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About lewkiw

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  • Name Sean Lewkiw
  • Location Montreal, CANADA
  1. Sorry, forgot that everyone in the world is not using Linux or Mac. Since I don't know how to write a Windows style path, I'd just do this: opcf / ; opscript -b -r -s * > foo.cmd ; upwd The "upwd" is "Unix pwd" which means "unix present working dir," (not the folder you are in inside Houdini). This will tell you where Houdini is putting the file, (or trying to put the file... it might not have write permission.) Then in the new Houdini, just: source foo.cmd
  2. Hm, if you see anything being echoed to the textport that means that you are not redirecting the output to a file. Are you sure you entered the lines exactly as I printed them? I just tried it to be sure and it works. If you do this in the textport after running the commands: echo `system("ls /tmp/foo.cmd")` You should see "/tmp/foo.cmd". If you see nothing, that means the file does not exist.
  3. 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. )
  4. Have you seen this awesome tutorial? http://www.entagma.com/houdini-curl-noise-flow/
  5. Here is something slightly better after an hour or so: facet your wires increase diffuse bounce tweak materials to make more metallic add a env light for the wires only I also did one where I copied a light to every single ball and turned off shadowing on the ball the light was inside. This was looking great but render times were insane. EDIT: for some reason I can't add attachments... going away for the holidays, so this will have to wait until I get back!
  6. Hi, you need to use the "chop" expression instead: chop("/obj/pno/CHOP_Network/midiin1/con_64") Here's something that might help you find this in the future. If you open an hscript text port, (Windows -> hscript textport), and then type: exhelp -k chop help -k chop ... you will see all expressions, functions, etc, with the word "chop" in them. Just "help chop" or "exhelp chop" will give you the help for that exact function if it exists, or if it does not exist, for any function that has "chop" in the name.
  7. Is this what you want? I have just taken the copied channel, flipped it in X, copied it again, then shifted it the length of the copied channel, and then maxed them together. chopCopyInOut.hip
  8. Not sure if you've tried this, but if you put the "right" path in the file parm (with or without a file name) before you open the browser, the browser will open in that dir. So if your utility knows where it's supposed to look, you can programatically put the right path in the file parm first.
  9. You mean if your "blast" node has points 1-3 in it, but you want to modify this selection to make it 1-6 for example? Yes, it's not obvious but: - select node in SOPs - mouse in viewport, hit ESC - mouse in viewport, hit ENTER - Hit backtick key (the one top left on a North American keyboard). You will notice your node becoming unwired and turning red. - you can now modify your selection, hit enter to complete
  10. Check the SDF volume representation of your cubes. It is probably very lo-rez and not square at all. This is Collisions -> Volume -> Collision guide geo
  11. My fave is the help for "smooth" This example will generate an ease-type curve between values 0 and 1, starting at frame 12 and ending at frame 55. Dig it!
  12. I had to do this about 8(!) years ago. Here's how I'd do it, using the same method. I'd take points on the mouth, join them by an add sop, resample. Using a ramp or chf function, make them red in the middle and black where it touches the mouth. Send to dops with lag and overshoot multed by Cd.r so it only flaps around in the middle and stays stuck to the lips, you can mult in some noise to get animated slime due to shouting or something at this point. Back in SOPs, polywire with $CR as width so you get thin strands in the middle and thick where it touches the mouth. If that's all you want, you're done and it's easy! If you want them to break and fly out, add some kind of velocity attribute. Use a carve sop to break the two lines into two prims before they go to chops. Back in chops, use this as a trigger to add transform info when the trigger happens. Use your width attribute to mult the lag. Now take the vel vector and use this as a mult to add some fraction of a transform to the original point pos after the trigger. You can get them to break, detach, or form (as drips), or even birth drips off each master drip using some combos of all these methods. You will end up with a hella-complex chop network, but this is completely controllable with no simming.
  13. Yeah, this is tricky. What I ended up doing was mapping the displacement map back onto very dense geo, deleting all but the displaced peaks, and then birthing off of this. This way you get velocity as well curvature info. However, it's slow and painful, so I broke it up into lots of grids and ran it on our farm. Now, if you have a boat too, you can get really nice bow splashes by booleaning this geo and birthing points.
  14. Use an add sop to create lines, (you can use nulls as sources for the points so you can animate/track them), resample to increase point count, then noise to randomize it, then copy L-systems (lightning) off each point using stamping to get varying lengths, seeds, etc. These can also be procedurally animated using stamping. Then use the polywire sop to make them into a contiguous mesh. Finally, you can use this as a light source, and it will auto-light your scene!
  15. The last time I had to do an ocean, I tried the HOT, but could not get rid of the tiling. So I took the VEX Choppy Water Shader and recreated it in VOPs. Then I did large-scale deformations of the ocean surface as geo defs using the same code with some sharpening of the wave edges, plus added some more layered noises. I extracted height from a top-down render which I then projected back on to birth white caps and spray. Wake was created by attribute transfer of the boat on the geo and then using noise in the shader. It was very painful but it looked pretty good in the end.