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I found they had been very helpful and contributes greatly to research and study for my workflow. It allows me to quickly adjust my workflow in a hands-on way, avoid repeated mistakes, build more meaningful tools and methods, explore different frameworks, and gain clearer product definitions. I use NotebookLM to systematize my documents and notes, while employing GPT to explore frameworks and clarify scope, architecture, and pipelines. I also use Grok in a more conservative way, which I really appreciate. It helps me stay grounded and realistic by engaging with real-world data, surveys, audits, and measurements before moving into project planning. In that sense, Grok helps challenge assumptions and debate scope and definitions. Meanwhile, Claude is very useful for quietly assisting with hands-on tasks and helping produce practical tools that I can apply directly in manual workflows. I’ve also noticed some mismatches online when people discuss AI in the context of VFX and animation. Many conversations confuse generative AI (for images or video) with AI used for automation, reasoning, or workflow support. These are very different applications. In production environments, AI is often more useful for speeding up processes, reducing repeated mistakes, and helping frame the correct scope of a project. For technical and visual production, it’s important to clarify what type of AI we are actually referring to before discussing solutions. Doing so helps align both the questions and the answers, ensuring everyone is on the same page. This kind of clarity creates the constructive and energetic discussions that I always appreciate when engaging with the Houdini/Technical Art community. These things remind me of the Houdini community when I first tried to break in from scratch. There were many mysteries and untold details, sometimes things people preferred not to share, especially when there was no clear commercial benefit. Over time, I realized that sharing knowledge is actually a way for me to learn more myself. In reality, only a small number of people will truly understand these ideas and extract what is useful for their own workflows, allowing them to evolve. Meanwhile, AI is advancing rapidly, often faster than major corporations can fully realize. Because of that, I feel comfortable sharing new discoveries, while still valuing the importance of revisiting old topics, practicing fundamentals, and digging deeper into the foundations. In the end, strong fundamentals are what improve real understanding, not hype, marketing scam, or FOMO driven trends that produce flashy ideas but vanishes within weeks.

KUVA is looking for a Senior Houdini FX TD and a 3D Layout Artist for a 3–4 month project starting immediately. FX TD Looking for a senior Houdini artist comfortable working in production pipelines. Required: Strong particles / pyro / volumes Experience creating stylised or magical FX Solaris / USD workflow Rendering with Karma or Redshift Pipeline-friendly approach to scene organisation and optimisation Bonus: Fulldome / immersive formats Gaussian splatting / point rendering workflows Layout Artist Required: Excellent 3D camera animation Strong cinematic composition Experience preparing scenes for lighting/render Bonus: Fulldome / immersive formats Remote friendly. Please send reel + day rate + availability to: steve@kuva.io

Hey Hannes, my experience with it as been a mix, some people usually the one with less experience, want to copy basically the concept, idea, design one to one to with the generated image and people who really understand or have more knowledge in the whole process usually get ideas of the image but they do not want to copy it, if that make sense. Lately though more and more people is using, and with the ones that have less experience is tough to make them understand that is not as easy as they think, I have been in meetings with clients and trying to explain the whole thing is tiring. With that said these type of clients are few though, most of the people that I work with, clients and co worker get the picture. Now where all this is going, I do not think anybody cant really answer that yet. We can def see some benefits but also negatives about this whole AI thingy.

Have Fun.. thanx + @t_hasegawa Twitter file +read In second example make attributes like in first ..it works For me https://github.com/d3/d3-force https://observablehq.com/@d3/force-directed-tree ForceDirectedGraph_v002t03(1).hipnc

to streak the uvs along side faces of the extrusion you can unlock Vellum Post Process and inside on both polyextrude nodes uncheck Generate Unwrapped Texture Coordinates for Sides or maybe extract that extrusion portion and wrap into your own cloth thickness asset that you can append after postprocess so that you don't have to have unlocked nodes in the scene also you can submit RFE to promote this option or make it default

This is really cool... Looking to the very first part, I did a simple setup yesterday, trying to replicate it, but can't say I got very far before running into issues. The problem with the POP setup is it really wants to create the coral patterns - even using a polyframe to calculate outwards normals and using them to guide velocity outwards, you get to a point where is starts to fold into itself" and create those traditional differential curve type patterns... So perhaps something ti rethink - or perhaps someone here has an idea..? Oh, and just generally, there's SOOO much friggin cool stuff in this video, I can barely watch without freaking out, wanting to try to replicate all of them, hehe...