Free Webinar: Water FX in Houdini

welcome everybody i hope everybody is doing great uh well we thought today would be a good day for a webinar so uh here we are today is actually a very special day i'm super excited to present today's guest it's the master of water himself igor zanek hello hello welcome to the webinar hi everyone nice to be the nice to be here and i hope you are going to like you know stuff that we are going to present to today maybe for some of you it's going to be boring maybe not but no that's more interesting for everyone no it's going to be great i'm pretty sure everybody wants to know uh your tips and tricks because uh you know everybody knows you as the the guy who does all the cool water simulations yeah that's kind of the burden that i'm carrying now it's kind of no one call me anymore for it for anything else that's the water yeah that's the water just water yeah make cocktail or water fix that yes awesome so before we officially officially start i think caleb is going to play the promo for the workshop one last time so let's play [Music] [Applause] [Music] so [Music] it's always interesting to see how much work goes into creating realistic water effects there's so many different layers and passes and iteration you must do yeah and especially not just you know fluid work it's also more about comp and the light at the end i mean at the end the compositing will save our shot a lot quickly fix it in post yeah fix it in post as much as possible because you know especially because the water it's kind of most expensive thing and it's slow to iterate you know re-render and redo the simulation so as much as you know as much as possible fix it in post rendering or you know however just not go back and resume if the shot was i don't know 50 hours to simulate or mesh or you know even even render if you don't have huge render farm rendering water all over again that can be you know one hour five hours per frame so if it's possible i know it's all the re reflections and refractions and everything that's happening that yeah increases a lot of pain every render engine yeah water drink water is pain no it's it's fun you know at some point it's pain depend on the client but most of the time it's fun awesome okay so igor i actually have one first question for you what is because everybody knows you as the water guy in the vfx world uh what is what is your process what is the process that you usually have with creating water effects yeah so the the main process you know i mean trying to make it you know simple as possible you know you know you're getting assets from the client or even your own if you have you know any assets and you know laying down the base setup you know if that's you know if if it's only the flat tank or if it's river or something else you know after that is iteration to make it look good you know sometimes depending of the assets that iteration can be you know minimal but sometimes you get the asset that the speed is not real and then especially the problem is you know your splashes are too crazy too high so then if it's possible you come back to the client or animated if you work in the same team if this is some if this is possible that we can fix sometimes you can because you know it's already approved by supervisor or client so you try to solve you know assets problem you know also that there is a problem with the assets is not well modeled for simulation then you need to create you know proxy models like you know for any ethics work then just to have everything stable before you even go to any iteration because you know as soon as you start maybe it's going to be volume loss or you know some other problems so the first thing that i always like to do is to prepare my assets and optimize as much as possible even if you get like i don't know five million polygon model of some creature try to make it as low as possible but still maintain the shape of the main of the main model and just that you don't put you know many polygons into drop network because that will slow down you know creating the collision and all other you know parts later on so that's kind of the main thing at the beginning you know fix your assets try to optimize as much as possible after that is you know lay down the base setup do it it the iteration try to you know solve the scale you know sending to the supervisor or clients for the feedback and then it's just adding more and more you know first like base setup and then just adding you know small tweaks you know looking at the reference what they want to achieve and just adding layers and layers on top then you know after that is when you have like main simulation done you know sometimes you don't need to optimize so much for the rendering if it's you know some smaller splash but sometimes if you have like huge splashes with you know over you know hundred millions of you know particles and even you know polygons on a fluid mesh you try to optimize and you know ride the most optimized you know cache with just the you know attribute that you need and you know calling from the cameras and all this stuff so that your render engine just you know render just what camera see and it's kind of don't use like you know one terabyte of memory just to render you know one pixel but you don't see it you know so yeah that's kind of the you know the second part i mean the most important part is that you know you you don't crunch your render file because everyone will complain why your render is 15 hours and then when you optimize it's like one hour you know then it's kind of after that is you know creating the shaders and you know talking with compositing department what kind of aoe they need you know sometime you don't need anything just the beauty pass will work but soon as there is a complex you know sometimes they want to render everything together or you know separate what kind of aov they need you know sometimes they need aovs that you don't think it's needed but for some reason they need so it's kind of trying to lay down the base the base set up between all departments so even if the shop come back you know with some feedback you already know what you need to do so it's kind of you know talking with everyone so this is kind of the first base scene you know even if it's you know low res or something it's always good that you do at some stage you know complete shot you know till render team comp then we can see if there is any problem we can fix it now then later can be even later can be problematic if you go with you know huge amount of particles then everything is slow so better fix before we even go to the you know finalizing the shot or even at the end of the day deadline when everything is crazy no one want to think if aovs is working off or not you know yeah there is always some problems but we are i'm trying to minimize as much as possible yeah so you have to do a lot of quick iterations and quick testing in the beginning so you don't run into problems later yeah it's kind of just to i mean more or less with you know every part of you know our very fix work you know the only thing is that water can be expensive because it's slow to simulate especially when you go to you know high-res seams so you know try to you know even if you want to present something to the client even do like low-res mid-res just to show them something then you can go back and it's easier to fix because sometimes sometime problems can be hard to fix in simulation but easy to fix in comp or render because let's say you have some crazy shooting particles or some explosion you know sometimes with a simple roto you know com guy can fix it without any problems but for you to go back to fix that in simulation you know isolate the particles re-render everything it's kind of really expensive so you know that's why it's always good that you see all the stages and you know talk with everyone can you fix this before i go back you know go back to the simulation because you know like like we said before comp is the cheapest and the easiest the next stage is you know render randomly you know something can be in you know in lighting and the last part is go back from the you know ground zero resimulate we render recomp so yeah that's kind of trying to trying to minimize the cost because sometimes yeah especially if you have many shots that can be problematic yeah problematic and really expensive because you know there is always other shots that need to be rendered on a farm so absolutely well cool i uh i i think it's time to uh start the presentation i know you have a lot of cool stuff to show from your students and then we're gonna go through some awesome uh references for uh water and some awesome water effects and then you're gonna jump uh i i i i assume into houdini and show some cool stuff in there yeah we will show you know some part of our water effects workshop and you know i will try to explain my idea why i quit it like that and also i mean there is we all think different you know especially in houdini one effects can be done in many ways you know it really depends how artists think you know what's you know skills you know my goal was in these water effects not to go in any crazy vex coding and anything it's just with a simple approach something that can be used in any software or in any effects no matter if it's water or explosion destruction it's just at the end it's all about idea how you are going to approach something and for me for me especially if something is simple as possible it's going to work you know faster than if you go crazy with the setup a lot of load a lot of code then you know things can go slow down can be problematic and especially you know there is when you're doing the workshop there is students with you know different level of knowledge so you know sometimes you know my approach can be really light for you know someone who is already five years you know doing the ethics work but for someone who just came in it's maybe you know ground breaking but you know after you know eight weeks of workshop they can see it's not it's the water it's not that crazy it's just it just take times you know it's not something that come overnight on one single of the button it's it's at the end it's what and how artist is going to present his work awesome well like i said if you're ready we can jump into the cool presentations yeah the screen so the first thing i will share before we go to some movie reference i will share the homework of our students and also that our idea