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  1. 19 points
    I thought it fitting to post this here too ;). For better or worse, I'm launching a vfx and animation studio at the end of the week. Some of you may recognize some of the name (if you squint and look at it just right). http://theodstudios.com
  2. 15 points
    Hi everyone, Herer's a little personal project I did over the last year. No keyframes where used for the animation. Each movement is generated through physical simulation or procedural noise. The Bananas and Pears are done in H16.5 using CHOPs controlled Bones and then fed into a FEM simulation. All the other fruits are done using H17 and Vellum. ÖBST: "How would fruits move if they could?" Hope you like it.
  3. 11 points
    nature.hipnc just to say hello and share some stuffs. /cnc_verkstad/ Tesan Srdjan
  4. 9 points
    A lot of people asked me to share this fake fire method.If you interested it, you can will check this simple hip. After rander i used ACES for a better look. fake_fire_rnd.hip
  5. 9 points
    what if the self buttons were creating DOP setups inside one SOP network instead of having a Geometry node, a DOP network for simulation and another Geometry node to import the data and save to disk. It makes much more sense to see the data flow from top to bottom in one network without having to jump to different levels for no reason. maybe it's just me... grains.hipnc
  6. 8 points
    Hi everyone! The past week I worked on a personal project for learn something about hairs - vellum. It's my first project ever with hairs so I guess is nothing special but several people asked to see the hip file so here it is. Final result: Hip file (I had to recreate it but it should be pretty much the same): groom_clumping_03.hipnc
  7. 7 points
    I also moved all the tumblr example files I've been sharing onto my new website that you can find here. https://www.richlord.com/tools
  8. 7 points
    Article on SideFX.com: https://www.sidefx.com/community/houdini-175-launch-event/
  9. 7 points
    There are so many nice example files on this website that I am often searching for. I wanted to use this page as a link page to other posts that I find useful, hopefully you will too. Displaced UV Mapped Tubes Particles Break Fracture Glue Bonds Render Colorized Smoke With OpenGL Rop Moon DEM Data Creates Model Python Script Make A Belly Bounce Helicopter Dust Effect Conform Design To Surface Benjamin Button Intro Sequence UV Style Mapping UV Box and Multiple Projection Styles Ping Pong Frame Expression Instance vs. Copy (Instance Is Faster) Particle Bug Swarm Over Vertical and Horizontal Geometry Rolling Cube Rounded Plexus Style Effect Pyro Smoke UpRes Smoke Trails From Debris Align Object Along Path Fading Trail From Moving Point Swiss Cheese VDB To Polygons Get Rid Of Mushroom Shape In Pyro Sim A Tornado Ball Of Yarn Particles Erode Surface Unroll Paper Burrow Under Brick Road Non Overlapping Copies Build Wall Brick-By-Brick FLIP Fluid Thin Sheets Smoke Colored Like Image Volumetric Spotlight Moving Geometry Using VEX Matt's Galaxy Diego's Vortex Cloud Loopable Flag In Wind Eetu's Lab <--Must See! Wolverine's Claws (Fracture By Impact) Houdini To Clarisse OBJ Exporter Skrinkwrap One Mesh Over Another Differential Growth Over Surface [PYTHON]Post Process OBJ Re-Write Upon Export Rolling Clouds Ramen Noodles Basic Fracture Extrude Match Primitive Number To Point Number Grains Activate In Chunks