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Found 166 results

  1. Senior DMP Artist

    El Ranchito is currently looking for a qualified Senior DMP Artist to join our team as soon as possible. Type of contract: Full-time. Long-term. Responsibilities: · Creating photo-realistic digital matte paintings and environments for feature films · Assisting and developing the look of a shot or sequence with the supervision team · Work alongside the production team to establish schedules and technical requirements · Works in partnership with shader developer’s, lighters and compositors to ensure shots are delivered to the very highest standard. Requirements: · Minimum 4 years of experience in a DMP Artist role in a VFX studio · Ability to demonstrate proficiency in creating photo-realistic DMPs required · Photoshop CS and a good working knowledge of professional 3D software (e.g. Maya) · Good working knowledge of 2.5D projection (e.g. Nuke) · Good team player · Great communication and problem solving skills · Able to communicate effectively across multiple teams · Fluent Spanish and English language skills, spoken and in writing · Eligible to work in Spain If you are interested, fill up the recruiting questionnaire, and please select Apply for / Other / Senior DMP”: https://www.elranchito.es/es/empleo/
  2. VFX Nuke Compositing Teacher

    El Ranchito is currently looking for a qualified VFX Nuke Compositing Teacher (Nuke) to join us as soon as possible in order to create and teach vfx courses to our team. Description: The VFX Compositing Teacher will create, distribute and teach vfx courses to our artistic team. This person will collaborate with the Human Resources department on the creation of a training department at El Ranchito. This person will also collaborate with the Heads of each departments to create the content of the courses depending on the needs of our team. Duties and Responsibilities: Preparing course outline and monitoring and mentoring students. Adjusting the courses to suit the needs of our team. Set your own hours while you help students learn the subjects you love to teach. Qualifications: Excellent knowledge of Nuke. The ability to teach and manage course content. Deep knowledge of VFX compositing theory: Compositing Pipeline, Colour Spaces, Keying, Lighting, 3d Integration, QC, Rotoscoping.The ideal candidate should have deep understanding of vfx production workflows. Prove professional experience in teaching 2D and professional relationship with VFX and/or Animation companies. Excellent communication skills and ability to creating learning materials. Experience in production of VFX and meeting schedules. Strong understanding of the vfx pipeline. Python scripting knowledge is a plus. Fluent Spanish OR English language skills, spoken and written. Eligible to work in Spain. If you are interested, fill up the recruiting questionnaire, please select Apply for / VFX Compositing teacher”: https://www.elranchito.es/recruitment-2/vfx-compositing-teacher/
  3. Senior CFX TD

    El Ranchito es una galardonada empresa de efectos visuales para películas, televisión y comerciales. Con oficinas en Madrid y Barcelona, en los últimos años El Ranchito ha entregado un trabajo sobresaliente para los principales éxitos de taquilla, que incluyen: Game of Thrones, The Mandalorian, Locke and Key, Lost in Space, Shadow and Bone, Carnival Row y muchos más. . El Ranchito está buscando un CFX TD calificado para unirse a nuestro equipo lo antes posible. Tipo de contrato: Jornada completa. A largo plazo. Descripción: Bajo la supervisión del Supervisor de personajes, Creature FX TD es responsable de proporcionar una amplia variedad de simulaciones dinámicas y plataformas para criaturas fotorrealistas; incluyendo ropa, pelaje, cabello, músculos y piel. Responsabilidades: · Creación de pieles, plumas y cuidados para criaturas fotorrealistas · Desarrollar configuraciones de simulación para criaturas fotorrealistas; incluyendo ropa, pelaje, cabello, músculos y piel. · Implicación en el desarrollo de herramientas y técnicas departamentales · Comunicarse regularmente con Producción y Leads con respecto a los cronogramas y fechas límite. · Ser capaz de trabajar con el supervisor de efectos visuales, el director de CG y el artista supervisor de Personajes para determinar los mejores enfoques y técnicas creativas para todos los diferentes pasos en un proceso de producción 3D. · Ser capaz de entregar el trabajo dentro de los objetivos establecidos del proyecto y los altos estándares de calidad de la empresa. Requerimientos: · Mínimo 5 años de experiencia en un puesto de CFX / FX en un estudio de efectos visuales · Experiencia previa en proyectos de criaturas CG · Excelente conocimiento de Maya · Excelente conocimiento de Ziva. · Conocimiento de Houdini, un activo · Experiencia en la siguiente simulación dinámica: tela, pelo / piel, plumas, piel y músculo · Experiencia en programación con Python, PySide, PyQt, VEX · Experiencia en programación con C ++ para complementos Maya y Houdini, un activo · Conocimiento de las matemáticas relacionadas con el 3D, un activo · Experiencia en la creación de simulaciones de plataformas · Habilidades y experiencia en aparejos · Ética laboral centrada en el dinamismo y la colaboración · Capacidad para realizar múltiples tareas, establecer prioridades y resolución de problemas · Buenas habilidades comunicativas, organizativas, de gestión del tiempo e interpersonales. · Capaz de comunicarse de manera efectiva entre múltiples equipos · Dominio del idioma español e inglés, hablado y escrito · Elegible para trabajar en España Si está interesado, complete el cuestionario de contratación y seleccione Solicitar / Otro / CFX TD ”.
  4. Junior Pipeline Developer

