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Everything posted by itriix

  1. Hi everyone, after learning quite a bit about the delayed load shader from the krakatoa/delayed load discussion and the sidefx help on delayed load found here, i decided to start putting my knew found knowledge to use on a little project... i know everyone in the world has done a "disintegration" effect, but i just wanted to use this as good testing grounds for the delayed loads capabilities. I quickly found myself running into a variety of challenges that I thought would make this a good post for learning. Anyways, i'm including a "very very very terrible first highly compressed render" of the project, so that i can use that as a starting grounds for some of my current issues/learning/questions. (which if you scroll down is at the bottom of this long post) Setting aside the dynamics, which i'll tweak LATER, here are some of my first initial challenges: 1. The original model caused me a few different issues, all which i think are great for learning purposes: I found the free coke can model here. It was originally a .3ds file, that i imported into maya, reversed the normals, and exported as an fbx to houdini. The export from Maya to Houdini applied the uv information to the vertices. This caused me an issue at first when I was trying to inherit the color for my particles. I was using the colormapVOPPOP approach to get the color information applied to the particles, which has been discussed here. It's a much faster approach that using the PIC function indeed. However, this left me with a new problem that I posed here. My solution ended up being that because the uv information was applied to vertices, the colormapVOPPOP approach, used a colormap, which needed POINT information not VERTEX, so I used an attributePromote to get the uv's from vertices to points... I'm not sure if there is a better way to do this, because i've heard this approach isn't very good... any ideas about this? All in all, for the time being, it seemed to work.... 2. Because the model was broken up into 4 peices: LABEL, TOP AND BOTTOM METAL, SCREW and TONGUE of the Coke Can, each with their own material applied and own uv's, this caused me some issues when trying to simulate the particles. To begin, i love Miguel Perez's workflow for procedurally generating an ALPHA matte and DRIVING the particle's emission, this topic can be found here. Great approach, however, as soon as i applied this to 4 individual pieces, i noticed things got a bit more complicated, *not terrible, but it just meant that i had to essentially repeat the same alpha matte generation for each piece, and then eventually, simulate particles for each piece individually. Since the color information for the particles was being generated by the colormapVOPPOP approach, i HAD to simulate each piece's particles seperately because they pointed to different "texture maps"... The answer for now was, pull each piece into a single popnet, each in turn plugged into the input1, 2, 3, 4 *luckily there were only 4 pieces*... And then sourcing each one seperately from within the popnet. This allowed me to use a different texture map via the colormapVOPPOP for each of the pieces individually, solving my particle color issue. I just used a collect pop to merge the results. Once again, this led me to believe that if this model was just one piece, with one texture map, things would have been much easier. I kept considering just going back to maya, and trying to make that happen, but just continued on in houdini for the time being anyways. 3. Finally, everything was set up, i just needed to get the alpha information back on to each piece individually, and apply the material. Alright, but "darn", the materials were VEX FBX SURFACE SHADER, that when I rendered, i noticed didn't seem to recognize alpha! So, i couldn't actually edit the vopnet since it was VEX. I'm not very proficient in VEX, so when I took a look inside, I saw a few places that maybe i could try and tweak, but just decided to stay away. I just found an aluminum material that i could edit the vopnet, and just multipled the "alpha" by the "specular" contribution... this did the trick! AWESOME! 4. Lastly, here was the next issue that i'm faced with now. I cached multiple sims to disk with different seeds... created geo nodes for each cache, used the delayed load shader on each geo node, turned on point rendering and RENDERED the sequence... When I got the results, i noticed, DARN, oh yeah, the "materials" lighting information isn't captured with the "particle" color. So, i see a nice shiny can, with specular highlights and all, but as soon as the particles are generated they are "plain flat metal" color with no lighting. This is where I am now. Currently i'm looking into "baking" out the material information found at this article. I'm running into some issues though and my hunch is it's got to do with the individual pieces. If I select my "final merged can" that has all of the pieces with materials, merged into one final node, and use that as my "geo node" to bake from, i get a beautiful texture map with lighting baked, but i can't seem to APPLY it correctly BACK to the model. I tried just adding a material to the merged pieces, and pointing it to a constant shader that points to the "baked map"... but it's as if there are "NO UVS" on the geometry pieces... So I tried a uvproject *which i don't think is correct* because the uv info is supposed to be there already, i mean the textures show up correctly before hand, with the original materials... so uvproject just doesn't seem right, but anyways, i tried it, i was able to see the texture map, and it looked correct, but of course, as soon as i looked at a different camera angle, the texture map was indeed "stretched and warped" because it's being projected! This isn't right. Just not sure how to fix it. Anyways, that's it for now, if you've read this far, WOW thanks so much! I really appreciate that. I tried to document all of my findings and learning so far through this little endevour. I hope that by the end, i have a very nice beautiful render that has been well documented in all of the approaches and ways to go about something like this for the different particular cases in the end contributing to the learning of anyone else who finds themselves with any of these particular case scenarios found out in here. Thanks again so much, Jonathan coke_can_disintegration.mov
  2. Samsung 950 Pro JUST showed up on amazon and newegg for pre-order! Here is an article on this monster = http://arstechnica.com/gadgets/2015/10/950-pro-review-samsungs-first-pcie-m-2-nvme-ssd-is-an-absolute-monster/
  3. optimal disk storage

