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Showing most liked content since 05/19/2019 in all areas

  1. 5 points
  2. 4 points
    WOWOWOWOWOW It's again been a hot minute since I posted anything here I recently gave a talk at the LA Houdini User Group on writing your own vex based polywire SOP, and figured it would be worth sharing here! I also recently redid my website so go check that out here as well: jakerice.design Love you fools <3 Jake
  3. 3 points
    https://github.com/kiryha/Houdini/wiki/vex-snippets http://lex.ikoon.cz/vex-snippets/ https://tosinakinwoye.com/2017/01/23/houdini-vex-snippets/ https://vfxbrain.wordpress.com/2016/10/02/vex-snippets/ you gonna find a version .
  4. 3 points
    And Librarian in Action ...play with this some Dude posted long long time a ago......You have fibonacci inside so play explore... noiseee.hipnc
  5. 3 points
    I wanted to share a music video that I directed with a bunch of CGI that I did in Houdini and rendered with Redshift. The concept is based on the idea of a future where a sort of Turing test is administered to humans as opposed to the other way around. Most of the compositing was done as a combination of Aftereffects, Fusion and Resolve. We shot the footage against green screen and then created all of the CGI assets for the environment through a mix of modeling and kit bashing. There is a brief behind-the-scenes video link in the description. I hope you enjoy watching it as much as I enjoyed making it!
  6. 3 points
    Just handed in my last university piece and I've created a showreel with all of my work for the past year. Feed back would be really nice thank you. Showreel: VJ loops created for my dissertation: https://vimeo.com/338014461
  7. 3 points
    Hi Antoine, to pixelate a curve put a grid on top of it and remove primitives by their distance to the curves surface before removing shared edges with the divide SOP. if(xyzdist(1, v@P) > 0.01) removeprim(0, @primnum, 1); gridify_curve.hipnc
  8. 3 points
    ok, a friend on the french houdini discord give me the response. The HScript command opextern -RM mat return a liste of all external references missing AND the name of the node who use them. -M Check each file to see if it exists, and only show the missing files. -R Recurse into networks and subnets.
  9. 3 points
    Hello, Here is short video showing how volumes can be used to shade and texture semi-translucent organic things. Volumes For Organic Assets This approach allows to achieve close-up realistic organic look for semi-transclucent assets where SSS or colored refraction is not enough. An object with UV's is converted to signed distance volume with UVW grid. Then volume is used to set density and perform uv lookup in rendering. This way density can be adjusted by depth. I.e. not so dense near the surface and very dense at the core. Or not very dense, then dense patch like island of fat, then not dense again. UVW grid is used to texture volume. Different textures can be used at different depth. This approach allows very flexible yet powerful way to place any texture at given depth. Texture X at depth Y. I.e. big veins are 5mm under the surface. This approach is best for close up organic hero renders where SSS or refraction are not looking good enough. Attaching example file volumetric_textures_example.hip
  10. 3 points
    Not sure if I understand correctly, but if you want to bake in COPs point attribute in uv space, then VEX works as usual: vector uv = set(X, Y, 0); vector clr = uvsample("op:/obj/geo/geometry", "Cd", "uv", uv); R = clr.x; G = clr.y; B = clr.z; Copy this (replacing path and attribute name) into Snippet VOP inside vopcop2filter and you should have the attribute baked into texture.
  11. 2 points
    the ray sop either shoots a ray in some direction (default is normal) or chooses the closest point on a surface. extrudesop_002.hipnc
  12. 2 points
    You can 'remote-control' and repeatedly call the clipping SOP with python verbs.
  13. 2 points
    Hi. yes you should use a sopsolver dop to break glue constrains with a pop metaball force dop. Here is file with one of many approaches how to do that. metaball_test_01.hipnc
  14. 2 points
    Hi there. I have finished my 2nd year in uni and I'm looking to build a killer FX reel by the time I graduate next year. I would greatly appreciate advice on what to work on in the next year and criticism on my current showreel. For the next year at uni, we have to make a short film for which I'll be doing the fx.It is currently centred around a snow leopard in a Mongolian landscape. I was planning to create a custom material point snow solver and am currently learning c++ and the HDK. My current showreel is available here: Thank you and have a good day
  15. 2 points
    Just a tip from some one watching x amount of reels every month... Tone down or drop the music.
