Anime and stylized FX in Houdini

hey guys good morning good evening wherever you are in the world welcome to another edition of cgs live vfx special i think we're up to episode 31 which is exciting um my name is daniel horgan i'm the head of effects at cg spectrum and today i'm going to look at something different i was going to continue going on with michael's file that i was looking at last week but he's not available this week so i thought i'll do something different and i saw something during the week that um sort of inspired me and every time i see sort of um 2d looking effects done in 3d i kind of get excited because i really like that style so i thought i'd take a look at something today that that i saw and see if i can recreate it in houdini the [Music] image that i saw of this gif or whatever it is um was this cool effect by chiba akihito and he does give some you know various like very simple instructions for what is done which is helpful sometimes when people do that but you kind of have to you know take that and go okay so what what's going on and how can i apply that in houdini because this was done in blender so i love this i think it looks really really cool and as you can see lots of people really enjoyed it um so i think you know anytime you can do like stylized effects like this is really really cool so i'm gonna i'm gonna have a crack at it and see see what i can do hey tyson how's it going i'm good thank you how are you i spent the weekend building continuing to build my soundproof studio that i'll be moving to in a couple of weeks probably which i'm very excited about because it can be difficult doing live streams in a house with a little child who's uh you know likes to be noisy um so yeah i'm just gonna re try and recreate the thing exactly for starters and then you know see see what i can do with it um that's good tyson yeah yeah i can't wait it's gonna be a cool cool little studio playing playing music in and you know doing streams and stuff like that um so let's let's start with the taurus and you know he kind of describes uh chiba akihito akihito sun i'm guessing he sort of describes the process copy the object stretch the part where you want to emit long smoke apply displace modifier add your favorite procedural texture this time if you specify the coordinates as object you can control the texture transform with an object or with the object you can see that he's kind of doing it with a null here so i'm probably not going to do that set the blend mode to alpha clip use fresnel in the material editor to control the alpha so yeah there's some clues as to what to do what i'm going to look at first is just to establish kind of the look in tops and then we're going to have a look in the material editor so i'm going to grab just a point in the middle here and whoops oh that's not what i wanted to do um hex tree okay let's try again pick that point there we go this one transform and then if you go down on your edit node that gets created when you do a transform increase your soft radius and you can kind of pull it out like that like a kind of little tail so you know maybe it's something like that you can experiment with that there's lots of different types of falloff as well that you can experiment with which you know some some can be better than others quadratic linear just depends on the kind of look then let's put down an attribute above and i'm going to put down a turbulent noise and a displace oops displace along normal so p whoops p into n p n and then we should probably give it some normals first of all seeing as we're displacing along them so let's put a facet down pre-compute normals and we're going to use this turbulent noise in the amount of the displaced normal so let's have a look what have i done here hooked it into time that's not what i want there we go there's some displacement happening alligator noise is probably the one that i want to use here hey david departure from the realistic stuff yeah that's right that's right i i yeah i really like you know this kind of stylist stuff anime you know something that's always inspiring me and i think any any time that you can you know introduce a bit of stylized effects into something is you know is good unfortunately yeah for the most part i don't i don't really get the uh opportunity to do it because i'm working in you know in visual effects in film it's it's not really something that i get to do that often but um but yeah i still i still really enjoy it um so put a facet down afterwards as well because after the displaced normal it kind of gives you wacky normals you can't really see those surface details there so there we go you can already see you know once i put a subdivide down to see extra details there i can see well don't do that um i can see a lot more you know it's sort of starting to look a bit smoky and a bit kind of cool now it's not animating at the moment um yeah it's cool isn't it i i saw it and i was like i've seen i've seen a couple of guys to do stuff out of blender in an anime style um unless it's the same guy every time i i don't usually take note who did it but yeah it's it's a really cool kind of you know thing to try so i think you know with the turbulent noise you can see there's a lot of detail there maybe there's too much you with with anime style you know smoke and um explosions or whatever it's usually yeah they're quite rounded shapes quite soft and simplified so you know if you take the roughness down on your alligator noise or on any noise it will start to simplify those shapes so you know you can kind of see how you get these these very simplified shapes you play around with different types of noises as well just to see you know kind of what what kind of noise you you might want to use i think alligator gives a good kind of cellular pattern um so that that's kind of cool so i don't know let's let's go with that and i've got the fit in here so i can actually crush this noise to you know potentially create little troughs so you know you can see as i bring up the source min it sort of flattens that noise down because if we have a look at what that's doing in a color oops down here let's unhook that for a second you can see that it sort of clips those really low values away and you're left with just black and those black areas won't be displaced hey rizwan how's it going thanks for joining me um so yeah you know i think you just play you want to play around with it and just sort of see what you know what you can kind of what sort of look you you want to get um you could also potentially go negative you know negative something and positive something so that you end up with displacement in both directions i mean maybe negative maybe you just want a little bit negative and then you'll kind of get instead of it all being outward you'll get a little bit going inwards as well i don't know i'm not sure if we need to do that and then for the animation i'm just going to run this along the axes instead of linking it to a null or whatever i'm just going to promote the offset of the turbulent noise and then out here here's my x-axis so i can actually just you know run that along that axis or if this torus happened to be animating through you know through space it would also animate along the noise because the noise is based on world position you can see you know as i move that through space it's just going to sample different parts of that noise field so it changes and it sort of you know it sort of moves along with it which is cool yeah that's really satisfying kind of uh to play with so we could do something like that as well we could just set you know a i guess it's going backwards to what i imagined so set a value there and then you know minus three and then here we've got that kind of that kind of effect which is cool you're in monterrey california right now roosevelt cool how's the temperature there is it still hot over there so there's some weird shapes you know there's kind of this this these weird lines and that's really probably coming from the um from the alligator noise so yeah whether it's adding more of those little lumps trying to take them away trying a different noise you can see original purlin actually does generate negative values so you you actually do need to change your source min to be probably between 0.5 what's it negative 1 i think it's negative 0.5 and 0.5 so you kind of want to you know get that range right of course you can play with that so i don't know i think um i think alligator kind of gives the best shapes but you could also try you know different types of noises as well you know you've got unified noise which will give you a whole bunch of different um different options so i don't really like using unified noise i find it is quite slow so you know it's kind of one that i tend to avoid just because of the just because of the speed aspect of it but you know sometimes you need you need a different kind of result let's try increasing the frequency of 64 degrees i don't know what that means but i think it's like uh not too bad right 64 fahrenheit 