    Hey everyone, Finalizing my new pc and just trying to decide what would be the most optimal use of ssds/hdds. My current thoughts are: 512 gb m.2 nvme os and apps 1tb samsung 850 pro ssd sim cache 1tb samsung 850 pro ssd current work files 2 x 4tb HDDs file storage and backup (thinking to go raid 1 with this) Some questions that I have: Is it better to have work files on separate drive as the cache? How about rendering. Example: Should I have .hip file + assets on one drive, simulation cache on a separate ssd, and then a third drive that I render to? My second question is about the storage and backup HDDs. Would you suggest the 2x4tb HHDs in raid 1 for my older work files (storage)? Then maybe buy a NAS device, and use it to backup the data from my raid 1? There shouldn't be any issue using NAS drives for my storage and backup NOT actually used in a NAS? Only reason I ask, is because there are some really nice HGST Deskstar 4tb NAS on sale for real cheap atm! So, i'm just trying to have a nice organized setup, with top efficiency. I'm open to any and all suggestions. Appreciate your advice! Thanks
  4. optimal disk storage

    Well, I don't actually have the drives yet. Trying to get advice from others who may have already discovered an optimal setup for themselves. But I will definitely test out whatever I do end up buying. But that would be pretty nice if I didn't need to actually split out the assets. I do think I will still use one for cache, and then one for files/renders, just because the sim caches can get so big, that I don't think there will be enough space to share it with other files. In fact, I may even need to just use a large HDD as my sim cache drive for huge sims, because 1tb won't really be enough anyways!
  5. I hope Houdini can keep up! I want to use one NVMe for os/apps and one for cache/sims i/o. Samsung will release their 950 pro's in October supposedly: (right now, you have to check the actual part number in order to determine if a SM951 is NVMe or not)! http://www.trustedreviews.com/news/samsung-launches-nvme-m-2-950-pro-ssd-for-the-masses
  6. DUAL Xeon Cooling.

    For those of you that are running the dual xeons, have you done any benchmarks on large sims, with your dual xeon setup vs single cpu? I'm torn between building the dual E5-2630v3 2.4GHz 8-core vs single E5-1660v3 3.0GHz 8-Core or even an i7 5960x (3.5GHz 8-core). I'll be concentrating mainly on large sims. (the idea that i can upgrade more than 64gb ram later on) steers me towards the E5's for both dual or single cpu setups (over the 5960x). I would just love to know if anyone notices any big boosts in performance with one setup or another on these types of sims.
  7. I was wondering the same thing. Glad to hear I don't need to buy 2 m.2s for raid 0!
  8. Reel 2012 / In progress

