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Found 26 results

  1. Houdini 15.0 - simulated using flat tank, and custom forces added in front and back of ship to get the wakes.render time : 15-20minsrendered in mantra and comped in nukeThanks to my mentors who taught me the awesome tricks to achieve the results.model downloaded from - cadnav.comAny advice or feedback appreciated.
  2. Hello, I am having strange issue - renders coming out of mantra aren't displayed consistently in various apps. I believed that I would be safe with EXRs as they are linear and should be properly displayed in apps. Pixel data are identical when inspected pixel by pixel. However I noticed slight difference when displayed in mplay, nuke, rv, djv_view Any ideas? I made sure that in Nuke I am loading linear exr and no custom lut / IP is being used in viewer. I attached sample exr so that you can test it out. Thanks, Juraj img.exr
  3. 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.
  4. I have experience using deep rendered images as a compositor at large facilities, and while the file size is large, the ability to work in nuke while slower is still functional and the benefits of the deep render outweigh the file size and comp slowdown. I am doing some testing with Houdini for a whitewater sim and the DCM output is gigantic.. depending on the particles on screen, file size maxed at 3.2 GB for an exr frame. Nuke needless to say can't handle this, even Houdini's output of a DCM with a relatively small amount of particles will bring Nuke to a dead crawl. It seems like there are quite a few DCM settings buried. Does anyone have any experience on optimizing the DCM settings to get a result that is good but saves on file size and computing for Nuke? Cheers, Ryan
  5. Hey, I have time seeking any motion vector pass somewhere in odforce, nothing work as fine for now, so any know the method of get motion vector pass from mantra pbr using all scene animation as alembic, camera moving, etc with houdini 14 ? thanks in advance Carlos
  6. NEW TUTORIAL: Alembic Vector Motion Blur Tutorial- A Houdini, Maya, Arnold and Fusion or Nuke Workflow Thanks for watching and Sharing! If you have any suggestion, please come them in! Thanks
  7. Hey guys, Our tracker asked me to write him out a 2d UV map today from Houdini because he was running into a bug in Nuke where the resulting UV Map would have a missing .5 pixels on each side of the frame for a total of 1 missing pixel . However, when he generated the UV Map out of out of 3d Equalizer it was correct and it was not missing a pixel. So I took a crack at it and ran out said UV Map from Houdini, and sure enough it came out identical to Nuke's UV Map with the missing pixel. If I load in the generated UV Map into Nuke as an STMap input and add a checkerboard with the same res as the UV map into the STMap node and compare them, the difference in resolution is very clear. Has anyone run into this or is there a reason for this behavior? Any ideas would be appreciated. Houdini 15.0.347
  8. I'm trying to generate a motion vector pass for use in Nuke later. The way I've usually done it is like this, inside a shader: http://imgur.com/tSbatjM Well that's not working now, and strangely if I set all the motion blur settings to 0 but I enable motion blur I still get motion blur. http://imgur.com/7htfLLi When I change the shutter time setting on the camera in the scene, that seems to be influencing the motion blur. http://imgur.com/gNgKfru Is there any way I can extract a useable motion vector pass for Nuke from what the camera is seeing, or am I going about this all wrong?
  9. We are bringing our D&AD Black Pencil and Cannes Gold Lion awarded design and motion studio Stateside in Summer 2016 and are looking for world-class talent to join our core LA team. You will be one of the elite founding members: ready to jump into high-concept projects for forward-thinking brands immediately. Our formula in London the past nine years has been simple and successful: produce exciting, high-end creative and effective work, executed by best-in-class 3D and VFX technical artists. And, crucially, to have fun doing it. We are all creative contributors, whether we work on the more conceptual or technical end of the spectrum. We thrive on a melting pot mentality, where artists can take pride and ownership in producing shots from start to finish using their broad range of skill sets, while still contributing their knowledge and expertise on a collective scale for the greater good of the studio. We are looking for middleweight and senior talent: Designers, Directors and VFX/3D artists with a strong design sensibility. We are not proscriptive about the path that you’ve taken to get here. Whether you’ve arrived at 3D and motion design via the fine arts, engineering or natural sciences, we appreciate unusual perspectives. Some processes and programs that we like to use: Our main pipeline tool is Cinema4D. We render in Arnold or VRay4C4D. Houdini is our big gun for the more complex stuff. From time to time we like to use Maya as well. Compositing happens either in AfterEffects or Nuke. Available Roles: Senior Designer/Creative Lead 3D/VFX Artist Motion Designer Applications may be sent to LA@mvsm.com. All applicants must be legally able to work in the United States. The ManvsMachine team in LA will enjoy the same generous vacation allowance as their London counterparts. Just like them, you should have a great sense of humor, a belief that mass communication should never preclude good design, and a devastating ping pong serve.
