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Found 148 results

  1. Hello, It's my first post, I have always used this forum to solve my doubts but I couldn't find the solution for it >.< Well, I want to upres a particle simulation (sand solver) As you know Houdini has a "limited" Particle Separation and I wanted to get a higher detail. In my case, it's just for a simple simulation (a cube of sand falling) · I have tried to use a Point Replicate controlling the Pscale and the Seed but it doesn't look very well hehe. · Another option, which it's not exactly the right one (cause the particles behaviour between the particles) could be to make different wedges with a random seed and mix them. · I found a SHOP node Point Replicate Procedural but the result is quite similar to the first option, and its only appears on render and I need to export as alembic. Simulation intended Master Simon Fiedler shows what I'm looking for on this video Any Idea? Thanks, Javier ParticleUpres_HELP_01.hip
  2. Hi all, I am encountering some strange artifacts while rendering a flip sim with mantra. I applied a platinum preset material to the mesh, environment light with HDRI and rendering with Mantra. You can see the artifacts all around the edge of the splash in the video below. I smoothed the final mesh quite a bit on the particlefluidsurface and it helped a bit, but still getting serious artifacts. I also tried remeshing and subdividing as a post process to the mesh it but that introduced new problems where the mesh would look totally unstable. My guess is that it might be doing that because of the constantly changing topology of the mesh? Maybe these meshes were not designed to be rendered with anything but a fluid like shader? Is there anything I can do about it? Attached video and file (using mesh from OUT node in Mesh obj node). Thanks, Top Down Test_1.mp4 CrownSplash Anim.hiplc
  3. Hi! This is me trying to understand the popSolver in houdini. What is the difference between this two inputs and why they are both wired like that by the shelf (Check the attached image) The particles seems to do the same thing if I rewired as I showed in the second network and they don't do anything at all with the 3rd one. Also why is the wire dotted between the popsource and the popstream, They only work together is both inputs (pre and post) are wired like that. Thanks and pardon my English :$
  4. Hello! I'm trying to kill points inside DOPs (well a popnet actually). The way I'd like to do this is by finding the closest point to the ground object (how do I reference an object in DOPs?) and computing the vector from the POP point to the nearest point, then dotting that onto the ground points normal vector. That's a nice way to figure out which side of the ground the point is on, then killing it. At least that works outside of DOPs. I'm wondering how I can do this inside DOPs because I don't want to post-process kill thousands of points if I can kill them in the simulation. Any ideas? Thanks, cw
  5. Hi, I am creating a waterfall simulation to integrate into a Matt painting, and I cant figure out how to get the spherical particles in the screen shot below, to become more foam like and not so geometric. They are part of the whitewater simulation and i've searched a lot online and asked people and gone through the nodes, but cant figure out how to fix it? Is there maybe a way to create a material for just those particles and change it to a more foam like texture and consistency or smoke, or is there a better way to do it? Really appreciate any help, as quite new to Houdini and working to a fast approaching deadline for uni! :/ Thanks!
  6. Hi everyone, I'm an extreme beginner when it comes to Houdini, can someone please tell me how to make some falling particles more bouncy when they come into contact with a ground plane? Thanks!! I've attached the file Ball Pit Ball Simulation 011.hipnc
  7. Hi! Just want to share my last work, a magic reconstruction of a world globe. It contains DOP sop solver, smoke by color, advection by smoke and fog, basically. Hope you like it. Pol https://vimeo.com/207149300 Job searching as vfx generalist. https://vimeo.com/polvilla particles.mov
  8. Hi everyone, I'm in desperate need of some help. For whatever reason I decided to take an Visual Effects Unit for my final year of Animation at Uni and I am completely stumped. Houdini is a completely new area for me and I have so little time to finish my project I am having trouble even understanding what it is I need to do to achieve my final goal. I am wanting to create a simulation which looks like a massive group of ball pit balls dropping onto the floor (I'm incorporating live action footage to the simulation). I'll attach the file with what I've done so far. I'm still playing around with the amount and lining it up with the footage and stuff but I would really love to make them appear more bouncy and also any tips on how I should make them look like they're less shiny and more matte like ball pit balls? Do I need to do that when rendering or incorporate it now? Thank you so much!! Any help would be appreciated! P.S Anyone who could explain this in pure simpleton terms would be amazing Ball Pit Ball Simulation.hipnc
  9. Hey there, im new to houdini and i really want to create some partcile trails that are floating around the shape of an object. Would be great if someone can explain me a quick way without attribute wrangles as im not experienced in coding at all. Thanks in advance. Nick
  10. Hi everyone, long time lurker, but i've finally started using Houdini so I decided to actually join this forum. Although completely out of my depth I'm having a lot of fun with it! I was wonderng if someone would be kind enough to break down the first 20ish seconds of this - I've successfully set up particle morphs from object a to b along a curve and played with turbulence and so on, but I'm unsure how to emit from a point into an object with such force as this. I'm not trying to copy, but I'm working on something for University and i'd like to achieve an effect such as this. Sorry I'm rambling, I'm very new to actually using Houdini.. I'll stop here.
  11. Hello, I was wondering if it's possible to create velocity vectors from an animated sequence (texture). Ideally something similar to Optical Flow. I can extract movement from geometry (eg. use trail to generate v vector of animated VOP) and I can do basic image analysis (eg. convolution kernel operations on coloured points using VOP) so I feel it could be kind of possible to do it but can't get my head around it. In terms of results I'd like to create a particle system that reacts to an animated texture (eg. overlay particles on a animated texture and have them follow the movements in the video) thanks!
