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Deleting the clam particles might be one way to go but I think the Ocean tools has a way to integrate a flip sim so the match is seamless. You may want to view the ocean tools master class video.

It may be duplicate geometry in the same place. z-fighting. Or try adding a normal node at the end of the SOP network.

You can place a null inside the object you want to switch off. Connect the final network output and the null to a Switch and you can animate the switch from the full object being rendered to the null being rendered. This can cause render anomalies, however. For instance bounced rays will no longer bounce and if the object appears in a reflection it will all of a sudden not be in the reflection when you switch to the null.

Could you simulate it top down and then rotate the cached out results to your final angle?

I think unpacking is the solution.

Hi All, I have a roughly rectangular mesh and I want to project UVs on to it in a box style mapping. This is fairly typical in other applications but I can't seem to locate this feature in Houdini? I am trying out UV Project Orthographic but I am getting stretched results on the sides of my mesh? Thanks

I have an iPhone model that I am melting. I am using attribute transfer to migrate UVs from the original model onto the fluid based resulting model. In the viewport it looks ok. I see my UVs are traveling with the points and appear to be melted. Notice how the green smudge seems to be in a lower location in the viewport. But when I go to render, the UVs look like they are not carrying through and only inherit the position/location from the first frame. The top row of icons in the melted render is actually from the middle of the unmelted phone. I am transferring the @shop_materialpath as well as the UVs .

I have modified your scene to allow both uv and shop_materialpath to flow through the fluid simulation. The higher the resolution, the better the quality of the attribute transfer. I generally discard FBX materials that are generated by Houdini and use a wrangle to re-write the @shop_materialpath to point to the material context I am using. Sometimes /shop, sometimes /mat. I have added a wrangle near the end of the Genesis3_Male node inside the FBX import node. This wrangle uses a simple IF statement to detect the old material name and reassign a new one that points to /mat context. Inside the /mat context I have dropped down a Principled shader and renamed it to "Face". Go ahead an extend this code by writing the material path code for the other 16 materials on this object. Then you can populate your /mat context with shaders and plug in your maps to those materials. if(s@shop_materialpath =="/obj/gen3_fbx/materials/Face") { s@shop_materialpath = "/shop/Face"; // Or use the /mat context. s@shop_materialpath = "/mat/Face"; } ap_119_FLIP.hiplc

Just transfer all the UVs from vertex and the @shop_materialpath from primitives. Create a unique material for each @shop_material path and the textures for those faces should lineup with your image maps. If you are talking about having additional attributes like uv2, uv3 etc... then promote and transfer them through the system like the original UVs.

Try turning off Track Object on the resize node then, under Max Bounds enable Initialize Static.

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Drop down a grid. Move mouse into the 3D viewport and press S-KEY to enter point selection mode. Select the four corner points. With the mouse still in the 3D viewport press TAB and type 'bevel' to drop down a polybevel node. Move the offset slider and increase the divisions.

That method looks promising. It looks like the result is using the fluid sim points to point deform the original mesh. Then you don't have to worry about transferring Cd or UVs through the sim. They always reside on the original/deformed final mesh.

I put together a simple script to read the .mtl file, typically associated with a .obj, and create a Redshift material for each entry it finds in the .mtl with a map_Kd token. A Redshift material is created and a texture map is linked to the diffuse color with the filename for the map populated with what is found in the .mtl entry. This is useful when importing architectural .obj files that typically have a large number of materials associated with them. Expected .mtl format of supported tokens. #newmtl _4_2_ <- Material name. #Ns 96.078431 <- Specular intensity #Kd 0.640000 0.640000 0.640000 <- Diffuse color. #Ks 0.500000 0.500000 0.500000 <- Specular color. #Ni 1.000000 <- Index of refraction. #d 1.000000 <- Opacity. #map_Kd 21_budova/_4_2_.jpg <- Map name. #map_Kn 21_budova/_4_2_n.jpg <- Map name. The result of one-click texture mapping. Here is the Colosseum auto texture mapped. The path to the .mtl file and texture path is hard coded. Place the code in a shelf tool button and adjust the path to point to your .mtl file. mtl_to_redshift_061618.zip