  10. Hiya, I, Taher and am a freelancer from India seeking job as a houdini vfx artist/ vfx artist and editior. I am open to freelance jobs too from India and overseas.
  11. Method Studios Vancouver is currently in search of Pipeline Developers/TDs to join our Software Pipeline team. We’re looking for a variety of skills to complement the existing team, ranging from plug-ins, to 3D applications, and general workflow tools within Maya, Nuke, or Houdini. We’d love to talk to you! Responsibilities and Duties Design and develop software to address production demands Maintain existing workflows and tools Solve challenging production problems by creating new tools or modifying existing ones Communicate with productions to confirm tools achieve their desired goals Required Undergraduate / Graduate degree in Computing Science or related field 3+ years experience of code development Proficiency coding in Python Familiarity with Linux Excellent problem-solving and communication skills Desired C++, HTML5, CSS3, JavaScript, PyQt are an asset MongoDB, Postgres, MySQL Maya, Houdini, Nuke Linux, Windows, OSX V-Ray, Renderman, Mantra Massive Qube, Rush Please e-mail van-recruiting[at]methodstudios.com with your résumé and your upcoming availability with subject line “OD Force Pipeline” and your name, as in: “OD Force Pipeline – John Smith”. We thank all candidates in advance for applying but only those selected will be contacted for an interview. ————————————————— Located in Vancouver at 50 W. 2nd Avenue, Method Studios is an award-winning, international visual effects group with facilities in Los Angeles, Vancouver, New York, London, Sydney, and Melbourne. As an artist-driven company known for its creativity, Method Studios services high-end feature film, commercial, television, games, and motion graphics clients in the global marketplace. Built around an exceptional team of VFX professionals, our international facilities provide a full range of services including conceptual design, look development, on-set supervision, 3D animation/CGI, matte painting, compositing, and finishing. With its global reach accented by its boutique accessibility, the company has the capacity to service its clientele wherever production is situated. Recent feature credits for Method include: “Ant-man”, “San Andreas”, “Avengers: Age of Ultron”, “Night at the Museum: Secret of the Tomb”, “Jupiter Ascending”, “The Maze Runner”, “The Giver”, “The Judge”, “Into The Storm”, “Snowpiercer”, “X-Men: Days of Future Past”, “Transformers: Age of Extinction”, “Maleficent”, “Thor 2”, “Cloud Atlas”, “Argo”, “Dark Shadows”, “Twilight Saga: Breaking Dawn Part 2”, “Abraham Lincoln-Vampire Hunter”, “Journey 2: The Mysterious Island”, “Clash of the Titans 2”, “Contagion”, and “Elysium”. Upcoming feature work include: “Pelé”, “Tarzan”, “King Arthur” and two upcoming Marvel projects!
  12. Hello, I am working on a school project and we decided to try deep workflow. But I am encountering many problems as I have nobody to explain me the correct process. Today I managed to solve very weird problem - when I imported into Nuke deep sequence rendered with htoa I wanted to composite a card with texture into it. Because sequence has moving camera imported deep seemed to be flowing in space (I understand why - Nuke aligned deep data to origin so it is flowing because distance changes). The next step should be setting camera input into deeptopoints node. This should transform pointcloud to their static place (geometry is static) . But it did not. When I set camera into deeptopts node the pointcloud changed a little bit but remained flowing in space. I cannot understand why because in theory it should stick to its place. So after hopeless trying of various modifications (changing camera units, importing camera from maya...) we came up with a solution. Now it works but I don't understand why. The solution is really strange but it consists of using deepexpression node and dividing deep data (not color) by number 68. It sounds silly but it solved problem - points are transformed to their correct position. Any ideas why so strange thing happened and why 68?
