This example demonstrates the Area CHOP used with one input.
A Wave CHOP is used as a first input source channel for the Area CHOP.
This is a demonstration of the Area CHOP using two inputs, where a single Wave CHOP is input into the first and second inputs of the Area CHOP.
This example contains a demonstration of the Area CHOP using all three inputs.
A single Wave CHOP is used in the first and second input as a source and as a range modifier. Then another Wave CHOP is used in the third input to modify the length of the output channel of the Area CHOP.
This is a simple example of using the Channel CHOP along with a Noise CHOP to add some variety to keyframed animation that can still be easily tweaked as keyframe animation. Notice that the object can be manipulated as usual in the viewport transparently. The values will be modified in the Channel CHOP.
You can chain the Composite CHOP together to take two or more channels and do an ordered sequence blend. The Composite CHOP takes a control curve and uses it to determine which channel to use with each Composite CHOP working on two channels at a time, creating a sequence blend. The first Composite node processes the first and second channel, the second Composite node processes the result from the first node and the third channel, and so on.
A key component of this network is the Limit CHOP. It processes the control curve so the range is valid for the pair of channels being processed by the associated Composite node.
This example demonstrates the most common use of the Constant CHOP by creating channels which have one unchanging value.
The first example shows a LookAt constraint with a global Y axis up vector. The second example shows a LookAt constraint with its up vector driven by an object. The third example shows a LookAt constraint applied with Keep Position turned on. The CHOP Offset node, after the constraint, makes the object keep its orientation when the constraint is applied. You can use the LookAt Shelf Tool to recreate the examples.
This file demonstrates how the Copy CHOP can be used to copy channels and apply them to geometry.
This example demonstrates how the Copy CHOP additively copies the values of a channel onto the time line of another to create a new channel.
This example demonstrates how to use the CopyStamp feature of the Copy CHOP. Custom variables are created within the Copy CHOP and used to modify the geometry.
In the file, geometry is imported into CHOPS. The Alpha attribute is scoped and manipulated using the Copy Stamping technique.
The new Alpha data is then brought back to the SOP level, and applied to the geometry’s Position.
This example demonstrates how the Delay CHOP copies and layers input channels. The Delay (timing) and Gain (Scale) values of each copy are added together to output a single channel.
This example demonstrates how the Delete CHOP can remove or extract input channels by index number and pattern.
This example demonstrates how to use the Dynamics CHOP to extract impact data from a DOPs simulation, and then modify the data to control lights in the scene.
This example illustrates how the Envelope CHOP outputs the maximum amplitude of a channel in the vicinity of each sample of the input. Here, envelope1 and envelope2 try to follow the maximum amplitude of the noisy curve they use as input.
To visualize the channels in this demonstration, please enter the CHOP network and use the default CHOPs desktop.
This is an example of the Export CHOP. The Export CHOP is a convenient tool for exporting channels. It allows you to match a CHOP’s channels with different destination channels, without needing to rename the channels. This demonstrates a method to export channels from CHOPs to the ty parameter of a model.
This is an example of how the Geometry CHOP can fetch data from a SOP and turn that data into channels.
In this case, the Geometry CHOP pulls in the position of every point in a Superquad SOP and creates channels from that data.
This file demonstrates the Lag CHOP.
The Lag CHOP can apply a lag, or overshoot an input channel. It can also limit the velocity and acceleration of input channels. The result of modifying channels in this way is similar to the effect of the Spring CHOP, yet not as naturalistic.
This example file uses the Limit CHOP both to limit the height and to “quantize” the values of a channel.
By limiting the height the Limit CHOP can keep data values from going to high or from falling to low. To “quantize” the data, the curve is broken into steps rather than a smooth curve.
This example demonstrates the Noise CHOP.
The Noise CHOP makes an irregular wave that never repeats, with values approximately in the range -1 to +1. Or using the “Time Slice” option a single noise value can be returned.
This example demonstrates how to take the animation from three separate objects, and sequence their animation into one animation on a fourth object.
The Sequence CHOP is used to combine multiple waves into a single wave.
This CHOP takes all its input CHOPs and appends one wave after another. It is expected the input CHOPs all have the same channels.
The end section of the first CHOP is overlapped with the start section of the second CHOP, and so on for the rest of the input CHOPs. The second input is shifted to line up with the end of the first.
To visualize the channels in this demonstration, please enter the CHOP network.
This example demonstrates how the Shift CHOP changes the interval of a CHOP wave, keeping its content and length the same.
The Reference parameter chooses whether the Start or the End is being redefined.
The Unit Values parameter sets whether the new Start/End frame is Relative to its original position, or an Absolute frame number.
Transform VOP CVEX
This example demonstrates how to use the Transform VOP CVEX CHOP node to create a custom 2 Bones IK solver using vex.