    El Ranchito es una galardonada empresa de efectos visuales para películas, televisión y comerciales. Con oficinas en Madrid y Barcelona, en los últimos años El Ranchito ha entregado un trabajo sobresaliente para grandes éxitos de taquilla, que incluyen: Game of Thrones, The Mandalorian, Locke and Key, Lost in Space, Shadow and Bone, Carnival Row y muchos más. El Ranchito está buscando actualmente un Junior Pipeline Developer para que se una a nosotros en nuestras instalaciones de Madrid. · Tipo de contrato: Jornada completa (100% remoto) · Duración del contrato: Larga duración Descripción del trabajo: El Pipeline Developer es responsable del diseño y desarrollo de flujos de trabajo y herramientas para facilitar el proceso de producción de nuestros proyectos. Además de tener sólidas habilidades técnicas y de desarrollo de software, Pipeline Dev es un excelente comunicador, capaz de comprender y comunicarse de manera efectiva entre desarrolladores y artistas técnicos y no técnicos. Requerimientos: · Capacidad para comunicarse de forma clara y precisa · Excelentes habilidades técnicas para la resolución de problemas · Una actitud positiva y colaborativa · Gran interés en las tecnologías actuales y emergentes · Autónomo · Capacidad para trabajar con plazos ajustados Habilidades y experiencia deseadas · Se prefiere un título en ciencias de la computación, matemáticas o ingeniería · Competente en Python 2.x / 3.xy / o C ++. · Se prefiere experiencia previa con sistemas de control de revisiones como Git o SVN. · Sería útil tener experiencia previa con PyQt o PySide. · Es preferible una sólida comprensión de los procesos de producción para cine y televisión. · Competente con una o más API de software: Maya, Houdini, Nuke, Arnold, Vray, Deadline, Unreal Engine y Shotgun · La experiencia con el diseño o desarrollo del sistema de gestión de activos de efectos visuales es una ventaja. · La experiencia con Unreal Engine es una ventaja. · También consideraremos artistas técnicamente capacitados para el puesto. · Dominio del idioma español e inglés, hablado y escrito. · Elegible para trabajar en España Envíanos tus datos a través del cuestionario de contratación que puedes encontrar en nuestra web: https://www.elranchito.es/recruitment-2/ . Seleccione Solicitar / "Programador de I + D".
  5. Mid Pipeline Developer

