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  1. Orient / Lookat for Bullet Objects?

    Thanks so much! I'll be back on this tomorrow so will give it a go then, but really appreciate your response. Also, have found bits of your blog a great help in the past, so good opportunity to say thanks for that too! All the best, Toby
  2. Orient / Lookat for Bullet Objects?

    Hi, I'm hoping someone can help me as I've spent too long on trying to work this out by myself now. I'm doing a simulation with balloons and want to have them start in randomised orientation and then slowly resolve their orientation to have the wider bit at the top. This seems to be possible with POP spin for particles, but I can't work out how to do it with bullet. So far, I've tried altering the orientation manually in a wrangle in dops and trying to find a way of getting a vector into dops, such as with normals, to then be able to compare to an up vector and add in angular velocity until they match. Altering the orient attribute in DOPs seemed to do nothing if you target it directly, so perhaps it needs to be worked on the intrinsics?? Nothing I tried seemed to work, so I'd love to know if there's a way of achieving this, so would be grateful for any help. Many thanks! Toby
  3. Hi, We're looking for London based Houdini artists who would be available for short term projects. We are a small company, mainly working in commercials, and are always looking for Houdini artists and TDs with different specialities as well as generalist, to work with on future projects. The nature of the work we do means that the projects have a short lead-time, so we are keen to meet people ahead of the jobs to then be able to call on for the duration of the project, which tend to be 1-2 months. We work with Houdini ourselves and love it! If you are local to London and might be available in future for freelance work then please get in touch - we'd love to meet you! Please send us an email at recruitment@rufianpost.com. A showreel of our production and post-production work is here: www.madruffian.com
  4. Hi Atom, Many thanks for getting back to me and sorry for the late reply - I didn't have notifications turned on for the thread. I actually came across your tutorial before but thought that it was about something different- it's really helpful. I took your method with a couple of filter chops and then a shift chop to readjust the timing and then brought it back into the sop parameter with the % function to make it loop, and that seemed to give the result I was after. Thanks so much for passing this on and for making these tutorials in the first place (I've found others of yours helpful in the past too). All the best! Toby
  5. Hi, Many thanks for getting back to me and for taking the trouble of having a look at my problem. It's not quite what I was after - I was hoping that I could get a ramp that goes from zero to one, procedurally copied and stretched to each beat so that it starts at zero at each trigger and then stretches to one for the next trigger, where the next ramp starts at zero again...and so on. I was thinking that with this setup you could have something like a walk cycle that continuously cycles without break and goes in time with any rythm. I'm beginning to think that maybe this isn't possible as I can't see any way of procedurally fitting the copies to the index range. Thank you for your help anyway though
  6. I've been trying to make an audio input drive an animation cycle, but feel like I'm missing a couple of steps and was wondering if anyone could give me a point in the right direction. For testing, I created an animation loop in sops (just a simple box moving up and down again) which I'm driving with a time shift sop and a zero to one attribute, and am hooking up to the chops output. I have brought in an audio source and have isolated the beats with a trigger sop. I have also created a zero to one ramp in a separated channel and copied that to the triggers. What I would like to achieve is to have the the beginning of the ramp start at the trigger, which is what I have now, but then to refit the ramp so that the end of it sits at the beginning of the next trigger (the next beat). I have been puzzling on this for a while, but can't work out how to solve it. Essentially, I was hoping this would make it possible to drive a seamless animation cycle. Hope I've explained that clearly enough, but any help anyone could offer me would be gratefully received! Thanks! Toby
  7. We are looking for Mid to Senior level Houdini Animators / Riggers / Character Modelers / Environment Artists for TV commercial, which will potentially run until October. Rates negotiable depending on experience and must be available to work in London. Animators/Riggers: We are looking for an experienced lead character animators and riggers (ideally someone skilled in both) to work with us on an upcoming pixar style animation project. (When submitting please put ‘Houdini Animator/Rigger’ in the subject of your email.) Environmental Artists: We are looking for experienced lead environmental artists, who are able to create a stylised rural environment for a pixar style animation project, which will potentially run until October. Being able to light and render is a big plus. (When submitting please put ‘Houdini Environmental’ in the subject of your email.) Character Modelers: We are looking for experienced lead character modelers, who are able to create stylised pixar style characters. Characters will be human, as well as a character created from a piece of fruit. (When submitting please put ‘Houdini Character Modeler’ in the subject of your email.) A little bit about us: We are a post-production house based in Central London. We are a friendly team who enjoy taking on a broad range of projects that that offer fresh challenges and test us to try new and innovative ways of working. We have a diverse range of skills and interests and are keen to find people with a similar appetite for tackling ambitious projects. If you think you might be suitable then please contact us with your details and a link to your showreel or examples of work, at recruitment@ruffianpost.com with the relevant position in the subject line...and we’ll be in touch! ***If you’re an experienced Houdini artist or specialist in any area of Houdini and are available for freelancing in London, even if not immediately, then we would love to hear from you. We work with Houdini ourselves and often need extra people in for jobs, so are keen to get to know more people to be able to call upon for upcoming commercial work*** www.ruffianpost.com
  8. a quick Point Cloud query...

