Jump to content

Richard

Members
  • Posts

    28
  • Joined

  • Last visited

  • Days Won

    1

Richard last won the day on March 9 2023

Richard had the most liked content!

Personal Information

  • Name
    Richard Gavin

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

Richard's Achievements

Rookie

Rookie (2/14)

  • Reacting Well Rare
  • Dedicated Rare
  • First Post Rare
  • Collaborator Rare
  • Week One Done

Recent Badges

3

Reputation

  1. See this asked a bit. I think a decent solution is to branch off and down res your Heightfield and then erode. You can down res by using a hf resample node, then run an erosion. This should get you large shapes and has the added advantage of running fairly fast as there are less voxels. You can either freeze frame on the erode node or stash the low res option. You can think of this as a broad shaping layer. Use a heightfield layer set to blend, plug your high res into the first input and the low res shaping layer into the right input. Set the mode to blend and use the layer scale to blend in your shaping layer. Now run another erode on your high res and it will give you finer details in the broad valleys from the low res.
  2. Why are you trying to recreate it from the height map in substance designer? Can you not just save out the mask by feature slope from Houdini in COPs and bring this into Substance designer as an image?
  3. The Ramp node interface is like something from the Houdini 8 days. You can plug it into a lookup which will give you better control. See from around 1min on.
  4. You can do similar attribtue import with the labs attribute import cop (it is doing similar to the code above). To get it back out to sops just drag your final null into the texture slot of a uv quick shade and put op: at the start.
  5. You could also try the lookup COP. Set the LUT Source to Color Ramp and then play with the ramp settings. Example here at 1:20
  6. Deform Cop should do what you need. Plug in your image to 1 and a noise to input 2. Use very low values or it becomes very distorted. Make sure to change the Deform Plane to C (for Colour)
  7. My guess is your images dont have a proper alpha. The over expects an alpha doesnt find one so it doesnt know what you want to keep so its doing some kind of blend which is changing your colours. Hit A over the viewer to check the alpha. You can use a channel copy to copy one of the channels to an alpha.
  8. You could us the heightfield layer node to blend them together, overlap them a bit and then just paint a mask to control where the blend happens. However, you might be better off just making one big terrain and then making a cross shape extrude it up and use a hf cutout by object. If that works (I havent tried it) you would no longer have seams on any of the inner edges. For the outter edges maybe this is easier to solve as a texturing problem? Write out the Heightfield to disk and then in PS or in COPs, basically clone stamp the edges to get rid of any seams. Then bring the new seamless texture back in through a heightfield file node.
  9. I also tried selecting "Unpremultiplied" as the PNG Premultiplication in the matadata tab of the ROP File Output, but without success. Late to reply on this but I ran into the same issues and I think this is worth posting as otherwise COPS becomes a dead end for game artists... I was caught with the same problem and the unpremultiplied option on the metadata tab worked for me. When importing to confirm on the file node you also need to set Premultiply to Leave Unpremultiplied. If you do this you should get the same result from before you export in the file node. ie the alpha is present on its own channel your individual channels should look the same as pre export, not multiplied by the alpha. You can also confirm this by bringing the image into Nuke or in an engine like Unity. In my case Im happy that COPs can export unpremultiplied .png. with the setting on the metadata tab and I have got what I need in engine. However when I bring the png into Photoshop my unpremultiplied .png a transparent background does not have a seperate alpha ie it is premultiplied on import. I am not sure how to get around this or if there is a way to import into PS while treating the alpha as a channel, much like the way we get with .exr I suspect that this is a more general issue with how PS handles alpha channels/transparency. There have been various disagreements on adobe forums involving vfx/game professional running into issues with how alphas are handled for .png. For example https://community.adobe.com/t5/photoshop-ecosystem-discussions/png-not-opening-with-alpha-channel/m-p/9844587 and I remember another one a few years back around the way .exr alpha was handled which resulted in the little pop up you get on import with .exr for how to treat the alpha. As am afterthought I exported .tga with the setting above, Unpremultiplied in the metadata tab and in the file node set to Leave Unpremultiply and this works fine. Then brought the .tga into Photoshop and this comes in with a seperate alpha! So perhaps .tga could be a work around for some people.
  10. Wow that is hypnotic. There was some Coral type stuff posted here like this before. It seems to use Grey Scott diffusion reaction http://mrob.com/pub/comp/xmorphia/ a bit easies to get through here http://www.karlsims.com/rd.html I think this is probably a good place to start to have an idea of what is going on here. There is a link to a .hip file on this video by Dan wills which should also help. It in the comments