17 no it's fine not too hot um there's some really cool noises like you could you could potentially you know i mean that looks awesome not for this not for this effect that i'm trying but that's really cool you know the whirly cellular noise um just fading straight into that displaced normal it's awesome let's try some different ones let's see again very cool you know very cool looking thing let's see what suit any of these other ones see if they're going to give us anything interesting like i could put a smooth after this as well and that you know potentially would yield the result that i'm after but ultimately i think i'm going to try and do this in a material so [Music] you know i kind of want to avoid doing um i want to avoid doing any sop based processes because i won't be able to recreate those in the material so trying to avoid that hey audrey how's it going so let's let's go back to the turbulent noise but cool things in the unified noise we can always take the turbulence value down as well so you know you've got roughness but you've also got the levels of turbulence so you know you can see as i increase those levels of turbulence i get finer and finer detail and the roughness is going to kind of push into those areas of details so they kind of work together but you can see you know with turbulence at one the roughness just kind of accentuates some of them so it's kind of like it's crushing it maybe or adding some random random sections to the noise but as i increase turbulence that roughness increases those higher end turbulence values so let's take the turbulence kind of down a little bit like that i don't know just messing around let's go with that i'm good thanks audrey good okay so and i mean we could also animate the offset at the same time if we wanted to so like if i just put dollar f expression in there turn off my transform for a second let's divide that by i don't know 48 turn my transform back on so you know you've got double kind of pulsing going on there maybe divided by 24 instead yeah i don't know yeah you can play around with that i'm still not mad about these shapes but i don't know let's let's press on so we've got that and now if we merge well actually what i'll do is just duplicate this original taurus here and i'll create a new one oops and hmm i've got my transform here so i'll just duplicate that and actually instead of duplicating it i'll reference this one so copy parameter and paste relative reference so there's a link now if i change one i'll get you know both and this one yeah potentially or i guess this one potentially could be a little thicker so it's it is going to be a bit more outside the torus that's in the middle so now that we've kind of done that like that's that kind of looked at experiment for getting the noise and shapes right we need to look at how you know how to get this this look this edge look that's transparent and sits over the top of the other one and really makes it look like you know that kind of stylized anime smoke or steam so i'm going to go to my transform node i'm going to turn off my subdivide actually what i'll do is i'll leave my subdivide on one because that kind of gets rid of some of those jaggy shapes and i won't render this attribute so i've rendered that so let's create a camera hey tom no worries yeah look i i think you know in any 3d package you can do this stuff you just you just really need to figure out um the you know the specific ways that that each package you know can can do it but um yeah you know you can certainly you can certainly do this stuff in unity so let's render this camera one render exciting okay so let's call this inside taurus and anime smoke and this one uh so the inside taurus i'll just give a principal trader so inside taurus map and then i'm going to put down a material builder which is just an empty container and this one can be my anime smoke map so i'll assign those oops slash matte slash inside taurus slash matte slash anime smoke so that should just go white because there's nothing on that material so first things first let's copy this is the cool thing about vops is that you can copy this stuff that we've already done here so i could copy all of that really i might just um yeah i'll just pop that out and i won't copy that little promoted parameter so i'll just copy that stuff and then jump to materials go inside and hit paste whoops ctrl b hit paste there and there's my stuff already set up so let's hook it up pause into p so this is displacement globals and then displacement normal and here over here is my displacement output so if i plug this into here you can see it starts to displace but it looks really wacky and the reason is that this is displacing quite a lot and there's this thing called displacement bounds in mantra that kind of restricts or limits the amount that something can displace before it sort of breaks and i guess it's an efficiency thing for the renderer but by default if you're displacing a lot it it looks broken like this so there's this hidden parameter and you'll see it on a principled shader under displacement you can see displacement bound there and if you hover over it it says displacement bound parameter vm underscore displacement bound so where is that and how do we get that here if you edit parameter interface on a material builder or any material that you want to add this to and over here under create parameters under render properties if you type vm underscore displace there is that under mantra shading displacement bound let's just drag that onto the root of my smoke material don't need to hit and do anything else just drag it on there hit apply and accept and there it is there displacement bound let's just set it to one and there you go fixed is this borderlands 4 i don't know what that means this is for danny um um i don't know i don't know what uh i don't know what you mean by that i'm not a gamer sorry um so there's that displacement so that's a very important thing to know that you know you can add that displacement bound to a custom material like this now if we want to see this with lighting on it not that we have any lights but if we want to see it look shaded we could put maybe a classic shader in or even a we could do a principal shader as well so principal shader and let's just collapse that down and you can see here we've got a layer output if i put a compute lighting node down layer into layer and then cf of an f into the surface output there you go so now we've got like a shader with our custom displacement so that's step one this is not you know this needs work this but we're getting somewhere so we've just recreated what we did in ops which is cool now what we need to recreate is this effect of it being transparent and you can see that he um chiba akihito says use fresnel in the material editor so whenever you want to create that kind of edge look the fresnel operator is a good one to start with so for now there's a couple of different ones there but it's this top one that we want for now and you can see we've got normalized incident vector normalized surface normal and index of refraction the index of refraction is actually on the node so i'm going to plug normals oops i'm going to plug normals into here so here we are here normals and then i'm just going to disconnect the off from there and plug it into fresnel you get a couple of different outputs here kr kt so you've got reflected light transmitted light reflection vector and transmission so you can play around with those different ones i'm actually going to disconnect this and this and just look at the output of the fresnel there we go so there's the cf so that's the color and then we've got opacity and alpha so we'll just hook them all up and there we go we're starting to get something happening now you can change you know what that's plugged into as well you can try the other one and see what that looks like i think that will be kind of not right it's like the it's almost the inverse so this is the one that we want we want the reflected light and then to crush that right down because you can see we've got like a whole bunch of you know noise in here or gray values so let's put run this through a fit and try crushing it down and see what we get okay so really it's just about removing that really low end stuff but if we bring that down that low end stuff becomes you know a bit brighter so you can see yeah we're kind of getting there now with the color i think it looks to me like he probably has like some level of lighting in there because i can see you know some gradients and maybe some shadow tones stuff like that but what might be cool is to run this just the color output here through a ramp so you can see at the moment we're outputting zero to one values so let's run that through a color ramp brand parameter and if i just choose infrared on this oh actually we need to go outside this always gets me in material so with ramps in general there's a ramp display in here but there's also a ramp display out here this is the one we need to change so if i change that to