for this workshop was not just that you as an artist need to create you know this base three shots like you know rock splash cliff splash whale jump and also the beach you can also use that knowledge and produce your own shots if you have your own assets so these are some of the work that our students did sorry there is no music i try to make it no that's fine well if you like you can talk over it and maybe explain what you like about uh each assignment so let's play it through all over so then i will come back and we can rewatch and you know talk about stuff well for instance what i like when i was watching it it's cool to see that people were actually changing uh you know the examples and they were making so they what they learned from the workshop and they actually made something on their own you know instead of just it's good that you actually follow with the workshop but then you get extra points if you actually create something that is you know that it's your work right yeah of course you know especially you know especially is that even the simple effect you know can look amazing if you you know just think about you know some other aspect even if you play with the camera angle and try to make the story you know even if it's simple severe splash into the ocean you know for example let's say that even if small rock hit the water surface you you can make a story you know like camera above you can see the ripples then camera below you can see the bubbles and you are just telling the story what can happen with the rock when he go down and you know die into the you know deep of the ocean so even the simple effect if you you know create you know interesting story can be more visually appealing than just you know camera above rock and splash it's kind of yeah but we see that like 55 millions of time but if you actually tell a story i think it can be a lot more interesting and especially in a demo reel you know when you know supervisors some see that you actually think about every aspect not just you know simple effect because at the end we are telling the story with the effect you know with you know even if it's commercial or movies so i think that's some sounds something that it's it's really good and especially if you do like let's say well john that you know takes time to simulate and render why not create a story there is so many documentaries you know bbc netflix you know or youtube that you know different camera angles storytelling so why not just take these and just copy on your shot you know just even if you just take the simple boat you don't need to render in the ocean just put the boat in if like someone is recording from the deck you know so immediately you get like documentary feelings so it's not that's just ethics preview so yeah yeah it feels different it feels a bit more special and yeah that's something that uh so i guess that's a good tip for some anybody who wants to get hired in the vfx industry is try to implement some story elements try to create a better camera position uh try to add some elements that will you know push you forward and uh you know it's just gonna give you extra points when people are watching your show reel yeah and especially that and especially that because there is so many uh in like let's say there is so many whale jumps on we may on or youtube that are same so even if you post something that let's see if is from the static camera and still look amazing most of the time it's going to be yeah it's the same work it's the same way it's the same work but if you create the story i mean this first shot this is you know test shot that i did for our water workshop for me was like you know camera below almost on on the water we see the bridge and then you know simple ship let's say this is like you know some even can be party ship with the girls on it and then the whale jump you know or you know someone already you know whale watching or you know something like that and we see the spirit it's almost like you you can see on many youtube videos like you know where watching people's or stuff like that so immediately even if it's a simple you know splash i was trying to tell a bit you know a bit of story you know like you know it's it's going out it's going out like you know first it's just the ocean anything can come out even you know submarine monster but in this case it's a wearer so and then it's kind of you know selling as a shot so it's much more interesting than just putting the camera and just see the whale jump so for example this was the same thing with this student because even he was doing the in a worship you know eight weeks period i was he was already using his own asset and you know you know the previews were from the same camera angle so my advice was you know this look nice but sometimes there are problems that can be hard to fix but if you use the different camera angles these problems can be hidden you know if the splash is not working you know for example in this area here you know just put the camera that we see and then later when this that area is gone or it's settled down put the camera above you know so for example like this you know and then the problem is going to be less visible and much easier for you not to not to go back and redo everything because you know on a single machine at home that can be pain you know to render like five days if you have your own work so it's kind of you know even with the camera angles you know try to make a story and try to try to fix the problems if you have them so you know at the end you still can make you know beautiful renders and you know you know and simulation but you know sometime you know it's uh i mean my idea was always like first 80 it's let's say it's not easy but it's fast achievable you know the last you know 10 15 it's really hard sometimes you spend a lot more time on the last 15 than this 80 i mean the hundred percent it's like you're never going to achieve because there is always going to be something that you want to add or fix you know but let's say 95 with a good lighting and comp is something that you you can fix but you know sometimes in these last 10 50 percent you know slight change of the camera angle or something like that can you know fix it much easier than go back and it doesn't have to be perfect yeah it just need to tell a story and especially if you can play i mean there are so many nice tricks that you can learn from you know breakdowns and watching making offs from you know from the different movies for for example let's say that in this in this splash you know if you have let's say problems in this area here you know for example you can put like water on the lens like it's sliding down so it's kind of immediately cover if there is any problem in a splash area you know or you know sprays you know like small drops on on a camera lens can also be interesting because you you you you can fake like you know splash hit the camera but actually isn't so it's kind of there is always some ideas that you can make it more interesting and with other other things that to hide the problems and you know so for example yeah we already so you know here it's more or less you know this is the beach but you know with the different assets you know like here like you know some pillars and you know some stats you this can immediately be like the artist was telling some story you know this can be like this is already there for ages you know so we are going to you know come out on the beach so something is behind the camera or this is maybe the something that left over before maybe there was some destruction volcano explode and this is like you know left over so it's kind of visually you can get a lot of nice ideas from even from this picture what can happen and you know idea here was you know just just the beach but immediately he can tell the he he can visually tell the story you know about his own idea what can happen or what was before or you know and it's a lot more cinematic as well to put in front because you create some parallax uh you create some depth of field and it just it's gonna distinguish your shots it's gonna feel much better and cinematic from other shots if it's yeah just if you don't use all of those elements yeah of course you know even even these you know sim let's say even this beach if you put it without this element it will be just the beach effect you know it's yeah that's going to be yeah it's okay it's it's there look nice you know but sometimes especially the problem is that this is something that we did in a you know workshop sometimes if you put uh let's say beach and the rocks sometimes it's hard visually to tell what is the scale of these rocks you know you need to have something that we already know the scale of it let's say the surfboard you know okay we know it's kind of two meters so we can immediately say okay the phone pattern is maybe too big because you know the board is two meter and your pattern is like five meter you know so it's kind of yeah okay you need to scale it down but if if you have just the rocks and maybe sometime without proper displacement then okay it's strange you know put some visually put human you know put something that we know what how it's looking what is the proper skill so you know that's something you know with this chatter can be you know two meters can be five meters but already we can see it i mean it's not huge because we we can see you know the uh you know the rocks behind and the details in displacement so visually we can you know tell what there's a reference yeah yeah a point of reference for your brain yeah yeah cool well you know i don't want to rush you uh but i know you have a lot more stuff to show yeah so i will go yeah so this is like you know submarine there is many examples you know of the submarine rising you know from the water and you know this is you know how it's cutting the waves you know here it's also you know like different lighting and that we see on the whale and here is like nice examples of the foam pattern you know how it's the waves are going from the whale and this is something that we will talk later in houdini see yeah and this is like a different example of the student using the knowledge and just trying to create his own idea and his own scene there there were some also additional ideas that i was sharing with him because that was not part of the workshop of the workshop so i was telling him okay try this right there try to implement so that was kind of what he did here yeah i think that's