  16. 2 points
    you can for example age your Geometry or ConstraintGeometry using POP or Geometry Wrangle using f@age += @TimeInc; then in Vellum Constraint Property DOP either use float age = point(1, "age", @ptnum); restscale = 1 + age*.5; if you have @age only on points of the geometry (see example file) or if you have f@age on primitives of ConstraintGeometry you can do directly restscale = 1 + f@age*.5; anim_rest_scale_age_v001_fix.hip
  17. 2 points
  18. 2 points
    Houdini Tutorial Monument Construction Time-Lapse Download Houdini Project File - https://gum.co/timlapse Available for free: https://www.youtube.com/playlist?list=PLtCPgCB2Kw05gvrIR3CPCe8VhzCzl2HBd&fbclid=IwAR137yDe7ftp_aQtK3LoOCODQKVaJLa6d9AP7_wDjVVDAR1rDmLAUirto3k - Chapter 1 Dividing Geometry Into Bloks - Chapter 2 Gradual Emergence of Pieces - Chapter 3 Procedural Animation of The Crane - Chapter 4 Modeling The Crane - Chapter 5 Metal Scaffolding Download Houdini Project File - https://gum.co/timlapse Explore my products: https://gumroad.com/rart Follow me for updates on what I am creating: - Artstation https://www.artstation.com/raducius - YouTube https://www.youtube.com/channel/UC1Avewug9ZPCLx1URXVEw4g - Instagram https://www.instagram.com/raducius
  19. 2 points
    Hi BiZz, Vellum constraints can be very tricky and you can run into all sorts of problems setting up custom ones outside of the vellum constraint nodes when you are in DOPs. I gave you problem a go myself using a couple of wrangles and I managed to get a stable result working. For a longer explanation and a hip file is on my blog: https://zybrand.xyz/vellumcontinuous-emit-with-dynamic-constraints#more-324
  20. 2 points
    Hello, Tried to make some snow using Vellum grains. What do you guys think? https://danielezannone.tumblr.com/post/185340123069/houdini-vellum-solver Learned a great deal from Steven Knipping https://vimeo.com/297116432 Cheers!
  21. 2 points
    Here is a quick example of how you could achieve this kind of effect with the grain solver. If you wanted to get fancy with this, you could constrain pairs of grains together to more accurately represent the bee body shape. bees.hip
  22. 2 points
    you can convert it to set and back uniqueV = list(set(v))
  23. 2 points
    Another approach might be to skin the line, by placing a circular mesh around it then reference the points of the mesh inside a Gas Wrangle on the velocity update of the pyro solver. This way you can create a custom drag that reduces velocity the farther from the central line, that the smoke travels. The cage is not a collision mechanism, it merely offers a reference @P for the smoke to compare against. ap_SmokeAlongCurve.hiplc You will probably need to dial in the distance values of the fit to achieve the best look. vector p1 = point(0, "P", 0); float dis = distance(p1, @P); //Change fit range and resulting values to dial it in. // Get half as fast, the farther out it travels. @vel *= fit(dis, 0.5, 1, 1, 0.5); NOTE: Because the wrangle has no input, the point fetched, from input #0 is actually defined under the Inputs tab (which points to the mesh cage SOP) of the wrangle, this is a little different than standard SOP manipulations of input 0.
