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Found 59 results

  1. Hi all, I have a rigged character from Maya from which I did a Ragdoll sim and all is good. However now I want to do it as a FEM sim instead, to get some bulging when the character gets hit by an object. How would you go about doing this? While still having constraints on arms, etc. Thank you very much in advance. Cheers, Jonas :-)
  2. Hi, I have a rigid body simulation of a few thousend parts. I export the geometry from maya, simulate in Houdini and bring it back to maya. Of course all shaders are gone and I have to reassign the shaders to the simulated geometry. Unfortunately the imported parts are all named with the pattern: <rop alembic input node>_packed<somenumber> e.g. attributeDelete1_packed1618 It would help a lot if I could keep the object names because with valid names I could simply reassign the shaders. Does anyone know a way to keep the names if I import an alembic from Houdini back into maya?
  3. I have an animated cabinet that i have imported to Houdini from Maya as an FBX. I want to drop cutlery into one of the draws in the cabinet, i have imported the spoon .geo and made the cabinet a static object and the spoon an RBD object. when i drop the spoon onto some parts of the cabinet it lands fine. I want to drop it inside the draw before it opens but when i position it above the draw and play through it doesn't move, it is just frozen in the air. Im guessing its a problem with bounding boxes? Sorry im new to Houdini any help would be greatly appreciated! (Sorry for the bad angle, the draw is closed)
  4. I have an object shattering using a voronoi fracture, i'm importing it to Maya as an alembic cache but i have to manually select all of the inside faces of the cracks to texture them differently. Is there a way i can select all inside faces on a voronoi fracture object in Houdini to make things quicker? Thanks
  5. fx

    Falcon's Creative Group is seeking full time and/or contract FX ARTISTS and SENIOR FX ARTISTS to join our team in Orlando, FL. Our studio has been creating immersive experiences for special venues, theme parks, and attractions for over 17 years. From global entertainment destinations to cutting edge digital storytelling, to unparalleled themed experiences, our team successfully transforms everyday reality – every day. Check out our DEMO REEL! Position Description The FX Artist will work closely with the Animation Team and Creative Leads to develop 3D FX elements to accomplish the vision of the Director for unique and high-profile 3D animated stereoscopic projects. Responsibilities include: 1. Establish and understand project FX needs/requirements. 2. Develop particle, rigid body, fluid and volumetric effects Develop in a fast-paced environment with an iterative workflow. 3. Maximize FX rendering techniques with AOVs for compositing. 4. Basic compositing of FX layers/AOVs in shots. 5. Identify creative and technical issues and elevate solutions to appropriate team members. 6. Communicate development status and forecasts. 7. Meet project deadlines set by production. 8. Maintain high security standards for confidential studio assets. Qualifications: 1. Professional industry experience preferred. 2. Strong foundation in using MAYA FX systems and/or HOUDINI. 3. Experience with shader development and render AOVs preferred. 4. Experience with NUKE compositing software a plus. 5. Stereoscopic film production experience a plus. 6. Experience using KRAKATOA, FUME-FX a plus. 7. Programming experience in MEL and/or PYTHON a plus. Submit your application online at: http://falconstreehouse.com/careers.html Falcon’s Treehouse, LLC is a drug-free workplace and employment is contingent upon passing a drug screen. We are an equal employment opportunity employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, gender, age, national origin, disability status, protected veteran status or any other characteristic protected by law.
  6. FX Artist (Dynamics/Particles) The FX Artist will work closely with the Animation Team and Creative Leads to develop 3D FX elements to accomplish the vision of the Director for unique and high-profile 3D animated stereoscopic projects. For a better idea of what we do, check out our branding video! https://vimeo.com/166223263 Responsibilities include: 1. Establish and understand project FX needs/requirements. 2. Develop particle, rigid body, fluid and volumetric effects Develop in a fast-paced environment with an iterative workflow. 3. Maximize FX rendering techniques with AOVs for compositing. 4. Basic compositing of FX layers/AOVs in shots. 5. Identify creative and technical issues and elevate solutions to appropriate team members. 6. Communicate development status and forecasts. 7. Meet project deadlines set by production. 8. Maintain high security standards for confidential studio assets. Qualifications: 1. Professional industry experience preferred. 2. Strong foundation in using MAYA FX systems and/or HOUDINI. 3. Experience with shader development and render AOVs preferred. 4. Experience with NUKE compositing software a plus. 5. Stereoscopic film production experience a plus. 6. Experience using KRAKATOA, FUME-FX a plus. 7. Programming experience in MEL and/or PYTHON a plus. Submit your application online at: http://www.falconscreativegroup.com/en/about/careers/ Contract and Staff positions are available Falcon’s Treehouse, LLC is a drug-free workplace and employment is contingent upon passing a drug screen. We are an equal employment opportunity employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, gender, age, national origin, disability status, protected veteran status or any other characteristic protected by law.