    El Ranchito is an award winning Visual Effects company for films, television and commercials. With offices in Madrid and Barcelona, over the past years El Ranchito has delivered outstanding work for major blockbusters, including: Game of Thrones, The Mandalorian, Locke and Key, Lost in Space, Shadow and Bone, Carnival Row and many more.. El Ranchito is currently looking for a Mid Pipeline Developer to join us at our Madrid facility. · Type of contract: Full-time (100% remote) · Duration of the contract: Long-term Job Description: The Pipeline Developer is responsible for the design and development of workflows and tools to facilitate the production process of our projects. In addition to having strong technical and software development skills, the Pipeline Dev is an excellent communicator, being able to understand and communicate effectively between technical and non-technical developers and artists. Requirements: · A degree in computer science, math or engineering is strongly preferred · 3+ years of experience in Visual Effects, Computer Animation or other related fields. · Advanced in writing well architected, documented and tested in python 2.x/3.x and/or C++. · Experience with revision control systems such as Git or SVN is prefered. · Experience with PyQt or PySide. · Advanced skills with one or more software APIs: Maya, Houdini, Nuke, Arnold, Vray, Deadline, Unreal Engine and Shotgun · Experience with Visual Effects Asset Management System design or development is a plus. · Experience with Unreal Engine is a plus. Desired skills and expertise · Ability to communicate clearly and precisely · Excellent technical problem-solving skills · A positive and collaborative attitude · A keen interest in current and emerging technologies · Autonomous · Ability to work with tight deadlines · Fluent Spanish and English language skills, spoken and in writing · Eligible to work in Spain Please send us your details through the recruiting questionnaire that you can find in our website: https://www.elranchito.es/recruitment-2/. Please select Apply for / “R&D Programmer”.
  6. Fire Spell VFX

    Hello guys! Does anyone know how I can achieve this pyro spell effect? https://www.artstation.com/artwork/xJx1l4
  7. VFX Artist, 3D generalist

    Hi, I'm Vincent Gannier, a french 4th year student in south of France. I fell in love with Houdini some months ago and now I dream to become a VFX artist in London or anywhere. Here is my demoreel : https://www.artstation.com/artwork/xJPoJX I'm looking for a summer internship in UK, France or anywhere you want. I want to be useful, learn as much as possible and I highly motivated, really. Feel free to contact me on my LinkedIn https://www.linkedin.com/in/vincent-gannier/?locale=en_US or by email vincent.gannier@gmail.com Thank you for reading me and I wish you an excellent day.
  8. 3D Generalists and Houdini Destruction Specialists

    Hi guys, Come and join us for our new project! We'd love to get in touch with you, especially if you're a well rounded and seasoned 3D Generalist or Houdini destruction ninja with the skills outlined in the flyer below! Vancouver/B.C. area locals only please! You can check out our latest reel here: Cheers, Manu
  9. FFX Align To Curve

    FFX Align To Curve HDA FFX Align To Curve brings a faster system for customizing orientation of geometry along the length of a curve. Working with point data directly, a user is easlily able to develop in realtime their desired orientation data. A clear adjustable guide system shows exactly which direction your geometry will orient towards once copied onto the processed points. Scaleable arrows reveal the primary tangentu orientation and travel direction along the curve. Auxillary normal and bitangent markers reveal the other axis orientations. Features include: - Guide scaling, opacity, and color. - Offset parameter to slide points along curve. - Reversible orientation direction - Roll, Pitch, and Yaw controls that can be varied over the length of curve. - Pscale (scale) point attribute that can be randomized and varied over the length of curve. - Cd (color) point attribute that can be varied over the length of curve. - Separate head and tail point breakout to allow for unique geometry from the main curve. - Plus other adjustment, and output options. Video Tutorial: https://vimeo.com/478682335 For more information please visit https://fendrafx.com
  10. Idea VFX pipeline for Houdini

