Too many lights? I've been playing with lighting up the large scale spacecraft of mine, and one thing I've noticed is the large number of lights I now have. For example, on the top and bottom sides of the main hull I have a series of ten navigation lights (point lights), so 20 total (top and bottom) for the port, and another 20 for the starboard sides. Another 6 spots on the top hull illuminating various bits, another 12 lights illuminating various internal docking bays (area lights). This seems like a lot, but it does give the effect I'm looking for. Are there any "tricks" to use when dealing with this many lights? The scene itself is somewhat large in scale (the model is about 1.7km in length, with 1 houdini unit = 1 meter). Current render times (for 1 frame) range from 4 minutes 50 sec to 7 minutes with the scene made of ~500K faces using the Micro Polygon renderer.
Tutorials | A Pile Of Grains This post will try to explain how to write and install your own VEX DSO plugin for Houdini, written in C++. The included example project creates a plugin called VexImageReader. This plugin can be used to read all sorts of images, including psd and dds files. The reader can be used in all vex context layers and is added as a function called: readimage. The function takes as input arguments a U and V coordinate, an input string (image name) and a wrap mode. Before we start, download the necessary files right HERE. The source code and Visual Studio 2008 project file (code)The FreeImage library source code (freeimage/Source)A compiled x64 windows DSO (build)A compiled x64 windows FreeImage library (freeimage/Dist)An otl that wraps the Vex function call in to a VOP (otl)An example HIP file (hipfile)The VEXdso include file, used by Houdini to add the VEX plugin to the houdini DSO table. As mentioned above, I included the compiled plugin. The code should be cross-platform compatible. Links
Grand Tour: Project Overview Tags : RMS 19, physically plausible shaders, image based lighting, gpsurface, glass, volumes, character, hair, fur, primvars, PTEX, vector displacements In this eight chapter "How To" guest contributor Leif Pedersen will break down a production pipeline in RenderMan Studio and RenderMan Pro Server. We will specifically focus on the advantages of RMS and how it can help us decrease setup time without compromising efficient render times. We will divide the training into two distinct approaches to rendering via RenderMan Studio's RIS and REYES rendering architectures. The training will cover the interactions between RMS and Maya for general rendering workflows, Mudbox and Zbrush for importing texture and displacement maps, as well as Fusion and Nuke for Compositing. This is the pipeline we will be covering. Before we start To fully understand the training, it is very important to understand color management in RMS. Preface 1 - Rendering a Car Sub-Chapters: 2 - Rendering a Tree 4 - Character
SpacesDefinitions From Odwiki Spaces in VEX First of all, we need to make a subtle but important distinction: VEX, unlike languages like Renderman's Shading Language (RSL), is not just a shading language; it is a generic, multi-context, "vector expression" language. This is great, but some concepts are not equally meaningful across all contexts. For example; what does the phrase "camera space" mean in the CHOP context? Spaces then, fall into this category of concepts which, while meaningful in some contexts, are either ambiguous or simply not applicable in others. There are others, and we'll get to what they all mean in a second, but for now, it's important to get used to thinking about these names as simply labels -- they won't necessarily match your idea of what "world space", or "texture space" should mean. Spaces in The Shading Contexts What follows is an overview of each one of these. World Space All global variables available to the shading contexts are given in this space. Object Space NDC Space
Christian Schnellhammer . TD Blog Houdini Ocean Toolkit for H12 Training Video For Houdini Flocking Systems on cmiVFX cmiVFX just releases my flocking tutorial:store.cmivfx.com/tutorials/view/330/Houdini+Flocking+Systems Check it out. This training focuses on a basic concept of flocking simulations: steering behaviors. This step-by-step training video introduces how steering behaviors work and how one can create complex simulations just by combining simple behaviors. As a bonus this tutorial comes with a powerful library of a multi-agent system which you can use to create flocking and crowd simulations. Houdini Closest Primitive VEX Function This Houdini 11 plugin extends VEX with a function to retrieve the closest primitive to a given point. Usage: prim = csClosestPrimitive(file, pos, maxDistance, &closestPoint, &closestPrimNormal, &primU, &primV); Parameter: There is also a VOP node available: Download source:csVEXClosestPrimitive_src.zip Binaries:csVEXClosestPrimitive_H11_win_x64.zip Showreel 2011 Projects shown: Downloads:
The Science of Fluid Sims Fluid sims have become such a vital part of so many visual effects films, yet are not well understood by most general artists. We try and explain the science behind the fluid sims, and look at one in particular closely: Naiad, with help from our friends at Exotic Matter. Introduction One of the most significant and commonly requested areas of real world simulation is fluid simulation. Fluid sims are not confined to just fluids either, they can be used to achieve fire and flames - the fluid being simulated in this scenario is the air itself (a gas). Fluid simulations (fluid sims) have many applications outside visual effects. History Before the computer graphics industry got involved, fluids simulation was being actively modeled mathematically as early as the 1950's and 60's. Unfortunately, most methods for real world CFD are needlessly complex for visual effects fluid sims and scale poorly. - Watch Jerry Tessendorf talk at TED. - A Naiad scene test: 'Bunny in Trouble' Basic concepts
HOUDINI OTL : normals on curve! Hi everyone ! Yes that’s true , we are talking about Houdini. I have been a long time Maya user , I started back in 2006! I did a lot of tech stuff , rigging , scripting , plugins etc etc I learned how to deal with maya , with its pros , cons and limitation. Then I came across Houdini and I felt those boundaries set from maya ….crushing down on the ground ! here is a quick demo : HOUDINI OTL : normals on curve (with parallel frame transportation) from Marco Giordano on Vimeo. otl can be downloaded from here : www.marcogiordanotd.com/download/normalCurve.rar C&C appreciated If you want to stay up to date about my tutorial , maya plugins or houdini otls and much more subscribe to the newsletter!
