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Found 34 results

  1. Hi all, I'm confounded by a scenario and I'm hoping that someone else might have run across this. I have a light shader assigned to a Light Template object: let's call it myLight. It behaves as expected for non-motionblurred frames. But when I place it inside a subnetwork, put extreme motion in rotation and translation on the subnet, add a generic Light (spotlight) object to the subnet (at the same level as myLight), the generic light motionblurs properly but I get no motion blur my myLight's contribution. Here is the poignant code and information that I can tell: light myLight() { vector Plight = ptransform("space:light", Ps); Cl = max(0, 1-length(Plight*set(1,1,0))); } I am using Houdini 16.5 Mantra Raytrace mode. I am using exclusively xformational motion blur, 2 motion samples. I have the above light shader assigned to a Light Template object: myLight. myLight and a generic Houdini spotlight live in a subnet that has extreme translation and rotation animation. It behaves as expected for non-motionblurred frames, with and without rotational and translational transformations. It looks exactly the same with motionblur turned on, but the light from generic Houdini spotlight motionblurs properly in the same render. The vector version of the transformation, vtransform("space:light", -L); Seems to respect the translation component of the motion blur. BUT NOT the rotation component. So generally, myLight WILL motionblur, but not consistently in the right direction/magnitude. Weird. I have tried using the explicit path of the Light Template and to its containing subnet to see if I could jigger it. And the results are exactly the same: vector Plight = ptransform("/obj/mySubnet/myLight", Ps); vector Plight = ptransform("/obj/mySubnet", Ps); So I am wondering if I'm using the right transformation, the right variables, and if I am to add any special rendering intrinsics to the Light Template object to get the "space:light" transformation to respect the motion blur properly. What am I doing wrong?
  2. Hi, Not sure what is going on here, but if you create a dopnet inside a geometry node, scene lights wont affect pyro in the viewport. If you back out of the dopnet, then you can see the light affecting pyro. However, if your dopnet is at object level lights will affect pyro. Why can't my dopnet be inside a geometry node and have the scene lights affect pyro so I can see whats going on? Photo 1 is inside the dop net. Phpto 2 is inside the geometry node but outside the dopnet. Thanks smoketho.hipnc
  3. Either you are junior, mid or senior, good at modeling, texturing or lighting... No matter what, as soon as you can show a quality portfolio, have interest for Moment Factory's projects (from pure 3D animation to hyperrealistic projects on a variety of multimedia platforms) and looking for versatility in 3D tasks, we have openings for permanent or contract. Here is our content reel: http://bit.ly/2rzJKbE Our works: http://bit.ly/2tJMlAB Please note for urgent matter, we will consider only artists eligible to work in Canada. Please send your resume or LinkedIn profile and portfolio or demoreel to julietb@momentfactory.com
  4. Hope this in the right section, it's a bit of both effects and lighting/shading! I am working on a shot that involves an ocean surface in overcast lighting and I'm really struggling to get it right. I am aiming for something like the attached image but my attempts have come out looking way too glossy/specular by comparison. When I try to push the overcast lighting, I also run in to the problem of the scene really flattening out. How do I keep the detail and contrast in the waves without any bright highlights? I am currently working with mantra but hope to switch to htoa. Thank you!
  5. Hello!I am having a few bugs with the houdini toon shader.In some scenes it appears as though there are two objs on top of each other and intersecting, when there is not. Also, some parts of the model are just black under lighting while others are not.Has anyone come across this? If so does anyone know any ways to fix this? Thanks
  6. Hi, I just released a new tutorial about lighting and rendering with Mantra in Houdini. Over 5+ hours of content. Topics include Cameras, Lights, Lighting Setups, Materials and Shaders, Render Settings, and Scene Management. If you don't know where to start with Mantra, or with lighting and rendering, in general, this is a pretty good, comprehensive explanation: http://helloluxx.com/product/houdini-training-learn-jumpstart-vol-8-intro-to-lighting-rendering/ -Adam
  7. Hi everyone, I've noticed an issue shining a light through a refractive material. The refractions don't seem to be energy conserving. Using a point light with intensity 1, exposure 0, no attenuation, shining through a grid with a basic mantra surface material with refractions enabled, the brightness values of the resulting pixels in the render are extremely high. Some are as high as 4,000. Why is this? In this thread, Symek mentions that the BSDF model is not inherently energy conserving, so it would have to be applied post-process. Seems odd that this wouldn't already be done in SideFX's shaders... If that's the case, though, how can I make refractions in the mantra surface shader energy conserving? Thanks, Chris EDIT: Forgot to upload sample scene, here it is light_refraction_broken.hip
  8. Hey, For a side project I'm working on I'm trying to create random/periodic lighting strikes. I'm trying to get a line with animated noise on it to increase its length to a set max value, pause for a few frames, return to a length value of 0 then have it hit the max value again after holding its value again. I have multiple [lines] with different length values (with a point VOP to create the noise) feeding into a [switch] I've tried using multiple expressions like floor($F/24) and $F % 2 and a fit range. I've gotten the values to switch after 24 seconds but not switch back; and to switch back and forth but it does it every frame and it's too fast. I've also gotten the switch to count up every X seconds (i.e. 1, pause, 2, pause, 3, pause) but not count back down. Anyone have any ideas?
  9. Lighting TD - RISE FX - Berlin