  7. 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.
  8. hey guys this is more of a general question so feel free to throw your comments in... so i have a character i've animated in maya - i wanted to get this into houdini and try and do some subtle muscle jiggle and muscle bulge/tensing on the animated mesh. so my initial thoughts were - export out the alembic then try and run it through f.e.m system - doesn't really bring much except jiggle & looseness - a little similar to a grains setup (there is a h15 masterclass on yt where a guy does something similar with piggyhead) so after that my thoughts are now leaning to this: 1 export out the basepose character/skel as fbx from maya 2 export out the anim as fbx 3 in hou - fasten muscles to those joints, paint in some weights and things to provide the muscle bulge/defo in the right areas - mainly pecs and arms for my test 4 attach the anim to the fbx character skel i've imported and fastened the muscles to 5 sim 6 export alembic out back to maya this is my total noobness approach and thought process - its probably massively overconvoluted but i would love to get some feedback on how this is done in feature films - i know there's a ton of propietary tricks and tech but any advice for a homebrew maya-->hou-->maya pipeline would be ace. Also any tricks instead of muscles - do chops do a good job or is there other tricks i can use?
  9. Hey guys, I really need some help here, I'm in the middle of a project and can't export the simulated cloth with proper UVs (exporting it as alembic / must work in Maya) Here are some statements about the situation: - if I export the grid mesh, with no simulation, the UVs are read correctly outside of Houdini; - if I export the simulation, directly from the dopimport1 node, it doesn't work outside of Houdini; - the UVs are ok when I import it back to Houdini (and unpack the geometry); - the cloth is gettin' ripped on my original scene, this way I can't use an attribute copy to get the uvs from the original mesh (since it's point count is changing); - If I import it to 3ds Max, it work's at the first frame but as soon as I run the timeline it get id of the uv. I can get the 1st frame uv to stick to the object if I add an Unwrap UVW modifier to it. Tried to export it from Max to Maya but it doesn't work; I did a quick test here in a much simplier scene, with a plane only and get the same problem. The scene file is attached + 2 exported alembics (with and without simulation) Thank's in advance Cloth Problem.rar
  10. Alright I'm still quite new to Houdini but I'm enjoying its shattering system and its dynamics are much more viable to use over the likes of Maya. My question is whether or not it is possible to bake object shattering and interactions with other objects as set keyframes. Reason for this is so I could possibly transfer it over as an FBX file to Maya. I apologize if this seems a bit obvious of a question. Thanks for any help, Belt
  11. FX Animator If you are qualified and interested please email Angela at ageier@laika.com with your reel and resume. General Summary The FX Animator is responsible for creating Character and Environment FX, and elements for lighting and compositing to support of the visual style and narrative of the film. They will also be involved in the collaboration of creative and technical tools and workflow. Essential Job Functions Design and create the look of computer generated FX and elements through shot production. Under the supervision of the CG Supervisor, VFX Sup and/or Director help establish and follow the look of the film. Troubleshoot creative and technical issues. Partner with the Modeling, Texturing, Lighting and Compositing and help support each departments’ FX integration issues. Maintain a high level of quality while working on multiple projects, both looks development and shot production under aggressive deadlines. Perform technical work in support of shot production using various production tools. Qualifications Bachelor’s degree in Computer Science, Animation, Art or other relevant area of study and/or equivalent job experience. 3+ years of high-end production experience in television or feature films as an FX artist and/or TD. Experience in producing effects such as smoke, fire, clouds, water, steam and explosions. Knowledge of applicable software and platforms including Maya, Renderman and Houdini REQUIRED. Working knowledge of Digital Compositing in Nuke. Experience with advanced lighting techniques such as Global Illumination, HDRI, subsurface scattering and real world lighting set ups, a plus. Experience with 3D paint packages, a plus. Modeling, Texturing and/or Lighting experience, a plus. Disclaimer The above statements are intended to describe the general nature and level of work being performed by people assigned to this classification. They are not intended to be construed as an exhaustive list of all responsibilities, duties and skills required of personnel so classified.
