just cutting over supplied inputs, it won't create new, smaller polygons. - it does not work well with sharp curvature - will see is there a way to improve that. - fillets should not overlap. - resulting meshes are just stacked, there is no any re-meshing, at this point.
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  45. Hi everybody! Since I started to share a few of my projects in here, I thought that I just carry on, even though the "12 seconds.." title is not fitting anymore. Here is my latest work, enjoy!
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  46. I've done some more tests with motors. This time trying to create a bunch of them procedurally at once. Getting all the name attributes to line up was a little tricky on some of them, but I understand all this so much better after doing this. Getting the axis of the motors to do what I want was also a bit tricky, but I've mostly cracked it now. I've put all 5 hips that make up this video on my tumblr here - http://richardlord.tumblr.com/post/139634705771/hipfile-hipfile-hipfile-hipfile-hipfile. The sims will need to be re-rendered into the ROPs for you to see anything. Thanks! Hope you enjoy!
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  47. My setup is 30 mins, not 5 like in maya, but it will give you the idea how to set it up using only Bullet. I'm faking it scattering some rigid objects on the softbody object points and using some 'soft' type of constraint between them. This also gives me the ability to use wrangle code to control the constraints manually. Not the perfect solution but much easier to control. DOP_BulletSoftRigidInteraction_V01.hiplc
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  48. Ah, got the correct back-n-forth motion, and eased the rotation a little. crosses_v02.hipnc
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  49. I promised, that i will publish some source files and here they are. Inside you can find some network from demovideo, from pre work to render. All assets are unlocked(i used its for git), don't pay attention to that. Happy x-mas. Tree_generator_demoscene_unlocked.hipnc
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  50. Methods to Stir Up the Leading Velocity Pressure Front We need to disturb that leading velocity pressure front to start the swirls and eddies prior to the fireball. That and have a noisy interesting emitter. Interesting Emitters and Environments I don't think that a perfect sphere exploding in to a perfect vacuum with no wind or other disturbance exists, except in software. Some things to try are to pump in some wind like swirls in to the container to add some large forces to shape the sim later on as it rises. The source by default already has noise on it by design. This does help break down the effect but the Explosion and fireball presets have so much divergence that very quickly it turns in to a glowing smooth ball. But it doesn't hurt. It certainly does control the direction of the explosion. Directly Affecting the Pressure Front - Add Colliders with Particles One clever way is to surround the exploding object with colliders. Points set large enough to force the leading velocity field to wind through and cause the nice swirls. There are several clever ways to proceduralize this. The easiest way is with the Fluid Source SOP and manipulate the Edge Location and Out Feather Length and then scatter points in there then run the Collide With tool on the points. Using colliders to cut up the velocity over the first few frames can work quite well. This will try to kick the leading pressure velocity wave about and hopefully cause nice swirling and eddies as the explosion blows through the colliders. I've seen presentations where smoke dust walls flowing along the ground through invisible tube colliders just to encourage the swirling of the smoke. You can also advect points through the leading velocity field and use these as vorticles to swirl the velocity about. The one nice thing about using geometry to shape and control the look, as you increase the resolution of the sim, it has a tendency to keep it's look in tact, at least the bulk motion. As an aside, you could add the collision field to the resize container list (density and vel) to make sure the colliders are always there if it makes sense to do so. Colliders work well when you have vortex confinement enabled. You can use this but confinement has a tendency to shred the sim as it progresses. You can keyframe confinement and boost it over the first few frames to try and get some swirls and eddies to form. Pile On The Turbulence Another attempt to add a lot of character to that initial velocity front is to add heaping loads of turbulence to counter the effect of the disturbance field. You can add as many Gas Turbulence DOPs to the velocity shaping input of the Pyro Solver to do the job. Usually the built-in turbulence is set up to give you nice behaviour as the fireball progresses. Add another net new one and set it up to only affect the velocity for those first few frames. Manufacturing the turbulence in this case. In essence no different than using collision geometry except that it doesn't have the regulating effect that geometry has in controlling the look of the explosion, fireball or flames, or smoke. As with the shredding, turbulence has it's own visualization field so you can see where it is being applied. Again the problem is that you need a control field or the resize container will go to full size but if it works, great. Or use both colliders and turbulence pumped in for the first few frames and resize on the colliders. Up to you. But you could provide some initial geometry in /obj and resize on that object if you need to. Hope this helps...
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