    You are a Lighting TD for several years now and love to work on movies with a very high quality? RISE FX is currently looking for Mid to Senior Level Lighting artists to join our team ASAP for very exciting feature projects! Required skills: experience with Maya is a must; Nuke and Mari are a plus experience in shading, lighting and rendering with Houdini and Mantra advanced knowledge of pbr shading techniques advanced knowledge of both traditional lighting and hdri based lighting using fg and gi techniques advanced knowledge of lighting and shading for multi-pass output good knowledge of scene file optimization for rendering Responsibilities: you can efficiently follow your cg supervisor’s creative and technical briefs you have a perfect eye for detail and realism you are able to adapt your light as the brief evolves you have the ability to work in a team of creatives you are comfortable in working with deadlines you have a great sense of humour If you are interested please send an email with a LINK to your newest SHOWREEL and a CV to jobs@risefx.com. We are always looking for meeting new talents to join our lovely team! PLEASE NOTE: You need a valid working permit for the European Union in order to apply. Unfortunately we can’t assist you in getting one for the moment beeing.
  10. Stag in a bottle

    This is a small project i had been working on lately, mostly had to limit myself with the render settings as this almost took 1 hour per frame. any feed back would be appreciated. Thank you
  11. Hi, We started using deep rendering and noticed nuke scripts literally explodes if we forgot to check "Exclude from DCM" for each extra passes. My problem is, how do we exclude base components from DCM, like Direct Lighting and Indirect Lighting? There is no Exclude from DCM checkbox for those passes. I tried in H14 and H15. Do I need to manually export those passes in the Extra Image Planes section? Thanks Maxime
  12. - Having experience in houdini project (modeling to lighting) - able to used environment variables or an intelligent adaptable scatter system - willing to stay in Batam, Indonesia - please send your CV and porto / reel to ifwcareer@frameworks-studios.com with subject : Houdini artist / Houdini Supervisor
  13. Deep Shadows not working

    I'm trying to render a very large number of particles, using a shadow map generated from a volume to expedite render times... For a test with an animated sphere and plane, I've generated the maps successfully per frame and viewed them in mplay to check they're fine, but mantra still seems to be generating shadows on the fly despite auto-generate shadow maps being unchecked.... changing the referenced shadow map frame on the light has no effect. Am I missing something?
  14. Hey all, The team at Psyop just open sourced their ID matte toolset called cryptomatte. I started working there a couple months ago. we are looking from some contributors for Mantra implementation for the project! anybody interest? https://github.com/Psyop/Cryptomatte Have look and if your interest hit up the team, we are eager to make this apart of mantra Cheers!
  15. Lighting + hip file

    This exercise files for those that want to learn the technique Houdini 15.5.480 Lighting v01.hip
  16. Hi everyone. First post here and new houdini user, so be gentle! I'm trying to understand how one might go about adjusting an HDR within Houdini rather than adjust in another DCC and reload in Houdini. I tried loading the HDR in to /img/ then adjusting with a color-correct before loading in to the mantra environment light using an "op:" path, but this introduced a painful delay as houdini seems to "cook" all too often even when as far as I would assume, the HDR doesn't need colour corrected until render-time, and even then, only on a per-pixel basis during render. So, I assume I am approaching this from a totally non-houdini way of thinking. The options as I see them are 1) Adjust the HDR in a different application. 2) Adjust the HDR in the environment light by adjusting the color tint values. 3) Adjust the HDR in the /img/ context and save out with a ROP when satisfied with the result and then pass the direct path to this saved file to the environment light (rather than pathing to the file-in node within \img). 4) Access the file-in node within the environment-light and add a color-correction in there (although when I open the environment light node network, there is no sign of the file-in as one would expect or as you can find in a standard mantra shader node network). So, I guess my question is, where I have a 'map' in houdini, what is the best way to colour correct the map either by processing outside the object or inside the object node network? (where 'object' could mean primitive/light/shader/etc). Thanks
  17. Join Moment Factory, the multimedia leader! julie@polyglotgroup.eu https://goo.gl/OeoWAW
  18. Hi guys, I'm testing different lighting intensities with a simple scene. Usually I would click render, wait for the render to finish, then change the intensity and click render again. I want be able to click render once and Houdini will render a certain frame and once finished, it will automatically change the light intensity attribute and render again. This way I can have multiple renders of the same frame with different lighting conditions for lookdev purposes. Solution = Wedge Node Thanks
  19. light model for houdini 15