Fracture Wooden Planks Merge Two Geometry Via Modulus Fill Font With Fluid DNA Over Model Surface VDB Morph From One Shape To Another Bend Font Along Curve Ripple Obstacle Across 3D Surface Arnold Style Light Blocker Sphere Dripping Water (cool) Exploded View Via Name Attribute VEX Get Obj Matrix Parts eetu's inflate cloth Ice Grows Over Fire Flying Bird As Particles DEM Image To Modeled Terrain Pyro Temperature Ignition Extrude Like Blender's Bevel Profile Particles Flock To And Around Obstacles BVH Carnegie Mellon Mocap Tweaker (python script) Rolling FLIP Cube Crowd Agents Follow Paths Keep Particles On Deforming Surface Particle Beam Effect Bendy Mograph Text Font Flay Technique Curly Abstract Geometry Melt Based Upon Temperature Large Ship FLIP Wake (geo driven velocity pumps) Create Holes In Geo At Point Locations Cloth Blown Apart By Wind Cloth Based Paper Confetti Denim Stitching For Fonts Model A Raspberry Crumple Piece Of Paper Instanced Forest Floor Scene FLIP pushes FEM Object Animated Crack Colorize Maya nParticles inside an Alembic Path Grows Inside Shape Steam Train Smoke From Chimney Using Buoyancy Field On RBDs In FLIP Fluid Fracture Along A Path COP Based Comet Trail eetu's Raidal FLIP Pump Drip Down Sides A Simple Tornado Point Cloud Dual Colored Smoke Grenades Particles Generate Pyro Fuel Stick RBDs To Transforming Object Convert Noise To Lines Cloth Weighs Down Wire (with snap back) Create Up Vector For Twisting Curve (i.e. loop-d-loop) VDB Gowth Effect Space Colonization Zombie L-System Vine Growth Over Trunk FLIP Fluid Erosion Of GEO Surface Vein Growth And Space Colonization Force Only Affects Particle Inside Masked Area Water Ball External Velocity Field Changes POP particle direction Bullet-Help Small Pieces Come To A Stop Lightning Around Object Effect Lightning Lies Upon Surface Of Object Fracture Reveals Object Inside Nike Triangle Shoe Effect Smoke Upres Example Julien's 2011 Volcano Rolling Pyroclastic FLIP Fluid Shape Morph (with overshoot) Object Moves Through Snow Or Mud Scene As Python Code Ramp Scale Over Time Tiggered By Effector Lattice Deforms Volume Continuous Geometric Trail Gas Enforce Boundary Mantra 2D And 3D Velocity Pass Monte Carlo Scatter Fill A Shape Crowd Seek Goal Then Stop A Bunch Of Worms Potential Field Lines Around Postive and Negative Charges Earthquake Wall Fracture Instance Animated Geometry (multiple techniques) Flip Fluid Attracted To Geometry Shape Wrap Geo Like Wrap3 Polywire or Curve Taper Number Of Points From Second Input (VEX) Bullet Custom Deformable Metal Constraint Torn Paper Edge Deflate Cube Rotate, Orient and Alignment Examples 3D Lines From 2D Image (designy) Make Curves In VEX Avalanche Smoke Effect Instant Meshes (Auto-Retopo) Duplicate Objects With VEX Polywire Lightning VEX Rotate Instances Along Curved Geometry Dual Wind RBD Leaf Blowing Automatic UV Cubic Projection (works on most shapes) RBD Scatter Over Deforming Person Mesh FLIP Through Outer Barrier To Inner Collider (collision weights) [REDSHIFT] Ground Cover Instancing Setup [REDSHIFT] Volumetric Image Based Spotlight [REDSHIFT] VEX/VOP Noise Attribute Planet [REDSHIFT] Blood Cell Blood Vessel Blood Stream [REDSHIFT] Light Volume By Material Emission Only [REDSHIFT] Python Script Images As Planes (works for Mantra Too!) [REDSHIFT] MTL To Redshift Material [REDSHIFT] Access CHOPs In Volume Material [REDSHIFT] Mesh Light Inherits Color [REDSHIFT] Color Smoke [REDSHIFT] FBX Import Helper [REDSHIFT] Terrain Instancer Height Field By Feature Dragon Smashes Complex Fractured House (wood, bricks, plaster) Controlling Animated Instances Road Through Height Field Based Terrain Tire Tread Creator For Wheels Make A Cloth Card/Sheet Follow A NULL Eye Veins Material Matt Explains Orientation Along A Curve Mesh Based Maelstrom Vortex Spiral Emit Multiple FEM Objects Over Time Pushing FEM With Pyro Spiral Motion For Wrangle Emit Dynamic Strands Pop Grains Slope, Peak and Flat Groups For Terrains Install Carnegie Mellon University BVH Mocap Into MocapBiped1 Ramp Based Taper Line Fast Velocity Smoke Emitter Flip Fill Cup Ice Cubes Float [PYTHON]Export Houdini Particles To Blender .bphys Cache Format Collision Deform Without Solver or Simulation Mograph Lines Around Geometry Waffle Cornetto Ice Cream Cone Ice Cream Cone Top Unroll Road Or Carpet Burning Fuse Ignites Fuel or Painted Fuel Ignition Painted Fuel Combustion Small Dent Impact Deformation Particle Impact Erosion or Denting Of A Surface Helicopter Landing Smoke And Particles Radial Fracture Pieces Explode Outwards Along Normal Tangent Based Rocket Launch Rolling Smoke Field Tear/Rip FLIP (H12 still works in H16) Rain Flows Over Surface Rains Water Drip Surface Splash Smoke Solver Tips & Tricks Folding Smoke Sim VEX Generated Curve For Curling Hair Copy and Align One Shape Or Object To The Primitives Of Another Object (cool setup) A Better Pop Follow Curve Setup FEM Sea Cucumber Moves Through Barrier Fracture Cloth Smoke Confinement Setup Merge multiple .OBJ directly Into A Python Node Blood In Water Smoke Dissipates When Near Collision Object Whirlpool Mesh Surface Whirlpool Velocity Motion For FLIP Simple Bacteria Single Point Falling Dust Stream Flames Flow Outside Windows Gas Blend Density Example Localized Pyro Drag (smoke comes to a stop) Granular Sheet Ripping Post Process An Export (Post Write ROP Event) Corridor Ice Spread or Growth Set Velocity On Pieces When Glue Bonds Break Water Drops Along Surface Condensation Bottle Grains Snow or Wet Sand Starter Scene A Nice Little Dissolver Turn An Image Into Smoke Fading Ripples Grid Example Stranger Things Wall Effect Face Through Rubber Wall [PYTHON]Create Nurbs Hull Shelf Tool [PYTHON] Ramp Parameter Select Outside Points Of Mesh, Honor Interior Holes Sparks Along Fuse With Smoke Umbrella Rig Melt FLIP UVs Tire Burn Out Smoke Sim Flip or Pyro Voxel Estimate Expression Motorcycle or Dirt Bike Kicks Up Sand Particles Push Points Out Of A Volume [PYTHON]Cellular Automata Cave Generator Punch Dent Impact Ripple Wrinkle VEX Rotate Packed Primitive Via Intrinsic Kohuei Nakama's Effect FLIP Fluid Inside Moving Container Particles Avoid Metaball Forces FLIP Divergence Setup FLIP Transfer Color Through Simulation To Surface Morph Between Two Static Shapes As Pyro Emits Constraint Based Car Suspension Pyro Smoke Gas Disturbs Velocity Wire Solver Random Size Self Colliding Cables Fast Cheap Simple Collision Deform CHOP Based Wobble For Animated Character Slow Motion FLIP Whaitewater Avoid Stepping In Fast Pyro Emission FLIP Fluid Fills Object Epic Share Of Softbody/Grain Setups (Must see!) Balloon, Pizza, Sail, Upres Shirt, Paint Brush Create Pop Grain Geometry On-The-Fly In A DOPs Solver Varying Length Trails VEX Based Geometry Transform Determine Volume Minimum and Maximum Values Grain Upres Example Animated pintoanimation For Cloth Sims Batch Render Folder Of OBJ files Vellum Weaving Cloth Fibers Knitting