really important for people to know that when they join for a workshop it's not that they just get the videos and everything like the full workshop experience but they also get like help from you on an individual level so yeah they want to create something better or you know they need more information you're you're there to to guide them yeah there is a i mean every week we share more stuff that wasn't part of the of the workshop you know the the base version because there is always you know something uh you know different that students ask or you know or there is always some topic that i didn't cover but i see it's important so i share the you know the ideas or scene files or images and also for every homework that you know any student do i try to give you know detailed feedback and also the idea in the discord channel is that everyone posts the homework on the same channel so when i give the feedback you can actually learn from that because you know most of the time we are doing the same effects you know the beach the whale jumps so it's kind of easier when i give you know if there is like a five homework before you your and i give the feedback for everyone you can immediately try to add the same maybe the same feedback if you have the same problem if if not you know okay you you can just ask i will try to answer but you know most of the time the feedback that i gave are let's say 80 for the all the students you know if if the topic is same if there is nothing different yes so here is also the beach but again it's kind of you know the rocks above and below the you know the shot so it's kind of and if you can see this even the small thing if you can see here like crab is running to the water that's so cool i haven't seen yeah and you see it's here but even even that small you know skills you know your pixel are more interesting than it's if it it was just simple without so even this small stuff you know seagulls flying above that can make the shot a lot more interesting you know so yeah so this is again the whale jump just you know different ocean so it's not like you know plain same uh ocean spectrum you know different wind variations some very smooth somewhere is you know more choppy yeah this is like a cliffs you know like wall splash there is some part of the france where they have like a lot of these flashes you know like covering the houses so that there is a lot of really nice reference for something like this so for example this is the simple beach without any other elements but still you know usually it was really nice because there is some valuation so this student he took like water effects and our rice workshop and combined together amazing so this was like you know his way of presenting so instead of this was like instead of doing like simple rock splash you you can do the lighthouse splash that can also can be interesting and this was for me interesting because you know even this is the simple beach preview you know playblast the artists put like you know seaweed and with the advection let's look really interesting it's immediately give you know totally different feeling than just you know if this was just the waves and this is the wave jump with the like we talk different camera angles like drone is going around this is you know different beach environment so it's not like something that we have in a workshop so this is with the snake again even if it's you know without any crazy environment and this is the beach that we also share some ideas in workshop how you you can take the simple small portion of the beach and extended copy few times so he implement that this is you know spaceship rising from the water again you know different beach but this time there is a background and you know different feeling like more turbulence behind rock splash and and this is like one with uh with the detail breakdown you know what kind of layers in rendering and later in comp we can use to tweak our shot if it's needed so yeah okay i will speed up [Laughter] yeah because i know how much other stuff we have to show okay so i will try to go over some movie references and uh i will talk about you know some ideas that me as personally have i mean i try to break you know let's say movie effects or you know big water effects like you know even if it's you know hollywood effect you know sometime shot i mean as dynamic can be real everything but this is something that you know most of the time we will never seen that will happen in nature for example like crazy tsunami that is like you know i don't know 50 meter big i mean maybe that's can be real but we never saw it you know so it's kind of you know it's more or less like it's a hollywood effect then it's actually something that could be real i mean like i said maybe i'm you know wrong but you know at the moment we never saw anything that you know crazy high so and i will show later a few other examples of the same effect but you know done in a different way and also i was listening about you know making off of these movies you know why they did like this so we tried to make it so i will try to make fast forward so here we you know big you know tsunami splash you know this is the flood you know crazy high speed so yeah for example this you know crazy tsunami wave like you know like here that we see most of the time in the movies you know this is something that we never saw in reality so you know no one can say this is real or not but most of the time you know it's kind of hollywood blockbuster effect but still even if it's cannot happen in a nature all dynamics need to be as real as possible you know like these small splashes around so that actually the shot look real you know with these small details so yeah so this is again the shark we all see like many sharp jumps you know trying to grab the seal or what what not and we already know how you know splashes are going over this so even if this shark is you know 20 times bigger we can immediately already recognize the details of the splashes and everything and and we can say yeah this look you know this can happen this is real or not if the details are let's say if the details are enormous then it will be kind of strange so we need to care be really careful about the scales and the details and yeah so this is like you know battleship movie you know craziest spaceship again you know no one can tell you this is this can happen or not because we never saw spaceship you know crazy spaceship rise from the ocean but still you know still the all elements you know splashes and mist need to be like we saw like imagine that there is a huge 10 meter rocks hit the water surface so we can see all the dust and mist aeration and all these so even if they do on something that is unrealistic like i mean in terms of spaceship they need to be careful about all these elements to sell the proper scale and to and the shot and again this is again tsunami you know in a different way and also many times you can see the you know different company they do tsunamis you know in a different style you know someone will do more misty ones someone will do more with the bigger splashes and you know someone will do with more longer streaks of the me so it's kind of it's always good to see like you know how some it's same thing with the it would be like you are doing the whale jump and you see like every artist put his own stamp on it you know different you know look of the splash and all this so it's the same thing here you know for example scanline we're doing in his own way island we do in his own way but at the end we will all say yes look amazing because it's really massive shot it's not easy to do yes again you know so for example in the next part here we can see you know with the simple tricks like uh here you know they are emitting you know let's say from the sphere or for something like emitting you know splashes in front and you know they are not part of any you know fluid team it's just additional fluid simulation so within when they combine with the actual tsunami where is behind it's actually look really massive you know someone we say yeah but it's not real because the waves are going back and this in this case pressures are going front and they and if we see here there is no rocks or anything to make splashes so it's not real yeah but who care looks amazing you know yeah so but you know if we if we always if we try to go into the details you know then it would be like ah it's crazy you know yeah so you see again the different style of the splashes and you know so i will try you know this is again you know different movie but for example in this one we can see like uh many layers of fluid simul simulation you know background layer splash mist below you know different aovs you know specular refraction and all this so all these this part of you know fluid simulation it's a lot easier later to do the comp yeah so yeah so for example this is one effect that i really like it's something that we already know how the surfboard look so we can all always can be picky yet it doesn't look real it's real because we already know yeah it's looking real or not because we saw that thing like billions of times so you know written and he was really did you know nice and for example you you can see here the ideas is if you watch from the camera from this angle this look like there is a lot of problems intersection you know what's not you know it's not going to work but if you look from the camera it's actually work you know really good and we don't see any problems so you know this is something that also like i was explaining different camera angles can help you minimize you know and hide the problems you know this is you know again the the massive uh the massive scale of you know ship in a storm you know again you know something like this we see many times i mean maybe not with this but with the other ships we can see so we can immediately have this look real because the splashes the amount of miss the wind and all these you know details in the sail how the sales are moving and you know yeah looks amazing yeah i mean this is for example the 2012 movie you know yeah again this all looks amazing you know no one could i mean we never saw that you know tsunami way this high take the air carry and play like a toy so it's kind of you know but visually this looks amazing you know i mean every shot that i'm showing it looks amazing that every team did amazing job is i'm just saying that you know sometimes the scale of these effects sometimes