    Hey, This is a very broad question but being somewhat new to Houdini (not vfx in general) I thought it would be worth asking people with more Houdini knowledge than myself. We are a small VFX studio and we have recently switched to being fully Houdini, as in, everything but some modelling, rigging and animation will be done in Houdini. We are also using Arnold for rendering. I've been looking at ways we can handle things like asset management through houdini, for instance creating a chair asset from modelling to lookdev and ending up with a final asset to then be referenced in shots for rendering. Obviously there are many ways of doing this, I've seen houdini HDAs which seem like they could be the way to go but I'm wondering how other studios are working with Houdini, not just single artists. Any links or information to research would be much appreciated.
  11. I'm having different results in my simulations using packed rbds connected only to a bullet solver vs when using a POP source to emit the rbd packed object into a popsolver/bulletsolver multisolver. The bulletsolver alone is giving me the expected results... I've seen some tutorials and tips by artists that recommend the multisolver approach, because it allows control of the RBD sim using pop forces and wrangles, and thats why I'm asking this. bullet_solver.mp4 rbd_multisolver.mp4
  12. When you have complex ocean spectra layered together using masks with varying speeds, and even animated timescales, retiming them while keeping the same approved look becomes a technical challenge. In this lesson you will see how to achieve this as a procedural post-retime operation, without having to modify any ocean spectra individually.
  13. Hello everyone ! In this introduction, I have created an asset ES voronoi chunk. Also is included the workflow. I thank all the odforce users given that I understand Houdini in this forum. I have not contributed as much as them, but I achieved to learn from the users and I thank you again! I hope that with my work, I can contribute to be part of knowledge sharing of this forum. Watch > https://youtu.be/x6CaCquqeYg Download Hda > http://www.thevfx.net/albums/wall-destruction-houdini/ http://www.thevfx.net/
  14. Hello Everyone, This training series we will look at the basics of the Houdini particle system and also cover a variety of POP nodes to better understand how the Houdini particle system works. The training will also go through a variety of small projects that will combine a variety of POP nodes, smoke simulation, RBDs and various sop level tools to create a range of effects. The first 100 sales will get a 50% discount. for more details kindly click on the link given below https://www.rohandalvi.net/particles
  15. After more than 5 months of unimaginable amount of work, I am proud to release my first in-depth Houdini course on VEX More details in the video description and the website. Active Patreon members will receive additional discounts proportional to their lifetime support (25% of their lifetime support). Message me on Patreon for your discount coupon. Enjoy! Table of Contents 01 - Introduction [Point Clouds] 02 - Introduction [pcopen() vs pcfind() vs nearpoints()] 03 - Introduction 04 - Implementation 05 - pcfilter() Implementation for pcfind() 06 - pgfind() 07 - pcfind_radius() 08 - Excluding the Current Point & Ad-Hoc Groups 09 - Finding Min & Max Neighbour Points [Unique Pair Matching] 10 - Concept 11 - Implementation [Camera Based Occlusion with Variable Pscale] 12 - Concept 13 - Implementation [Uniform Point Distribution Over Polygonal Surfaces [Point Relaxation]] 14 - Concept 15 - Implementation 16 - Decoupling Operators [Convolution Kernels] 17 - Introduction 18 - Border Handling [Connectivity & k-Depth Point Neighbours Using Edges] 19 - Introduction 20 - Concept 21 - Implementation [Connectivity & k-Depth Point Neighbours Using Primitives] 22 - Concept 23 - Implementation [Extending k-Depth Point Neighbours Using Edges] 24 - Introduction 25 - Concept 26 - Implementation [Extending k-Depth Point Neighbours Using Primitives] 27 - Concept 28 - Implementation [smoothstep() [Cubic Hermite Interpolation]] 29 - Concept 30 - Implementation [Shaping