Awesome, that did it!
So straightforward. Thank you so much
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PDG/TOPs » How to setup a quick PDG to write out geo on a frame range?
- kleer001
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PDG/TOPs » How to setup a quick PDG to write out geo on a frame range?
- kleer001
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Sometimes I need to write out a sequence of geo, but each step is bottle necked. My CPUs never get over 6%.
How would I pipe this into a TOP network or TOP Geometry SOP to write out the geo?
I get that PDGs are super powerful, but for me they'd be most useful as a parallelizer.
How would I pipe this into a TOP network or TOP Geometry SOP to write out the geo?
I get that PDGs are super powerful, but for me they'd be most useful as a parallelizer.
Work in Progress » Cubic Stylisation.
- kleer001
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Houdini Learning Materials » Sparse Pyro Masterclass?
- kleer001
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Is there a Sparse Pyro Masterclass in the works? I'm just a little surprised we haven't seen one yet.
I've been working with it for a few weeks and I'm pretty blown away at how much faster it is, how much easier it is to control, but I'm a little lost as to some of the reasoning and workflows around the new controls like FlameLifespan and where did the Pre-Solve Input go and why was support for the Cd color attribute removed?
I've been working with it for a few weeks and I'm pretty blown away at how much faster it is, how much easier it is to control, but I'm a little lost as to some of the reasoning and workflows around the new controls like FlameLifespan and where did the Pre-Solve Input go and why was support for the Cd color attribute removed?
Technical Discussion » Export Hair Sim To Maya as Polygons
- kleer001
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Edited by kleer001 - Nov. 8, 2019 18:37:55
PDG/TOPs » Overlay current wedge attributes
- kleer001
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AWESOME! That's exactly what I was looking for.
Weird though, last night I swear I was trying ‘@attrib’ ,but it wasn't working (see my original question). Oh well.
I'll also add that if you want to control the floating point representation printed on the overlay you can use:
Weird though, last night I swear I was trying ‘@attrib’ ,but it wasn't working (see my original question). Oh well.
I'll also add that if you want to control the floating point representation printed on the overlay you can use:
val = round(float(str(val)[1:-1]),3) attribs += "{} = {}\n".format(wedge_attrib, str(val))
Edited by kleer001 - Aug. 2, 2019 13:30:11
PDG/TOPs » Overlay current wedge attributes
- kleer001
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The ROP Composite Output TOP has by default the text “Overlay $F”, but what I want to put in there is the currently evaluated Wedge Attribute name, parameter, and value. I don't seem to find that anywhere. Checking “Export to Environment” doesn't seem to help.
Is that possible? It should be possible. That information is in there somewhere, right? Is it a $ or a `@attribute` style expression? Is it some python code?
My final goal is to put these up on the left had side of the frame to demonstrate the use of variables in sims when teaching and when prototyping and experimenting.
Is that possible? It should be possible. That information is in there somewhere, right? Is it a $ or a `@attribute` style expression? Is it some python code?
My final goal is to put these up on the left had side of the frame to demonstrate the use of variables in sims when teaching and when prototyping and experimenting.
Technical Discussion » Odd tumbling behaviour
- kleer001
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Have you tried this with alternate tumbling methods, panning methods, or other view state operations?
Technical Discussion » Linux Distribution
- kleer001
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Technical Discussion » Save All Flipbook Sequences
- kleer001
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The mplayer doesn't know anything about the contents of the frames. There's no such thing as a session-save. You'll need to write out the sequences one at a time, modifying the frame settings, or do it all at once then rename the frames yourself.
Technical Discussion » How to unwrap (linearize) render depenedancy tree?
- kleer001
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(See attached image for demo render tree)
Given just the final ROP how do I, in python, get the list of all the ROPs direct dependencies?
I'm working on a custom render submitter.
I know I can runto get the full list, but that doesn't give me the dependencies of each node in turn.
I figure I'll probably need to write a recursive function to spit these out. Something that runs over each subsequent list of dependencies until there are none then return the list. Somehow.
But maybe not? I imagine there might be an internal to Houdini way to do this, no?
Given just the final ROP how do I, in python, get the list of all the ROPs direct dependencies?