is something that we will never see in real life but you know they need to be careful to sell it as this could happen you know you know especially for for example you know like this wave going over the himalayas kind of it's this is not like one meter hill it's kind of you know huge but still you know very high yeah i mean the the the amount of mist the the motion of the me so it's not fast so you can immediately see with the motion that it's kind of big scale everything is slow you know the waves are coming here even here when it's break you know aeration the break of the splash into the mist and all this is just selling the shot a lot better you know same thing here so for example d-shot you know these airplanes are not like one meter airplane these are boeing i know seven three seven i don't know and these waves you know even if they are huge dynamics maybe it's too fast you know they're moving faster but still they look visually amazing and you are very frightened that these waves are just eat the road you know like not so you know something even if the effects in the in the storytelling it's not real you know they are creating it to look real with these you know small details the splash amount you know the the size and you know okay i'll try to move it again this is all the breakdowns that you know we see many many times on internet yeah igor there's a question like how would you do big scale effects like that if you're on a tight budget like are there any tips and tricks that you can use uh to minimize the cost yeah i mean you know sometimes sometimes the the the question is uh the question is what we need to see in the shot let's say if it's tons of missed you know sometimes for example let me this is one good example you know this is from tom brider you know waterfall but this is from san andreas and let me show one example for example here let's say that we have like crazy huge splash but most of the time what we see is the white water as you can see the details of the main sim it's not crazy harassing yeah and but this is crazy white water scene so you know sometime i mean when you do that's our goal of the workshop when you do a lot of wedges you know with the different assets is that you become aware you know sometimes you don't need to go like crazy high-res seam because the white water and the mist will cover everything so in this case you can save the time let's say the high-res seam is like 20 hours and low to mid range is five hours but the white water will cover everything so why to do 20 hour seam and you don't see anything do the five hour seam try to add you know many white water layers that can be split on multiple machines like you know every machine 50 million at the end you you you have i don't know one billion particles of white water so you become faster instead of waiting 20 hours per iteration on a higher sim and at the end you don't see anything and then the question is what you see from the camera you know if the assets is covering 50 of the splash behind why to focus you know so there is a lot of stuff that you can optimize and see you know if you you already know what will happen initially you know sometimes you don't you need to go crazy and especially you know sometimes you do like you know crazy amount of work on the effect and then the effect is when they do the lighting everything is dark or it's in shadow and then then why did i do this you know simple stock footage will solve the everything but yeah sometimes yeah so yeah but like i said you know you know depend of the large scale you know sometimes you know when you are learning the process sometimes is really good and i will show one preview later is that you do the preview i mean the low res sim and try to create the shot as good as possible with a low to mid range then if it's not possible try to go with the you know high-res if it's needed if you see the details of the mesh but most of the time the white water will cover any crazy splash so you know sometimes you know some students spend too much on the main fluid seam but actually you don't need it's just you know white water with so you know i mean white water or lighting or you know sometimes there is also the mist on the ocean so you you don't see half of the splashes so it's it's really hard to say as a general you know try to visualize your shot like it's the end of the shot and what will be in inside yeah yeah and one good one good note from christian be be good with the copper he will help your shot a lot yeah that's always a good tip yeah and for example this is break ground you know of contiki like you know realistic shot you know nothing crazy but something that you know shark so you know they are doing an amazing job dude lp did amazing job on the contiki and the other so this is from the shallow as we can see the sharks and you know the waters and the details splashes and everything and this is you know small scale stuff but still a lot of this stuff can be a lot harder to do than the large-scale stuff you know especially you know like a white water if you cover everything here you can see like every drop you know every detail so sometimes this can be a lot more iteration and trickier to finish than the actual you know large splash yeah still you know a lot of details in a form above you know and we we can see here you know the data's around the swimmer the details on the form and how they match around sharks so it's kind of look like it's a real shot so it's not like cg that's that's the one you did right no no i didn't i did the shark knight that was like 12 years ago yeah with the first naya that i mean that came out for the freelancer so but yeah the sharks are like my curse now yeah again shark splash so how we are on a on a time it's we're almost 50 minutes in but that's fine uh i have a few questions from the channel okay um so timothy oscar you probably know him yeah i know him yeah he he's using uh how to he's he's asking how to determine the droplet threshold been based on the particle separation uh he's always having a hard time to find the right values so yeah i mean the one thing is that most of the time i mean i did so many wedges especially you know with these bass actually was like you know droplets and and i found like something that works best you know in terms of value like you know default ones are not perfect but you know as as as you go with smaller particle separation you don't need to go with the crazy droplet threshold you know sometimes you know value two and six will work like he wrote you know on 0.1 because you know the details the details in the splash will be more combined but also you know velocity smoothing can also in a in a flip solver can help to break even without using crazy droplets so so mix between you know particle separation velocity smoothing and droplets you know this mix can sometimes help you even with you know with going with the with the loras settings but also uh because he's asking to move you know sneaky meshing part sometimes you can do as a post process instead of using the droplets to remove them you know sometimes you you you can you know mask the some particles that you don't want to mesh maybe with the surface field distance so only like bigger chunks of the of the water you want to match but the small ones you can isolate or mesh with a smaller scale i mean smaller or highest details in a mesh or just delete them or render them as a white water you know but i will show some previews with you know different droplets so but i hope this answered his question i hope so sweet oh i see fabian novak is also in the chat he was saying he did some of the shots in yeah he's an amazing guy he's amazing yeah he's also the water guy yeah yeah he's the guy for everything yeah he will kill me but it's okay okay so now we can i mean we can go into houdini let's do it okay so so first i will try to you know go over some videos before we dive into the because the videos are are going to explain a lot more than the actual scene you know so the first thing is that uh we want always you know when we are going to do for example i'm talking about the whale jump we want to see about every details you know that happen on the ocean you know the details in the spectrums you know variation for example we can see like here small streaks and that's because of the wind you know like small pattern there is like a big wave then like smaller waves than choppy waves then the windy waves you know so all these we need to look that we can sell the you know shot better and especially if for example if this is like windy ocean and everything is smooth someone will say yeah but it's something strange there is no details there is not this so you know all these and then when the splash happen you know how wind for example smash is going into you know other wave and the wind is blowing out so the bigger parts of the splash is going to be ripped off into the smaller droplets and the mist so all these details for example as you you can see here you know for example this one you know because splash goes and break with the wind so all these we need to be we need to watch and you know write down all the distance so that we can really match as you know as much as possible you know this is you know different different example again you know here the wind is really strong and we can see the rip-off like you know splash even you know splash happened but the wind is really strong that actually splash goes into the other way you know becoming the mist for example we don't see the bigger splashes immediately it's just the mist blowing into the other side so we need to be careful about you know then if the wind is strong we need to be careful do we need do do we have the white caps you know white water sometimes people put too much of a white water you know on top and sometimes it's not needed it's really how strong is your wind you know and as soon as you have more choppy choppy water you know in instead of you know high peaks then you will need more as a foam and white water on top but sometimes even though if the wind is strong sometimes you don't have so much foam pattern around so yeah so the trick is to watch a lot of references so you can see what is actually happening in the real world uh instead of you know just doing it well i guess it's also different if you're doing something for a stylized movie versus a realistic movie right yeah i mean the the one thing for this workshop our goal was to create this you know the effects