Kaleidoscopic Geometry UV Image Map To Points Or Hair Color Particles Like Trapcode Particular Flat Tank Boat Track With Whitewater Orthographic Angle Font Shadow Select Every Other Primitive or Face? Printer Spits Out Roll Of Paper Unroll Paper, Map, Plans, Scroll Simple Vellum L-System Plant Basic Cancer Cell 2D Vellum Solution Vellum Animated Zero Out Stiffness To Emulate Collapse Use Google To Discover Attached HIP Files Useful Websites: Tokeru Houdini Houdini Vex Houdini Python FX Thinking iHoudini Qiita Ryoji Video Tutorials: Peter Quint Rohan Dalvi Ben Watts Design Yancy Lindquist Contained Liquids Moving Fem Thing Dent By Rigid Bodies Animating Font Profiles Guillaume Fradin's Mocap Crowd Series(no longer available) Swirly Trails Over Surface http://forums.odforce.net/topic/24861-atoms-video-tutorials/ http://forums.odforce.net/topic/17105-short-and-sweet-op-centric-lessons/page-5#entry127846 Entagma SideFX Go Procedural
  10. 6 points
    More Unlimited Fun nature2 fun.hipnc
  11. 6 points
    Hi. How about computing local space per primitive instead, and then get noise position from point position in the local space? Some sort of edge based UV unwrap. // Primitive wrangle. int pts[] = primpoints(0, @primnum); // Compute averaged primitive normal from point normals computed from their neighbours. vector normals[]; foreach (int pt; pts) { vector normalized_edges[]; vector pt_pos = point(0, "P", pt); foreach (int nb; neighbours(0, pt)) { vector nb_pos = point(0, "P", nb); append(normalized_edges, normalize(pt_pos - nb_pos)); } append(normals, normalize(avg(normalized_edges))); } vector normal = normalize(avg(normals)); // Compute edge tangent. vector pt0 = point(0, "P", pts[0]); vector pt1 = point(0, "P", pts[1]); vector edge = normalize(pt0 - pt1); // Compute bitangent and orthonormalize matrix. vector perp = normalize(cross(normal, edge)); normal = normalize(cross(edge, perp)); 3@tangent_space = set(perp, normal, edge); Final deformation code: // Point wrangle. int prim; xyzdist(1, @P, prim, set(0)); matrix3 tangent_space = prim(1, "tangent_space", prim); vector pos = @P * invert(tangent_space); float deform = noise(pos * {10,1,100}) * 0.05; v@P += v@N * deform; Some image sampling could work too: tangent_space_noise.hipnc
  12. 6 points
    This operator allows you to call a collection of nodes on any data or simply no data (generators). It gives you full control over how the lambda function should be run.
  13. 6 points
    it's pretty straightforward out of the box just use v@N, v@up or p@orient on your instancing points in such a way that resulting reference frame has Y pointing in up-down direction of your ocean (so in normal direction of the ball) and X in the direction you want wind to blow in in your file, since v@N is pointing outwards and v@N defines Z axis, your ocean deforms in a tangential direction and therefore you are seeing weird deformation here is the modified file ts_ocean_on_ball.hip
  14. 5 points
    Hi all, I've made a Color Sampler asset that samples colors from an image. Colors can be sampled with points on a line, on a grid, randomly scattered points or with input points. It's also possible to sample the most frequently occurring colors. The sampled colors are stored in a color ramp which can be randomized. You can download it from https://techie.se/?p=gallery&type=houdini_assets&item_nr=6.
  15. 5 points
    Here's a music video I made using a bunch of the techniques from this thread.