I'm working on a custom render submitter.
I know I can run
hou.node("out/r").inputDependencies()
I figure I'll probably need to write a recursive function to spit these out. Something that runs over each subsequent list of dependencies until there are none then return the list. Somehow.
But maybe not? I imagine there might be an internal to Houdini way to do this, no?
Edited by kleer001 - May 8, 2019 19:51:15
Technical Discussion » render last intersectable/intersected surface
- kleer001
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How would you render the furthest ray hit surface?
The goal of this render is to provide the comp department a “back side” layer to put things inbetween the regular front side render.
I have an altered shader using IsFrontFace to “turn off” the camera facing polygon. The problem is that this only gives me the next surface behind the first. Which is great if one is rendering a simple convex shape. But for a more complicated concave shape, like a wildly rippling blob of liquid, this isn't very usefull for comp.
I imagine this would require something like what the Ray SOP does, but in the shading context.
The goal of this render is to provide the comp department a “back side” layer to put things inbetween the regular front side render.
I have an altered shader using IsFrontFace to “turn off” the camera facing polygon. The problem is that this only gives me the next surface behind the first. Which is great if one is rendering a simple convex shape. But for a more complicated concave shape, like a wildly rippling blob of liquid, this isn't very usefull for comp.
I imagine this would require something like what the Ray SOP does, but in the shading context.
Edited by kleer001 - March 26, 2019 12:56:47
Work in Progress » Smoke tests
- kleer001
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Work in Progress » Short beginner Houdini Tutorial by me.
- kleer001
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Thank you for the kind words, but adding my voice to the tutorials is off the table. Like I said I don't like it, but to add more excuses to the pile I don't have a good microphone, leaving the voice off lets me work faster (and keep the tutorials shorter), and it's one less variable to have to deal with. Sure voice overs are something we're used to because lots of people do it, that doesn't mean I have to do it.
Circusmonkey, your website is fabulous! Thank you, thank you! I look forward to learning lots from it.
Circusmonkey, your website is fabulous! Thank you, thank you! I look forward to learning lots from it.
Work in Progress » Short beginner Houdini Tutorial by me.
- kleer001
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http://www.youtube.com/watch?v=vACu6ZrWhkU [youtube.com]
Do note there is no sound. Also this is mainly to get the format down correctly. When I get going the tutorials will all hang together and there will be some progression.
Any and all feedback is appreciated.
Personally I love the longer tutorials from SideFx and geniuses like Peter Quint. I just don't have the attention span to make my own, nor do I like the sound of my own voice.
My goal is to first highlight the techniques I use frequently to solve production challenges (I've been doing special effects for 9 years & Houdini for 5). Then I want to analyze my operator use and present that too. And I want to do all of this in bite sized chunks for easy digestion because we're all busy people and time is money.
(Please accept my apology for cross posting this at the odforce forum too)
Do note there is no sound. Also this is mainly to get the format down correctly. When I get going the tutorials will all hang together and there will be some progression.
Any and all feedback is appreciated.
Personally I love the longer tutorials from SideFx and geniuses like Peter Quint. I just don't have the attention span to make my own, nor do I like the sound of my own voice.
My goal is to first highlight the techniques I use frequently to solve production challenges (I've been doing special effects for 9 years & Houdini for 5). Then I want to analyze my operator use and present that too. And I want to do all of this in bite sized chunks for easy digestion because we're all busy people and time is money.
(Please accept my apology for cross posting this at the odforce forum too)
Work in Progress » Korean Visible Human (KVH)
- kleer001
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Oh wow, thanks for posting this! I had not heard of it before.
I wanna try it too, someday soon, when I'm done with my other projects
I wanna try it too, someday soon, when I'm done with my other projects
Technical Discussion » cartoony smoke
- kleer001
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Ah, ok, I understand now.
What you want is a sharp gradient in your flame's density gradient. Look in your pyro shader's controls and find that. It's a smooth curve. Fiddle with the two points until you get good coverage and the kind of cut off you want. See attached image for rough starting spot.
ACTUALLY… your best bet is to use a volume visualize SOP to get the area and then put in the numbers in your shader. (That's under the import_pyro_build Object's import_pyro_visualization SOP, stick the volume vis SOP there.)