infrared we can see you know what's what's happening there so we've got low gray values of becoming purple and the white values becoming red you could change the interpolation of all these flags instead of being linear where they blend you could set them to constant and then you'll get this more um kind of cartoon shader look where you have you know a complete separation between the colors there's no blending it's just one color into the next so what you could do instead if i get rid of these extra colors here so i guess it's that one you can kind of have this separation between two colors so this potentially could be a gray looks like we're getting a little bit of white in there and then this one could be very white okay so let's try tweaking just a little bit okay there's some interesting things happening there some you know artifacting going on i don't know if that's just down to my render settings i suspect that it's not because my pixel samples are reasonably high um hey dl i'm i'm just looking at this reference that i saw um last week sometime by chuba akihido done in blender and i just thought i would try and recreate it i think it's a cool it's a cool kind of thing it looks looks cool and you could you could apply this technique to all sorts of you know different things but i guess you know this is kind of a smoky a smoky type effect so you know this stuff here i feel like maybe we need to kind of firm this up in terms of the the opacity so that it's it's much denser because that stuff needs to sort of feel a bit more solid i think let's just hide our inside taurus and see you know what that looks like it's pretty cool but yeah all this stuff that's showing up here really if you look at the alpha it kind of you know maybe shouldn't be there necessarily let's have a look let's see what we can do look at that running into cf let's disconnect the alpha so it's just opacity that's causing that let's grab a different fit and just see if we can play around with this a little bit and so if i bring yeah so if i bring that way down that starts to solidify that stuff there we go and you know by clipping out the low range i can sort of decide how much of that area i want to keep basically with you know sort of 2d stuff and and when you're going for like the ink look crushing values right down to get rid of any sort of linear interpolation between the low and the high values is what you want to do so you don't have too much blending going on so like you could set that to four five for example and it would just it will create very hard lines and there we go so that yeah that's kind of interesting so we've got i mean we could plug this one into here if we wanted to but we probably won't get because we've gotten rid of the you know the blend essentially we've just gone very hard clip on those values that's going to transfer to our ramp as well so there's not really much room for that color ramp to show variation so we can have a different range going into the color which is less kind of less crushed and we can sort of just play with that to get you know different different ranges so yeah you can see as i bring that down i get more white into those areas and that's kind of cool too but you can experiment with that and you could always add extra flags in here as well so you could you could add a dark flag in there potentially get you know some some extra tones in there which might look cool you can see that nice kind of look that we're getting so i think you know i think that's that's kind of getting there um the noise you know potentially needs work could could be a little better could be a little smoother you can see there you know a little softer maybe the frequency we could go up you just kind of want to dial it into taste so you can see there it's it's getting a little bit too noisy with that roughness up so you know you potentially take the turbulence down then it looks a bit too bubbly to me so that you know there's a there's a you know a fine line i think and i guess we could run this into the fit as well just to see you know what what we can do with that so you can see when i raise the source min we get these areas of flat which doesn't look that good so that's not a good idea and of course we've got this scale on the displacement normal as well we could use the amplitude on the turb noise but we could take that down and make it you know a bit less intense and maybe that's maybe that's better you know i feel like maybe i need to crush this a little bit more now if we want to have lighting on this as well we've got color here which we're outputting but we could bring our compute lighting back in with our principled shader or yeah we could use classic shader whatever you whatever you'd like there but so basically we've got our surface here base color we could plug in our ramp to that and then plug in our cf so there we've got now our color based on our ramp but also we're running it through the compute lighting so if we had let's just jump out i'm just gonna save this quickly just in case it crashes so if we had a light in here there's my lights there so if we had a light in there now we'll see lighting direction on this as well so we should see okay so let's crank that up so you can see now there's there's lighting being taken into account as well we can add an environment light for a bit of fill are you getting shadows as well which is actually kind of interesting it it kind of looks a bit like glass um at the moment which i'm not sure yeah i'm not sure i love but it's an interesting effect all the same so you can see how you can combine you know lighting together now you could exclude the smoke from the lighting from shadow casting onto the torus so let's just go to light linker mantra rendering light linker i'm going to choose shadow mask in the link type and then come over here and just choose the inside taurus as the shadow caster and not the anime smoke and that then removes the shadows being cast from the from the smoke onto the torus inside and that made it slightly less like glass now we could go back i'm just going to duplicate this and we could we could just ditch the ramp uh altogether we could try without the ramp just hit stop and re-render that looks pretty similar oh we also have reflectivity on here so let's get rid of that maybe that might be making it look a bit glassy as well i don't want any of that stuff don't know if adding a mission will do anything to our let's set this to white i don't know if that'll do anything to our color might make it bright let's see oh yes very bright all right so we could you know find a mission as well and feed that in there that would give us like a super bright kind of look interesting much more glassy and the kind of um the fresnel look is back but you know this is the really cool thing about doing this stuff in um you know in material context like this vop based shading is like you can really play around with some very interesting looks um so let me set that back to black and let's ditch this mid color and even this you know it doesn't necessarily need to be solid white maybe it just should be great it does look like a suspicious donut um and yeah i mean just looking at this profile you know this very kind of triangular shape we could go in and fix that as well let's jump forward a few frames and just see you know what the difference what the difference is so you can see how it's gonna evolve over time which is cool so let's go back and edit our original sort of stop that let's go back to our edit and yeah we could pinch these in a bit make you know a bit more of an interesting kind of shape to that my original yeah taurus is pretty low-res so i don't have loads to work with but i mean yeah you kind of create more of a slip streaming type effect like that even yeah i don't know if you want to change that too much you know something like that and then see what that kind of looks like it's hard to how does it tell exactly i guess it it sort of pushes it out a little bit when you add that displacement so so it kind of um it doesn't work as as well color bit of colored lights always good to chuck in there yeah so let's try making this a bit more intense a bit brighter i don't know if it's just that hmm if i set that to white i'll hail the pink doughnut that's right so if i set that to white it becomes solid again but the alpha is there which is weird but if i maybe on the instead of a mission color maybe i'll do a mission intensity yeah it's kind of weird why it does so i'm not really sure i mean we don't need to use the um compute lighting necessarily for the smoke just yeah i just thought it might be an interesting thing to to play with and now it's now it's broken hit stop re-render ah this might having that on and in here might be setting the emission anyway sometimes you might need to be might need to be mindful of that all right let's play with this now so maybe that's better you know with with less less lighting information well you could potentially do this as well where you have like the principal shader compute