  24. 2 points
    Hey, On June 3rd I will be teaching an advanced Houdini masterclass at the Effects America conference in Montreal. I will be covering growth systems. Should be good fun: https://www.effects-events.com/en/master-classes/ Description: During this advanced Houdini masterclass you will learn how to create an art-directable growth system. Digitally constructing things can be as challenging if not more challenging than destruction, this class will focus on the former. The class is split into two main sections. The first section of the class will dive into building the growth solver prototype tool. This covers solvers, some vector math, chaos theory, 2d & 3d growth, custom forces and tool development. The second section of the class dives into using the tools to grow a 2d and 3d pattern that is procedurally animated and prepared for rendering. This covers path finding, procedural animation, combining 2d and 3d patterns, custom attributes and aovs/render passes for comp. Take away: Understand the algorithm and concepts for building a growth solver. Build a user-friendly and efficient tool that can scale from small scale single growth to growing large datasets for entire vfx sequences. Understanding and making use of Houdini’s data acceleration structures. Gaining insight into the art-direction and approval process for both the grown pattern as well as the procedural animation. The audience: This course is intended for intermediate to advanced Houdini users. Users should have a working understanding of the Houdini interface and overall data flow (contexts, attributes, datatypes). Houdini Apprentice can be used for this class. Hope to see you there or perhaps at the conference, Peter
  25. 2 points
    Tried to get mud surface effect with some reaction to the geometry without heavy simulations. iskalvlup_heightfields_mud_worms.hip
  26. 2 points
    That looks like it should work. But... I find VEX a little tricky with multiplying vectors by floats. It doesn't like to do that right after a function. I suggest assigning the noise to the variable and then in another line multiplying the vector by your float amp. Like: float amp = 4; vector noise1 = anoise(v@P); noise1 *= amp
  27. 2 points
    My Vimeo Profile is online too for Tutorials https://vimeo.com/user95633319
  28. 2 points
    Here's my try at it. I reversed the faces of the bubbles, then merge them with the main/outer fluid mesh. cola.hipnc
  29. 2 points
  30. 2 points
    I wish that all the common functions in the different languages from vex to hscript to python and such where linked in the documents. So the matrix help could do a link to the other languages. See in : hscript, expression, vex, python, vops, etc...
  31. 2 points
  32. 2 points
    Hey all, here's a shot I've been working on! Speed Tree, Houdini and Redshift. Have a good one
  33. 2 points
    Hello, here is some of my attempts to do something similar. But I can't get a similar level of detalization in mantra. If somebody can suggest some tips it wound be amazing volume is still a little bit blurry, I guess it could be because of texture resolution vol-0001_volume_v01.hip
  34. 2 points
    You can use maketransform(): http://www.sidefx.com/docs/houdini/vex/functions/maketransform Put this in a pointwrangle and make sure to set all scale values to 1. int trs = chi('transformation_order'); int xyz = chi('rotation_order'); vector t = chv('translation'); vector r = chv('rotation'); vector s = chv('scale'); vector p = chv('pivot'); matrix m = maketransform(trs, xyz, t, r, s, p); @P *= m;
  35. 2 points
    extremely easy............once you know how that is.... (in your case...you may have to select more than 1 groups because of 2 islands....so probably border__0 and border__1) Just in case youtoobe plays up and you can't watch...the gist of it is: 01) in your group select unshared edges...make sure you tick Create Boundary Groups, then if you have a 'normal' boundary plus 2 inside holes...=> you'd have 3 Boundary Groups 02) in your next group select, in the dropdown list you'd see border__0, border__1, border__2, ....border__0 should be the outside one...the other 2 would be the holes..you can go nuts with all sorts of permutation/combinations with your group selections... Now you know how easy it is....just say OMG !!!
  36. 1 point
    Hello every one, I've been studying some linear algebra to better understand this amazing piece of software called Houdini. I came across some problems and after some RnD I've put together an example scene that I hope can be usefull for every one struggling with matrices and other related concepts. I feel the need to share this, because most of the tutorials I've seen on this subject end up using quaternions for the transformations, and I've put up a Matrix only approach. Do remember that the "correct" approach in this cases is the quaternion one. If any one is kind enough to convert this scene into a .hipnc and re-share it, I'd be grateful. At the moment I don't have time to do it myself. Cheers! Matrix_Transform.hip
  37. 1 point
    Hi everyone, I've been trying to learn houdini for more than a year. I had no 3d experience before so i started from the best. Its feels like getting nowhere but i love the software in every way. I would love to use this post to keep track of my progress and share my results with you. I recently did this.