  16. 5 points
    Hi, maybe this approach might work: int count = npoints(1); for (int i = 0; i < count; i++) { vector camP = point(1, "P", i); vector dir = normalize(camP - @P); float bias = 0.01; vector hit_ps[]; int hits = intersect_all(0, @P, dir * 100, hit_ps, {}, {}); if (hits && distance(@P, hit_ps[-1]) > bias) // or just check number of intersections: // if ( length(hits) >1 ) { @Cd *= 0.6; } } cull.hiplc
  17. 5 points
    This is not really on topic given the other stuff on this thread, but I made some growth awhile back, and finally got around to animating it. Attached the hip. Its not very robust, but I got what I needed out of it, so I'm calling it good. 19_03_26_animated_growth.hiplc
  18. 5 points
    Finally after two years of full stagnation I found the energy to fully revamp it using HUGO (which is freaking cool) and update with the very latest projects. Unfortunately 2 projects I have been working I am not allowed to share (yet)… one of them was 8 months of my life so I am pretty gutted but hopefully soon will be ok to say we did it. https://jordibares.com [jordibares.com] Most of it now is Houdini of course… :-)
  19. 5 points
    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
  20. 5 points
    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
  21. 5 points
    Hey guys I interviewed Manuel Tausch (FX TD/co founder of Stormborn Studios) for FX World. The interview went live today. Here's the link! http://fxworld.tv/interview-with-manuel-tausch-pt-1/
  22. 5 points
    Hi, Just posting some of my recent art. Most of it is houdini. Some is a mix of Houdini, Daz and Marvelous Designer. If you see a character, that's definitely from Daz. Everything is rendered in Octane. regards Rohan
  23. 4 points
    Because the three values defines an imaginary line going from 0,0,0 to the position in space described by the 3 values. That point can be far away or i can be close to 0,0,0. This way the 3 values are able to define both a direction and a length. -b
  24. 4 points
    again, not for groups, but if you create primitive string attribute on your geo you can use stylesheets to override cryptomatte property 1. create primitive string attribute that holds your "id" value or unique name (or just convert your groups to name attrib) (in this case I created unique s@name attrib per box) 2. create property on your object (in this case I called it: masks) 3. create stylesheets override for Primitives with Override Script that uses name attribute binding to override your cryptomatte property example file: ts_cryptomatte_from_attribute.hip
  25. 4 points
    "Organics" Houdini 17.5 & Redshift Cheers, Tom
  26. 4 points
    Another version of the same system. Heres the hip. Its a bit bigger because I stashed the growth geo. 19_03_28_green_growth.hiplc
  27. 4 points
    Unwrap the mesh (right) before deformation (left): Assign zigzag UVs to the curve (right) and transfer positions from the mesh based on both UVs (left): spiral_mesh.hipnc
  28. 4 points
    Hey Howard! Sorry about that! Here is the scene, I polyreduced a bit one of the frames of the sim to have a less heavy file to share! By the way, that mesh still has a freeSurface attribute; So you can use that gradient for nice shading effects. I forgot to say that this scene uses Redshift. v2.6.32; H17.459. Cheers! Alejandro FLIP_crown_v005_share.hip
  29. 4 points
    sup bb I'm not sure how you could do this without a solver, since it's accumulating rotation over time based on the speed and direction of motion each frame. I could be all kinds of wrong, though. Here's my method... I'm using the distance traveled and a vector orthogonal to the direction of travel to build an angle/axis quaternion, and adding (qmultiplying) that quaternion to the existing orient for each timestep. It's not perfect but it seems to work pretty well. Since it's basing the rotation angle on cross(dir, up), it might freak out if the ball rolls straight down. Curious if any smart people have a better answer for that. AutoRoll01_toadstorm.hip
  30. 4 points
    Here's an idea : ) fyrework_shapes_johnkunz.v1.hipnc
  31. 4 points
    Hey all, here's a shot I've been working on! Speed Tree, Houdini and Redshift. Have a good one
  32. 4 points
  33. 4 points
    Hard to say witch one is best, both needs some fiddeling. Wire solver isnt that good to interact with other solvers, same goes with vellum. Heres a basic setup comparing them. wire_vs_vellum_01.hip Vellum is blue and wire is red
  34. 4 points
    sticky pillows....ewl.... vu_vellumstickyballs2.hiplc
  35. 4 points
    Here is a concept for turning blueprints into simple 3d meshes. Its basically carving silhouettes into a volume. After getting the aspect ratio for defining the volume´s dimensions ... res_front = hou.imageResolution(img_front) res_side = hou.imageResolution(img_side) res_top = hou.imageResolution(img_top) ratio_side = res_side[1] / float(res_side[0]) ratio_top = res_top[1] / float(res_top[0]) geo.addAttrib(hou.attribType.Global, 'ratio_s', ratio_side, create_local_variable=False) geo.addAttrib(hou.attribType.Global, 'ratio_t', ratio_top, create_local_variable=False) ... a wrangle is carving the silhouettes into the volume from all three sides: vector bbox = relbbox(0, v@P); float mask_front = vector(colormap(image_front, bbox.x, bbox.y)).x; float mask_side = vector(colormap(image_side, bbox.z, bbox.y)).x; float mask_top = vector(colormap(image_top, bbox.x, bbox.z)).x; f@density = min(mask_front, mask_side, mask_top); The rest is a matter of converting to polygons, smoothing and remeshing. blueprint_to_geo.hiplc blueprints.zip
  36. 3 points
    I've uploaded a tutorial video to generate maze on any given polygonal mesh.