lighting and then this color and mix them together you know with a bias so you know something like this might work where you've got like 50 lighting or you know so zero would be full lighting information one would be fully just the color coming from the ramp and yeah halfway would be a little a little from column a little from column b so yeah you could yeah you could play around with that let's have a look at the material let's make this one a slightly different color yeah so i don't know i mean i think i think that's pretty close obviously you could you know i think it doesn't look quite as good as this one yet but obviously it's just about kind of dialing it in you know to suit and i think the noise the noise pattern and maybe the amount that i'm clipping it is probably the big thing there that you know is is the difference just coming up with a better noise pattern i think um you know would be a good would be a good thing there whether it's changing it to a different noise type or or changing it to a different noise you know node that'll give me a better result but i think i think it's pretty pretty close you could always change the index of refraction on the fresnel as well just play with that you can see how that gives you you know different level of sampling on that or you know different level of falloff maybe gets a bit more a bit more solid in there you can see how that that really thickens it up quite a bit so you know the higher you go the thinner those lines will become looks like seven kind of works okay and then yeah you know play around with these you can see the linear it just sort of starts to take it away a little bit just because of that blend that's not really something that you you know you get in these types of stylized 2d effects but yeah this you know this kind of approach can be used for um for anything really so i think maybe maybe a little a little less okay let's go with that um unfortunately i don't think we can view this in the viewport you know we've got our material assigned there i don't think we're gonna see it which is a shame so you do have to render it to um you know to see what that looks like let's turn off the transform and just see if we can get a render going in the background come on you can do it okay so yeah i don't know the shape or something needs a bit of work i feel but let's render it out and see what we get okay so mantra and frame range and take my pixel samples down to two nice and quick one to two forty do i really need that many oh it's not animating so i need to what have i got here i've got time here so i could plug time into the offset of my turbulent noise or i could just promote my turbulent noise just the same and dollar f divided by 24 so let's see what that looks like okay step forward yeah it might be all right i don't know it's hard to tell let's render it out and see so get rid of that os slash.s render to disk now you know what i'm going to render to disk in background there we go all right so let's see what else we could do with this now that we've got this shader let's create something else so you know what i want to do i got a few ideas let's let's see see what we can do so i'm going to create a pop network and i'm just going to emit this stuff with a bit of upward force so uh of course wait a maybe i need to shoot them upwards there we go that's kind of what i was going for so basically you know what i'm thinking here is creating a like a smoke stack or something just like a smoking column a bit of noise on there probably too many points sink down to 100. all right let's see what that looks like so i'm going to copy the points some spheres okay and let's create a new camera camera one new camera oops new camera camera two and we'll apply that same material slash map slash anime smoke uh i might choose the one that i duplicated um and let's see what that one looks like through camera two [Music] hide anime smoke and inside taurus hey girl girlfire1 thanks for joining me let's see what we get oh what a mess okay so it needs work but you can see you know it's got the got the bones of something going on there but the issue with this is that there's a lot of overlapping spheres so what we can do is turn that into a vdb from polygons let's go voxel size 105. we could also do vdb from particles and that will actually copy a nice little vdb sphere instead because you can see here i'm seeing the polygonal shape of those spheres this method will actually just generate a perfect sphere of volume around each point you can see that's a lot smoother so i'll do that and then convert vdb two polygons there we go we've got nice polygons now and let's render that so now all the internal bits will be gone we'll just be left with the the shell hopefully it looks better there we go so we've still got probably the back side of it being shown which maybe you know makes it makes it a little um still a little hard to see let's go back to our shader so i applied smoke one let's let's put the other one on just see if that looks any better okay so that that one looks a little better maybe maybe a little too too noisy so maybe i'll duplicate that one call this one smoke matte two go back okay so go in and just take the amplitude down maybe the frequency down as well it's a different scale we're dealing with here so oh okay too low okay so kind of getting better now one thing you could try here is to take the [Music] spheres that are inside so let's just i'm just gonna duplicate this and maybe make it just slightly smaller so i'll reduce that p scale down so this one should sit kind of inside this one and instead of applying the material on the top level what i'll do here is put a material here so material smoke matte two and then on this one i'm going to just create or i'll describe it from the utility panel here constant it's a material builder very simple again but yeah it's there so i'll just grab it i'm just going to put this constant shader on with black so two two constant okay black inside then merge those two together so one over the top of the other and now get rid of that material there take a snapshot what i'm hoping is that this black material one inside will block out all the stuff that's behind and we'll just see the edge stuff that's in front there you go so you can see it got rid of a lot of that stuff and we're just left with you know this inside stuff so this simulation is not very good and there's a lot of you know just the same kind of shape so let's let's play with this a little bit so we've got our pop net these all have an age but the age is really long so let's set the life expectancy to five maybe with some variance let's go two in the variance so they should start to die around the top there which is good maybe a little bit longer okay and now what we can do is and actually have these change over time so we've got that age and life value in there if you middle click you can see bring it over this side you can see age and life if you divide age by life you get a normalized age which is between zero and one so life you know you could see that i was setting it to eight with a variance of two so if i have a look at my values there for life you can see that they have high values and then their age is just increasing until it hits that value and once age equals life the particle gets removed but if i want a zero to one value so that i can run that through a ramp or you know whatever then i can normalize it by dividing it divide age by life and then you'll see that that gives like a kind of gradient um i don't know why i'm still seeing that v there broken ctrl t in the viewport spawn a new one there we go so you can see there now i'm getting a nice gradient of black to white from my normalized stage so i'll run that through a ramp and i'm going to run that through a spline ramp and then i'm going to run that out into p scale so bind export hey darth mode jojo um so i'm going to export here p scale and then i'm going to put the output of that ramp into a fit so i can control that value because ramps just output zero to one so zero to yeah let's just leave it at zero to one for starters let's look at our copy to points as the way to visualize it nothing at the moment our ramp by default is just flat so let's do this there we go so scaling up over time until they die what you can do is scale up and then down as well so you have to scale up and then down as they die so that might create some interest you could also randomize this a little bit so we should have coming out of here an id attribute for each particle so if i randomize that random down hook it up to id and perhaps add a value so fit that between something and then add that to my well i could add it to before my ramp here or i could add it just to my p scale just to give it you know some particles have an offset and some don't so yeah we could even add negative values which will um subtract those yeah that from the value so you'll get some that are smaller and somewhat bigger hey fellow peanuts um thanks i'm glad i'm glad you um i'm glad you're enjoying them