  13. I wanna do some slap comps without using nuke, I need shuffle some channels to create the comp. there is a node like shuffle in houdini? Thanks
  14. Hey Guys, So I am doing a bit of an experiment. I haven't worked with DCM and DSM in Houdini much so I could use some information. I want a "Full Deep" (not sure if thats the term) of my image. I want each sample of my deep too store my rgba at the z sampled. The result should be when I DeepCrop this in nuke as I slice back and remove objects in front of background objects this reveals the pixel information behind that object. I initially tried with DCM and the DeepEXR works great but it does not seem to sample my e rgba of the object behind this. I read through the properties and tried some stuff but I feel like I am missing a step to get this result. EDIT: I understand this is prob not a standard application but is there a way to store that rgb information at each sample of the z? Any Solutions? Cheers! particles_example.hip
  15. Pipeline Technical Director - Digital Domain Vancouver Location: Vancouver, BC Summary: Pipeline Technical Directors are responsible for improving the overall efficiency of the facility-wide production pipeline. They design, implement, and manage tools that assist the digital artists with their daily use of both third party and in-house software and systems. These tools are intended to make the computer graphics production as efficient and productive as possible. Pipeline TDs work with peers and supervisors to craft novel tools, techniques, and procedures to aid the execution of the current project and advance the capabilities of the facility. The role requires strong technical and communication skills, as well as a firm understanding of software design, graphics, and production work flow. Principal Duties and Responsibilities: • Work with other TDs and artists to help design and create tools to be integrated into Digital Domain's existing pipeline. These tools will be created using a combination of custom and commercial Python and C++ APIs- including those applicable to Nuke, Maya, and Houdini dependent upon the emphasis of the specific role. • Work with department representatives to augment their work flows and tool sets to achieve specific goals of the project • Work with artists to troubleshoot and fix problems • Craft and update documentation for tools, techniques and work flows generated by the Technical Director Education, Experience and Skills Required: • 3+ years experience as a Technical Director • Degree in Computer Science, Engineering, Mathematics, or equivalent work experience • Practical knowledge of Python strongly desired, knowledge of PyQt a plus • Working experience with one or more professional graphics packages, including Maya, Houdini and Nuke • Proficiency in one or more professional graphics package C++/ Python APIs, including the Maya SDK, HDK, Nuke SDK, Mental Ray SDK, and Prman SDK preferred • Proficiency in applicable domain specific programming language(s) including Mel, HScript, RSL, MetaSL To apply for this position submit an application at www.digitaldomain.com/careers/ Please select Vancouver from the location drop down menu
  16. Hi Guys I just did a new training tutorial, this time on doing and ink in water effect, looks really cool and there's a bunch of great info there hope you like it Thank you cmiVFX Releases Brand New Houdini INK FX Ultra Class Video The Leaders In High End Video Training For The Visual Effects Industry Princeton, NJ (July 7th, 2014) New for this season, cmiVFX brings you a brand new and improved Houdini INK FX system. The Ink In Water effect is a classic amongst artists and scientists alike. Usually, the definition of Ink In Water is pretty self explanatory, however this time we will show you the easiest way for Houdini to tackle this effect. The truth, as we like to call a well done effect, is something that each person can master on their own personal style, yet Houdini can assist with this uniqueness due to the amount of data it can handle. Come see how awesome the power of Houdini really is while finally learning a very popular, and commercially viable effect shot. Short Description Houdini is no stranger to rendering large amounts of geometry, there for, the ink in water effect that we are going to develop will yield about about 27 million particles without skipping a beat. Naturally, Houdini can handle even more and you will learn how to deal with such large amounts of geometry even if you do not have the best computer resources at your disposal. Vimeo Teaser Trailer https://vimeo.com/100064068/ ||||||||| Houdini INK FX ||||||||| https://cmivfx.com/store/603-Houdini+INK+FX
  17. Hi, guys. I'm trying to play around with deep passes from Houdini 13.0.260 in Nuke 8.01. So, I have two issue related to that. One was discussed early which is black view port on deepRead node. (solution is deepToImg with check-box off) Second issue is Nuke crash when I try to apply deepColorCorrect node after my deepRead. I anybody encounter this problem and is there possible solution? Edit: Also crash on apply deepHoldout node.