  37. 3 points
    Hey guys! I used to be an FX artist with Houdini but made the transition to concept art, however I still have a love for a procedural workflow and am constantly looking for ways to implement Houdini into my art. I won't talk about scattering the snow because I am sure everyone knows how simple and awesome Houdini is for a thing like that! I will just say I createde CSV files for Octane to read in and render and the control is awesome. So I will just briefly talk about the cloth. For this project I wanted to create a MarvelousDesigner in H type of thing, and I have to say Houdini for clothing is amazing. The system that I built means it will auto stitch itself as long as I draw the curves in the same order which is very easy, and the biggest takeaway is that I don't have to struggle to get what I want at all - I can just grab a few points and say these are going to stick here and thats it. In testing this workflow I created clothing for a couple different characters in a matter of minutes. I'm really interested in using Houdini like this for my concepts, which need to be very quick... I think there is a lot of potential in a procedural workflow like this where you don't tweak it to make it perfect, you hack it to just make it good enough to paint over. I am just scratching the surface but clothing is one thing I'll definitely be doing in Houdini from now on. I'm also using VR a lot and have some interesting tests with creating geometry in houdini out of the curves from gravity sketch, but thats for another time if people are interested Thanks for reading Feel free to check out the full project here: https://www.artstation.com/artwork/2xYwrK
  38. 3 points
    I can't take credit for it, but it needed to be shared. This made me cry with laughter.
  39. 3 points
    Definitely go for a wacom. I've exclusively used a wacom for houdini for a many years now and it's just wonderful, and it's a lot faster getting around and laying down nodes than with a mouse ontop of being ergonomic. If I only have a mouse I can barely get anything done and it's just tedious, I don't know how you people do it. Get a wacom.
  40. 3 points
    I exposed some parameters, in case someone is looking for a screw nut / cog wheel generator ; ) hex_nut.hiplc
  41. 3 points
    You can adjust 'paper' quality in Cloth... vu_VellumTickets.hiplc
  42. 3 points
    With the help of both the Redshift community and resources here, I finally figured out the proper workflow for dealing with Redshift proxies in Houdini. Quick summary: Out of the box, Mantra does a fantastic job automagically dealing with instanced packed primitives, carrying all the wonderful Houdini efficiencies right into the render. If you use the same workflow with Redshift, though, RS unpacks all of the primitives, consumes all your VRAM, blows out of core, devours your CPU RAM, and causes a star in nearby galaxy to supernova, annihilating several inhabited planets in the process. Okay, maybe not that last one, but you can't prove me wrong so it stays. The trick is to use RS proxies instead of Houdini instances that are in turn driven by the Houdini instances. A lot of this was based on Michael Buckley's post. I wanted to share an annotated file with some additional tweaks to make it easier for others to get up to speed quickly with RS proxies. Trust me; it's absolutely worth it. The speed compared to Mantra is just crazy. A few notes: Keep the workflow procedural by flagging Compute Number of Points in the Points Generate SOP instead of hard-coding a number Use paths that reference the Houdini $HIP and/or $JOB variables. For some reason the RS proxy calls fail if absolute paths are used Do not use the SOP Instance node in Houdini; instead use the instancefile attribute in a wrangle. This was confusing as it doesn’t match the typical Houdini workflow for instancing. There are a lot of posts on RS proxies that mention you always need to set the proxy geo at the world origin before caching them. That was not the case here, but I left the bypassed transform nodes in the network in case your mileage varies The newest version of Redshift for Houdini has a Instance SOP Level Packed Primitives flag on the OBJ node under the Instancing tab. This is designed to basically automatically do the same thing that Mantra does. It works for some scenarios but not all; it didn't work for this simple wall fracturing example. You might want to take that option for a spin before trying this workflow. If anyone just needs the Attribute Wrangle VEX code to copy, here it is: v@pivot = primintrinsic(1, “pivot”, @ptnum); 3@transform = primintrinsic(1, “transform”, @ptnum); s@name = point(1, “name_orig”, @ptnum); v@pos = point(1, “P”, @ptnum); v@v = point(1, “v”, @ptnum); Hope someone finds this useful. -- mC Proxy_Example_Final.hiplc