Functions] 31 - Introduction 32 - Implementation 33 - Blurring Attributes [Sharpening Attributes Using Unsharp Mask] 34 - Concept 35 - Implementation [Generalizing the Kernel Code to Handle All Attribute Types] 36 - Concept 37 - Implementation [Attribute Gradient] 38 - Introduction 39 - Concept 40 - Implementation [Gradient Ascent & Descent] 41 - Planar Geometry - Introduction 42 - Planar Geometry - Concept 43 - Planar Geometry - Implementation 44 - 3D Geometry [Contour Lines] 45 - Introduction 46 - Concept 47 - Implementation 48 - Heightfields [Geometric Advection - Orthogonalization & Flowlines] 49 - Introduction 50 - Concept 51 - Implementation [Clustering & Quadtrees] 52 - Concept 53 - Implementation [Adaptive Subdivision] 54 - Introduction 55 - Implementation 56 - Hashing [Adaptive Subdivision] 57 - Improving OpenSubdiv Catmull-Clark Subdivision Surfaces Algorithm 58 - Half-Edges [Adaptive Subdivision] [Aggressive Performance Optimizations] 59 - Eliminating Groups 60 - Custom Fusing In VEX 61 - Recreating Proximity Structures In VEX 62 - Get Unshared Edges In VEX 63 - Final Optimizations [Limit Surface Sampling] 64 - Introduction 65 - OpenSubdiv Patches 66 - Moving Points to the Subdivision Limit Surface 67 - Scattering Points on the Subdivision Limit Surface 68 - Generating a Point Cloud on the Subdivision Limit Surface 69 - Pre-Generating a Point Cloud on the Subdivision Limit Surface 70 - Creating Isolines on the Subdivision Limit Surface [Adaptive Subdivision] 71 - Computing Surface Normals from the Subdivision Limit Surface [Custom Subdivision Surfaces] [Splitting Edges [Edge Divide]] 72 - Concept 73 - Converting Edges to Primitives 74 - Creating New Edge Points [Rebuilding Polygons] 75 - Concept 76 - Implementation 77 - Preserving & Interpolating Attributes 78 - Multithreading by Connectivity 79 - C++ vs VEX 80 - Preserving Groups 81 - Final Optimizations [Implementing Bilinear Subdivision] 82 - Introduction 83 - Concept 84 - Modeling Test Geometry 85 - Starting from Edge Divide 86 - Creating New Face Points 87 - Creating New Edge Points [Creating New Closed Polygons] 88 - Concept 89 - Implementation [Creating New Open Polygons] 90 - Concept 91 - Implementation 92 - Preserving Primitive Groups & Interpolating Primitive Attributes [Preserving Vertex Groups & Interpolating Vertex Attributes for Closed Polygons] 93 - Concept 94 - Implementation 95 - Preserving Vertex Groups & Interpolating Vertex Attributes for Open Polygons 96 - Implementing Iterations 97 - Preserving Literal Groups 98 - Creating Neighbour Primitives 99 - Final Changes 100 - Testing On Complex Geometry [Implementing Catmull-Clark Subdivision] 101 - Introduction [Closed Surfaces] 102 - Rules [Gathering Edge & Face Points] 103 - Concept 104 - Implementation [Computing Weights for New Edge Points] 105 - Concept 106 - Implementation [Computing Weights for Original Points] 107 - Concept 108 - Implementation [Attribute Interpolation] 109 - Concept 110 - Implementation [Boundary Interpolation Rules for New Edge Points] 111 - Concept 112 - Implementation [Boundary Interpolation Rules for Original Points] 113 - Concept 114 - Implementation 115 - Open Surfaces - Handling Corner Points 116 - Handling Non-Manifold Topology [Open Polygons] [Computing Weights for Original Points] 117 - Reverse Engineering OpenSubdiv 118 - Implementation [Computing Weights for New Edge Points] 119 - Reverse Engineering OpenSubdiv 120 - Implementation 121 - Handling Open Polygonal Curves [Handling Mixed Topology] 122 - Full Geometry 123 - Sub-Geometry 124 - Testing On Complex Geometry [Performance] 125 - Profiling [Grouping Boundary Edges from Primitive Group] 126 - Concept 127 - Implementation 128 - VEX vs C++ [Caustics] 129 - Introduction 130 - Sea Caustics 131 - Pool Caustics 132 - Conclusion
  16. We are working on a product reveal for an international computer manufacturer. The director has requested a CGI shuttle launch for the final moments of the segment and we're looking for a Houdini artist to pull it off. Please send me your reel and let me know what your availabilities are between now and the end of September. Looking forward to seeing some awesome Houdini content
  17. THE SUN EFFECT