And then if that's too transparent overall just crank the fire density's “Final Amplitude” (1.5 by default) (which is waaay at the bottom of that tab).
Good luck!
For further inspiration check out the movie Hellboy's magical blue flames.
What you want is a sharp gradient in your flame's density gradient. Look in your pyro shader's controls and find that. It's a smooth curve. Fiddle with the two points until you get good coverage and the kind of cut off you want. See attached image for rough starting spot.
ACTUALLY… your best bet is to use a volume visualize SOP to get the area and then put in the numbers in your shader. (That's under the import_pyro_build Object's import_pyro_visualization SOP, stick the volume vis SOP there.)
And then if that's too transparent overall just crank the fire density's “Final Amplitude” (1.5 by default) (which is waaay at the bottom of that tab).
Good luck!
For further inspiration check out the movie Hellboy's magical blue flames.
Technical Discussion » cartoony smoke
- kleer001
- 55 posts
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Please excuse me, but I fear you're being a little too vague.
Please post reference for what you want. Either a video or stills along with a more precise description will help us help you.
Please post reference for what you want. Either a video or stills along with a more precise description will help us help you.
Houdini Learning Materials » Tutorial, walk through of the new FLIP fluids
- kleer001
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Thank you rweston, that was exactly the situation. It feels so good to be understood. Under production pressures even the slightest change in technique can be like hitting a speed bump at 200Kmh.
I had just finished 9 months working with the plain old particle fluid surface node Flip workflow at one movie studio. Stuff looked great, it was fast, I knew what I was doing, and I could hit notes. Then, last week at a different studio, a tv shop, I opened up the Flip workflow, that turned out to be a can of worms. And me with a super tight deadline (4 days for 4 shots instead of 4 weeks or 4 months). I freaked out and did the best I could, but I felt like I was missing something important and wasting time unnecessarily.
I felt a little betrayed by SideFX, but I know that this is how software works. When you stay on the bleeding edge of technology you get new toys from super smart people with the best intentions and very little documentation. Why? Because documentation is difficult and time consuming, and overall very boring to produce. And this doesn't just happen with Houdini, this happens everywhere with all maintained software. This happens with Microsoft, Apple, HP, IBM (well, maybe not IBM so much, but that's a different story), but the list goes on and on. The more niche the software, the more earthshaking changes can sneak in.
That's it, rant off.
Well, that and I don't want to do all my flip fluid manipulation in VEX. One of the main reasons I left Maya is that I had to do so much $&#%! hand coding to get particles to behave like I wanted, and I hated it.
I had just finished 9 months working with the plain old particle fluid surface node Flip workflow at one movie studio. Stuff looked great, it was fast, I knew what I was doing, and I could hit notes. Then, last week at a different studio, a tv shop, I opened up the Flip workflow, that turned out to be a can of worms. And me with a super tight deadline (4 days for 4 shots instead of 4 weeks or 4 months). I freaked out and did the best I could, but I felt like I was missing something important and wasting time unnecessarily.
I felt a little betrayed by SideFX, but I know that this is how software works. When you stay on the bleeding edge of technology you get new toys from super smart people with the best intentions and very little documentation. Why? Because documentation is difficult and time consuming, and overall very boring to produce. And this doesn't just happen with Houdini, this happens everywhere with all maintained software. This happens with Microsoft, Apple, HP, IBM (well, maybe not IBM so much, but that's a different story), but the list goes on and on. The more niche the software, the more earthshaking changes can sneak in.
That's it, rant off.
Well, that and I don't want to do all my flip fluid manipulation in VEX. One of the main reasons I left Maya is that I had to do so much $&#%! hand coding to get particles to behave like I wanted, and I hated it.
Houdini Learning Materials » Tutorial, walk through of the new FLIP fluids
- kleer001
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I noticed that the brand new flip fluid setup uses a whole bunch of bright and shiny stuff. But how do I use it? What are the pit falls? What are its strengths and weaknesses? What's the overhead on all the vdb stuff? Is there a time where it's better to use the old work flow? Why is there a separate particle_fluid_interior node? Are there other non obvious changes under the hood?
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