    Nice reel! Glad you are back!
  9. Digital pyrotechnics

    This looks amazing!
  10. pyro beginner question

    1) Depending on how you have painted your fuel and temperature, the temperature, if above the ignition threshold in the combustion model of the Pyro Solver, causes the fuel to burn. Burning fuel will release more temperature, gas and soot (smoke)... This answer your question? 2) Pyro's Burn Field represents the fuel that is burning... You'll notice that Burn only occurs in areas where there is fuel. It does not advect and move around on it's own. Since, Burn doesn't look very fantastic for "fire", the Heat Field was created. This field actually gets advected and is often used to render as fire.
  11. Hello all, I'm using a cvex, vex volume procedural, and billowy smoke on a volume. I was just curious how in the cvex, i could have a fade off from the center of camera" outwards... I essentially have a noisey volume at the moment, all done in the cvex with noise... I'm sure I did it wrong, but I was trying to use a transform vop in the cvex to take the position of the volume, and change it to camera space... and multiply that with the volume... but it's definitely not right. it made two grid like slices through the center of the volume like target cross-hairs. Well anyways, if someone has a solution, i'd love to hear it! Cheers, Jonathan
  12. cvex and vex volume procedural questions.

    sweet thanks. so my way is bugged? any thoughts about how to get the tunnel carved out based on "camera"... center of camera outward? Cheers, Jonathan
  13. cvex and vex volume procedural questions.

    Hello all, i've made a simplified version of what i'm talking about. I'm still quite stuck trying to understand if this is a bug or if i'm just simply doing something wrong. volume_atmosphere_tunnel_odforce.hip
  14. ripple solver - high frequency

    Hey everybody, I'm currently playing around with the ripple solver and trying to get high frequency ripples by shooting metaballs copy stamped to particles, piped into a magnet, to "deform" the ripple surface, generating the ripples. The thing is, if I shoot a high number of particles, i get this permanent "dent" in the surface, until the emission stops or alternatively, a harsh up and down pop almost, of the metaball/surface intersection point, but it does generate a lot of ripples. If i space the particles temporally with less frequency to try and solve this, then I don't get enough ripples.... I essentially want to be able to have ONE impact, and have it generate like 8 thin, detailed, high frequency ripples... *or something along that line* Can't wait to hear what you're thoughts are! Jonathan
  15. ripple solver - high frequency

    Hey thanks Macha, Sorry for the delay in responding. Just been insane busy at the moment. I needed to get incredibly high frequency, very small wavelength, ripples. I found that to be incredibly hard to achieve! Thanks, Jonathan
  16. cvex and vex volume procedural questions.

    thanks tjeeds, i'll look into that. in the meantime. i'm getting a result that i do not expect that does not look like my viewport. using cvex, i'm creating a noisey volume... i want a tunnel that goes through the volume... so for the time being, I took the bounding box in x and the bouding box in y... and then used a ramp on each of them, to take the .5 values to 0... and ramp up to 1 on both sides of .5... i then add the two together and multiply the "noisey volume" by this added bounding box, ramp combination... In my viewport, I get what i want. a noisey volume with a hole in the middle. when i render it though, i keep getting volume where the HOLE is... i've tried making my ramps much more extreme on the bounding box ramping... the viewport shows the hole getting larger, but once again, when I render... it's like it did nothing. Does anyone have any clue what could be the cause of that? Thanks, Jonathan
  17. cvex and vex volume procedural questions.

    for the time being, i took the bounding box in x and y, plugged each to a ramp and multiplied that with the noisey volume. That makes a hole with falloff, in the center bbx and bby of the volume. This only works well for a camera translating in z... still looking for a way to have this all cam based.
  18. ripple solver - high frequency

