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Found 55 results

  1. HI My extended ocean have very high specular and I couldn't reduce it or ged rid of it. My lighting rig is Sky Light light, rendering in Mantra using the default ocean surface shader. I tried everything i know the specular is still there, even when when lights are off , I have turn off the "reflect lights" option, the specular is gone but I end up with a flatten not nice look.. Attaching frame example Thank you!
  2. hey guys. I'm a little in trouble. Arnold mesh light doesn't work well though I've tried it in the documentation and the topics here. Attach hip data. What is the problem? meshlight_test.hip
  3. Hello! I'm a student in fourth year in Animation/VFX at Filmakademie Baden-Württemberg, currently starting production on our diploma project including some really awesome VFX shots. The film is a 2 minute social spot promoting renewable energies for private households, the title is "Mother Nature's Power". The story will be told with footage shot in Iceland and in a studio and then some disasters at the film's climax are VFX / Full CG parts. Here are our three key concepts for what we'll create photo-realistically later on: (Oil Rig being crashed by an iceberg) (Coal power plant falling into a sinkhole) (Volcano erupting and the lava turning into solar panels) To get to the point: We already have a big talented roster of film and animation students assigned and scheduled, but we are still looking for help in the department of lighting (Houdini/Redshift/Arnold) and assets (Anything). If you're a passionate artist looking for opportunities to collaborate then we can provide a platform for potentially awesome portfolio work. We'll be working on this for a year from now and we are very flexible with scheduling. Remote work is no issue at all as well. If you are interested, I can send you a project folder with details about our concept and approach as well as our animatic that is almost final and we can talk further. If you wanna know more about the heads of this project, here is the vita from me and the 2nd VFX-Supervisor on this project Lucas Bruchhage: https://www.linkedin.com/in/martin-egger-3d/ (Aixsponza, Mackevision, MPC) https://www.linkedin.com/in/lucas-bruchhage/ (Framestore, MPC) The main director that I share co-direction with is Nicolas Bori, student in Advertising Direction with a lot of production experience also. Check out his website here: https://www.nicolasbori.com/ We're looking forward to hearing from you! Cheers from Stuttgart, Martin Egger Contact: martin.egger@filmakademie.de
  4. Quick question. This is the diffuse AOV from a render using nothing but a distant light. To give you an idea, this scene is rather large. The geometry in this scene is a ocean volume and a plane. I have removed the displacement map from the material to isolate this as much as possible. I can not for the life of me find what sampling quality I'm missing here. Does anyone recognize this kind of circle pattern coming from the light?
  5. How can I render my particles with the isotropic volume lighting model and get self shadows? Its like there is no occlusion and I can see my particle field from one way to the other side, and I can't distinguish wich are in front and wich are in the back... Cheers, Diogo
  6. I am experimenting with creating an adjustable procedural softbox texture using a COP node. It's working well, but I am not getting interactive updates with RS IPR renders. I have tried using it as a texture on a RS area light, and as an emissive texture on an RS material. It works in both, but neither has live updates in the IPR window - manual refresh works just fine. I am wondering if there is a way to wire this up better to do that, or if this just not something that is possible? Current path in the texture slots: op:/img/img1/Softbox_Gradient_Builder_COP1/subnet1/softbox_out COP node:
  7. Hi everyone, we meet a problem here. Our group are using Houdini to do the sand interaction effects, but we do the lighting in Maya. How could we do the transfer? For now, we just do the lighting in Houdini to try to match the lighting which we did in Maya. We use the Maya engine to import the sand particles from Houdini, but it occupied a lot of virtual memory. Is there anyone could help us ? We hope to find out how to solve this problem. Thanks a lot!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Looking forward to any suggestions!!!!!!
  8. Senior artists Wanted

    Calling all Character FX, Lighting and Environments/DMP artists! We are after Senior Artists immediately for short term work until December. Come and join our wonderful studio in beautiful, sunny Adelaide. If you are available, submit your interest below! Lighting (Katana skills required) https://www.smartrecruiters.com/MPC/743999692215810-lighting-key-artist Character FX (Maya and Houdini required) https://www.smartrecruiters.com/MPC/743999683070101-character-fx-artist Environments https://www.smartrecruiters.com/MPC/743999691502006-environments-artist Digital Matte Painting https://jobs.smartrecruiters.com/MPC/743999693384233-digital-matte-painters If now isn't the best time, it would still be great to hear from you so we can keep you in mind for future opportunities. Please make your availability clear in your application.
  9. Houdini Rendering Issue