  11. Hi Folks, we are looking to recruit a lecturer to teach on our Game Art and Design course in LIT which is based in Clonmel a town in the south west of Ireland. If you think this might be of interest to you please see the details below. Limerick Institute of Technology, Clonmel are looking to recruit an assistant lecturer to teach on their BSc. in Game Art and Design degree programme. The position is for a Game Art assistant lecturer role which will focus on teaching in the areas of Game art creation and general game design. This post would give the successful candidate an opportunity to help develop current and future courses and help craft the direction of a suite of exciting media focused programmes delivered on campus. Industry experience in the areas of Game asset development is preferred. We are seeking to recruit a person(s) who will contribute to the teaching responsibility in the area of Game Art and Design and will contribute to the continued development of the course. The person(s) appointed would be expected to teach across the year level range as well as taking shared responsibility under the direction of the Head of Department for development and administration of the subject generally. To this end the successful applicant should have proven professional practice and have experience in the area of Game asset design and development. The activities to be performed include: Development and implementation of program design and course material for the Bachelor of Science in Game Art and Design. The focus will be on working from asset concept and creation to in-engine implementation, including aspects of asset creation, technical art, and Development and delivery of course material with a focus in the areas of Character and asset creation Textures and modeling Shading, lighting, and real time rendering Game Asset Pipeline Rigging Effects In addition experience in any of the following fields is beneficial; game design, scripting, procedural systems, tool dev, pipeline. Delivery of lectures and workshops to students on the course Bachelor courses across the campus. Supervision of Bachelor final projects. We are looking to recruit a person with the following skill sets; Strong proven background in Game Asset creation. Recent and demonstrable experience in the digital entertainment industry Strong experience in game technology, in particular animation and design software including Autodesk Maya or equivalent. Unity or equivalent, Zbrush, etc. Animation software such as Nuke/Houdini would be beneficial but not essential. Experience across a full pipeline from asset concept and creation to in-engine implementation preferred. 5 years + Industry experience. Experience of lead/supervisor positions desirable. Aptitude for art and eye for detail is desired, with experience working across a range of genres and techniques preferred. While specialists are encouraged, it is worth noting you would be expected to teach in areas that might not be your area of specialty. Ability to communicate own skills and experience to students, to analyse work and give comprehensive and constructive feedback. General Criteria Applicants must have a right to work within the EU. Applicants from outside of the EU will only be considered at a second phase of job applicants. Excellent verbal and written communication skills in English. If you think this is of interest and would like further information before applying, please do not hesitate to contact us and we will more than happy to answer any questions. John Hannafin – Game Art and Design – Course Co-ordinator – john.hannafin@lit.ie Richard Gavin – Game Art and Design – Course Co-ordinator – richard.gavin@lit.ie Closing date for applications has yet TBC but will be approx mid May 2016 Application forms and further details may be obtained from the website: www.lit.ie/vacancies Application Form(s) which should be completed and returned to the following address The Human Resources Office, Limerick Institute of Technology, Moylish Park, Limerick Telephone: 353-62-293281 Fax: 353-62-293300 Email: humanresources@lit.ie
  12. Hi, If its just for a cylinder, maybe you could try to build it from the cap up, by splitting up a tube into the sides and caps or starting with a circle. As long as your initial cap is an even number we can dissolve every other edge to keep all quads and rebuild the middle section with a polybridge. This way the edges stay nice and smooth when you turn on viewport subdivision. cylinder_caps.hipnc
  13. Hey, try grouping by area using a measure sop, looks like it does the trick. I had to multiply the area here as the numbers were a bit small and then delete by expression. Hope this helps R tree_groupingSize_v02.hipnc
  14. Its been a while but I ran into a similar issue when procedurally generating displacement maps. This 1 pixel border gives a nasty edge to your displacements. In that case I tried to dilate erode in cops to blur the edges of maps in these areas but to limited success. My understanding is that there will always be a 1 pixel seam because the uv coords for the verts that wrap to the other side of the uv space will not be oriented exactly the same. This is a somewhat similar situation to what i had. http://polygonspixelsandpaint.tumblr.com/post/19733351349 From what I remember reading at the time, this 1 pixel border is an inherent problem with UVs, and is why we get UV seams at the boundary of UV islands, that being the case Houdini and Nuke may be giving you the correct (though annoying) result. Though why 3de gives you something different is confusing. R
  15. you can use a lattice with the ray sop. Mr. Quint mentions it here https://vimeo.com/60937947 and it pops up here http://forums.odforce.net/topic/21054-ray-sop-and-deforming-geometry/
×
×
  • Create New...