you're in lockdown too hey are you in melbourne lockdown sucks i'm so sick of it but at least we have houdini to keep us occupied um so you can see you know when i disconnect that you can see that that creates little bits of variance in there so that's kind of cool let's plug that into our vdb and convert and you can see just turn that off so you can see now you know we've got some of the smaller some that are bigger and if i went and grabbed that vop that i was testing with earlier so i'll just grab those two things sydney ah yeah you guys have got it even worse than we do at the moment that's uh that's terrible um yeah not fun not fun at all so there you go so you can see you know when i hook up that vop in there i do have animation on the offset which i could mix and it will just kind of evolve through that and it starts to look kind of smoky which is pretty cool it's like a rolling kind of cloud you know some of these bits aren't that great maybe we need to kind of play with play with them a little bit um i think vdb from particles you could try this as well where you get a velocity trail off of the particles so they kind of you know they they get created or they sort of stretch based on their velocity i don't know if that really works let's see what that does it creates some interesting effects but uh yeah i don't know it looks like ice cream cones or something um so maybe maybe not that one um what else could you what else could you do let's see so we've got that we've got that let's see what that let's see what it renders like um so it should you know it should be slightly better because there's more variation now yeah not not amazing but the other thing is you know this interior one doesn't necessarily need to be black it could be a color or also we don't necessarily need to go completely transparent on this stuff as well so we could get rid of the opacity then we don't actually need even the central one we could just do that one because you can see now now we've got a solid render um and then yeah so maybe we don't really need the opacity on this one because it's a different type of effect it's not wrapping around an object and we could you know we can just sort of play with this material a bit more to get the desired look that we want maybe this one we have additional layers let's go and change our so what are we going to do here do i want lighting on this one i don't know let's let's play with this a little bit for now jump out hey robert how's it going we got here let's take this one down oh there we go you want to create those kind of layers indian lock down is a different world at this point that doesn't yeah um how is how is it there darth mojo jojo it's not a fun world we're living in at the moment is it i am making i don't know what i'm making right now it's uh it's it it's meant to look like smoke but it's um it doesn't but earlier should we go back oh i don't know if those i thought a snapshot of those oh um let's let's have a look it's probably still it's probably still rendering let's see how our see how our render's going did i leave it i just called it manchester i didn't change the name of my um render note rookie mistake let's open this baby up are those grapes yeah it's a grape uh grape chimney no it's i i guess you know i'm looking at 2d shading techniques uh here we go based on this gif that i saw um which is this one which i thought was pretty cool um so i've just been looking at how you could recreate that in houdini so let's have a look here we go we've got 79 frames of this bad boy oh looks like my it looks like my um my offset maybe is skewed or something i guess you know what you know what's happening i always forget this but in in material context i set this to offset in x right so it's offsetting in x but it's not offsetting in world like object space x it's exporting in render space x which is left to right you know along the render pane so this is x and this is y and z is actually z depth um so [Music] that's why it looks like it's transforming across and not backwards it's kind of you know it's not looking too bad but yeah it's it's certainly not you know translating the correct way so i'm gonna kill that render manager suspend kill there we go and let's go and change this so here this p here this position so let's go back tweak our go back to our camera one turn this off put these ones back on render hopefully that all still works hey there we go so go back to our material after p here we're going to put a transform node down and there we go so that is going to transform it from the current space which is the render space to object space and then it's going to be object space position which is going into this turbulent noise and that then should translate in the correct direction but we'll have to render it out to see so let's let's render it out again render the disk in background so there we go so i hit stop on that and there's that one running so let's go back and see if we can see if we can salvage this this little doohickey so i think maybe more more points might help maybe i don't know it's kind of uh it's a bit of a lame simulation so perhaps we just need to add a bit more variation to it whoa too much and then you know so extra surface detail would probably help as well so we've got one layer of spheres and then maybe we want to have an additional layer so perhaps we could go back to doing this method and then you know scatter spheres on those spheres or on this one we could you know potentially scatter spheres like that take a copy to points uh duplicate it like that let's just add a random so at p scale equals rand pt num and that'll just give us like a random scaling of spheres and we could take that down just by multiplying it by 0.1 or something or probably what's better is to run that through a fit so 501 let's go 0.25 and 1. there we go so we could copy that instead and that might be interesting um oh yeah it's it's early there for you yes sorry about that i mean it's hard to uh it's hard to pick a time that works it works for everybody um so there you go you can see now i've got like clusters of spheres instead which might be interesting and you could actually just like rotate this as well or work out a way of rotating that over time might be interesting to kind of look at as well let's see what that looks like they're probably all you know they're all going to look like they're rotating at the same time but maybe it's not too bad i mean that's kind of interesting you get that kind of that feeling of rolling and tumbling there's not too much evolution going on with these ones just because you know this isn't changing it's just a symbol a simple shape and then i'm rotating it but you could you know you could potentially change the scale of those over time or maybe run them through a noise or something might be interesting like you could um you could potentially take that involved here this one which is doing all that undulation put on the scatter and instead of doing this place normal just add to p 3d noise this time because we're adding a 3d position to a position get rid of the normals get rid of that fit so that's going to if i have a value in here that's just going to undulate those points a little bit so dollar f divided by 24 again so you can see they're moving now so over time they'll kind of jostle about and rotate and then when we copy those onto here we might get you know just a little bit more interesting kind of motion just kind of cool and maybe this scale down isn't working so we'll just have them scale up over time a bit more and of course you can play with this so you get better shapes going on so you know something like that um and then i guess because we've got spheres now we need to vdb from polygons which is going to give us those it's going to give us those um subdivision lines but i don't know there's not too much we can do about that unless unless we just take the points from these so instead of copying the sphere we'll just take these points rotate them and then copy those points onto those points and then vdb those is it is it the same let's see let's duplicate that i feel like we're missing we're missing something there probably our p scale is is breaking maybe we should do except p scale oh except scale except p scale let's get rid of that maybe ah there we go it's a little bit different but yeah you can kind of see how that that's working and you can always mess with that so let's see let's see what that looks like it is a bit of a it is a bit of a ball of grapes it doesn't really look very smoky at the moment so yeah obviously this needs a significant amount of tweaking but you know these are the these are the kind of ways that i would approach approach doing this stuff um there's another really cool yeah i don't know it's it's got potential it's not not perfect but it's got potential um there's another really cool method that i've seen with like anime style explosions also done in blender funnily enough which basically starts with a sphere just make sure that's not rendering and it's like