as real as possible because you know sometimes if you know how to create the real effects sometimes it's easier than to you know sometimes it's it's not but it's okay to go and make it you know more stylized you know but you know most of the time even if it's you know splash you know sometimes they want to sell it like a reel you know but you need to be careful about that you know motion like i said the wind and all this stuff but maybe they don't want to be misty maybe they want bigger you know droplets or something but still if you want to make it to look real you need to be careful about you know some details you know sometimes you know maybe clients want ocean to be oil you know so it's not going to be flash it's going to be more like a mud you know but if you know how to do the old splash and oil effect you you you can immediately transfer okay ocean is oil everything is black i don't need to be careful about the droplets it's more about streaky fluid like you know like we see on the com commercials for the juice or something you know but you know it's kind of depend what what clients want and what is their goal at the end so for example so now i i will going to try to break down the real jump and you know our idea for the workshop and you know how it's the process of for the for the whale jump we have uh two weeks of actually work the first week is uh trying to understand the base parameters you know especially because we are doing the tank simulation so i'm sharing some ideas about tank and also some guides uh because when we do the simulation in a flat tank you know i try to call it as a pull effect when something drop into the pool you have like a rings the waves are going you know and bounce from the wall of the pool and just going left and right but in the ocean actually these things don't happen because the ocean the waves are the main drive so when something drops into the ocean the waves as soon as they try to travel they already calm down and they are moved with the ocean ocean motion so this is one of things that we are doing with the we're trying even if the whales splash try to see the visual reference how far the waves are going from the rail because this wheel is 50 meter and if you're well way or trying like 100 meters immediately you are selling the wrong scale you know so these are the things that you know we need to be warrior and then so the first idea is the first idea you know like i said you know taking the acid you know and the first thing is you know preparing the acid to be watertight so that there is no you know problems later on so when you go like with db from geometry is that everything works perfect there is no hole so then you are okay and stable the next thing you know calculate velocity and this asset i mean this asset is simple but as a this basting is ready to go in our you know think symbols simulation so the first thing is that because you know this is the learning process and you know sometimes there is a there is so many attributes for example here on a on a flip silver that sometimes it's really hard to understand and it's it's really hard to explain them and especially the manual can be you know tricky for the new artist you know yeah i don't under i understand so for me it's kind of doing the compare test it's much easier to understand and see what is happening you know i mean for now it's a world where jump but the many assets that you do it's you are creating your own library you know sometimes someone will ask can you do the well job okay i already have the setup the wedges and i know what i can do so the first thing that i mean the first part of the week that we are doing is that we are trying to understand you know for example particle separation how it's affecting us our sim you know then we see what are the symptoms and this good thing with the particle separation we can see what is the limit of our machine because you know sometimes if you have a raw machine you you you cannot go with crazy high resin so with this particle separation you can test your machine you know you can see immediately this the storage space uh the sim the simulation time and immediately you can already understand uh how complex this simulation can be for you when you are doing at home do you have enough storage do you have enough you know memory or you know on a windows you know houdini use more memory on a linux it's you know a lot easier to simulate so for example this you know simple particle separation we can immediately see you know uh sorry something happened sorry not sharing anymore okay okay so you know we can see the details in what is happening something strange so we can see you know different different details you know different you know splash you know this is like high resin and you know immediately even even if this is a you know simple particle separation we can see how change of the single value can actually you know different you know details in a splash you know how these two particles separation even if they are simpler i mean the similar you can see how these waves are traveling you know further than you know this one and this is you know a lot easier to understand so there is like you know many other ones so this is like you know reseed value you know it's adding too much you know if you use too much receipt is going to create you know crazy splash and for example even if this can look interesting this is not going to sell your you know for your shop but it's really good to do stuff like this because later in the future if you do have something similar you need to do like this kind of effect and you immediately know okay with recede i can get you know this kind of look so even if at the end you do so many wedges maybe you're going to use like five percent but it's going to be a lot easier that you know sometimes you will use this on the other project or you will just create a library you know so it's just a lot for me i mean that's i'm talking in you know for me it was a lot easier to understand you know because with the different assets you know different particle separation and you know different because you know sometimes you are doing the large scale maybe these values are not going to trust really good so i like to do the wedges on many assets you know even if my machine is not doing anything just run the veggies overnight i don't care you know at the end i can come in the morning and just you know watch them and i can learn a lot from them you know so again it's the same thing you know this is you know received birth you know you know sometimes you can help this kind of to minimize adding with the receipt value you know a lot of particles so worth and the debt threshold can help you to kill you know some particles and they don't you know add too much to the volume and like i said this is also velocity smooth you know so your simulation can be more streakier one comparing to the more like you know spray one so even with the single parameters you know you can change your and one thing when i'm doing these wedges is that from this let's say with velocity smooth i like this one for example i use this value on the next next iteration so on every wedge i'm already building my shot even if it's the learning process i pick one that i like and you know just adding with a different with the different settings i'm making my shot look more how i i want you know so it's not like i'm doing the wedges then i run another one no just pick the one so you don't need to come back and redo you know combination of the you know similar settings so sweet yeah so again you know you know different droplets you know how did you behave and you know great scale and for for example this is the always there is a like air drag that will happen you know you know if there is a wind or so like global drag even if it's a sorry small value sorry even if it's a small value can give you that sense that you know your splash is not going crazy high you know the smaller droplets will be slower so even with a small value on the you know simple pop drag node that can sell immediately you know there is a some air drag or wind even without the wind force yeah then there is a you know idea for example the using the drag based on droplet you know so because you know droppers will shoot like crazy so why just not use the dropper threshold maybe you know above 0.5 and use the stronger drag than the main drag so these droplets because they know they are tiny one they will break from the main fluid but they will you know stay behind and just the main splash will go forward so you know with these you know small tweaks you're already selling the scale you know a lot better mm-hmm uh just so you know i think we have around 15 minutes more for the presentation and then we would go into the questions okay okay how much longer how much more do you have of the houdini stuff yeah i mean i mean the more or less all this is kind of based on the houdini scene so you know i will try to show for example uh for example we want to break let's say uh using the simple you know even if the thing that i was saying even your if your animation is maybe you know fast you know we can use what something is breaking my sharing i think it's a the same hotkey yeah it looks it looks like yeah and uh sometime you know tweaking the speed of your of our asset you know with the simple you know multiply velocity multiple you you can animate to be slower at the beginning and then just leave it you know to be real at the end you can sell you know that your object is not that crazy so we can see here when he is rising the actual you know in the previous example the splash was going crazy but in uh here the water it's not it's close to the whale even without using the sticks from field you know something that will slip because the sticks are filled can be something bit expensive you know so i'm trying to use the simple tricks that can solve your shot you know solve your shot without more computation time you know this all these tips are easier to to simulate you know so even if your object is crazy fast so what i did here is that at the beginning at the beginning of the bridge i was animating the velocity multiplier to be like in a row and when he breached like water slide and then you know go back to original value the impact happen and i i don't want that back splash behind the wheel to be crazy so i put like velocity multiply lower so the splash the backsplash is minimal so with the simple tricks you know like this