  38. 1 point
    https://www.sidefx.com/tutorials/houdini-16-masterclass-compiled-sops/
  39. 1 point
    Hey friends! It's been another long while since the last Stable release, but I finally have a new one available. The changelist is pretty big so I'll only link to it here, but there are a few new toys to play with, many modifications to existing ones, and a TON of bugfixes and reliability improvements. I hope you'll spend the time to take a look! https://github.com/toadstorm/MOPS/releases/tag/v0.1.52 As always, any questions, comments, feature requests, or donations are immensely appreciated.
  40. 1 point
    You could try to partition a grid and round its corners. network.hipnc
  41. 1 point
    You are a hero. Hvala ti od srca! Thanks for the heads up and info! Appreciate it alot!
  42. 1 point
    splines rendering with indigo renderer
  43. 1 point
    Hello all. I wanted to share my production library of tools I have posted on Github. Previously a lot of these were posted on Orbolt.com after my 2016 GDC talks. The tools were originally designed to be used in a HOUDINI_PATH style library as opposed to individual hdas. In this manner they can include a larger array of script based tools that don't fall in the paradigm of Orbolt. This toolset is generally complementary to the GameDev, Mops, etc toolset, there are only a few overlaps nowadays. There are two primary libraries of tools. https://github.com/LaidlawFX/LaidlawFX - This is the production library built up over the last decade of work that has been cleansed of studio specific work. This currently contains a set HDA's, a common python library, shelf tools, and example files on how to used the .hdas. Some fun tools in here are an Ivy Generator inspired by Thomas Luft Ivy generator http://graphics.uni-konstanz.de/~luft/ivy_generator/ . File Cache nodes that have been tested on over a dozen productions. RBD to FBX extractors, and an array of ROP tools. Also a module of python code that includes a few sub-modules such as verbosity logging, multiple hda queuing, fbx exporting, file explorer opening, and the large set of options for file caching. Additionally it contains shelf scripts so that you no longer need to use the Material Library, you can just tab and use the shaders like normal nodes. https://github.com/LaidlawFX/HoudiniEngineDev - This is over one hundred hda's to test Houdini Engine implementations in different DCC's and game engine. Each of them test a simple principle from UI parameters to different geometry types and more. Hope they help you at some point. Feel free to branch or leave comments here and I can update the source. Thanks, -Ben
  44. 1 point
    For anyone that is interested: here is a tutorial on the best method I found to get nice motion. I figured I would post this since I still get messaged about this thread. https://youtu.be/DLSmz9HOKlE
  45. 1 point
    Time Blend is not useful in FLIP situations be cause it requires point counts to remain the same between frames. Scaling time in the FLIP or Whitewater solvers does not seem to work, so run the solvers with a time of 1.0 and try linking Scale Time on the DOP networks to slow them down. Here is an image showing FLIP and Whitewater DOP networks slowed down from 1.0 to 0.333. ap_RND_Slowmotion.hiplc
  46. 1 point
    lightning_test.hipnc Hello everybody, I am new to Houdini and am eager to learn more every day. I started with some lightning effects and got stuck where I wanted to create a slider for its growth. If the lighting develops it should start with the main branch. As soon as it reaches the first secondary branch, the secondary branch should start developing as well as the main branch should continue with its develpoment and so on. In my file you will see a rudimentary version - (I needed to take out a lot of nodes to get a proper overview again) - of the lightning so far. My idea about how to procede was as following: Have a carve sop for the main branching, the secondary branching as well as the third branching. Paste the relative parameters of the "second u" channel of the main branching into the channel of the secondary and third branching and subtract an offset, which would be the distance of the basepoints from one branching to the basepoints of the following branching. For that I merged the basepoint groups, added a sort sop to bring the point numbers in order, then added an add sop to connect the points. If this had worked, I would have created a distance attribute for me to know the offset. But what I probably need is a wrangle sop in order to specify that I only want to connect the points from the same branches in order to measure the distance between for example basepoints2 and basepoints3. The animated seed of the scattered basepoints will probably make it more complicated since it changes the oder of the point number as well from the sort sop. Maybe I am completely on the wrong track and there is another - maybe even less complicated - way of doing this, so I would be happy about all responses. If you've got any ideas on how I could do this, especially how I can write it out in a wrangle node, I would appreciate all help I can get.