a heavily subdivided sphere let's go with triangles and we'll go 100 frequency which gives us 200 000 polygons and then again attribute vop with a turbulent noise i've done this once before i'll see if i can remember how to do it so pause add actually displace normal again so displace normal p in amount so very same similar process to what we've already done i'll get rid of that normal so you know shapes like that crank up the amplitude so this is going to be like a kind of explosion and i'm going to transform this sphere up so it's going to be like a kind of expanding type effect let's go zero to something like that see what our attribute looks like so you can see so it does that over time we can change the frequency so you know maybe this is like an akira explosion or something something very spherical you could of course animate you know this potentially you could also put the fit in there to crush those to create some interesting um you know peaks and troughs maybe the scale isn't so big go from zero looks like it's clipping a little bit there i'll just turn that feed off let's promote these parameters so let's go something like that yeah yeah i don't know something like that might work um and then i can't quite remember what i did next whether it was a measure node set to measure the curvature you can see when i measure curvature i get you know these kind of lines around all this noise you've got lots of different options here so you can measure the gradient you can measure the curvature um all sorts of you know options here application could be interesting volume pretty sure it was curvature i do have the file somewhere so i can have a look see but basically that's going to give me an attribute and i can make it a point attribute then well maybe we'll blast based on curvature so let's have a look at that value geometry spreadsheet curvature there you can see goes between 0 and 1.5 so let's just say at curvature greater than one it's a point group 1.5 okay so take down until till things start till things start disappearing oh you know what i don't even think i did this i think it was actually just based on the color of the um of the turbulent noise so let's just try that so cd into there and there you go so you can actually see there's a pretty good gradient there so i think all i did was just blast based on color for this one at cd.x greater than 0.5 let's say again it's a point group there you go so you can see i can like trim ha there we go i can trim this stuff back so once i do that if i put a smooth down i get if i choose uh none on group boundary or actually even an attribute blur i think is a little bit better attribute blur p pin border points and then crank the blurring directions you can see that gives a really nice smooth shape there so i think that's quite cool and then you can see as i take that down you get these really nice kind of patterns so what the technique is is basically to create varying levels of this culve with different colors so here you know i might do let's make this one black for example and then i'll have another version of this over here which is slightly different so i'll take that one in but if i merge these two together they'll be overlapping so i also want to peek this one to be inside you can see i'm getting something interesting happening there but if i peek this inside slightly doesn't have to be much just so they're not overlapping then i get this kind of effect so let's make that um red and i'll turn off lights for a second or in fact i'll give this a constant shader so material just grab another one of these constants just call this explosion drag it on there material oh it should show up kind of a bit brighter than that but i guess not maybe maybe i need some normals you can always do this as well to make it look brighter in the viewport just go ah cd times equals 10. hey look at that this is just a just a visual thing uh you can put this attribute below probably down there there we go so you can start to see what it's looking like and then you know the peak again i think maybe you could do it like a subsequent kind of thing with the peak but so like you could take that value copy parameter paste relative reference and then maybe times oops times 2 or something so that it's slightly more again or times 1.5 and then a different color on that one and a different offset so let's go seven on that one color make that red or orange e there we go and then finally you know maybe there's just one there well maybe instead of doing negative peaks we do positive ones maybe that's what maybe that's what i did so maybe that makes more sense so each one is kind of so the base one is kind of not deleted at all and it's just pure white so like this this one's just gonna be white that and then we do so let's just get rid of that do a little peek on each one 0.01 and then i think i can actually just do each subsequent blast from that one so it's kind of like a more layered thing so peak maybe even after the peak so i've done my peak blast and then another peak which is the same value 0.01 and then finally this one blast off that one peak 0.01 color attribute blur there we go look at that so what you get is this cool kind of you know expanding ball and you can you can sort of play with that that total noise value if you want to so as you you know change that value or crush that sort of changes the way that it looks or also so it's the one fitting into color actually that we need to mess with there you go so you can see how you know as i change that i get more of those you know peaks coming out and as i change this as well roughness so you can get this cool kind of look and yeah you can do that as many times as you want so it's it's this kind of cascading effect now where it's got one initial blast your original one and then everything just kind of comes off that and yeah you know it it's a cool it's a cool kind of look now that you know obviously isn't looking as good as uh that's what it could i'll see if i can find the example one that i put together um because that that looked quite cool um but that's that's the the basic idea is just creating layers let's see if i can find it here anime explosion here it is yeah so you can see this one you know it's got got much more bally kind of shape so let's take a look i actually actually ended up so you can see here is the here's the one that we were just looking at so we've got this initial shape it's actually a bit more noisy than what i had um and there's our subsequent peaks so i did it slightly differently peaks before blasts and then merge them all back together to create that effect but then i actually decided that you could probably do that in a forage loop where you're doing the peak i don't know what what i'm doing here here's the removal section so instead of doing it in a blast i'm doing it in a um in an if statement with a threshold and i'm actually changing the threshold every time with the iteration of the loop so that with every loop i get a subsequent you know different value i guess you know i spent a bit of time working out what that value would be you can see 0.6 times the iteration of the loop whatever that means i can't really remember exactly now but you can see that you know it gives you that nice kind of especially with the smooth you know and i was doing it with an attribute blur whatever you want to do there you get these really nice kind of these really nice kind of details these nice lines and really nice smoothing so i thought that was pretty cool and again you know i saw somebody doing that in blender or a student of mine i think brought it to me and said how could i do this in houdini so there's the elegant solution and there's my first attempt at doing it 4-h loops are great you know that make uh make doing this stuff you know really cool and you could you can see here i've just got basically a control on the number of iterations where i could i could keep going if i wanted to i could have nine of these or two of these you can see like i can just keep increasing it to get more and more iterations of that process of doing the peak and then the blast so yeah um let's have a look at uh so you can see i think yeah just my scale is probably the thing that's you know out there and maybe i just don't have enough um maybe i don't have enough roughness either maybe the noise type that i went with was a bit a bit kind of off well there we go looks kind of cool um so let's have a look at uh at that render again so how many frames have we got we're up to 11 30. yeah we've got a few frames now stand by there we go you'll probably see it switch maybe no so there we go now it's translating in the correct object space which is good um the speed probably you know needs to be needs to be a bit faster let's just speed it up in the frames per second here and i think you know you could also add um controls along the length of this thing so you know if you wanted to create like a ramp along the object that might be an interesting way to control the fall off of the displacement or even change