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jamnique

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jamnique last won the day on October 6 2016

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About jamnique

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    https://vimeo.com/ftarczewski

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    Filip Tarczewski
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    Warsaw, Poland

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  1. Smoke Solver | Tips and Tricks

    These are amazing man! Thanks for sharing. It's going to take me months to dig through this.
  2. Attract objects to one another

    If you're using.fem for soft body, you can set a target mesh for it to try and reach. The target mesh will be your soft body sitting on the sphere. Your simulated mesh will be offset somewhere you like. I think the same procedure applies to grains as well. If not you can use POP attract set to follow your target. You can see the procedure in my tutorial that is available on sidefx. It's called Crumple meshes with fem or something like that.
  3. Hi, I've run into the same problem. There are a couple of ways you can approach this. Not very good ways, but since noone smarter has replied yet, here it goes. Try using Clean with these settings before export: ROP Alembic settings: Partition by name (Use shape component of Path Attribute Value) Face sets: No Face Sets (or UVs will get broken) If this doesn't help, and you have 3ds Max 2017, it should work there out of the box. Then you can export an Alembic from Max to Maya. Alternatively, if you have Vray for Maya, in some tutorial someone suggested importing Alembics to Maya through Create -> Vray -> Import Proxy. Then in Vray Mesh settings switch from Preview to Maya Mesh, change playback to Once ond set playback speed if needed. If everything else fails, this is the most labourious method, but it kinda works. You can export an OBJ / FBX with UVs from one frame and transfer them in Maya to your animated mesh. You can import normals directly if you promote them to Point (from Vertex) in Houdini.
  4. Hey, after the sim add a timeshift node, set it to one frame and create your uv's after that. Then use Attribute Copy to transfer the UVs from the frozen mesh to the animated mesh.
  5. Selection Cutter - help with Break SOP

    There's something I've jost noticed that's bothering me. Never noticed it before. Let's say I have a sphere animated, and an Attribute Wrangle saying: v@animation = @P; Then in another wrangle below it: @P = @animation; It seems that the second Attribute Wrangle can't recognize @animation as a Vector. It only takes the first component of it and uses it to drive all three components of P. So if my original position was 5,1,0 the new position is 5,5,5. If I explicitly tell it @animation is a vector, everything's fine. @P = v@animation; Is that the way it has always worked? I thought wrangles recognized attributes created beforehand properly. Am I missing something obvious?
  6. Selection Cutter - help with Break SOP

    There's something I've jost noticed that's bothering me. Never noticed it before. Let's say I have an Attribute Wrangle saying:
  7. Selection Cutter - help with Break SOP

    Thanks man. I'm an artist myself, so it's all trial and error.
  8. Selection Cutter - help with Break SOP

    Perhaps I should also clarify a bit. I'm trying to only get cuts on the surface, I'm not interested in creating inside surfaces. I realize this is probably something else than what break was made for. Here's a screen of the kind of geometry the tool makes.
  9. Selection Cutter - help with Break SOP

    It turns out the UV technique works very well I'd be still interested in an alternative for Break though.
  10. Hi. I'm working on a tool that allows to selection-paint fracture pieces. It works great on simple things, like spheres, planes or tori, but ... when it gets to a more complex, organic shape, like a human face, and the model has holes, things start getting hairy. The weak link is the Break SOP. Right now it seems to me it's almost unusable on anything complex. The only thing I can think of to fix it right now, is to convert the model to a flat set of patches based on UV's, do the cutting and then wrap it back to its original shape, or replace the Break SOP with something else. Any advice? Best Regards Filip
  11. Hi, I'm in dire need of a way to commit Poly Splits made procedurally by Curves to values. Would any of you know how to expose the values created internally by Poly Split while in curve mode, or have an idea how to commit them? The reason for this ofcourse is that I want to have the cuts made on a moving and deforming (cached) object. Best Regards Filip
  12. SOP animation in DOPs

    Thank you for your help I'm going to dig into constraints and the hip files on your blog and see where that takes me.
  13. SOP animation in DOPs

    Thank you Richard. That's a very cool blog you've got there. Based on one of your examples I've managed to assemble a working scene with a constraint network with spring / hard constraints. This works great for piece transformations. However, I would like to stick to SOP rotations as well. In such case, would constraints still be the way to go? There is an RBD Angular Constraint, but can be made to reference a sop goal for each piece?
  14. SOP animation in DOPs

    Anybody? Am I asking the wrong questions, or is there no good answer?
  15. Hi, I believe this is my first post here, so hello everyone. I'm trying to wrap my head around SOPs-DOPs interaction. I would like my objects (be it rigid bodies, RBD fracture objects, packed or unpacked) to follow animation from SOPs rather closely, but also collide with each other and respond to forces. Let's say I have boxes copied over a grid, and the copies are animated with time offset. They move and rotate, penetrating eachother at some point - that's where collisions should come into play. What would be the best way to approach this? - POP Attract force in / alongside RBD Solver - A custom POP / DOP Force - essentially also an attract force - Trying to update position / velocity / force every frame, using SOP Solver? - Reference Frame Force + SOP Geometry node? Sorry if this is basic stuff.
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