  47. 1 point
    Here is the version for solids. I used connectivity and clipping this time to achieve this. Green loop takes care of X-axis, red takes care of Y and blue the Z-axis.
  48. 1 point
    I did again something quick in my part of the setup, nothing fancy but is to give you an idea, I didnt did this in your part of the setup because I dont think with your current setup would be posible to create nice motion on the particles, unless you sculpt some forces, because basically you dont have a nice initial velocity for your points. regarding the floating particles, I am using an intersect, for sure a VDB would be faster, but in the office I have limited access to H16 so I had to do something very rough and quickly to give you an idea. It got lots of errors, but maybe serve as an starting point. WaveDeformerTestQuickMask_edit2.hip
  49. 1 point
    Using Attribute VOP Put down Attribute VOP put your animated geo on the first input put your static geo with UV on the second input inside of VOP put 'Import Point Attribute' (if your UV attribute on Vertex, put down 'Import Vertex Attribute' instead). Signature Vector3 Input Second Input Attribute uv Drop down Bind and connect the output from Import Point Attribute. On Bind Name uv Type Vector(vector) (if your UV is on vertex, you have to change Attribute Bindings 'Run Over' to Vertices on your Attribute VOP tab.) Using Attribute Wrangle @uv = point(1, "uv", @ptnum);
  50. 1 point
    Methods to Stir Up the Leading Velocity Pressure Front We need to disturb that leading velocity pressure front to start the swirls and eddies prior to the fireball. That and have a noisy interesting emitter. Interesting Emitters and Environments I don't think that a perfect sphere exploding in to a perfect vacuum with no wind or other disturbance exists, except in software. Some things to try are to pump in some wind like swirls in to the container to add some large forces to shape the sim later on as it rises. The source by default already has noise on it by design. This does help break down the effect but the Explosion and fireball presets have so much divergence that very quickly it turns in to a glowing smooth ball. But it doesn't hurt. It certainly does control the direction of the explosion. Directly Affecting the Pressure Front - Add Colliders with Particles One clever way is to surround the exploding object with colliders. Points set large enough to force the leading velocity field to wind through and cause the nice swirls. There are several clever ways to proceduralize this. The easiest way is with the Fluid Source SOP and manipulate the Edge Location and Out Feather Length and then scatter points in there then run the Collide With tool on the points. Using colliders to cut up the velocity over the first few frames can work quite well. This will try to kick the leading pressure velocity wave about and hopefully cause nice swirling and eddies as the explosion blows through the colliders. I've seen presentations where smoke dust walls flowing along the ground through invisible tube colliders just to encourage the swirling of the smoke. You can also advect points through the leading velocity field and use these as vorticles to swirl the velocity about. The one nice thing about using geometry to shape and control the look, as you increase the resolution of the sim, it has a tendency to keep it's look in tact, at least the bulk motion. As an aside, you could add the collision field to the resize container list (density and vel) to make sure the colliders are always there if it makes sense to do so. Colliders work well when you have vortex confinement enabled. You can use this but confinement has a tendency to shred the sim as it progresses. You can keyframe confinement and boost it over the first few frames to try and get some swirls and eddies to form. Pile On The Turbulence Another attempt to add a lot of character to that initial velocity front is to add heaping loads of turbulence to counter the effect of the disturbance field. You can add as many Gas Turbulence DOPs to the velocity shaping input of the Pyro Solver to do the job. Usually the built-in turbulence is set up to give you nice behaviour as the fireball progresses. Add another net new one and set it up to only affect the velocity for those first few frames. Manufacturing the turbulence in this case. In essence no different than using collision geometry except that it doesn't have the regulating effect that geometry has in controlling the look of the explosion, fireball or flames, or smoke. As with the shredding, turbulence has it's own visualization field so you can see where it is being applied. Again the problem is that you need a control field or the resize container will go to full size but if it works, great. Or use both colliders and turbulence pumped in for the first few frames and resize on the colliders. Up to you. But you could provide some initial geometry in /obj and resize on that object if you need to. Hope this helps...
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