  12. FX Animator If you are qualified and interested please email Angela at ageier@laika.com with your reel and resume. General Summary The FX Animator is responsible for creating Character and Environment FX, and elements for lighting and compositing to support of the visual style and narrative of the film. They will also be involved in the collaboration of creative and technical tools and workflow. Essential Job Functions Design and create the look of computer generated FX and elements through shot production. Under the supervision of the CG Supervisor, VFX Sup and/or Director help establish and follow the look of the film. Troubleshoot creative and technical issues. Partner with the Modeling, Texturing, Lighting and Compositing and help support each departments’ FX integration issues. Maintain a high level of quality while working on multiple projects, both looks development and shot production under aggressive deadlines. Perform technical work in support of shot production using various production tools. Qualifications Bachelor’s degree in Computer Science, Animation, Art or other relevant area of study and/or equivalent job experience. 3+ years of high-end production experience in television or feature films as an FX artist and/or TD. Experience in producing effects such as smoke, fire, clouds, water, steam and explosions. Knowledge of applicable software and platforms including Maya, Renderman and Houdini REQUIRED. Working knowledge of Digital Compositing in Nuke. Experience with advanced lighting techniques such as Global Illumination, HDRI, subsurface scattering and real world lighting set ups, a plus. Experience with 3D paint packages, a plus. Modeling, Texturing and/or Lighting experience, a plus. Disclaimer The above statements are intended to describe the general nature and level of work being performed by people assigned to this classification. They are not intended to be construed as an exhaustive list of all responsibilities, duties and skills required of personnel so classified.
  13. Hi, I am an experienced Software Engineer with a good eye for Visual Effects. I have over more than 10 years of experience in developing advanced software systems for simulation and animation companies. In addition, I've invested that last 5 years exploring and educating myself all about Visual Effects. Below is my demo reel. Please check https://www.linkedin.com/in/khaledabdelhay for more details on my technical/artistic skillset.
  14. hi guys so i'm doing a simple test - a simple poly sphere setup with auto fracture hitting the groundplane. I export this as a .abc and it imports into maya easily enough however i need a bit more than that: currently the .abc comes in as one node - i need it to come in as a group of meshes. if possible i need the transform of each mesh to be centred to that chunk/piece/fragment and finally (this one is a big ask i know) is it possible to get the keyframes from here to maya too - basic translate/rotate/scale and visibility ? I know this is a big ask i'm really struggling with this one - i tried connectivity and partition sops after my simulated mesh results but it doesn't seem to work anyone got any ideas please? You'd be helping me out MASSIVELY if so! I've attached a super simple sphere auto fracture scene file for convenience thanks! ant autFrac_ball_example.hip
  15. Hello My name is Nathan Kelley and I'm currently studying Computer Animation and VFX at Leeds Beckett University. I'm currently making my dissertation and I need people to be involved in the research which I've chosen a questionnaire. The Dissertation topic is called "Can Houdini be a good alternative to 3DS Max and Maya". If you have experience with Houdini whether a beginner or advanced user please answer my questionnaire at the link below. https://zephyrx24.typeform.com/to/DpzbrH All the help will be appreciated, Thank you very much for your time. From Nathan Kelley
  16. Hey, im not sure if this has been asked before but im trying to do the maya ---->houdini---->maya workflow. But im stuck at one point. So when i export models, specially stuffs like wooden tiles or brick walls as abc or OBJ to houdini. Houdini reads it as a single file. So that stops me from using voronoi on per object level as it applies it to the whole models as one single object. Like for example i want to fracture the whole brick wall but i want to do it per brick level not as a whole wall. If this has been asked im sorry, but really need to get this figured out for a project. Thanks alot
