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  2. Hi smart people, I was wondering if there is any way to sample an region/stroke with the color picker in Houdini, this so that you can get the average color. Very handy with noisy reference to filter out the result a bit. Thanks
  3. Today
  4. Texture/Look Dev Artist

    We are only able to consider applications sent directly through our website. Please apply here: www.lumapictures.com/careers The Texture/Look Dev Artist is responsible for the creation of textures and shaders for CG creatures, characters, hard-surfaced and organic models to the highest quality possible. You can: Facilitate the creation of high quality displacement and normal texture maps prior to publishing to ensure consistency Design and write Arnold and Katana shaders to create the look desired by the client or VFX Supervisor Work closely with the Modeling and Lighting teams to ensure all textures/shaders are both technically aesthetically sound Generate and edit UVs Research and build your own reference library as well as contribute to the studio's reference database You have: At least five years of experience as a Texture Artist/Look Dev in a VFX Production environment A Bachelor's degree in computer science, computer graphics or the equivalent combination of education and experience A mastery of Mari, Photoshop, Substance Painter, Maya, Arnold and Katana Mudbox, ZBrush knowledge is a plus A technical understanding of color space A cultivated aesthetic sense and a keen eye for detail A traditional arts background is preferred but not required An inherent understanding of plate and image based lighting as well as full CG lighting Basic compositing skills in Nuke TD skills are beneficial An understanding of multi-pass rendering and 3D scene layout Experience as a Modeler is preferred but not required Strong communication and organizational skills An approachable, proactive, and accommodating attitude An innate desire to stay informed of current technologies Strong time management skills and the ability to balance priorities under the pressure of a deadline-driven production A team oriented mentality with a 'get it done' attitude An ability to thrive in a high-pressure environment An ability to take direction and implement feedback with a positive attitude
  5. Matchmove Artist

    We are only able to consider applications sent directly through our website. Please apply here: www.lumapictures.com/careers You can: Accurately track both rigid and deforming objects in plates, such as cars, people, cloth, etc, while doing so and maintaining an accurate 3D volume. You have: A thorough understanding and experience using deforming rigs. Robust understanding of Maya's animation toolset as it pertains to matchmoving. Experience in one or more camera tracking packages (Syntheyes, PFTrack etc) The ideal candidate will be a team plater, detailed oriented and possess a positive can-do attitude One year of experience preferred but not necessary
  6. Lead Roto/Paint Artist

    We are only able to consider applications sent directly through our website. Please apply here: www.lumapictures.com/careers The Lead Roto/Paint Artist is responsible for leading and mentoring a team of Roto / Paint artists, working closely with Compositors to help integrate all elements of an image (both CG and live action) to create film visual effects shots of the highest quality possible. You can: Generate mattes for CG hold-outs as well as remove items from live action photography such as wires, rigs and tracking wires Utilize geo data and UV projections Completing basic composites in Nuke (keying, grading, grain matching, re-timing) Demonstrate frame-by-frame painting techniques to remove rigs and tracking markers Work with Production helping to breakdown task requirements and assign shots to artists Coach and mentor other Roto/Paint artists using the latest techniques to grow their craft and quality of work in the studio as a whole You have: A minimum of 3 years of experience as a Roto/Paint Artist in a VFX Production environment At least one year of experience in a Lead role A Bachelor's degree in computer science, computer graphics or the equivalent combination of education and experience A mastery of Nuke, including expressions for paint work as well as the 3D environment within Nuke Some knowledge of the 3D workflow in Maya and the 3D Tracking workflow A proven aesthetic eye with an understanding of color and composition Excellent leadership, communication and problem solving skills Approachable, proactive, and accommodating attitude Innate desire to stay informed of current technologies Strong time management skills and the ability to balance priorities under the pressure of a deadline-driven production Strong interpersonal and organizational skills with a keen eye for detail A team oriented mentality with a 'get it done' attitude An ability to thrive in a high-pressure environment An ability to take direction and implement feedback with a positive attitude
  7. Lead Asset Artist