is that you can as you you you can see here comparing these two here the splash is a lot crazier than here and the only thing that i change is a velocity multiplier on our collision object nothing else so immediately you know the smart the splash is smaller but these all depend on your how your reference actually look then there is a simple idea also is that with the simple velocity noise you know you want to break it you know at some point you know like here you want to have like burst but you know in the default one it's more going up but you want to break it on every direction so with the simple adding velocity on you know velocity noise or our geometry we can see here you know here is noise you know if we disable this you see there is no noise and it can immediately break the fluid because it's if it's you know our whale is like perfect you know smooth shape but with this one because you know when we are doing the flat tank we don't have small many ripples that we have on the ocean and with this one we can immediately like world break like small different you know choppiness of the water so it's actually break one go to the other side one of these so it's not like because there is no perfect flat water on the ocean maybe there is in the morning but you know on the large ocean you know so you know with these simple tricks you you can see here i use it you know for example where is the green in in my case i have the noise where is the red it's you know no noise so in this case it was only on the water surface he would here was all above the surface he was here was like in the middle section but all these immediately can break your you know your splash and you just adding control without changing any flip settings it's all happening on geometry you know so these are all you know things that we try to implement and okay let's see what could be and then there is like the things that i was saying you know for example uh there is a the thing like i was saying if the our wave is going like travel too far you know on the ocean ocean is the main fort that will slow down so we can use like speed and vorticity attribute and using a simple pop drag to slow down wave going you know crazy you know away from our whales so we can see here like you know comparing uh comparing this wave that is without you know simple pop drag based on speed and vortices hit the container comparing to this one that is just you know calming down and it's already fading into the water so this is you know simple idea how you you can get that effect and get control how far that way that wave of the impact will travel and all these and all these are really you know in terms of setups all these are really simple so this is you know mass based on verticity and height and use the attribute later sorry attribute later in a pop drag you know just air resistant mask area and here is an exporting combination of vorticity and speed and you know height and just you know exporting as an attribute and just multiply with the air resist you know pop drag here it's also animate so i want not to happen you know before just at the end of my shot so i have control where to happen you know what verticity values so it's kind of really easy control but you need to do some wedges to under understand what is the you know best values for your shot so uh let's see you need you need to do a lot of tests so you can actually see what's happening uh yeah yeah i think a lot of testing a lot of yeah doing veggies feels like uh that's your bread and butter yeah i mean i mean the the the thing is that all these wedges learn me a lot and i become faster because i already know what values work for me what and how some values work so in terms of i mean in our workshop i try to push the students to do as much as possible so they can learn but later on they immediately yeah i know what grid scale particle separation droplets are working the best so i will use that as a base foundation for every scene that i do you know sometimes if i mean i'm talking if you want to do like real water if it's stylized still you have the wedges so you can be okay i need more streak here splash okay velocity smooth you know and for example these are the different you know sim version at the end that i like to do it's the same resolution it just with the different tweaks that i saw maybe droplets threshold this velocity smooth and i want to see all combined how they work and you can see here this is more splashy one comparing to this you know more narrow splash and this is like my base foundation for the next week when we do you know white water and uh and the fluid mesh in terms of fluid mesh so this is uh one thing we do like you know custom meshing but it's actually not so custom it's actually particle fluid surface sub i just extract stuff that i think for myself are most important and the thing is that you can cache every step so even because with the particle fluid surface you need to wait that he do everything i mean you can go inside and catch the steps but in my case is that you can split some parts so for example if we go inside of houdini is for example this is the part when we do the vdb operation you know like first is extracting the just the particles converted to vdb then the surface field you know combined with with some masking and then we can write this vdb as a base thing so later on even if our mesh is broken or we need to reduce some part we have base bdb already done because you know sometimes this vdb can take a few minutes you know so why not cache the every stage so even if you need to reduce something it's a lot easier than just you know going over back and you know easier on a farm so these are all the you know base things you know and this is you know to flatten the edges and all these things we explain and this is something that you you can use really on a different examples different scene because it's really easy to adapt and you know try transfer that knowledge because i try to make it as simple as possible and visually that everyone understand you know what is happening but you know if you go inside of a particle fluid surface node you will just see you know tons of nodes and it it's even go inside and inside and you know for example filter you go inside this is you know become crazy for so all these i tried to make it you know as simple as possible like here that you have control cache every step you know but actually really there is really nothing special is happening here you know so it's the meshing stage it's just that you have complete control where you want to blend how you want to blend you know sometimes with the particle free surface when you do the flattened and you extend it's broken because sometimes the the flattened you know part is not well done and then the extrude is going crazy but in our case uh it's most of the time it's not happened because what i do is that i create the ring of our outside of our simulation and and this part will never change because only the fluids seem inside so when you combine these two only the you can see here so only the extrude will happen on non-moving static objects so this broken this breaking of the extrusion will never happen because you know this happened because you know when the flatten happen maybe through it go too much and then some points are you know going crazy but in this case it's really stable i mean 95 percent it's it's stable but even if it's not it's really easy to fix you know that that's why cashing per stage can help you later on because you know this blending can it's maybe 20 seconds but this one is five minutes so why to wait at the end six minutes again when just 20 seconds will you know will save save your day and this is you know difference between particle fluid surface and our custom so immediately you you can see the details and you know the there is no this kind of flickering of the fluid and as you you can see extrusion the idea that i was explaining it's really stable and it's not going to break and there is also the simple one thing that that you know sometimes happen is that we have mesh underwater that you know sometimes have make problems in a render as you can see here and you know double double surface and sometimes it's creating wrong refraction and so i use really simple idea and this is our way that we show in a workshop is that i take the whale geometry and everything below the surface i just use like peak node more or less like just displaced geometry so as you can see here everything below the surface is going to be displaced so the object is kind of fat you know and i use that as a simple mask and just delete geometry around the wheel it's a simple trick but as you can see it can really help below the water you don't have these kind of problems yeah yeah it's only happened you know where there is like a splash of the tail but that's where the bubbles is so you know these are really simple ideas that sometimes you can use let's say if you have the rocks below the surface you you can use the same thing to just mask and isolate them so that was our idea that with the simple setup you you can really you know you use it in many many ways uh you know after that it's everything is again based on the white water seam you know again doing the wedges you know playing with the settings you know trying to learn from them you know many many different you know like i said we share all our wedges with the workshop there is more than 300 wedges just for the whale jump and there is also for the beach and rock splash so you don't need to do all of them but it's a lot easier to learn and understand how they work you know how to get you know foam pattern from the new white water solver and for example one thing that i was uh i wanted to show here is that these are the fruit simulation the same ones so same settings the only thing that i changed was the particle separation and this is like the 15 hours four hours and one and a half hour like low res mid res and high res why i did this i wanted to show the students that even with the same white water settings on high-res mid-rays and low-res sometimes you can get comp almost the same white water look as you can see here so the particle separation is more or less you know different i mean 3 45 and 6. white water settings i didn't i just run it i mean here we can maybe add a bit more in white water source but as you can see here the details in the form are more or less similar you know so sometimes you know when you do do the