  43. 3 points
    This is my first post in a long time here, I've shared this teaser with some of you on FB, Youtube, vimeo and Linkedin today. So what is it? A path for us to use cloud providers directly for our craft at the lowest possible price. I have been building modules to spin up infrastructure in AWS with a language called Terraform (also open source, and can talk to other providers). My ongoing work for this I've decided to open source under the project name openFirehawk. This work I've been doing over the last 9 months can benefit Houdini artists and I'm proud to start talking about it, before I launch on Patreon in a week from now for your support on this open source project. I realised through my deep dive into all things cloud to solve my own CG life problems in Houdini, that actually this should just be "The Way"... Cloud rendering till now hurt my wallet too much, and I was yet to see it provide the power of a full blown pipeline, which I sorely wanted. So I thought, "Wouldn't it be insane if we could just build our own modular open source infrastructure for VFX and directly pay the big services to use their machines at the lowest possible price?" Also, I thought it would be cool to be able to say "Want a copy of my vfx infrastructure?" So I've created openFirehawk to do that. Its purpose is to provide access to the cloud providers, at the base price of that resource, and give you full control with a killer combo - teradici software for remote workstation graphics if you want that (paid per minute), ssh access to nodes over vpn, render management with whatever render manager we want (I started to implement deadline, which is free on AWS by way of being credited to your account), and any storage solution we choose (currently softnas on demand consumption is the cheapest, best and easiest I've found). Open source is a path to making the cloud as cheap as possible for our craft, and openFirehawk proves it is possible with this demo simulation I ran in AWS above. The rendered effects here are just the beginning of what openFirehawk can do with CG rendering & virtual workstations for artists. The animation was simulated and rendered in Houdini on AWS instances for $1.20. I paid $0.01 per core hour - many times cheaper than the alternatives available to me. 100 cores for $1/hr sounds nice... Now to be clear - for us, we still need floating engine licences to use this. I can't propogate code that would violate the EULA and plonk Indie in the cloud yet... But just 1 engine licence can do a lot with 96+ VCPUs, probably more compute than most of us could afford in a single box. I would hope that in time, more doors open up for us as Side FX have already helped cloud users in response to some discussion I had with them about LAL Licensing in this video I did in the jungle a while back and I hope things continue down this path. openFirehawk is currently in alpha, and its use has manual steps on the client side that I plan to eliminate. It is an on going project, and I want it to be a good modular and extendable foundation for other code contributors in our industry. So, would you like a copy of my 3D rendering cloud infrastructure to produce CG like this? I will have a need for your support to take it far - into something that you can use more easily, and a tool that continues to improve. Any support you want to provide by sharing my posts like this, talking about the work, and contributing through Patreon when it launches 19th February will help take openFirehawk to become something that everyone in CG can benefit alot from. I'm stoked to share this work with the community, and I hope to see where it goes, Big love! Andrew Graham
  44. 3 points
    DM 1.5 first screenshot: https://i.postimg.cc/rcy3KY3v/dm1-5-screen.png
  45. 3 points
    I thought this could interest other Houdini artists too: For a long time I was checking out all kinds of realtime 3D tools and never found one that wasn't somehow clunky or weird or ugly... Last week I discovered Cables.gl and spend quite some time with it over the weekend - and I'm deeply impressed. Not only is is a very well laid out application, it also runs in your browser! https://cables.gl There are also a lot of good tutorials: https://www.youtube.com/channel/UC7IRYQBFbt1KX4YmhBuIbhA/videos It needs some brain-reorganisation since it has a bit of a different logic and flow from Houdini, following the logic of OpenGL, but at least TAB opens the node list :-) Cheers, Tom