eetu's lab - od[forum] - Page 5 diula, on Feb 17 2009, 10:13 PM, said: Thanks for the info! Still it's a bit unclear: what do you mean by resimulation? Are you moving the new particles according to the velocity in the previous frame? Or you're averaging the 'v' and 'P' value from the neighboring points for each point - if that makes any sense? The basics are in the original post; Quote The method I ended up with was simple; the new particles get their velocityfrom nearby particles and move according to that. The transfer recipients are the new particles, and the source are the original houdini-simulatedparticles in the neighborhood. eetu.
Peter Claes Vfx Hi, Welcome to my blog. This will be a blog about houdini, visual effects and some of my other effects related interests. I would like to keep the tone of this blog light and fun, but with in-depth information about how to achieve certain effects. I hope you will find some of the information (technical or otherwise) interesting! I have no idea yet how often I will be able to update this blog, time will tell. If you feel like replying to some of the posts, please keep it civilized. Disclaimer: None of the information I share on this blog represents any opinions of my employers, it is completely my own. That’s it for now, time for some content! Peter Claes Art of Destruction (or Art of Blowing Crap Up) Destruction pipelines today are key aspects of any major visual effects pipeline. Many current pipelines are based on Rigid Body Simulations (RBS) or otherwise referred to as Rigid Body Dynamics (RBD), but a new solution – Finite Element Analysis (FEA) – is beginning to emerge. In this ‘Art Of’ article, we talk to some of the major visual effects studios – ILM, Imageworks, MPC, Double Negative and Framestore – about how they approach their destruction toolsets. In VFX and CGI, RBS is most often relevant to the subdivision of objects due to collision or destruction, but unlike particles, which move only in three space and can be defined by a vector, rigid bodies occupy space and have geometrical properties, such as a center of mass, moments of inertia, and most importantly they can have six degrees of freedom (translation in all three axes plus rotation in three directions). The ‘explosion’ in destruction tools A scene from '2012', visual effects by Digital Domain. Another scene from 2012.
March 2014 VHUG | FX-TD.COM I presented some Flip and Point Advection stuff at the March 2014 Vancouver Houdini User Group. The files are here for anybody who was there or anybody interested: VHUG file (200 something megs. Fliptricks hip file Pyro Point Advect / Color Volume file I have two hip files. The second is a setup that uses Gas Advect to advect points along with a high velocity pyro sim. Flip Tricks (VHUG – March 2014) from Ian Farnsworth on Vimeo.
Deforming RBDs Simple setup that uses a SOP solver and deforms the geo at points of impact. The impact data is already available in the SOP solver, the normal is the impact direction and there is a pscale attribute for the magnitude of the impact. In this setup I just used attributeTransfer to get the impact data onto the mesh, then a vopsop to deform the mesh. Houdini - Impact deformation for RBDs from Sam Hancock on Vimeo. Also going to try getting some volume preservation going on! michael rice misc» Blog Archive » COP2_tonemap COP2_tonemap A compositing operator for Side Effects Houdini Based on the method described by Jiang Duan, Guoping Qiu and Min Chen in “Comprehensive Fast Tone Mapping for High Dynamic Range Image Visualization” and several other papers. The idea is that first hdr luminance is compressed to display luminance using a logarithmic mapping weighted by a user control (brightness). The compressed luminance is then blended between a linear mapping and simple histogram equalization by a “contrast” control. Enough rambling, in the file below you’ll find the source and binaries for linux gcc4.1, osx10.5, win32, and win64. Copy the binary to yourhoudinihomefolder/dso Copy tonemap.txt and COP2_tonemap.png to yourhoudinihomefolder/help/nodes/COP2 To compile from source run “hcustom COP2_tonemap.C” from inside the src directory. COP2_tonemap_1.0
Igor Kharitonov | Houdini FX TD | rnd_textureflow_pt1 In our latest feature movie I have developed a lot of procedural animated water surfaces. Starting from small puddles to huge ocean surfaces - all this stuff was created using procedural custom noises, including Houdini Ocean Toolkit and 2d ripple solver. For a few close-up shots I used FLIP simulations sewed with animated plates. To enhance spatial details I used texture displacement projected with a simple planar projection. So next I faced the task of creating large scale water simulation. Using simple planar projection mapping with FLIP suffers severe drawbacks, because texture doesn’t reflect base movement. Methods of creating advected flows are widely discussed. In Houdini the idea is just the same as when creating dual rest fields in smoke simulation. Making these impovements I managed to enhance spatial detailization of liquid flow without icreasing the resolution of FLIP simulation. Take notice of the lack of detail on surface Raw/Displace surface comparision