  17. Hi All, I'm sure this question must be a common one but I have searched this forum without finding the solution I need. So, apologies if I am repeating a previous post. Right. What I am trying to do it take some nParticles from Maya over to Houdini for rendering in Mantra. I am using Alembic to transfer the particles. Houdini finds the particle position, P, velocity, v, and particle ID, but not other per-particle data, such as rgbPP, lifespanPP, aimDirectionPP, etc, which I would like to carry across. I can see that some data is there in the alembic file, but Houdini does not seem to be translating it properly. Maybe you can see from the screen grab what is happening. rgbPP, for example, is coming in as a massive array of floats, the size of the array is three times the number of particles. I assume I need to wrangle the Alembic data in some way. I would be very grateful for some help with this. I am fairly new to Houdini, VEX is not something I am experienced with, except for the very basics. Maya 2016 Houdini 15.0.244 Windows 7x64 Many thanks, Dan
  18. Hello, I'm looking to find out what off the shelf render farms people prefer currently for production; likes and dislikes? Short background: We need to use our nodes for Houdini, Max, Maya, fume, and a few other software. Currently about ~100 nodes, and we don't have a dedicated render farm technician so the most hands off, off the shelf is the best. I have experience with Hqueue, Rush, Deadline, and Qube, so I am looking for any additional off the shelf software, too beyond those. Thanks -Ben
  19. I was testing to transfer particles from Houdini to Maya,i use Cortex plugin to go into Maya,since Maya default importer sucks like 3dsmax roadmap So i was triying to get rotations, so far i cant get to work. Anyone tried this? Thanks
  20. Hi, rookie question: Why is it that when I import an Alembic camera from Maya into Houdini, it makes the whole scene insanely large. The camera moves a massive distance and as such I am forced to create massive grids and simulations with attributes set to numbers in the thousands. This is really hard to work with and creates clipping problems if you move close to the geometry, which i cant seem to fix even in display options. I'll attach the scene file and the ABC camera file (not sure how to attach them in the same file). So import the ABC file yourselves Basically the camera is leading a car straight along a road and there is going to be a dust storm in the background and also dust trailing behind the car. If you convert the tube in the scene to Billowy Smoke, it comes up with a warning saying 'Object level scales detected. A new object has been created to convert to world space'. Which I suppose is a way of saying 'Hey, your scene is super massive and could be fixed somehow'. I'd like to know if there is some way to import the same camera, but have the scene scaled to a suitable size so i dont have to put huge numbers in while experimenting with smoke, particles etc. Thanks Scene01.hipnc Camera Alembic.abc
  21. Hi, I'm facing a pipeline issue: I'd like to scatter dozens of object in maya using the houdini engine. It's working fine if I scatter a simple object like a torus. BUT in order to keep my scene light I would like to scatter arnold .ass file. But houdini engine doesn't recognize ass files. Do you know how i could avoid that, or maybe use Htoa.. The point is to be able to scatter and control a huge amount of object without getting a heavy scene thanks
  22. Hey everyone! So I'm trying to export a flip surface that I stitched to a cube in order to get some depth for my water shader in Maya to work properly. Everything is working fine until I get to the point that I need to transfer the velocity as a vertex color set. For now if I bake the color in just the surface it works but as soon as I try to do it with the stitched cube some frames are missing the color within Maya. The message that I get is // Warning: Color sample size != num face vertices // The way that I'm doing it right now is that I drop an AttributeCreate run it in Vertex as a Float 32 bit Color attribute of 3 componentes, pointing to the @v attribute from the fluid and export it. As I said, I get some frames with it some without it, so I'm not sure if I'm missing something on my export step. Any direction on how to solve this will be very much appreciated, thanks a lot!
  23. Since I am exploring Redshift, was wondering if there was any way of importing these Maya-Redshift materials into Houdini http://store.cgfront.com/slib-metal/8-slib-metal-redshift.html Anyone know if this is possible?