    Hello, I am needing advice/solutions in regards to my current pyro render in H17. I am doing a volcano plume with some billow smoke, I have a pyro shader sourced into a OBJ merge for my Mantra. I also have a directional light and an environment light that has a 2k IBL. The sampling on my environment light is at 10 and also my mantra pixel samples are at 12x12 and I seem to not be able to get rid of this flickering happening with my environment light. I have looked all all sorts of setting and such changed my HDR to a .rat yet it still doesn't see to remove this flicker. My camera is set at 1080 and is doing a slow pan over 300 frames. Would anyone be able to advise what this may be? Thanks, K
  10. Houdini or Katana

    Good morning everyone, My current studio is deciding to migrate from Maya for lgt. We have been checking Katana, however, Houdini is already part of our pipeline and I was wondering if moving to Houdini could really improve the workflow comparing to Maya to the point we can consider Houdini instead or Katana. My question is, would you recommend Houdini for a full Arnold base lighting workflow and what would be the benefits or cons against Katana? Thank you,
  11. Hi all, I'm getting some unexpected behavior when I try to light my scene. I've got a particle sim, and I want those particles to illuminate the scene, so I assigned a Geometry Light to them. However, it's not acting as I expected. For one, cranking up the Intensity of the light does nothing. In the viewport, I can see the scene getting brighter, but in the render there is zero difference between an Intensity value of 1 vs 1000. Another odd behavior is that the light in the render seems to be dependent on where my display flag is set in the particle network, rather than the node that I told it to point to. I'll upload my hipfile to illustrate better, but basically I've got two null coming after my particle sim. One has a vop where I'm cranking the Cd way up, and the other is just the vanilla result of the particle sim. Even though I set my Geometry Light to point to the one with the overblown Cd, if I move my display flag to the other null then that is what gets used for the render. This illustrates the third strange behavior to me, which is that cranking up the Cd values makes my light brighter. Like the Cd is acting as the Intensity parameter, rather than the actual intensity. So in order to make my light actually illuminate objects, I have to completely overblow my Cd and ruin the color of my particle sim. Are these supposed to work this way? All three seem odd to me. If I've got something set up incorrectly though, please let me know. Thanks, -Chris particle_lights.hipnc
  12. Thistle One