wedges maybe for the wide scale shot the low res one will work perfect you know because we don't see like every tiny detail so instead of going like this one 15 hours and five hours for white water you know you and that's all combined 20 hours you can get it finished in five hours you know because the main seam is one hour and maybe white water is three hours so you know that's that sounds something that the question at the beginning you know trying to do in a tight schedule you know with when you when you do a lot of these kind of wedges you can you know put the ace you know behind or from the pocket okay i can use this set settings and if they are not happy let's go with the mid-race and just leave the high-res as a backup plan you know but you know over the years this kind of i did more than five six thousand wedges you know in my free time just you know run them over weekend even if i go to hollywood just run it because if my machine is not doing anything at home why not creating the wedges because at some point that that will help me a lot so you know all these i would try to show these two students with the even if this is a simple rock hitting the water you can really learn a lot you know from all this but in terms of you know setups all these it's really nothing i tried to create my scene to be because you know sometimes as you know some someone want to be all in one node you know but i try to create it like for the fresh students that someone created from the shelf so that everyone can understand and also sometimes over the years because i'm freelancer for almost you know 12 years sometimes i do like this because if i need to send the scene to the to to the other companies and you know they have their own internal caching overflow sometimes it's really slow to update you know copy paste so i try to use as a as a nose like this is ethics called religion so everything is size inside is only for collision assets preparing for dubs so if i need to update c on their side i'll just copy paste this node you know into the scene that is already prepared there you know with their internal pipeline so i don't need to copy and paste like specific from this node to this node so this become you know faster for me and even if i don't have the assets because you know sometime remote is not working or the crashing i can tell the artist just copy paste fx collide geonote in your scene and just run it that's it the fixes are inside so he don't need to think where is the start of or the end of my fixed part so yeah and you know and it's much easier for the new students to understand how the things are connected and yeah but yeah as a main thing in our workshop the we try to focus uh on the on the wedges so that you can understand and for for example this is like the last part is that i do like the lasting pre-check simulation with the different settings trying to get the different look so i have like all the base settings are done so now maybe i want more advection maybe i won't but these are the values like i was saying the last 10 you know so the first 80 are done so the last 10 are the slowest one so even sometime when you are doing the wedges uh sometimes you need to use for example higher values that you actually see the difference like you know zero zero point one zero point two zero point three you are not see anything so why not zero five hundred one million okay one million is crashing so you know that's too much okay we know what is too much we are not going to use it so but we need we understand in what range so even later for one parameters you you cannot even find different you know 50 different wedges to find how they are working maybe from zero to five is best then going from ten to twenty you know so but sometimes you need to go crazy to know what is too much when you know what is too much then you know yeah and one the last thing that i wanted to show i forgot sorry is about uh reference i mean two different i mean two similar effects but different in a done in a different way so this is the in the movie impossible and this is the hereafter the more or less the the movies are about tsunami waves and uh so you you can see the difference so this is like the done with you know with the real water and this is you know c c g but you can see the in terms of cell of the scale you know you know how much this break comparing then this one destroying everything but the most most interesting thing is that was also i was explaining in a year after i think fmx presentation is that you know visually immediately you can see these are two different you know look but yeah they look amazing they are massive but one really interesting difference is think below the water you know in the i mean in the real tsunami he you don't see anything it's full of debris mud it's just black you know here we can see there is a lot of debris we can see that murky you know muddy water so we can say yeah it's close to real and in this one they are explaining into the into fmx presentation they wanted to see like clear water you know because he was saying also you cannot see you know in front of your eyes nothing but to sell you know to be more amazing shot you know they make it to be more visible below the water and now when you see like these two tsunami waves you know how they are done you know amazing effects work done by you know both studios but when you actually see this is japan you know tsunami it's actually really i mean we cannot say it's boring but you know it's really a lot slower a lot muddier you cannot see anything refraction is zero you know so yeah that's why i i was seeing even if the even if the effects need to be real you know sometimes you know they go above you know make it more splashier you know refraction we can see through water you know so it's kind of but when you see it like like real it's completely different yeah for the visual storytelling exactly but still you know they are they are still they are careful about about the part you know like you know the splashing the splashiness the scale of the splash and all these but you know they remove some parts like to be more visible through water you know maybe the speed of the wave it's a bit faster but it's more dramatic so it's kind of yeah that's more or less everything for me you know in this i hope the timing is still okay no it's it's amazing i mean honestly i would i would just watch and listen to you i mean i can talk even more but let's let's keep it let's let's keep some of that for the next webinar yeah the questions you know let's try to answer them yeah so i think they were david was asking like how do you handle flip meshing with uh you know how do you handle the blending between your sim and then the ocean do you do it in houdini or do you do it in comp because he was having some problems yeah so i mean sometimes i mean uh in my case how we do in a in a workshop is that is that we rent because some sometimes you render the ocean and you know like let's say it's 20 minutes per frame to render entire ocean and your simulation is a lot smaller so if you combine to be like one single mesh you can do it without any problem but if there is any change you again need to render all over again so why not i mean i like to do it like that render ocean render smaller patch you know like extended just to be more flattened extend your ocean and just do the comp you know at the end you know with the proper you know edge mask aovs and all it's really easy to comb sometimes they want to be as a single render without breaking because it's easier for compositing so sometimes you just extend it to in infinity or how much is visible to the camera and just you know render as a single vendor but i like to split especially if you're doing at home because it's a lot easier for you to re render your effect over and over then just render everything entire shot again and again and again yeah and do you show how to do stuff like this yes we do we go over compositing part the rendering part optimization part for the rendering you know how to cache proper just what attribute you need so the caches are you know you for example you know simple path primitive you know all this or your your memory footprint is as low as possible for mantra you know tweaking you know monster settings you know sometimes you know value 0.1 can speed up your render but usually you don't see any difference so you know these are the things that we talk but you know it's really depend if the student asks we do some basting and i go over you know if the students ask more i try to explain them go over some optimization of the volumes and you know what's not awesome daniel is asking is it better to go with a big wave tank and smaller particle separation or small tank and high particle separation sorry i didn't do there was some connection problem oh okay uh well can you well let me let me just ask again then uh is it better yeah do you see the comment as well yeah so it's really depends you know what kind of asset you have you know if you can i mean if your shot is wide and you need to sell like you know small splash even you know the routine that is covering your effect it's more or less try to optimize your thing just to cover your effect don't create your thing to be 500 meter but your splash is one meter it's just wasting of resource but that's why using the wedges if you have the impact of the object for example you can see where is your limit so maybe on the first wedge is going out of the container using you know pop drag to slow down the droplets maybe you need like a few meters okay i extend container bit more you know maybe with few more tweaks it's not going out of our scene but you know it really depends what you what you have i try to go with the small tank and then just scale it properly if i need more or if i do like i'm testing for example wave whale is rising rising from the water and i'm just testing around the head effect i scale my container for the wedges just around the head why to see my 50 meter just waste time just to see the head yes scale container and instead of five hours it's one hour per wedge so and then later on scale it back to run the you know high receipt awesome a lot of people were asking and this is like a basic question like what is your computer is it enough to have only 32 gigabytes of ram to do amazing water simulations or do you need like 128 so for example the rise effect that is on lima on my channel was done with 20 gigs of memory i think yeah yes