  18. I've been doing some r&d for a gas bomb simulation. I found that getting the proper shape driving the sim through pops and keyframing some dops parameters can be fairly straight foward. However, I'm still having trouble with the shading and the render time. So far I'm only rendering a beauty pass because I still haven't figured out a way to separate render layers for an explosion in Houdini. If anybody knows how, please share the knowledge. I'd love to get at least a separate fire and smoke pass. Hope you like it!
  19. Python in CG pipeline Masterclass with Pavel Giydenko originaly taught in Russian, translated (by me) to English. Toppics include - Python in CG Pipeline intro - Implementation of PyQt - Python- operators in Houdini - Live Connect and Data Transfer - Correct pattern for Object Oriented Programming Formore info, scene files and code: Pavels Blog
  20. Hey Guys! My brand new Houdini Fur Tools Tutorial video just got released on CMIVFX! Here is the Vimeo trailer: And if interested you can check it out over here: https://cmivfx.com/store/578-houdini+fur+tools If you have any questions, concerns or suggestions, feel free to contact me! Hope you'll like it, and thank you for your attention!
  21. After watching the new Dawn of the Planet of the Apes trailer, I couldn't resist to try to do some angry "Ape-ing" myself. I used the Houdini Fur tools to achieve this effect and rendered it with Mantra PBR, composited in Nuke. I used my customized fur shader, which has a slightly better specularity, than the built in shader. At least in my opinion. The dynamic simulation was done with the wiresolver. I'm not quite happy with the turbulent movement just yet. Maybe I'll try it on an animated Ape next time. Rendering time was about a minute and a half / frame. I got the Gorilla model from TurboSquid, it was modeled by the extremely talented "chauvobatruong". Any feedback is more than welcome! Thank you for you attention! https://vimeo.com/82306167
  22. Hello everyone. I recently finished a small personal project of a car crash made entirely in Houdini and comped in NukeX. I figured I'll post a tutorial of how it was done. It is aimed at intermediate or beginner, you should know your way around Houdini and Nuke's interface. Houdini FX It includes rigid and soft body dynamics, plastic deformation rig, baking animation in CHOPS and rendering using mantra. NukeX Color correction, lens distortion, camera solve, working in Nuke's 3D space and comping mantra passes. https://www.youtube.com/channel/UCEaoiHOriYVhTsm5dcxsckg Hope you find it useful.
  23. Hey Folks! I'm very happy that I can finally present to you my latest Houdini Demoreel-Project: "The Dragon's Breath" including some (hopefully) interesting FX- and Compositing Breakdowns. Enjoy! THE DRAGON's BREATH "Somewhere, in a dark, enchanted forest, lives a ancient Dragon which is feared by all men for his deadly, roaring..."dragon's breath" http://www.scratch-a...et/demoreel.php I've furthermore put together a detailed project making-of including more detailed Breakdowns, the Previsualisation, the FX-Prototype and a Dragon Model-Turntable for those of you who want to get even more insight in the process of creating this vfx-shot. http://www.scratch-a...f_082013_EN.pdf Some more Still Images: http://www.scratch-a...t/portfolio.php (first entry in the list) Cheers from Austria! Philipp Kratzer http://www.scratch-arts.net
  24. MA Digital Effects 1213 - Bournemouth University - NCCA National Centre for Computer Animation Synopsys: "Daphne" takes inspiration from the “Daphne myth”, a metamorphosis where a nymph was transformed into a laurel tree after escaping from the love of the god Apollo. Houdini: Development of an asset for the interaction between dummy geometry and L - System. Software: Houdini FX - Side Effects: L-System (asset), Modelling, Shading, Lighting and Rendering (Mantra), Nuke - The Foundry: Compositing, PF Track - The Pixel Farm : Geometry Tracking. video: http://vimeo.com/73346747
  25. Hello everyone this is my first Houdini project. Hooray! https://vimeo.com/67691318