    hello I want to build a translucent material and I learn from cmivfx shading and rendering tut; But these course its very old , he used light model for houdini 10 how I can build translucent material using houdini 15 ?
  20. Hi all, We have a couple of Lighting and Texture positions, starting asap (late Feb / early March 2016), which run for around 8-10 weeks at Rising Sun Pictures' Adelaide office. We'd love to talk more about the killer feature film sequences we have ahead of us, but NDA's prohibit it being mentioned further on od|force. Rest assured that they are all in line with our previous effects work. Essentially these positions suit applicants available now or those about to enter a show hiatus. Visa's can be arranged for most countries. It breaks down as follows: Australian & New Zealand applicants. you can jump the visa queue and start now! Application details below. 417 Work & Holiday Visa. For those aged between 18 & 31 from Belgium, Canada, Cyprus, Denmark, Estonia, Finland, France, Germany, Hong Kong, Ireland (Republic of) Italy, Japan, Korea (Republic of), Malta, Netherlands, Norway, Sweden, Taiwan & UK. (24-48 hours for visa approval). 462 Work & Holiday Visa. For those aged between 18 & 31 from USA. (24-48 hours for visa approval). 457 Visa applicants. If you're not from Canada, USA, UK, Ireland, NZ or South Africa, or fit any of the above work / holiday visa's, you'd likely qualify for the 457 Visa. This one needs to have an IELTS (English test) in place with an overall score of 5.5 or more. Yes, we know you speak perfect English, but it's just a condition to be met on the 457. Painful, we know. Visa applications on the 457 can be lengthy, but things are running pretty smoothly at the moment and should not be a barrier to your application. (4-21 days for visa approval, pending your paperwork, IELTS, Education, qualifications etc. is ready to roll). What we cover RSP covers the cost of the return airfare, initial accomm and round trip flights from your city. Application Lighting: To find out more about this and other positions visit: https://rsp.com.au/lighting-tds/ Texture: https://rsp.com.au/texture-artists/ You'll find an Apply Now button on each of the above pages. If time is against you, just shoot your resume and a link to your reel, via employment@rsp.com.au. Be sure to confirm your availability and country of citizenship so we can assess your visa viability. RSP? Adelaide born and bred with an international reputation for great work. We try to ensure our people lead a healthy work / life balance. It's always tough during crunch time to find that balance, but we'll keep striving for this outcome. All RSP departments are located in one building. If you need to speak to a modeller regarding an asset you intend on destroying, you can get up and chat to them a few rows away. It's a collaborative and ego free environment. Adelaide? It's a gorgeous time to visit Australia, this job will help get you hooked. RSP is located in the heart of the Adelaide. Outstanding, VFX can be completed in any city with a decent connection, so why not pick one of the most livable. Many of our crew walk to work or ride bikes. It's easy to get around town from our office. It's Fringe Festival time, so the city is alive with what we refer to as "culcha". That's cultural activities for those in the northern hemisphere. Amazing food, performances, music and dance. Footy season kicks off in a month at the redeveloped Adelaide Oval. Good work, good place. Apply Now! Marcus Wells Recruitment Rising Sun Pictures www.rsp.com.au
  21. Hello everyone, I would like to introduce my new Houdini training, "Houdini Rocket Ship". The idea behind this training was to create a project that will take the viewer through a variety of aspects of Houdini without making the project overly complex or technical. As long as you have a basic understanding of Houdini you should be able to follow the training Over the course of this project we will cover a whole range of topics which include Procedural modelling, Polygonal modelling, Environment Generation, Cloud modelling, CHOPs, RBD, Constraints Network, Smoke Simulation, Materials, Lighting using HDRI, setting up Takes, Rendering and Final composite in After Effects. There is currently a one week discount on the training series of $25. The offer will last till 17th October 2015. Trailer Final Animation for further information kindly click on the link given below http://www.rohandalvi.net/rocket
  22. Hi all, I'm making a scene that will involve soudium-vapor lamps (the typical street lights you see here in the UK). I've gathered some information but was wondering how I would transfer this information into Houdini?I assume you just punch in the colour temperature but I thought I'd come fishing for tips to get a realistic result. I was especially interested in hinting at the 'stroboscopic' effect you see when in an environment only being lit by these lights (due i assume to the slow wavelength). Cheers, Jim
  23. Dennis Albus | Technical Reel 2015

