I continually run into confusion from Houdini users about how the Houdini.env is supposed to work, what the syntax is supposed to be, or even what it does in the first place. It’s easy if you’ve been trapped in pipeline land (like me) to think that environment configuration is even Read more…
Another year, another very very short side project. This was meant to be both an exploration of Vellum (and an attempt to see if I could force Vellum to work in 2D), and a neat little intro video for a new demo reel. This project is considerably less complicated than Read more…
SideFX Software was generous enough to ship me out to the Netherlands last week to meet my partner-in-MOPs, the inimitable Moritz Schwind, and present together a little slide show about motion graphics, Houdini, and prison hooch at End User Event 2019! The technical stuff about MOPs starts about halfway through Read more…
Here’s a rare Maya post in 2019! I hate Maya, but sometimes it’s hard to avoid. One of the most irritating things about writing scripts for Maya is that the Python commands are totally un-Pythonic… meaning, there’s no sense of “objects” that have intrinsic properties and functions (or in Python Read more…
I meant to write a post about this a long while ago, but couldn’t be arsed to do it, apparently. Sorry! Something that artists take for granted in render engines like VRay and Arnold is the ability to reflect and refract AOVs / render elements / render passes, depending on Read more…
Update: Imre Tuske from Weta pointed out that there’s a simpler method… it turns out that you can force expressions to evaluate inside a Wrangle by wrapping them up in backticks. So if you have a channel called “do_vexpressions” to enable or disable VEXpressions, and another channel called “vexpression” that Read more…
After months of work, the MOPs toolkit for Houdini is finally open to the public! MOPs is a suite of SOP tools to help with common motion graphics tasks in Houdini. The workflow and interface should seem familiar to users of other motion graphics software packages, but it’s using Houdini-friendly Read more…
In case you missed it, part 1 is here (and includes the .hip file!). Part 2 is here. In this last part of the breakdown, I’m going to talk about some of the smaller little details of the piece: the background plants, called “sprouts” in the file, the dewdrops, and Read more…
Continued from the previous post.
Part 2 here is all about the hero plant, which was by far the most time-consuming part of this whole process. The animation ended up being done primarily using FEM, which in retrospect was probably overkill. If I were to try this again, I’d probably try to build a more procedural system involving IK chains with maybe a layer of simple soft body dynamics on top to add springiness. Going the FEM route meant that each iteration took about 30 minutes to simulate, which adds up pretty fast. There are some neat little shortcuts elsewhere in the process, though, that hopefully some readers will find useful.
The hero plant
I am a masochist so I again started with L-systems to create the basic plant structure. L-systems are one of those things that start very simple and quickly build in complexity until they’re totally unreadable, so you generally want to keep notes of what the rules are actually doing as you build them. Of course, the notes from the original .HIP file that I posted are outdated, as they apply to an older version of the plant, so if you’ve already checked out the .HIP you may want to read these more accurate notes.
Here’s what the rules look like:
Last week, I finally finished a project I’ve been poking at for an hour or two here and there over the last year. It was a sort of modest attempt at making something for myself instead of for a client, which I rarely had the time or inclination to do while working as a production artist, and an excuse to learn Redshift3D, which is a fantastic GPU renderer. I’m pretty obsessed with rain, growth processes, and the north coast of California in general, so doing a forest scene seemed like it would cover all the necessary bases. I also wanted to try to make the scene as procedurally-driven as possible, and I suppose it’s *mostly* procedural, aside from a few textures and the hero plant simulation. Here’s the final product:
rainy forest cinemagraph from Toadstorm Inc on Vimeo.
The next few posts on the nerdblog here will be describing some of the processes used in creating this scene. I tried to keep things as organized and as procedural as possible, though of course in practice there are always going to be loose ends and corners cut. Some caveats before I start:
Okay. With that out of the way, here’s the HIP file and some textures: rain_leaves.zip
Now, onto Part 1: The Stump and Moss.
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