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About kleer001

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    Houdini Master
  1. From the lovely 2 minute papers, we have http://www.cs.columbia.edu/cg/liquidhair/
  2. And here it is in real life executed by actual academics with math and whatnot.
  3. 0) starting with an animated car with tires and ground geo 1) get velocities from tires 2) generate particles along intersecting trail of the car tires from the last frame to the current frame 3) apply tire vels to the particles 4) use those particles to generate volumes over their lifespan 5) apply noise to the volumes based on density (less dense more noise) 6) season to taste
  4. And I'm all set! I start at the new/old place in 5 days!! Thanks for the comments
  5. I know it's a long shot, but I think I have to change it up. Can anyone recommend an immigration lawyer in Vancouver? Someone you've hired or knows the vfx situation or just film industry?
  6. Looks good, lots of fun shows in there! Please consider adding breakdown text saying what you did.
  7. Maybe creating a dummy sim for the new one coming in to attach to. disconnect your last sim from the output DOP and plug in a null. Then do your next shelf action. But the behaviour may vary from auto setup tool to auto setup tool. Or create a whole new dopnet from the brain icon with 'create new simulation'. Is this separation for documention or aesthetics or debugging?
  8. A trick I overheard coworkers using (back at a studio far away) was to put a transparent but highly specular tube with rounded ends that sits on the intersection of the eye ball and the eye lid. Of course that depends on how close you're getting to the eye.
  9. Oh yea, there's all sorts of things funky up with it. But the supe liked it and the customer liked it. Budgets and all that for TV movies. I did like another 4 versions that were was more spectacularly destructive and had a whole bank of office furniture that I wanted to put in. But nope. Maybe when it's my show I can all that stuff, lol. It was still a fun job and my first building destruciton ever.
  10. 60% working (making new things, figuring out someone else's rig, applying notes, optimizing workflow) 15% helping other artists / getting help from other artists 10% dailies (80% waiting for my shot, 20% discussing my shot, on bad days) 10% basic human needs (bathroom breaks, eating, going for a short walk around the block) 5% logging studio bugs, following up with previous bugs, reading documentation, writing documentation
  11. Hilarious thanks! That poor turtle looks like he just got back from a Maya job.
  12. Haha, yes indeed. That was my first job straight out of school back in '98. Oh man, I could tell stories about that gig for hours.
  13. I know it's tough out there, but I got the CHOPS, the SOPS, the POPS, and the DOPS (and Python) to help deliver on time and under budget. I'm on the market and well rested, ready to chew through the latest vfx challenges with a committed crew. 8 years of Houdini and 17 years in the vfx industry. Check out my reel over at: The breakdown's at: https://docs.google....-bh63-CoVcY/pub Resume: https://docs.google....L64OrmVZsr8/pub my LinkedIn will all sorts of accolades from old work mates: http://www.linkedin.com/in/clearmenser And of course there's all my helpful comments here on odForce http://forums.odforce.net/profile/1210-kleer001/ edit: added newest reel
  14. Looking at the rest of the work here, I'm almost embarrassed to share. But here it is. I guess I should be proud this is from an actual production. "10.0" a made for TV disaster film set in LA. Flat, render, and comp. No details, sorry, it's kinda old and from long ago. No special sauce and it didn't take too long. The part that took the longest, actually, was rebuilding the model from the original asset, which was unusable. But thanks to Houdini's procedural tools (and eye-balling it) I cranked it out pretty quick.
  15. Just reduce the size of your emitter or increase the size of the noise that cutting it.