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About DASD

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  • Name Dimitri

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  1. Thanks symek ! That syntax seems to be more up to date. Thank you f1480187 ! I also found that out that the preferences of Sublime text can be tweaked with: "hot_exit": false, "remember_open_files": false, so that sublime does not save the tabs from the previous session. Now the only thing left to do is to find a way to bypass the Houdini Editor. Anybody know how to get that fixed?
  2. Also relevant to this thread:
  3. This is great! - As far as I understand, when VEX gets an update these files will go out of date. Have you considered making the creation process of these files into a tutorial?
  4. I am looking into installing VEX syntax and Exhelp for Sublime text and that is easy and nice, but I realized I don't know of a good way to actually connect Sublime text to Houdini. Copy pasteing the code between Sublime text and Houdini everytime I want to test something seems like a pain. It would be so inconvinient that I wonder whether Sublime Text would be worth the effort. So how do you use it? Is there a way to hook Houdini and Sublime Text up to each other for a direct connection?
  5. What is it that you are trying to achieve? A procedural facade? What workflow do you seek to achieve? You will need to use stamping on the copy sop to put different models on different points. Keep in mind you can create arbitrary attributes with the attribute create SOP/ VOPs and manipulate those with VOPs.
  6. Fascinating stuff! Thanks dijki! Personally I am more interested in the "simple" cases where I would use VDB to combine simple meshes and their UVs.
  7. Thank you djiki! I am not sure I will be able to dive further into this today, but I think there is a way to do this better. With your method you still have a thin stretch of UVs that are completely distorted. Thy are like that, because what should be discrete UV shells are fused around the outlines. The solution is theoretically simple: 1. Make a decision to which original mesh the polygons on the new mesh are corresponding. For most polygons you would decide by proximity, but around borders you make a discrete decision based on input order of the original meshes. This could be implemented as a step by step loop in which each new transfer of attributes overrides the previous transfer in a discrete fashion. So the attribute transfer has to happen in two steps: First the identifier attribute is transferred interpolated by proximity. The result is a float value stored in a buffer attribute. Then the buffer is compared to the integer identifier value that was already on polygons. Polygons that have not received an identifier, yet, have an identifier of -1 (or something like that). Based on a certain threshold value and some basic logic, a new (integer) identifier value is decided upon for each polygon. (Repeat for all original meshes.) Polygons that have an identifier of -1 at the end of the process, could receive some form of default UVs, like an automatic unwrap later in the process. This might not be perfect, but this would ensure that we get an "integer" identifiers for each polygon. 2. Split the polygons based on their identifier attribute. 3. Transfer the UVs per shell (corresponding polygon shell to corresponding UV shell) 4. Fuse the polygon shells, but do not fuse UV shells. (This step seems trivial, but I am actually not sure how to do this step in Houdini.) The result should be UVs that have seams but acceptable levels of distortion, even at relatively low VDB sampling density. The identifier could then also be used to transfer material types and more.
  8. With distortion I mean how far the UV triangle shapes deviate from their 3D polygon shape. And with density I mean how small or large UV triangles are relative to each other (compensated for the original 3D polygon size). For an optimal unwrap distortion would be low and density variation would be low too.
  9. I would do it as you described. You'll probably need an attribinterpolate sop to make the points from the scatter stick to an animated surface. I would play around with using an ocean surface for the basic shape. And to interact with the character you will probably need to create an attribute transfer setup so some kind of bounding object changes bubble behavior in a region.
  10. How would you prevent the UV shells from getting fused, so that you get an obvious seam, but no horrible distortion?
  11. 1. How do you get UV density and UV distortion as a vertex attributes? 2. How would you get UV overlap as a vertex attribute? 3. How would you get UV direction (flipped UVs) as a vertex attribute? (I can think of ways to build this stuff, but I am looking for solutions that already exist. Packages like Maya give you this kind of information by default. I would imagine Houdini does too. )
  12. I had the same problem and arrived at pretty much the same solution. I am also not satisfied with it. But in the hip file you posted, you have a giant bug. If I see this correctly (and didn't introduce the bug myself), instead of relaxing you merge the points. So you end up doubling your polygon count with each iteration of your procedure. It's the node called "relax2". iterativeShrinkWrap-D1.hiplc
  13. As far as I can tell from this code, it does not calculate anything. It rather extracts parameters that the dopnetwork already has.
  14. I suppose you would have to average point positions by radius. Or in other words, use a fuse SOP. Alternatively you could also use a scatter SOP.
  15. I would look into how this is done in modern game engines. For one, each plant you scatter needs to have blend-shapes in all four directions. The deformation to those blend-shapes should be driven by parameters representing wind direction and intensity. Then you would create a "wind" in world-space and let it animate those parameters. - Or something like that.