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Do you mean physics simulation or just animation?

Hello everyone, I would like to ask for some advice. I’m not entirely sure what the correct term for this effect is, but I really like this animation of a tennis ball spinning on top of another ball. Could anyone please guide me on how to achieve this effect? Any tips, recommended techniques, or tutorials would be greatly appreciated. Thank you in advance for your help. clip.mp4

Hi everyone, I’m having trouble achieving the expected muscle definition using OTIS in Houdini. For some reason, I’m not able to get the same level of visible muscle detail that I can achieve with Vellum (please see the attached reference images). In terms of realistic muscle deformation, the results from OTIS appear much flatter and resemble something that could easily be achieved with a simple blendshape, rather than exhibiting natural muscle bulging and volume shifts. Additionally, I’ve noticed that OTIS does not seem to produce realistic muscle behavior similar to Ziva, where muscles naturally bulge and shift upward during contraction. Instead, the deformation feels limited and lacks dynamic volume change. I’ve attached my Houdini file (Version 21.0.631) in case anyone would be willing to take a look and help me understand what I might be missing or setting up incorrectly that’s preventing proper muscle definition with OTIS. Any guidance would be greatly appreciated. Thanks in advance! Ottis Leg1.rar

I'm still digging around in KineFX but have yet to stumble across how to do this--I have an animated FBX, and I would like to make the animation "looser"/more exaggerated. Secondary Motion doesn't do it because I'm trying to modify the primary motion. I feel like CHOPs might be the answer--I think a spring CHOP would do a lot of what I'm looking for (if the .fbx animation throws his arm a little I want him to throw it a lot--to flail!). I've just yet to find a way to get my motion clip into CHOPs. I'm having some early promising RND results just animating a "rigged" line using rig pose and applying a spring CHOP to individual joints, but I've not yet figured how to get that to happen with the .fbx's animation. (I've also tried transforming the motion trail after a motion clip extract, but didn't have luck there.) Any pointers are appreciated, and I'm happy to go through an hour long KineFX class if the answer is five minutes in the middle--I'm still learning KineFX and am happy to be taught how to fish. Thanks!   ADDENDUM: I had another thought that might be possible, but I'm not sure how to implement it--since joint movement is all rotation, I can calculate angular velocity using the point velocity node and then multiply that in a wrangle, but I'm not sure how I would then apply that back to the joints. A solver, perhaps?

ATLANTIS ANIMATION is an animation studio based in the heavenly Canary Island of Tenerife. A combination of creative talent and technology definitely distinguishes us as a different studio to produce high quality animated series and feature films. We produced the sensational series Tara Duncan and Miraculous Ladybug season 5, both broadcasted on Disney Channel and Disney +. We are now getting ready for an absolutely new captivating project, the series 'Messi and the Giants', produced by Sony Music Vision, Sony Pictures Television Kids and Leo Messi Management, and broadcasted by Disney. An epic saga where a young boy named Leo is transported from his home in Argentina into a fantastical alternate universe.  If you love animation challenges and unexpected adventures, and if you feel you have that special inner magic spark, we want to hear from you! Job Description: We're seeking a skilled and passionate Mid+ to Senior level Lighting TD to join our growing team for the upcoming series Messi and the Giants.  The Lighting TD works closely with Lighting Artists within the team to deliver high-quality, optimized lighting renders for animated projects. You will be responsible for optimizing lighting and render settings using Arnold, ensuring both visual quality and performance. This role includes developing tools for the lighting department using Python within a USD-based pipeline. All tools created should support production workflows and contribute to a smooth and efficient production process. Therefore, it is essential that you are able to design and develop tools that are robust, efficient, well-documented, and easy to use for other team members. - Type of contract: Fixed-term Employee contract.  - Location: 100% On-site in Tenerife. Remote work won't be possible for this specific position. Main Responsibilities: Technical Problem Solving & Tool Development: Diagnose and resolve complex technical issues related to lighting and rendering. Develop, maintain, and optimize tools, scripts, and workflows to automate tasks and improve efficiency within the lighting department. Troubleshoot technical issues such as render noise, long render times, and memory usage in a modern path-tracing renderer Workflow & Pipeline Integration: Collaborate with the Pipeline team and other departments (Look Development, Compositing, FX) to ensure seamless integration of lighting tools and processes within the broader production pipeline. Look Development Support: Work closely with Look Development and Surfacing artists to ensure shaders and assets behave correctly within lighting and color pipeline requirements. Complete assigned tasks within established deadlines, following direction from Supervisors and Leads. Maintain organized, clean, and well-documented files and scripts, ready for downstream use and internal documentation (e.g. Wiki pages). Requirements: Proven experience working as a Lighting TD in the TV animation industry. Ability to deliver high-quality lighting renders under tight deadlines. Strong understanding of USD-based pipelines and experience collaborating with multiple departments. Solid knowledge of lighting fundamentals and industry-standard tools. Strong understanding of color spaces, bit depth, and lighting data representation, including ACES. Ability to script using Python. Strong understanding of physically based rendering. Good knowledge of rendering efficiency and optimization techniques. Proven experience with Arnold Experience using production tracking tools such as ShotGrid (Flow). Excellent communication skills and ability to work effectively in a collaborative team environment. High attention to detail. Fluent in English (spoken and written). Ability to work on-site at our studio in Tenerife. A valid EU/Spanish work permit is required. Nice to have: Experience with Qt Experience working with Nuke Experience in shading.