that's so it is possible yeah but it's on linux if you use windows yeah it's kind of tricky but one thing that with the limited with the limited amount of memory the thing you know in a you know back back then when i was starting you learn to optimize a lot i'm sorry sorry it's true it's true so you learn to optimize a lot you know so when you get like machine with the plenty of memory yeah it's kind of you are trying but sometimes is that when students have a lot of memory they don't care about optimization anymore yeah i have 512 keys of memory and yeah i don't care but maybe you have that at home but maybe not at work or at clients place so you need to be careful on every step you know so but you know 128 gigs of machine that's what i have with you know 28 cores it's for example i mean it's 16 24 32 core machine 100 gigs eight gigs of memory it's more or less standard now for fx work you know you you can use lower but you know then for example if you have smaller amount of memory you can still do amazing crazy high-res shot i mean massive shots is that you do the mid-res fluid scene and then you do like split your you know let's say splash into the chunks and do white water so let's say you are limited by 20 million per your sim because that's amount of your machine can handle okay you do 20 simulations with 20 million so at the end when you render you know you convert to volume to be more optimized and what's not you still can have the massive but yeah it's a pain to simulate then you need to have more storage you know so it's kind of it's trying to balance everything awesome uh well let's answer a few more awesome so do you run multiple low-res or mid-res simulations and then merge them together so you would get more points that way so in in terms of white water it's really depend if it's just the misty splash area yes you can it's more or less about you know point count so you can do you know let's say mid res but many iterations you know like different seed maybe different wind you know just small tweaks but when you combine them it's look like a massive scene but sometimes if you need to sell the phone proper you know like from you know sometimes few mid res will not work good because you know depend where your camera if you want to see like you know form streakiness and all these but let's say you you you you can do form as as a one simulation and tens different white waters i mean splash miss simulation and then combine them for render and still you know you you you can split on many machines instead of simulating just on one you know going crazy high res yeah amazing um let's see what else is it important is the speed of your ram important i mean not so much i mean at the end it's more about your i mean in terms of simulation it's more important about your core speed than the actual core amount so if you have let's say uh 10 cores or five gigahertz machine and 20 cores on 2.5 the five gear gear has 10 core machine will be faster because you know the flip there is a lot of know that are not scaling that good on many many cores and the other problem is more cores than to use more memory yeah that makes sense so if you have 60 core machine sometimes 128 gigs of memory it's not good enough but if you if you run it on a 16 core maybe even 64 would be enough okay it will be slower in terms of simulation but lower memory footprint so it's kind of balancing okay one last question because then we have to go okay what is a wedge yeah i mean this is the the wedge is you know houdini terms of you know running single parameters with the different uh how to say values you know so this is kind of taking one parameters you know that can be see i mean before you know in the older days the there was the wedge drop that take one parameter and change the value like five times and run and stay save the caches back then that was good for if you need to have hundreds millions of simulation so you take like seed value change it per simulation so maybe 20 different seeds and the wedge drop will save 20 different caches with the different seed when you load them back you have like in like in between points you know like for the same motion you know with the wind and what's not so you get like crazy hardest seam but that you know that's kind of and then the wedging was like you know just wedging let's say run same parameters with the different values more or less pretty much yeah it's very important because with the wedging you can create like igor was talking a lot of iterations a lot of testing and then you can decide on the best yeah i mean some someone is saying it's wedging someone is saying it's you know comparing values yeah but at the end it's it's it's a simple take one parameters with the different values that's it sweet so like caleb is saying in the chats uh just to remind you guys we do have a discount it's if you type in water 15 you get a 50 off with any workshop you it's time dependent so you have to use it as soon as possible yeah right now uh but igor i think that's it for this work for this webinar i mean it was an absolute pleasure listening to you and explaining your workflows and talking about other people's work i hope we're going to do another one soon so you can share with your knowledge but uh i think that's it if you have any last words yeah i mean i want just to thank you know everyone that you know who join on on time or you know i mean everyone who is going to you know watch it i hope it it was not boring you know all these you know i tried to share you know my point of view or you know some effects you know and how i did you know i want to even add them the most thing is for the new artists that try to break into the industry uh don't be discouraged if you don't get the job at first one thing for me when i was starting you know i couldn't work in a bigger studio you know is you know because of a lot of you know other problems and one thing to for me to expose myself was trying to promote myself and one thing was doing you know effects you know tests r d even if it's r d you know you're posting online you know promote yourself people people are going to notice you and you know trust me they are going to start to call me i that's that's the only thing that i did you know i never work in a bigger studio i mean the bigger you know ilm or you know that i work in a smaller studios but never on a grand scale effects you know back then and the only thing was why i cannot do the same effect at home okay i have machine even if it's simple splash like i was saying try to tell the story you know visually you know try to help others because you know as we all think this is like it's large it's really not you know we know all each other you know people talk if you if people see that you're helping you know that you try to help community that you're sharing your knowledge that you are posting you know even i post many badges online you know because yeah i can save it for myself but not sure why not sharing the knowledge with everyone you know maybe someone will say thanks pa pay the beer or coffee you know but at the end try to push yourself you don't i mean sometimes you think yeah it's not going to happen but you know sometimes you're going to do same effect five times and it's maybe it's not going to work do it sixth you know or just go back do another things and come back you know try trust me that's it's going to help everyone you know it's you know i know it's now it's really hard to get to get the job especially with the remote work because you know everyone want that you already know because you know especially with remote work you don't have anyone you know beside you that you you can ask your co-worker so the only thing is you know try to push yourself promote yourself tell the story you know share your ideas you know the the only thing is put your mark you know on you know wherever facebook email or youtube you know put the stamp that everyone can understand even if you pause the test i mean now that everyone see the wedges with the blue water and the uh sorry yellow text they all know it's it's me you know i mean now it's coming from from the workshop but people already recognize even you know even if someone posts the breakdown from the company and you see that trust me most of the time i did that or some of my students you know you know i'm not saying it's my watermark but you know people already recognize this kind of stuff so try to leave your mark you know even if you are have the friends that are trying to break you know with the comp or lighting why not combine together and do one amazing shot together and all use for your promotion you know even i mean even if you do need to do it for free do it you know just spend some money buy some assets even if you need to pay the animator to animate just pay them it's your promotion at the end if you want to do this work and you know like i said it's hard to get into the industry that's the only way i mean i'm saying from what i did for the last you know 10 years and i'm still doing that in my free time r d promote myself showing what i can do here at home now we can do a lot more you know there is our online render farm you know machines are a lot cheaper than you know back then so we can do a lot more and there is so many students that try to get into the vfx industry so why not reach some of them combine them even create a small story you know go outside shoot you know real stuff you know like you urban did combine you know effects yeah create your own movies you know your movie effects without you actually working into the movies and you will learn a lot trust me you will learn a lot more than just sitting and typing on facebook [Laughter] amazing those were that was an amazing last statement i think we're going to leave it at that uh well eager thank you again and uh thank you and see you in the next webinar bye everyone bye you

Channel: Rebelway

Views: 7,515

Rating: 4.9087949 out of 5

Keywords: Houdini Tutorial, Houdini, SideFX Houdini, VFX, FX, VFX Industry, Special Effects, Visual Effects, Hollywood, Simulation, VFX Tutorial, VFX Tutorials, Water, Water FX, Water VFX, VFX Water, FX Water, Water Simulation, Water VFX Artist, Houdini Artist, Professional VFX Artist, VFX Webinar, Igor Zanic, Movie FX, Water Simulation FX, SOPs, Flip Fluids, Flip Houdini, Simulations, Houdini Simulation, Houdini Water, Water Particles, Rebelway, Rebelway Course

Id: XIGjA0lg12Y

Length: 101min 3sec (6063 seconds)

Published: Tue Aug 03 2021