the fresnel as you go back or change the color it could be kind of cool as well um yeah all sorts of interesting things you could do with the shader yeah lots of lots of possibilities there let's go back to cam one and turn off all these experiments go back to this guy so you could store it on the shader or on the object so you could store maybe a value along the length of the torus or you could probably do it in the shader let's have a look so we've got the original one here we've got our transform to object space here from p so based on that let's see if we can do a relative bounding box off of that and to test that that's working let's render it out and see i hope this stuff is interesting to people i don't know i find it i find it fun just messing around you know with these different different possibilities in houdini so let's do this instead of i'm just going to get rid of the of and cf for a second and i'm going to plug in that relative bounding box in there let's do back to float and just grab one of those well that doesn't look it doesn't look great does it cf relative bounding box let's try relative to point bounding box i don't know if that is any different well that doesn't seem to be working i don't know if it's uh maybe maybe it doesn't work or maybe i need to do something different in materials but yeah i'm not gonna let that stop me let's go in here in an attribute pop and do a relative to bounding box on here and bind export that to an attribute called bee box if i plug that into color there should see that in object view there we go so if i look at just one of those channels there we go the x channel you can see black at the start and white at the tip and if i look at the y it'll be the other way so it'll be black at the bottom white at the top and said you get you get the idea so that's what i'm bounding to a attribute called b box it's a flow of three floats vector and i will disconnect color now and render from that object go back to my material now i can ditch that bind be box in there it's a vector three flats vector or vector one we're gonna grab the x and let's check that in the render maybe maybe it's this part that isn't working but hopefully we'll see some color now there we go so we could use that as a multiplier we could use that to drive color so yeah we could hook this back up there we go so we got that back now um we could use it to drive a ramp so we've got our kind of gray ramp here which maybe we could multiply or mix instead of mixing the lighting in maybe we can mix a different ramp here coming from a different part of the object so over here this ramp if i mix that in um let's go oh and then we've got a bias as well so the bias could actually be based on this value as well so let's create a color ramp here looks like we need to name that differently so wrap two hopefully that doesn't break everything there we go let's choose blackbody nice let's make all of these solid again constant okay and oops let's just look at that one by itself okay so you can see how it's going black red um yellow there maybe that's not what we want let's run it off the fresnel ah yeah that's kind of cool so let's use this instead to draw not driving the color but actually driving the bias so let's put another ramp in there and i'm actually just going to rename these ones so this one can be called ramp emission and you can see it just broke let's call this one ramp um smoke it's probably going to break as well maybe yes did i really find that annoying that the ramps break when you rename them let's just copy paste values hopefully that'll give me back something ramp emission let's choose blackbody again there we go make all these constant okay cool and you can you know obviously adjust the positions to suit maybe you don't want so much black maybe you want a bit more yellow more white whatever and then we've got now i can create now that i've renamed those i can put another ramp down call that one ramp long x i'm going to make this a spline ramp plug it into x and then plug that into the bias color aha there we go so gray towards the back there we go so now i've got this kind of ramp and this ramp you can think about as uh this part is start of the ramp and this part is the end of the end of the taurus over here so the start of the taurus and the end of the taurus and we're blending between these two color amps so you could do you know some interesting things like that as well and again you could do more kind of constant change where you know it's like one value and then the other you can you can set these to constant as well so you get that but it doesn't it probably doesn't matter too much if there's a little bit of blending going on but that could be an interesting thing to try as well and you could actually potentially change the fresnel factor there as well so you know we've got this fresnel and if we drop that down to 0.5 so you can see yeah we get a very different kind of look or even 0.65 point six eight you know something like that so what we could actually do is change that index of refraction based on a ramp as well so maybe the same ramp if we run a fit off of that and then our base value that we had was 0.8 so let's set our dest max 2.8 and then our des min let's make that 0.6 and plug that into ior or the eta hey look at that so we can experiment with that value and now we're actually getting you know a change down the length of that object and that that actually is quite cool so you know i think i think you could potentially create some really nice um additional elements to this that i mean you probably do it in blender i'm not sure but yeah it might just give you more control to create some really interesting effects even if you don't do the color variation there just doing that on the smoke color might be interesting so you have like a more thick effect at the start and then it trails off to being really thin at the end you know we can set that to one so it really sort of peters off towards the end there that's actually quite cool yeah you get this really nice solid look at the start and then tapering off towards the end i think that's i think that's pretty cool i don't know what do you guys think it gives you a lot of control over the you know over the the effect across the length of the object this is becoming ridiculously messy let's move that up there now i have to figure that out the uh the b box inside of here i don't know why that's not working i'm obviously doing something wrong but so yeah we've got that look which is cool and then we've also got that look which is the sort of fire blend which maybe doesn't work quite as well i don't know just an idea perhaps perhaps we just need better color choices you tend to see a lot of brown in um in anime explosions which is interesting you know choice but i guess it makes them look kind of dirty maybe we want to do that that's kind of cool i could tweak these colors all day um so yeah i don't know you know i think i think there's a lot of really interesting things that you could do with that let's try that and because it didn't feel fast enough let's go and change that to b what do we kind of i did it i got 84 frames per second here so 24 is what we first it feels way too slow dollar f i'm sure is probably too quick but maybe not let's try that you can see how quickly those shapes move down let's have a look at what noise i used on that um that other explosion maybe it was sparse convolution i can't remember so we got that one and then an additional layer this one is that's alligator noise but you can see low roughness and low turbulence so it's exactly the same really and then an additional layer on top of higher frequency stuff just to add those extra details so i could do that as well where you know i kind of have an initial turbulent noise which is doing more of the broad shapes and then another one combined just added to the amount to do like additional additional kind of shaping um maybe i will duplicate this again just to protect that you'll notice i do that quite often just when i'm messing with shaders you know just copy them just so that i don't kind of lose what i had i like these some of these kind of looks here they look quite cool it's definitely like a fine line with this stuff where it sort of if you add too much detail it starts to look a bit you know a bit kind of weird the other cool thing you know with this with this box idea is that you can you can vary anything really you know so the frequency for example here it looks kind of interesting right at the start it's like bubbling off the surface but then back here it looks pretty awful uh or you know roughness for example so you could you could change that over the life of the object or you know to create that feeling of changing over time you could change that roughness over the length of the object so maybe instead of the ramp or just use fit into there and so our base roughness let's say what do we want 0.3 [Music] so let's plug that into there you'll see it go crazy at the end so point three four and then up here let's go 