    We are only able to consider applications sent directly through our website. Please apply here: www.lumapictures.com/careers The Lead Asset Artist is responsible for leading a team of Asset Artists covering the tasks of Modelling, Texturing and Surfacing, in the production of highly accurate, photo real and stylized CG assets to the highest quality possible. You can: Mentor and motivate fellow Asset Artist to grow their craft using the latest techniques Work with Production helping to breakdown task requirements and assign shots to artists Create clean and efficient models based on creative briefs and/or reference materials Demonstrate efficiency in UV layout as well as strong polygonal subdivisional skills Demonstrate strong Look Development, R&D and Lighting skills from both an artistic and technical perspective Maintain, alter or update models as required by client or supervisor feedback Interpret abstract ideas into the creation of compelling photo real or stylized assets Facilitate the creation of high quality texture maps prior to publishing to ensure consistency You have: A cultivated aesthetic sense and keen eye for detail At least 3 years of experience as an Asset Artist (Model/Texture/Surface) in a VFX Production environment At least 1 year experience in a Lead role A Bachelor's degree in computer science, computer graphics or the equivalent combination of education and experience A mastery in creating both organic and hard surface models with efficient topology A mastery of Maya, Zbrush and Mari Katana, Mudbox and SUbstance Painter knowledge is a plus Highly efficient UV layout experience using an UDIM workflow is required A technical understanding of colour space An understanding of plate and image based lighting as well as full CG lighting is preferred Basic compositing skills in Nuke TD skills (Python, C++) are preferred but not required An understanding of multi-pass rendering and 3D scene layout is preferred Strong communication and organisational skills The ability to take direction and implement feedback with a positive attitude An approachable, proactive and accommodating attitude An innate desire to stay informed of current technologies Strong time management skills and the ability to balance priorities under the pressure of a deadline-driven production A team oriented mentality with a 'get it done' attitude The ability to thrive in a high-pressure environment
  8. Hello Everyone, We're HONORED to present a brand new workshop called "MASTERING THE ART OF MAGICAL FX IN HOUDINI" created by JAYDEN PATERSON. Jayden started his career as an animator and after 7 years of working in the industry he migrated to work as an FX artist where we was able to achieve some of most iconic FX shots. Jayden is currently working as Lead FX Artist at Axis Animation. https://www.youtube.com/watch?v=5egQ2BIVJB4 One of our rebelway goals is to provide a complete education to our students on how to use Houdini and master all it's techniques aspects and we think we have covered this area quite well. The NEXT goal is to start teaching the Art side of things which is rarely talked about and one of the best fx artists out there are the ones who have strong animation background and even better if they have worked full time as animator and jayden is one of them.During this workshop Jayden will cover various fx animation concept that every artists should master while creating complex visuals and shares some of the best techniques his using to create awesome FX. SEATS ARE LIMITED! https://rebelway.net/mastering-the-art-of-magical-fx-in-houdini/ Students who took houdini for fx artists workshop will get $100 discount Students who took any rebelway workshop will get $50 discount. We hope that you guys like this. Regards Saber
  9. store getbbox into attribute

    @anim @ikoon Thanks you. This makes perfect sense now.
  10. thank you! the group creation works just fine like this in a popgroup but it was just ment as a test what i was missing is how to check if the particle is or isnt in the group was trying to use inpointgroup(0, "groupname", @ptnum) which by the documentation should work but does not or i missing something @group_groupname does the trick @group_groupname <> inpointgroup(0, "groupname", @ptnum) should by equivalent but one works the other not just starting so missing a lot of things
  11. Flipbook

    hey guys ,who knows where the function is in new version?
  12. I'm not 100% sure but I don't think you can create groups like that in the POP group node, should work in popwrangle with the input 0 set to myself. This works in the setup I created, just added another POP group node with this inside.
  13. thank you exactly what i was looking for! where i am stuck now is i cant do it exactly like you and would need to put the points from an existing group to a new one to be deleted i have put this for testing in the popgroup vex setpointgroup(0, "XY", @ptnum, 1); setpointattrib(0, "X", @ptnum, inpointgroup(0, "XY", @ptnum)); in the geosheet X is 0 on all points how can that be when i just put them in 1 line prior! that they are in group XY is shown correctly in the geosheet
  14. Yesterday
  15. Can we execute python def by another node remotely?