    Thank you so much for taking the time to look at the file and so quickly! I figured that it must be a misunderstanding on my part but couldn't find an explanation and it seems I just got confused as to which way round things were operating. Really grateful for your help!
  9. Hi, I've just been trying to set up a simple attribute propagation effect with pcopen. I can't work out why the 'Max Points' parameter appears to have no bearing on the number of points affected (besides a binary on/off difference between the values of zero and one). The search radius alone seems to drive the effect. No doubt this is my misunderstanding of how pcopen works, but I can't seem to work it out. If anyone is able to explain the reason for this, I'd be really grateful. I've included my Hip file, in case anyone has a moment to look at it. Thanks! pcopen_propagate.hip
  10. We are looking for someone with generalist experience in working at a senior level in Houdini, preferably with experience in Maya and Nuke, to work alongside two other FX TD leads. The job would be starting this coming Monday 29th February and run through until the end of March, with a possible 10 week extension. London only and must be willing to come in to Vauxhall office. Weekend work maybe required and rates negotiable. Please email recruitment@ruffianpost.com to apply, with link to your portfolio and subject line “FX TD”. We look forward to hearing from you!
  11. Ruffian Post is looking for 1-2 advanced CG artists who are well versed in Houdini for immediate start with work potentially through mid-late March. Please send your CG reel and resume with all contact info to: recruitment@ruffianpost.com with "Houdini Artist" in the subject. This person will need to be self-sufficient and possibly even able to lead a team by his/herself while taking instruction from our creative director. Ruffian Post is a London-based company. Any applicant will need to be able to get into central London every day (this isn't a position one could do from home, although future work might lend itself to that.) In our first year of business, 2015, we were nominated for a UKMVA for best visual effects. We are a full-service post production house with everything from edit and grade and motion graphics to CG/3D animation. Please look at our website before applying. www.ruffianpost.com Amanda Jones Executive Producer
  12. It would be amazing if anyone has any insight into this as I haven't found any other reference to this issue and can't think what it could be. Since getting Houdini 15, I have had trouble with using it on a second monitor. I'm working from a MacBook Pro Retina and have it attached via HDMI to an 1920x1080 monitor. I have the latest version of OS X and have tried with two entirely separate laptops, screens and cables but to no avail. I tried with a version of H14 and it works fine, so I imagine it's something to do with the higher res UI with H15, but beyond that have no idea where to start. I've also tried adjusting the display settings for both monitors and the UI resolution within Houdini preferences. It seems to affect not only the GL display but also the other panes. Attached are two screenshots showing the result, in case that gives any clues. If anyone has any pointers then I'd be immensely grateful! Thanks in advance! Toby
  13. Distance Expression Query

    Thank you so much for answering this and so thoroughly - it seems obvious now you say it, I just got confused by the format and it was driving me crazy feeling like I couldn't work it out. Many, many thanks!
  14. I recently saw an example of someone having used the distance expression to isolate a point on a separate geometry which shared the same position. They used it in the following expression: if(distance($TX, $TY, $TZ, point("../each1", 0, "P", 0), point("../each1", 0, "P", 1), point("../each1", 0, "P", 2)) == 0,1,0) When the delete node was put to 'delete non-selected' it seemed to have the desired effect of deleting all the points from the incoming geometry, except the one sharing the precise location as point 0 from the 'each1' node. What I can't make sense of is why the distance is 0, 1, 0 and not 0, 0, 0, as I would've thought that there should be no distance between them. I hope I've explained this clearly enough to make it make some sense - I've included a hip file beneath - but if anyone could give me an answer then I'd be really grateful as I've been puzzling over it for weeks! Many thanks Toby distanceExpressionMystery.hipnc