0.6 okay and this is where we're having it in a ramp is helpful because you can really tailor that now it's just a kind of linear thing so it's a little bit harder to do but you can see now i've got like a nice level of bubbly detail there and then it trails off so i will put that through a ramp or i could try it through this one let's call this roughness oh roughness wrap all caps oops um plug that in like that and let's go tweak that it's kind of inverted this ramp but you can see how you can control that which is cool you could also do that with um with frequency as well so you've got frequency here and they're all the same the frequencies so 1.5 1.5 1.5 in each in each axes that's actually quite cool that has a really nice feeling of speed i like that i was planning on doing something else but that actually looks really sweet so so i mean you could do that as well where you vary you know the frequency in one axis so for instance if i put another fit down here off of this ramp and then that's just a float but we've got three values here so if i put a float to vector down into frequency we'll see it'll break let's set them all to 1.5 what we had but you can see if i drop the component one then i get that nice stretched effect so here into component one i could go like 0.1 at the head and then 1.5 at the tail so that it goes from that nice kind of stretched quality there or alternatively 1.5 at the head and 0.1 at the tail so it kind of stretches out over time and that might be interesting so you could kind of play around with those two things but i think that looks pretty sweet it's got that really nice feeling there and again you know that along the ramp so that you can kind of see how that works yeah i don't know what do you guys think about that i think that's pretty cool um and you could you get that really nice feeling of wrapping then around the surface which i think could could be really nice yeah like that looks sweet this this shape here still bothers me so yeah i got nine minutes left for the stream so let's let's try and make this better because i think that's the only thing that was really letting it down now so and try and pinch this in a bit and maybe make the tail a little longer perhaps we'll scale this in it's a bit more of a taper so my render flag there snapshot render yeah a little bit better maybe and you know i guess i could i could drag it out a little more play with that soft radius a little bit maybe don't know i really like that now though i think that's looking really cool and perhaps this stuff at the at the tail could do with being a little bit rougher so look at that roughness here rougher at the start than the end maybe maybe that kind of isn't quite right stop render everyone's very quiet out there hopefully hopefully it's still there um so let's see yeah again frequency over the length we could change so here we are changing it but we could also change it so it's different i don't know it's sort of looking a bit weird back here um and also i guess this ior back here maybe is a little too too weak so we could change that to thicken it up a bit it's just loads of things you could you know do to really control this what do we got for our color at the moment so we're just using the ramp smoke that's kind of cool too so you can you know you can build up a decent level of complexity in these shaders all right i'm still not like thrilled with uh with some of the look but i think you know i think over time you could really develop this up into something that looked really cool let's see where's that there's that roughness i mean i don't know if it's that but maybe it's just too rough and then in other frames it looks like it's not rough enough i don't know let's render this for a little bit and see see what it looks like uh i'm going to call this anime smokey donut let's check my performance monitor i think it must be done not performance on a render scheduler kill that one render to disk it's all about the donuts that's right maybe i should start doing my stream just donuts every every day so let's open this up and see how it looks it's rendering pretty quickly because yeah there's not really a lot to it oops render smokey down up yeah a little bit fast all right kill kill kill material that dollar f divided by two let's go divided by six maybe eight just too quick three minutes left let's see if we can get a few few more frames of this and we'll see i'm i'm pretty happy with that i mean you know there are elements to the tail that i don't like but this uh happy accident here of the streaming stuff at the start i think is really cool so i think you know i think there's a lot not a lot could be done with this and and further refinements made to the look but um yeah i think it's yeah i think it's a cool thing you can see i've drifted away from the look a little bit by adding that streamy stuff in but um yeah it's a shame i can't get that performance in the viewport would be nice i could if i did it completely with vops but um yeah this is more efficient to do it this way in materials and you can get much higher resolution so yeah that speed maybe is too too slow but whatever we'll we'll let this go and you know see see how it looks oh i just realized i'm looking at it in aces let's see doesn't really make a difference it might be interesting also like you can maybe change the speed of it along the length as well so that it maybe comes out faster and then goes slower towards the end or speeds up over time i don't know you know obviously if this was back through the transform as well that would change the speed of the animation so you could have the object moving fast and then you know the noise would go faster and then as it slows down it slows down with it lots of yeah lots of possibilities but uh yeah i hope that's been i hope that's been kind of interesting to you guys that's the cool thing about you know houdini and i guess you know blender as well um you know you don't always have to do stuff as a simulation there are lots of interesting ways to approach things and i think for me you know in order to save time simulations are really costly and time consuming so if there's if there's a way to do something that saves you from doing simulation or if you're going for a stylized look then then yeah you know there's lots of really cool really cool approaches that you can use and they're not limited to just houdini you could just like i did too took that same kind of idea and repurposed it in houdini you could do it in maya or 3d s max i mean you might you might hit limitations in other softwares um but you know it's just the the idea that you can you can use and yeah i think i think it's a really cool approach to try out and just um see what you can come up with so um yeah i'm thankful to all those people out there that come up with these cool things that i can rip off um yeah i think that's not quite fast enough but there you go flying flying donut flying to earth you can just imagine it and a big anime explosion at the end well i'm going to keep messing with this because it's a lot of fun but i don't know what i'm going to be working on next week i might come back to michael's shot and look at some of the effects and then move on something else after that um but yeah if anybody has any suggestions for stuff that they'd like to see i'll i've got my list my list of stuff to to inspire me so um i'll definitely be looking at that for ideas but if anyone has any ideas for stuff feel free to post in the comments um don't forget to like and subscribe to the channel so you get notified of you know future streams and i'll see you guys back here next week same time same place for some more houdini fun anime terrain destruction effects cool idea that's right audrey um and they just throw them at you um anime terrain destruction effects yeah we could i mean i could keep looking at some anime things as well i think that that could be cool it's it's challenging you know it's definitely challenging but but it's it's a fun it's a fun problem to to try and solve because it's you're kind of fighting against that you know that realism that houdini's pushing you towards by you know really stripping a lot of that stuff out and not using lighting and yeah so it's a fun it's a fun problem um cool well thank you for joining me everybody and uh i hope you have a great week wherever you are if you're in lockdown stay strong through houdini and um yeah i'll see you guys next week thanks for joining me everybody bye you

Channel: CG Spectrum College of Digital Art & Animation

Views: 949

Rating: 5 out of 5

Keywords: vfx, visual effects, houdini, unreal engine, animation, digital animation, sidefx, sidefx houdini, tutorial houdini, vfx breakdown, cgi, behind the scenes, vfx artists react, vfx artist, vfx tutorial, visual effects video, how to vfx, how to vfx editing, cg spectrum, cg spectrum review, cg spectrum vfx, anime vfx, anime style, anime donut, vfx anime tutorial, anime donut tutorial

Id: zVn_EibTPWg

Length: 120min 30sec (7230 seconds)

Published: Sun Aug 29 2021