    Hey all, this is a collaborative project directed by Bobby Beck from Pixar (ex employee) and a bunch of artists from all over the world. My role was FX lead/sup so I did both shot works and lead roles on the FX side. All done in Houdini and rendered in Arnold. Thanks for watching and feel free to share it all over. https://www.youtube.com/watch?v=sl0J4XoARjk
  13. Hello! I'm working on a custom toon shader. As a basis I want to use the lambert lighting model as described in the tutorial embedded below. To test this I created a very simple scene with a sphere placed at the origin, a point light and a material with the material builder applied to the sphere (see image below). Now, here's the problem: The shading of the sphere is incorrect as soon as the point light has negative coordinates. It seems as if the surface_global's P and N are expressed in a different space compared to the point light's position. This happend with Mantra as well as Redshift (where I used the same setup as in the video below, apart from getting the light's position through a constant and channel references). Am I wrong to assume that P is the world position of the current point being shaded and N is it's normalised normal? Is this the wrong way to get the light position into the shader? I spent some time testing and searching on the internet but I couldn't find anything that clarified these quesitons sufficiently for me. custom_lambert.hipnc
  14. Hey gang, I'm starting to light more and more and was wondering if anybody had forum recs... I haven't found anything CG-centric that I like yet, although some of the advice posts on cinematography.com are fun to read.
  15. Is there a way to feed in say 5000K as my light color in the Color Editor? I see there is a temperature slider in the TMI section but I don't understand how its [-1, 1] range maps to the normal black body gradient. Specifically, when it is at the lowest it seems to be a bright yellow instead of a deep red. Also (off-topic) is there any quick way to get a light to "look at" an object? I see there is a constraint I can add but I just want to do it quickly and interactively in the viewport.
  16. Hey everybody! I am trying to work up my skills in surfacing by competing in this month's RenderMan challenge. I am currently using Mantra (because the RfH for RenderMan 22 doesn't come out for a few more weeks) but I have a few extremely basic questions about the workflow. I am using the Lookdev desktop, and using the built-in test geometry. 1. In the light bank data tree, I am only able to change intensity but not exposure. How can I change this? Do most lighters work in intensity or stops? 2. In the object appearance data tree, I am only able to assign materials at the object level. Is it possible to assign materials to groups from this UI? 3. When you lookdev terrain, is it more normal to scale your uv coordinates in the shader network or go back to the geo and use uvtransform to scale tiling textures up and down? Or do most people just use triplanar projections on background buildings and landscapes? 4. (Technical) I was looking into light instancing and found that with the template light you can write your own light shaders. But is that only in /shops? What is the current /mat way to write a light shader? 5. (Technical) I noticed that render times are faster with packed geometry, but then I lose all my material assignments. Why is rendering packed geometry faster? What is the currently accepted way to lookdev packed geometry without losing all your material assignments? 6. (Technical) How does light instancing work? It seems a little strange to me that the instancing tool is completely separate from the copy-to-points SOP. Is the instancing tool just running a for loop at IFD creation time? Are there any other common approaches to procedural light scattering?
  17. Hello! So I just started dabbling in FLIP and have a little river scene everything looks decent except for the whitewater. It takes forever to cache but I have the rasterized particles cached out and the standard particles will be finished caching later this evening. I've played with the spray shader but it looks kind of weird when applied to the rasterized particles, especially with the noise parameter that's [on] by default. I also read a few posts that suggested trying a billowy smoke shader instead. That made it look much better but still not correct so I figured I needed the regular particles cached in addition to the rasterized ones. If that's so they're caching now, but when they're finished what do I do with them? Last time I had whitewater particles cached they just rendered as spheres because of the pscale, am I supposed to mesh them like the FLIP and then layer them? I can post some screenshots once my cache has finished.
  18. Hey ODforce! I recently published the next installment of the Houdini For The New Artist series. This course is all about making Houdini easier to learn, and you can watch the first chapter for free! Here's the link: http://bit.ly/2okYpY4 Some of the main topics include: Chapter 1: How to understand and set up DOP networks Using SOP attributes with the dynamic context Forces Particles Life & Variance How to use groups Rendering Particles Sub-steps, Sub-frames, & Time-Steps Caching Sub-steps & Practical Applicaitons Chapter 2: Texturing & Lighting Techniques How to Integrate a Substance Painter Workflow with Houdini Spot Lights, Area Lights, & Artistic Considerations When Placing Key Lights Utilizing Light Attenuation Gobos Aim Constraints, Near-attenuation Techniques for Reading & Emphasizing Form While Lighting How to Make Light Blockers Shadow Masking Techniques for Controlling Light Placement Component-based Lighting Light Linking Chapter 3: HDAs, Velocity, Normals, and & VOPs What is an HDA? How do you make one? Data Types & Adding user Parameters Booleans, Switch Nodes, & Parameter Behaviors Additional HDA Modifications What is Velocity? What are Normals? An Introduction to the Point Wrangle Introduction to VOPs How to Blend Materials Basic Noise Parameters Additional VOP Techniques Chapter 4: Geometry Types, Animation, & CHOPs Geometry Types & Attributes Introduction to Volumes Animation Basics Channel Groups, Animation Layers, & Motion Trails Introduction to CHOPs Curve Constraints, CHOPS with DOPs, & Additional Settings Chapter 5: Rendering & Compositing Introduction to Multi-pass Compositing Rendering Concepts How to Use Takes Rendering Multiple Jobs De-noising passes Compositing Basics with Houdini Thanks for watching! - Tyler
  19. Houdini For The New Artist

    Download the Course Files & Watch for Free at CG Circuit https://www.cgcircuit.com/tutorial/houdini-for-the-new-artist Hello ODFORCE! I'm very excited to share my first Houdini course titled: Houdini For the New Artist Houdini for The New Artist is perfect for anyone interested in learning Houdini for the first time. To keep things interesting, we learn about the basics while building "Alfred the Rhino" from scratch. If you're looking for an intro tutorial that gives you a bit of everything, fun to work with, and straight to the point - this is for you. Be sure to check out the full course and download the course files and practice along. Thank you for watching! Course Outline Intro 42s The Interface 12m 26s Setting up Our Project 12m 53s Utilizing Attributes 10m 47s Caching 8m 23s Applying Materials 9m 55s Adding the Backdrop 6m 41s Basic Shading Parameters 5m 36s Lighting 9m 30s Rendering 12m 29s
  20. Houdini Lighting Artist - Interference Pattern