    Yeah it seems so, but in order to get high frequency waves, i need to shoot the metaballs pretty fast... where "uneven" spacing, isn't really possible. I noticed that when I turned down my meta weight a bit, it helped... though the ripples begin to get a bit faint. There is kind of a new problem i'm trying to solve now. I've come up with a few solutions, but none that i'm very happy with. Say I have an animation that's 100 frames and a bowl with a ripple surface in it. I want there to be ripples that have already occurred before frame 1... "that calls out pre-roll"... at say frame 50... I have some water droplets that hit the surface, and cause more ripples... which in turn reflect and do fun things with the ripples that were prerolled in. Here is where I get a bit curious... Now say the wave speed is too fast... I need to make it half as slow. But I still need the water droplets to hit the surface at frame 50 and cause ripples. So I cut my wave speed in half. I now preroll like 150 frames and see where the waves end up. seems with half the wave speed, the waves hardly moved... I battled with conservation and wave speed settings... and it seemed the only way to get the waves to run at the "half speed" and actually have reached the edge of the bowl... and allow my water droplet to hit at frame 50... is to preroll like 400 frames... So that led me to a couple different ideas. I tried to scale down the water surface. run the ripple solver, with a lower wave speed, but it's technically "less" distance to travel.. and then invert transformation after the dop import. Seems to pretty much just be the same problem as before. Later, since I just needed to get something done... I used a timewarp on the ripple surface... and slowed it down.... this doesn't solve the water droplet hitting at frame 50 though... because now it's been offset. So, seems like I might just have to preroll a ton of frames and see where the waves end up! Let me know if i'm thinking about this in a more complicated way than it really needs to be. Anything would be of help to me! Thanks, Jonathan
  19. Hello all Right now i'm a bit brain dead on rotations, particles and having a transition from a rotation to a different rotation. I'm attaching an example. It's a bit messy because it has quite a few failed attempts tossed around. Imagine a vine, swinging around in the wind. Attached to the vine are some arrows, that are dangling around like leaves in the wind, rotating and swinging as the vine swings... After a certain magnitude has been reached *calculated from the velocity of the vines*, I want the arrows to release from the vine, and then begin a "new" rotation, towards their flight velocity direction... rotating essentially from their "swinging" rotation, to their velocity direction! I originally was able to get this mostly accomplished using copy stamping, and using some stamp parameters in the rotation channel... however, i will not be "copy stamping" in the end, but instead delayed loading. Therefore, I need to get the "orient" or rotation actually occuring on the points. Please if you have any ideas, that would be fantastic. You will also notice, in my vopsop, where i was attempting to get some rotations to occur, that I only have it happening for one axis! I was a bit lost on how to get it for multiple axis at the same time! Cheers, Jonathan arrows_take_off_from_some_vines5.hip
  20. Thanks! That did the trick with some modifications. I still would like to learn more about matrix rotations and quaternions. I was trying to do this with that kind of an approach but was stuck. Some day when I get time, i'd like to study the whole rotation thing a bit more. It seems very essential. I just wasn't sure about the math. Anyways, Thanks again! Cheers, Jonathan
  21. Side Effects Internship

    Hey Everyone, I was just offered the Side Effects Houdini Artist/ Technical Internship in Santa Monica, which of course I accepted without hesitation! We all know it doesn't pay much but the experience is invaluable and to me it's truly the place I really wanted to be right now. Finding an apartment is going to be a little tricky so if anyone is reading this and needs a roommate in that area let me know! I'd like to show you my portfolio website so that those of you that are considering the internship, have some idea of what is acceptable to get the interview! My demo is at www.itriix.com. I also cut together an all Houdini extras video that I showed at my interview, that consisted of many tests and explorations, just to give an idea of the multitude of areas i've explored so far in Houdini. (When I get a little extra time, i'll put that up on my website too)... I'll try my best to post what i'm working on and all of my experiences. To be honest, I just can't wait to get started. Also, good luck to any of the future internship candidates! I hope to see you soon. Please feel free to ask any questions that you might have about the internship or houdini in general! Cheers, Jonathan
  22. Side Effects Internship

    quinniusmaximus ~ Thanks! I will definitely keep everyone posted. I'm busy trying to relocate at the moment now. Erik_JE's response is right! The Career page under the SESI homepage are where the internships are located! Nerox ~ I will be in the Santa Monica office. I believe that I can transfer to the Toronto office after a few months if I want to. To be honest, I could continue learning Houdini and be mighty happy! In reality though, i'll be trying to find a more permanent solution. Thanks everyone, Jonathan
  23. Side Effects Internship

    Thanks! That's awesome dude. Yeah I was reading you're posts about you're experiences there. So congrats to you as well. I have a feeling it's one of the best decisions i've ever made too. I agree @sidefx.com is a pretty exciting address to take on! haha. As for my motivation and training, i'm going to milk everyones brain! Seriously, I intend to learn EVERYTHING I can while i'm there. For the longest time, I wanted to participate in all of the SESI classes but since I didn't live in the area, I couldn't go. I'm very excited to finally get to join in those. The other thing is, it's obvious that the people are going to be awesome since they love Houdini! I'll for sure be posting my experiences! Take care man! I hope you continue working hard while your there. Cheers, Jonathan
  24. Houdini 11 Released

    Congratz on the new release!
  25. ilm's plum gpu simulations

    awesome! i'm still just trying to get fire to look realistic in houdini!