Here is a rework of your scene that gets one skirt simulating, but I am not even sure if you can run a dopnet inside a loop? That is why the RISE approach makes sense. In this case I think I would simulate each agent in-place, removing locomotion. Then export each agent as a deforming polygon geometry, not polysoup. Run a cloth sim on the deforming geometry. Then return to the full locomotion crowd simulation and attach the resulting cloth simulation to the agent. So the final scene would have nothing to do with either simulation. It would simply be a series of File nodes merged together bringing in the deforming agent mesh and the cloth simulated mesh bound with a rivet or parenting. ap_corwdsinskirts02.hiplc

If you have not seen this video, check it out. It is a presentation by RISE and how they handled crowd shots. Basically they created paths for each and every agent then solved each agent one at a time. Cloth was handled post crowd sim on the resulting deforming mesh.

Try changing the angle of the ground plane slightly? Or place a mostly flat, but slightly deformed collision object where the blood drops pool up. There may also be ways to apply forces to the fluid particles conditionally, say when @P.y<1, for example.

To preserve any attribute with a fluid sim you need to promote it to points before you sim. The point attributes should flow through the simulation without problem. You do have to add uv and Cd to the Keep attributes list on the fluidcompress node, or they will be removed from the points upon compression. The same is true for the Transfer Attributes list on the ParticleFluidSurface node. After surfacing attribute promote the uvs back to vertex. You can go with the attribute transfer approach as well but you will need to extremely subdivide the source you are transferring from to get a reasonable match on the constructed fluid surface. I explored the topic a little bit here. You can also check out eetu's fluid image. https://dailyhip.wordpress.com/2017/01/25/fluid-image/

On the Reseeding tab of the flipsolver1 node set Surface Oversampling = 48 and Over Sampling Bandwidth = 2.

I have noticed that some of the OpenCL code is hard coded at 30 FPS which can create beat patterns against the default 24 FPS. One thing you might want to consider is custom drag. Check out Fencer's setup.

Whitewater fetches it's data from the COMPRESSED cache, not the SURFACE cache. If you still have the scene available go ahead and kick out a compressed cache and feed that to the whitewater tool. One easy way is to use the whitewater tool on a flip tank then point it to a File node that fetches your compressed cache. Then you can delete the flip tank.

Hi All, I noticed an ad for the Lost Boys school of visual effects and after reading the price of tuition got incredibly depressed. 60 days after enrolling you have to come up with ~20,000 dollars. That's just half of it. So it is 41,000 dollars total. I assume that is for one year. They claim a 98% placement rate which could make it worth the risk. That would mean I would have to mortgage my house to go to school. The recent Sony Hack revealed visual effects salaries and a plot by ILM and Pixar to not cross-hire away talent from one another effectively enforcing wage fixing (while actors, producer and director continue to make millions). I am wondering if anyone who is currently employed in visual effects can verify these numbers. I am not asking for individual salaries but are they in the ball park of what is listed in the image? Or is this just some conspiracy theory that has yet to be verified? As an entry level animator I can expect to make less than a web developer while mortgaging my home and moving to a new city which also is an expense. Why couldn't I be happy being a developer? I just love working on visual effects solutions.

Hi All, I am working on a custom agent that takes the form of a bouncing ball. This is a single bone RIG that squashes and stretches. I have baked out my animation and the crowd simulation seems to be using everything just fine, however, when it comes to rendering I can not figure out how to enable motion blur for my custom agent. Motion blur is enabled in mantra, I have enabled Geometry Velocity Blur on my pre-baked geometry. I also added a Trail SOP to endure velocity was being calculated after the bone deform. I assume the bake feature supports baking of velocity data into our .bgeo and associated crowd files. When I compare the crowd_source node before and after the simulation I can see that the velocity is intact before the crowd solver. But when I render from the DOP import I get no motion blur even though the Geometry Spreadsheet clearly shows velocity values. Can Mantra do this? What additional setups do I need to perform to get my bouncy ball rig agent to render with motion blur? ap_ball_rig_bounce_in_place_1a.hipnc

You may have to unpack them then...

Try going up one level. crowd_source at the /obj level, Render tab and Sampling sub tab. Geometry Velocity Blur checkbox.