  24. SENIOR ANIMATOR/VFX ARTIST (Atlanta studio) Second Story is a network of design studios focusing on responsive environments, story-driven experiences, and experience innovation. For more than 20 years, we have conceptualized, designed, and developed projects that educate, immerse, and activate across the cultural and brand space. Our studio is interdisciplinary and intensely collaborative, founded on the desire to make great work through collective authorship. We are seeking a multi-talented artist who bridges animation and visual effects to create breathtaking motion experiences for installations and interactive projects. You’re up on leading-edge motion-design trends, familiar with emerging and traditional pipelines, and your portfolio makes jaws drop. As a core part of a project team, you will work with the creative lead and other studio collaborators on the development and execution of motion design in all forms. CORE RESPONSIBILITIES: · Develop and deliver motion sequences that are true to the creative brief, original, nuanced, and recognizable · Produce envelope-pushing motion concepts across all project scales and a variety of media canvases · Directly contribute to the conceptual development of projects · Create motion elements for proposals and new business responses · Accurately estimate the level of effort for required results THE CANDIDATE MUST BE: · A visual artist whose command of motion design establishes the emotional tenor of a project, paints the complexion of its interfaces, and brings clarity to complexity · Skilled in generating design and motion studies that communicate spatial and time-based concepts · Experienced in creating visuals that engage individuals and groups at scale in both physical and virtual spaces · Collaborative, professional, outgoing, friendly, and fearless SKILLS & EXPERIENCE: · A masterful command of the craft of animation, both real-time and pre-rendered · A strong knowledge of visual effects techniques and tools · Expert-level skills in Houdini, After Effects, and Maya or Cinema 4D · Proven skills in: o rigid body and particle dynamics o volume modeling and rendering o procedural geometry generation o fluid dynamics · Strong understanding of physical dynamics and natural phenomena · Scripting proficiency using Python is a plus · Visual Effects/Animation (or related) professional degree · 6+ years professional experience in animation & visual effects This is an exceptional opportunity for a meaningful career in an environment where collaboration is paramount, but individual efforts shine. This position is located in Atlanta, GA, with a competitive, comprehensive salary and a benefits package that includes medical, dental, disability, employer-contributed 401(k), and professional development funds. Please send your resume and your portfolio to joinus@secondstory.com. about second story Second Story, part of SapientNitro, is a network of design studios that focuses on responsive environments, story-driven experiences, experimentation, and innovation. We conceptualize, design, and develop projects that educate, immerse, and activate across the cultural and brand space. In our studios in Atlanta, New York, and Portland, designers, producers, and technologists collaborate in a lab-based environment to create experiences that reward audience interaction with powerful, personalized pathways through content and the world of ideas. Second Story’s work has received hundreds of awards and is included in the Smithsonian’s permanent research collection on information technology. For more information, visit www.secondstory.com. about sapientnitro SapientNitro®, part of Publicis.Sapient, is a new breed of agency redefining storytelling for an always-on world. We’re changing the way our clients engage today’s connected consumers by uniquely creating integrated, immersive stories across brand communications, digital engagement, and omni-channel commerce. We call it our Storyscaping® approach, where art and imagination meet the power and scale of systems thinking. SapientNitro’s unique combination of creative, brand and technology expertise results in one global team collaborating across disciplines, perspectives and continents to create game-changing success for our Global 1000 clients, such as Chrysler, Citi, The Coca-Cola Company, Lufthansa, Target and Vodafone, in 31 cities across The Americas, Europe and Asia-Pacific. For more information, visit www.sapientnitro.com. SapientNitro and Storyscaping are registered service marks of Sapient Corporation. *Reasonable accommodations may be made to enable individuals with disabilities to perform the essential functions of this role, which include hearing, speaking, typing, and occasionally moving and/or lifting up to 15 pounds. Sapient US is an Equal Opportunity / Affirmative Action employer. All qualified applicants to Sapient US will receive consideration for employment without regard to race, color, religion, sex, national origin, disability, or protected veteran status.
  25. Hello guys, I'm having a problem with my project. I have a destruction made in Houdini that I want to export to Maya. This is because it needs to be rendered in Maya. I am using an apprentice version of Houdini, because of this version a lot of export methods can't be used. The best chance I have is with OBJ sequence in my opinion. But when I write an OBJ sequence in Houdini and then export it (as a single file with file>import for testing purpose) to Maya it gives me the following error: / Error: line 0: OBJ file line 236743: index out of range for face creation. // I am using packed geo most of the time. If I unpack the geo and then export it, it still isn't working. Attached is the OBJ that gives this error. I wrote it with a file node. The file node is attached to the Dopimport node with "fetch geometry from DOPnetwork" chosen as an option. Also tried polydoctor but it gives me no errors. Can someone help me out? Thanks in advance! Aram objexporttest unpacked.rar