Liesbeth Levick
Liesbeth_Levick
About Me
Liesbeth Levick is a Character Effects Technical Director at Side Effects Software, focusing on Muscles and Tissues. She studied Astrophysics and then moved on to work in grooming and CFX at animation and visual effects studios in South Africa and Canada. Her production experience includes creating ... more
Liesbeth Levick is a Character Effects Technical Director at Side Effects Software, focusing on Muscles and Tissues. She studied Astrophysics and then moved on to work in grooming and CFX at animation and visual effects studios in South Africa and Canada. Her production experience includes creating tools and workflows for CFX in Houdini and helping transition studios to a Houdini-based CFX pipeline. Her familiarity with both artistic and technical roles drives her to build tools to make the lives of CFX artists easier. less
EXPERTISE
Technical Director
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LOCATION
Toronto,
Canada
WEBSITE
Houdini Skills
ADVANCED
Hair & Fur | Muscles
Availability
I am currently employed at SideFX
My Badges
SideFX Staff
Since Jun 2024
My Tutorials
My Talks
Recent Forum Posts
Selecting Furthest End Points on a Prim Oct. 23, 2026, 6:57 p.m.
So I had a look at this in my personal time out of curiosity (don't want to set an expectation here for the type of answer SideFX employees generally will give). I think I have a solution that matches your second drawing, assuming that's what you ultimately want. I have a switch that either lets you keep the lines parallel and lose a bit of the original shape, or keep the shape and have the lines be less parallel, depending on your needs.
I used a node from our muscle workflow called Fiber Groom, which calculates a direction vector, `materialW`, that corresponds to the longest axis of each piece.
I then used a Match Axis SOP to rotate each piece so that the longest axis aligned with the z-axis, and that allowed me to set up a bunch of grids in the x-axis perpendicular to the surface which I did a Boolean Shatter with to create the lines.
You can then either fuse the original points to the new points, to keep the lines parallel, or fuse the new points to the original points, to preserve the shape.
Finally I used an extract transform and copy to points to rotate the piece back into its original shape.
Kudos to Konstantin Magnus for the idea for the quick setup of the shapes.
I used a node from our muscle workflow called Fiber Groom, which calculates a direction vector, `materialW`, that corresponds to the longest axis of each piece.
I then used a Match Axis SOP to rotate each piece so that the longest axis aligned with the z-axis, and that allowed me to set up a bunch of grids in the x-axis perpendicular to the surface which I did a Boolean Shatter with to create the lines.
You can then either fuse the original points to the new points, to keep the lines parallel, or fuse the new points to the original points, to preserve the shape.
Finally I used an extract transform and copy to points to rotate the piece back into its original shape.
Kudos to Konstantin Magnus for the idea for the quick setup of the shapes.
H22 Muscle Transfer sucks for bones... Oct. 8, 2026, 4:25 p.m.
I will look at making it more explicit in the docs. I don't think I said it explicity in my talk either, but I assume you've watched my recently released talk on Muscle Transfer? https://www.youtube.com/watch?v=itdoaMumS5k [www.youtube.com]
H22 Muscle Transfer sucks for bones... Oct. 8, 2026, 9:55 a.m.
Your issue is that your source and target bones don't have the same topology. You need to use Otto's bones transferred to Capy as the target bones and Otto's bones as the source bones, or alternatively Capy's bones as the target bones and Capy's bones transferred to Otto as the source bones.