    This is my Technical Reel with some of the things I've been working on lately - mostly focused on lighting, shading and rendering. Please go to vimeo and watch it in HD as a lot of stuff is really hard or impossible to see in the SD version. Feel free to also check out my other work on my website (95% Houdini / Mantra) www.dennisalbus.com/portfolio The Blog is unfortunately a graveyard right now but I am planning on posting regular updates and information about some of my tools and shaders soon. Cheers, Dennis
  24. Hi, I'm looking for a Houdini Shading/Lighting artist, to share a project with photo-realistic skills needed. This is NOT a volunteer job, it's a paid work and you will be asked to estimate the budget cost. I'm available to tell you more, and to send you some elements to help you to find out more about the project. I have a rough storyboard and an example of film which will be the model of the 3d work. I work as graphic designer and I usually do some simple 2d-3d broadcast motion design for France. You can find some examples of my work here vimeo.com/69952906 Thanks in advance ! Mathieu
  25. Rising Sun Pictures are currently seeking experienced Lighting TD’s to join our team. Employment periods: Short and long contracts are available commencing now through to July / August 2015. Location: Adelaide, Australia. These positions are open to Australian and international applicants. Position Overview Reporting directly to RSP’s lighting leads, our lighters are responsible for the creation of wide ranging natural phenomena for a variety of live action feature films. Applicants presenting highly realistic work in their portfolio, will be reviewed with priority. Although RSP runs a Houdini / Mantra pipeline, applicants with broad exposure to any industry standard 3d packages and renderers should apply for this position. You are a professional artist who works collaboratively with your team and those working in other departments. You are an excellent time manager and forward thinker who delivers to schedule and to brief. You have previously lit and rendered wide ranging assets generated by Houdini effects artists, modelers, texture artists and animators. Your ability to own your work is highly regarded by your previous employers. As a professional lighting artist, you provide confidence to production because you have absolute clarity in what is expected of you in terms of lighting consistency and shot delivery. Responsibilities * Using Houdini's Mantra, light and render a variety of small and large scale cg elements including, props, models, environments, crowds, creatures and effects. * Create shaders under direction from leads and the look dev department. * Provide solutions for techniques such as subsurface scattering and physically plausible shading. * Use HDRI information to match live action lighting elements. * Work closely with compositors ensuring the renders you provide are consistent with their expectation. * Follow creative & technical briefs with regard to the production schedule. * Take ownerships of all notes and feedback relating to your shots. * Iterate your work as directed by your lead and within the allocated resources. * Ensure your lead and coordinator are kept up to date of any issues that may hinder your ability to reach deadline. * Develop and maintain a working relationship with peers assisting them when requested. * Maintain consistency across sequences and shots. Adopt a methodical approach to lighting setups. * Provide clear and accurate time estimates for all work assigned. * Collaborate with supervisors, compositors, effects and environment artists in establishing robust and consistent handovers. * Review your work for internal and external delivery, ensuring it hits creative and technical notes. * Seek feedback when renders fail to match delivery expectation. * Promote a collaborative and enjoyable workplace influencing morale, fostering purposeful discussions and a positive work ethic. * Please note, RSP operates a Maya / Houdini Mantra pipeline in a Linux system environment. Required Skills and Experience * Minimum 4 years professional effects artist experience on live-action feature films. * Applicants demonstrating shots lit & rendered using Houdini's Mantra preferred. * Proficient at Compositing in Nuke. * Strong technical directing and coding experience (such as Python and/or C++). * Maintain a calm and professional demeanour in a delivery focused work environment. * Real world understanding of physics, math, proportion, depth, colour, and of course lighting. * Expert organisational skills. * Technical and creative problem solving with a can-do mindset. Application To apply, please click the Apply button located on this link. Or... If time is against you, feel free to send your application via email with your resume, reel and breakdown to employment@rsp.com.au. Include the words "Lighting TD” in the subject line. Please state your availability and country of passport so we can assess your right to work in Australia and visa options. All applications will initially receive an automatic reply. Those closely matching this job description will be contacted for further information.