    Houdini Lighting Artist Interference Pattern are recruiting for a full-time Houdini Lighting Artist. The Role We are looking for a Houdini Artist to take a lead lighting role on projects. An ideal candidate would also be skilled in Nuke (or similar compositing package). The Role requires a broad knowledge and experience of the entire 3D Pipeline, with a focus on producing polished lit shots. We appreciate that potential candidates may have varying levels of experience; we are primarily looking a proven track record in turning out great looking work using Houdini and a candidate who can demonstrate a strong sense of visual aesthetics. Responsibilities Responsible for final Houdini 3D scene assembly and output, including Digital Asset creation, setting up lighting and rendering final outputs. Working closely with a project’s creative team, directors and clients to define the best approach and execution for projects. Optimize and troubleshoot lighting and rendering problems. Additionally candidates may be asked to work on compositing final shots dependant on experience. Shading/texturing work as and when required. Requirements Demonstrated knowledge and experience of Houdini within a production environment. Strong understanding of multi pass 3D rendering and compositing. Strong understanding of lighting/shading/texturing principles and techniques. Knowledge of rendering techniques and optimization processes to minimise render times. Ability to work within a style established by the Client / Creative lead. Experience with Nuke or similar compositing package (eg Fusion). Programming or scripting skills would be beneficial, but not essential. Ability to problem solve and predict potential problems. Strong communication skills are critical. Artist must be able to work within a team, taking direction and exercising attention to detail. Solid work ethic and a positive attitude in the face of challenges Strong time management skills and organization. Minimum of 3 years production experience and a degree qualification required. If candidates do not possess a degree, 5 years production experience required. Degree and work experience requirements may be waived if candidates can show exceptional skills. Currently be able to work in the UK. Able to be located on-site in Edinburgh About us We are a small and perfectly formed animation studio based in Edinburgh, one of the most beautiful cities in the UK. We do a diverse and interesting range of work, including documentary features, commercials and original shorts. Application process To apply, please send us your CV, cover letter and links to an online showreel or portfolio to info@interferencepattern.com Job Type: Full-time
  21. Hi all, I'm confounded by a scenario and I'm hoping that someone else might have run across this. I have a light shader assigned to a Light Template object: let's call it myLight. It behaves as expected for non-motionblurred frames. But when I place it inside a subnetwork, put extreme motion in rotation and translation on the subnet, add a generic Light (spotlight) object to the subnet (at the same level as myLight), the generic light motionblurs properly but I get no motion blur my myLight's contribution. Here is the poignant code and information that I can tell: light myLight() { vector Plight = ptransform("space:light", Ps); Cl = max(0, 1-length(Plight*set(1,1,0))); } I am using Houdini 16.5 Mantra Raytrace mode. I am using exclusively xformational motion blur, 2 motion samples. I have the above light shader assigned to a Light Template object: myLight. myLight and a generic Houdini spotlight live in a subnet that has extreme translation and rotation animation. It behaves as expected for non-motionblurred frames, with and without rotational and translational transformations. It looks exactly the same with motionblur turned on, but the light from generic Houdini spotlight motionblurs properly in the same render. The vector version of the transformation, vtransform("space:light", -L); Seems to respect the translation component of the motion blur. BUT NOT the rotation component. So generally, myLight WILL motionblur, but not consistently in the right direction/magnitude. Weird. I have tried using the explicit path of the Light Template and to its containing subnet to see if I could jigger it. And the results are exactly the same: vector Plight = ptransform("/obj/mySubnet/myLight", Ps); vector Plight = ptransform("/obj/mySubnet", Ps); So I am wondering if I'm using the right transformation, the right variables, and if I am to add any special rendering intrinsics to the Light Template object to get the "space:light" transformation to respect the motion blur properly. What am I doing wrong?
  22. Hi, Not sure what is going on here, but if you create a dopnet inside a geometry node, scene lights wont affect pyro in the viewport. If you back out of the dopnet, then you can see the light affecting pyro. However, if your dopnet is at object level lights will affect pyro. Why can't my dopnet be inside a geometry node and have the scene lights affect pyro so I can see whats going on? Photo 1 is inside the dop net. Phpto 2 is inside the geometry node but outside the dopnet. Thanks smoketho.hipnc
  23. Either you are junior, mid or senior, good at modeling, texturing or lighting... No matter what, as soon as you can show a quality portfolio, have interest for Moment Factory's projects (from pure 3D animation to hyperrealistic projects on a variety of multimedia platforms) and looking for versatility in 3D tasks, we have openings for permanent or contract. Here is our content reel: http://bit.ly/2rzJKbE Our works: http://bit.ly/2tJMlAB Please note for urgent matter, we will consider only artists eligible to work in Canada. Please send your resume or LinkedIn profile and portfolio or demoreel to julietb@momentfactory.com
  24. Hope this in the right section, it's a bit of both effects and lighting/shading! I am working on a shot that involves an ocean surface in overcast lighting and I'm really struggling to get it right. I am aiming for something like the attached image but my attempts have come out looking way too glossy/specular by comparison. When I try to push the overcast lighting, I also run in to the problem of the scene really flattening out. How do I keep the detail and contrast in the waves without any bright highlights? I am currently working with mantra but hope to switch to htoa. Thank you!
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