  46. 3 points
    Keep in mind that everything in your example DOPnet is a single Vellum object, not multiple objects. You can emit more points and constraints into the simulation if you like, but it's all data that's being added to a single Vellum object, "vellumobject1". There's a couple things that will make Houdini very angry when deleting geometry from a Vellum object. First, from my testing it seems that you don't want to delete individual points/prims from a Vellum patch... you want to delete the whole patch at once if you're going to take that route mid-simulation. Second, you absolutely need to delete the associated constraints as well. In DOPs, the actual Vellum mesh is "Geometry" data, but the constraints are "ConstraintGeometry". This means that you need a SOP Solver (or Geometry wrangle, depending on what you like to work with) for both of these data names to delete both the Geometry and the ConstraintGeometry so that you don't end up with constraints that no longer have anything to constrain. I'm attaching an example here... I modified the Vellum Source to change the Patch Name so that each generated sphere has a unique name (based on the frame number when they're emitted), then in the Solver SOPs I run a for/each over each patch, get the minimum P.y position, and delete entire patches at once when their minimum P.y is less than zero. vellum_culling_toadstorm.hip
  47. 3 points
    hey! here is a basic setup with some ideas how to get started : ) hope this helps- text.hip
  48. 3 points
    Hi roberttt! I did that specific fracture before the Houdini 16+ booleans were available, using a custom voronoi cutters technique. Basically, I used boolean-style cutter geometry to guide a voronoi fracture. 1) Scattered lots of points on the cutter geo, point-jitter them for width, and create cluster attributes on those points to create small clumps 2) Create a band of voronoi points a bit further from the cutter geometry, to define the large chunks. These points all get the same cluster value, and make sure that cluster value isn't used in the small-chunks clusters. 3) Run the fracture with clustering.... although the new H17 voronoi fracture doesn't seem to have clustering built in. So I believe you need to do the clustering post-fracture in H17, which unfortunately doesn't have an option to remove the unnecessary internal faces, so the geom can be a bit heavy with the new workflow. (Unless I'm missing something obvious!) I don't think I've used this voronoi fracture workflow at all since the H16+ booleans were released, and I've removed that technique from my CGMA destruction class. Nowadays I would handle this in one of these ways: - Running a primary boolean fracture to define the main chunks, and then running a secondary pass where I generate additional fragments on the edges of the main pieces. There are various ways to generate those secondary boolean edge cuts, and it's always a bit experimental. - Fracture everything at once into lots of small pieces, and use noise or geometry-grouping to define the larger shapes from the smaller fracture. Then once those large chunks are defined, use constraints or the name attribute or double-packing to get them to behave as individual large pieces. Hope this helps! :-)
  49. 3 points
    I'm working on something related to art direct the swirly motion of gases; Its an implementation of a custom buoyancy model that let you art direct very easily the general swirly motion of gases without using masks, vorticles, temperature sourcing to have more swirly motion in specific zones, etc. Also it gets rid of the "Mushroom effect" for free with a basic turbulence setup. Here are some example previews. Some with normal motion, others with extreme parameters values to stress the pipeline. For the details is just a simple turbulence + a bit of disturbance in the vel field, nothing complex, because of this the sims are very fast (for constant sources: average voxel count 1.8 billions, vxl size 0.015, sim time 1h:40min (160 frames), for burst sources, vxl size 0.015, sim time 0h:28min). I'm working on a vimeo video to explain more this new buoyancy model that I'm working on. I hope you like it! Cheers, Alejandro constantSource_v004.mp4 constantSource_v002.mp4 burstSource_v004.mp4 constantSource_v001.mp4 burstSource_v002.mp4 burstSource_v003.mp4 burstSource_v001.mp4 constantSource_v003.mp4
  50. 3 points
    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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