    Hi everyone, I have created the sun effect on Houdini. In this tutorial, we will learn how to combine many types of noise to make the sun surface. Also, we will learn how to create the sun light rays using hologram technique in Houdini. Please, Feel free to Check in here: https://www.cgcircuit.com/tutorial/the-sun-effect1 Regards, Nhan Vo
  18. Houdini Instructor

    short contract (3 months) Houdini Instructor. *must have work visa or legal right to work in Italy (work visa will not be provided)* - 4-7 experience specialized in high quality FX, demonstrated through a showreel - Well versed in the operation of Houdini and can easily relay the fundamentals on how to use and create in Houdini - excellent communication skills with both students and colleagues - rounded understanding of VFX industry and VFX pipeline - pro-active learner and problem solver - strong organizational and time management skills - previous teaching experience is preferred
  19. Hello! I thought I'd create a thread to document some setups on our diploma project here. We're studying Animation at Filmakademie Baden-Württemberg and we'll graduate March/April 21 and are working on a concept for a social spot promoting green energy with serious VFX. We're currently 15 artists on it, but a lot of them are only on it beside their job, so it's way less actual manpower, but over the long production time we're still looking at some good potential. And with a bid of 500 man days, we've got our hands full. Here's the initial concepts for our three key scenes: 1) An oil rig being crashed by an iceberg, 2) a coal power plant collapsing into a sinkhole, and 3) a giant volcano erupting and transforming the landscape into one of natural sources of energy. We've built a few pipeline tools to make our work easier, here is a couple of the one's I'm really happy with: This one features a lot of python and optimizations for really cool features like progression tracking as comment. (It is a bit crashy sometimes due to Houdini+Windows issues and support couldn't help me, hopefully it gets fixed someday.) All credits to my colleague Lucas Bruchhage and Dominik Lingenover (DMNK) for setting this lifesaver up. Once we are done I am very happy to share the tools. Cheers, Martin
  20. IED explosion pyroFX help

    Hi everyone, does anybody have any idea of how i achieve an instant explosion like this video with pyrofx https://www.youtube.com/watch?v=MBSTDing_aQ i cant seem to get the instant explosion i desire no matter what i tweak in Houdin
  21. We have shot a new scene for our short film. Unfortunately the hair of our lead actress was longer than we were led to believe. So for continuity we would like to explore the option of trimming it in VFX. She is in a clean close-up throughout with no one behind her and the camera is locked. We would like the hair at the sides to only come down to just before her chin. So about 2 inches trimmed at both sides during this close-up. It is a 30 second conversation. In the two attachments you can see her shorter hair in the scene right before the new one. Her longer hair is the new scene. It is fixed in position so it doesn’t move, which should make it easier to trim. If you have the experience of doing this, please send references and a quote. James Hughes CEO of Sunset Aperture
  22. Hello Houdini Magicians, This little bit of code is, according to the performance monitor and some debugging, slowing down my simulation... alot. Specially with a high number of particles. The nPt comes from the nearpoint function. I analyzed the performance impact of the nearpoint function with many particles and it is not significant. Its the conditions and moving/removing particles from groups. What is the optimal way to do this?
  23. Forest Fire

    Forest Fire entirely done using Houdini and Rendering in Arnold.
  24. So I am currently working on an earth destruction sequenz were I have 2 layers on top of the earth base which I fractured and is going to collide with an object. I am a little uncertain on how I should go about getting the other two layer to follow the rbd SIM without having to sim everything 3 times. Just a hint or an idea into the right direction would be enough for me. Cheers, Pascal X
  25. Hi Everyone, I have just create a building destruction effect on Houdini . In this tutorial we cover how to use Houdini to creat byuilding destruction with custom deforming. we will learn how to create custom cutting, also learn how to custom clumps for destruction. We also using VEX code to control simulation inside DOP. Please, Feel free to Check in here: https://www.cgcircuit.com/tutorial/building-destruction-part-01 Regards, Nhan Vo
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