    I am using kwargs["node"] or hou.node('.') in order to point out self node. When executing from 'target_python' node, it makes sense to be kwargs["node"] = target_pyhon. However, when executing from python_remote_control node, kwargs["node"] becomes 'python_remote_control node' and code does not work anymore. Do I need to write 2 code versions? In general, I guess python_remote_control node executes 'target_python's code as own self code. Then the code looks up not 'target_python''s parms but python_remote_control node's parameters ?!?
  16. Can we execute python def by another node remotely?

    code = hou.node('../target_python').evalParm('code') exec (compile(code, "inline", "exec"), globals(), locals()) setA() setB() After adding an extra bracket, it worked for a test code now. From now I try to apply it for actual scripts. Thank you, Alex, R !!
  17. Hi, I took a shot at this, threw up a scene to show you what I found to work. What I have done is, 1. Put the particles I want in flip into a group "particles" 2. Delete the particles the next solve step. 3. Import the pop particles in a sopnet delete everything but the "particles" 4. Use that sopnet for importing to flip. Hope that helps pop_to_flip.hiplc
  18. is there some way to add a defined number of particles to a flip fluid? a have a pop which generates some particles if this particles meet some criteria i want to add them to a flip a popsource will add them over and over again i need them just one time. lets say i have 100 pop particles with a random attribute Q (1..100) if the frame number is the same as Q i want them to be added to the flip
  19. Vellum Ignore Collision

    Hi AslakKS, That is exactly what I'm looking for! Thanks a million!
  20. Houdini 18 Wishlist

    Siggraph comes near and some tiny information have been released. Did some one see that houdini will have a build for python 3.x? Have seen on vfx platform that python 3.x is set for 2020 but for 2019 preview builds could be relased. At the moment i play with some ML and python 3.x is manatory and to make a bridge to python 2.x is not so funny for learning.
  21. Drops with dynamics

    My biggest problem right now is creating the water droplets and getting them stuck to the surface of the grape. I tried to make a scatter on a sphere and use a pop replicator to give volume in the drop. And then use the pop fluid to give dynamics.
  22. Drops with dynamics

    vellum for grapes and for fluid you can explore new POP Fluid and Condensation Shelf Tool, but also traditional flip with high surface tension and custom SDF based attractive force towards grapes will do just fine
  23. Vellum Ignore Collision

    Hi, Might this do what you are looking for? dop_collision_specific.hiplc
  24. Add Handles

    How can I add Handles to a digital asset using python? Is it even possible?
  25. Drops with dynamics

    Popnet with particles moving along surface, with some noises.
  26. Can we execute python def by another node remotely?

    Nothing is impossible, but this is not a common way of working with Python in Houdini. For geometry manipulation use Python SOP, for sharing your Python code, put it a module, hou.session, or into HDA's Python module. See the docs To achieve exactly what you want: In your python_remote_control: code = hou.node('../target_python').evalParm('code') exec compile(code, "inline", "exec"), globals(), locals() setA() setB()
  27. If the point count is changing then on export the selection method was not even. An alembic exported correctly will preserve geometry info from frame to frame. A method is to do a bounding box from a group sop to a blast node. You can use a delete sop straight up, but there are a lot less procedural ways to animate the size and bounds. You can try for connectivity/assemble too and see if that brings a consistent result if you are looking to remove a whole tooth. There are more options, but it really depends on how inconsistent the topology is and what part you are trying to delete. Generally speaking direct face selection is generally not done as it can often be defined as a destructive method. You can use direct face selection in a few ways, but with consistent topology.
  28. Not sure why it is called image plane at that level. https://www.sidefx.com/docs/houdini/nodes/vop/texture.html Texture Channel This specifies which color channel for multi-plane textures should be evaluated.
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