  12. Hey guys, I have a mocap data where I pluged scatter points on the player and calculated the ones on the floor for each step, what I need to do is an FX of the jump, only when the player jumps display trails or particles, any suggestions? ! Thanks!
  13. Hey guys, So I saw this series of photographs by an artist called Marcel Christ and wanted to produce a similar effect. Here is a reference image: I have been trying for the past few nights and wasn't able to get anywhere close to this look. There is a lot of detail once the smoke leaves the source and I wasn't able to replicate that. Is it a matter of having a lot higher resolution? Here is a render of what I have now: Current file: 0018_od.hip Also there is a test on Vimeo by Jeong Yeon Son that looks great: I don't get how to produce so much density from these seemingly small sources (the density seems to increase after it left the source..) I'm going to continue working on this and try different things, if anyone can take a look at my current file or has an idea I would love to hear it! Cheers H H X
  14. Hello, its my first time posting here. I am using a particle network to generate trails using the trail SOP. In that trail SOP, I would like to give each trail a different length but I have no idea how to do it. Thank you all. particleTrail.hipnc
  15. 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.
  16. Hi, so i finally decided to make the jump to learn Houdini i come from a cinema 4d background and i truly wanted to learn how to replicate this effect here this was created using the xparticles plugin in cinema 4d the basic idea behind the whole thing is to generate particles and then make the particles stick and slide over the surface and use them to generate those trails although any ideas where to start?
  17. Hi, Let's say I have a bunch of points that I have created, and I want to treat them as particles in a popnet - how do I do this? Is it possible to do this without emitting from the source points for one frame? I noticed that you can set the initial geometry for the popobject node, and gravity and forces do effect these points, but no pop nodes do anything at all. How do I get the pop solver to consider these points as particles? I have attached a simple example. (Note: The popsource node has the Geometry Source set to 'Use DOP Objects', but this is undocumented) Points_as_Particles.hipnc
  18. Hello! I was wondering if anyone knows a way to run a flip simulation over specific geometry. The closest visual reference I can think of would be the workflow from Moana. Would you have to turn the geometry in to a fluid object, or is there some way to have the simulation run on top of the geometry?
  19. Hello Guys, I have some issue with @orient values for particles on POP context after plugging POP torque / POP spin.When I plug one of this nodes my copied geo on particles start look like on ex_v01 gifBefore sim I randomize v@N for random look instanced geo after coping to points.When I bypass POP drag / torque all look fine randomized, because I think use Normal for adjust orientation, on randome direction gif you can see it.How I can randomize orientation value at the beginning of simulation particles?Thanks advance!
  20. Hi, I'm a beginner with houdini and I'm trying to procdurally paint some geometry based on a particle scattered over the top of it. So would like the particles to represent the hit locations of the paint node. I know I'm supposed to use attribute transfer but was just a bit wondering how as attribute transfer feels in two values and the paint value also feels in values. Thanks in advance, -spacebindi (beginner)
  21. light

    Hey everyone, I'm working on the scene of water effect. I project a texture (.exr format) that there are few spot lights on the image to a grid card through a constant shader, in order to catch the reflection from the projected lights on ocean wave's surface and big spray ( created by millions particles), and there are 4 lights ( envlight, 3 other lights ) in the scene. Then, I render the wave and spray all together. For the moment, the passes I use are: color(RGB), normal, all_emission ( created by Mantra- Extra Image Planes- click " Combined Emission"), depth of field, id. I could do some adjustments in Nuke by using those passes. the lights on the card are reflected on both wave and spray very well on the color(RGB) pass. But on the all emission pass, the lights from projected card are only reflected and restored on wave surface, not on the big spray ( particles). So I couldn't grade them down and up by using this pass. I tried to assign the wave's material to the big spray ( particles ) , it still doesn't work. Does anybody have the same situation, and how can I solve the issue ? I know that I could use other method to grade separately in comp, however, I would like to know the reason. Thanks very much!
  22. Hi guys, I've hit a bit of a wall in the new version of POPs. I have a deforming mesh (skinned character), which I have scattered points on. What I'm trying to achieve is a set of particles that are essentially locked onto their source point until a certain time or proximity from some sort of gizmo, and then morph to the position of another set of points. I have been able to achieve this in the old version of POPs using a position node, but it's rather slow. However I can't seem to figure out how to achieve the same thing in the DOP version of POPS. Any help would be great appreciated. Thanks
  23. Hi guys! Im doing some final touch ups on a project and I need some help with some particle behavior. Im re-creating a seahorse giving birth for a crowd and particles project and the babies (particles) look like they are shooting out like a machine gun but in the reference they are coming out more in bursts and are swirling around (being underwater of course). Im controlling the impulse birth rate and impulse activation in CHOPs (inside an OLD POP net) and I cant find enough docs or resources on how the advect by volume works in old pops. I tried to re-create Tokerus advect particles setup in my old pop net but to no avail. Ill provide the reference, what i have currently rendered and my .hip file. That would be great if someone could point me in the right direction. Thanks alot guys. Let me know if you have any more questions or if you need more info heres a link to the reference video https://www.youtube.com/watch?v=b_nEA3dtOZs and heres a google drive link to what I have managed to come up with so far https://drive.google.com/open?id=0B-mSmcQH6CSgNkp4NTlzRjg1Z0U Cheers Seahorse_Project_for_ODFORCE.hipnc
  24. 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.
  25. 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.