Houdini Ocean - Spaceship Rise from Underwater - Scene File Walkthrough

hi everyone my name is ocean today I want to share with you guys how I created this effects which is generally a spaceship coming out from water we're only going to simulating a small area of the ocean simulation and here I have four ways to break the uniform look of the flood points and what we're going to talk about how to create these passes velocity passes for test City and indirect lining direct lightning and this is why water shader I think I was owning I was just testing which shader is probably the best for a spray because sometimes I've heard the Goethe form volume shaders part of the pika and you semi-transparent or in classic or walling rest or eyes but it seems like I pretty like the volume rest or as results and this is yeah this is going to be what we were talking about later how do you blend the small area of the your simulation into the unemployed ocean okay I think before we're jumping to the sings file we're going to look at some of the some of the great effects artists has already done this before like this one is created by igor sonic this is really the main one actually inspired me doing all of those spaceship effects this is has really nice details and he definitely has a lot more he did a lot more researches he also post a lot of great information over here as you can see he actually applied several forces and assuming of velocity fields as well this is the look that and we're also going to do the look death with Joseph ears as well here I did actually I was trying to avoid those but a bit like ages things but I think this is really cool and this is definitely the thing I want to achieve and there's another reference I was generally want to mimic and you can see here this is there's a pretty much I would say the same thing I was actually trying to mimic I believe this guy probably did this like four four years ago okay thirty years ago I did my version I was like part of two years ago I remember I do only have a laptop it was already tough I think and let me see okay I think we could just jump into it there isn't too much okay I think I'm going to divide it into several sections the first thing is preparation and like the for those four ways how to make the injecting to your flip and then the third session probably would be wet water it's actually probably the it's really the old white water system but it's still you know the particles so I think you don't have to worry about too much but if I'm going to create a specific step-by-step tutorial by using the latest Houdini 18 and then I think I'll explain from there others and then there's camera and there's Lighting's and this is geometry Lighting's that you can see those colorful lights I think I'm going to cover that as well and here is materials and what network and all these are renderer notes yeah I think just jump into it so I first import the spaceship as you see it's static frame at the origin and I think I redid the normal my computer normals and then as a group some geometries and then I apparently wants you full to poly cap there's some open geometries and then I cash them out this one is really be you can say really different polygons this is also this is mainly for collisions and I only want to catch one friend an animated us later and you could see over here this is our animation and I was animate the VD B's it's a little bit slow cause it's actually the resolution using for sim and I do have some I think this is for pyro yep I think here I was creating again this is like two years ago I think I have to remind myself how did I do all these things this is a trail and later we're basically going to do all the forces I think or all these forces to create the field like to prepare what we are going to inject into our flips them and the first of all is a noise at some velocity noise to this original velocities and I believe I just add a turbulence noise you could say this is a your velocity and I just had on it and I was basically doing a multiplication so this is a random ness of the direction I only want the randomness of the direction on the velocities but keep the length of the velocities as I and then multiply them back together and I have a scalar to control how much I generally want I think over here ever want more velocities here so I created a lot more and then I'll also export the speed float here it's the same thing it's it's just I think I convert all the service to the scatter points and then I create a centroid of the spaceship and then use those points on the surface to - this century points so it's going to create a push velocities front in front into out here as so it's current velocities - - the second input velocities which is a center point and then I will let it just have a little bit turbulence unto it and then that's basically the point source and then I'll convert it into the volume so you will have this kind of push velocities so if there's a water on surface is going to push away there's another similar one but it's only adding the crow noise I which you could say it's according to the position adding the core curl that's not adding but just the car noise on the surface I I'm not very sure if I end up using this but I think what I was creating here it's meaning you know I once on a little bit like friction like or or waned like drops on the water surface so this is kind of the field I was maybe king of course I'm a little bit I was a little bit worried about if I create too much of those noises would it be just be a disaster so and sometimes I have to keep keeping an eye on and when I do the simulation I would do each field individual and here is also a I will just get back to you the trail thing if you remember here what calculating the velocities and right now we are simulating a a pyro based on it so I first of all paint it on the spaceship to only paint the area I want to emit the smoke and then picked it a little bit and then I'm a nice cat er the points based on the cutter and then I tell the fluid source that I only want I wouldn't want this area to be I think it's just like this only want this area to be a meeting the pyro stems and then after after I did this I think there's a power since it's really really low res and and since we're only going to use its velocity so it doesn't really matter that how it doesn't really matter how well it's going to behave contact welding going to use some of the Pyro's Paris velocity had affected the flat points this is probably the technique you go to use for some other stuff and here I do have to mention about which is if we are directly injecting this whole bounding box into the flip simulation there will be a lot of velocities around here that doesn't have any velocity so we're we have to use the velocity here and multiplied by density so well ever there's zero of density there shouldn't be any velocity so here was many doing so I bring in the velocities it's a volume loss so I hadn't use the velocity over here about where which is which is a way to have error anyway but the velocity is going to multiply by this density so it's going to clamp all these area to be zero and I think this yeah I specifically wants to clamp or disagree that below 0.01 to be zero and there is a small you know if you need video you know we have this box knee so I think we talked about those deal and this thing it is genuine just a box that's above the surface and this is the same just a box and we convert it to read EB and that's it we're only going to be careful that this box has to you above the water surface because if we have it under a little bit on the water surface it's going to create an edge you can see in a flip simulation you will see all the flip inside this box will be turbulent it outside it will not and this is meaning doing it for air when it drops from the spaceship I wish you to have a little bit like curl noise like what there what the other effects artist doing I want to make it as well and this is something I am a for air resistance or air turbulence and another thing is initial water break out if you could see any other guys this video they all a little bit having this initial breakout before they're coming out from water so it is actually pretty important to actually not to have a very sharp edge of the flow of the water why waters and this is very beautiful you can see and I mean so this is what I am doing aim for doing here so I created a few tubes because they quite a lot here and then I created a video from there and then scatter may need the points cutter and then basically import also import you know the points that we just did earlier and then get attribute transfer so before the original surface I already get turbulent it and when he actually it's on the surface it would be fully fully turbulence it and after it actually come out animators threshold to completely not turbulent because if you know your your spaceship is already coming out and you want this thing to be a probably settle and not you have extra turbulence on it so this is what it is for and then I also add the velocities on it I think this is will be only the crow noise and then multiplies by that color the red value of the color so and then we'll also just convert it to the velocity volumes I think just click through all those things you know let me go back here to show you the settings this is just a visualization I don't think it actually worked that much as for pyro I I don't actually think pyro I used too much power velocity saying but you're saying I think this is not very that much important I see yeah that's it I think there are more than four fields huh I I think I only you I think I created a lot of fields to experiment with but I think I only end up with using this this field and which is a our assistant field and this is a field that's a water surface break out which you could see over here and and this is a parallel what I was using and another one that has think push velocities so I generally prepare all these one two or three four five six seven seven field but I already I think I only ended up use three or four of those field so right now we're would jump into the flip which is probably the major part here so let's talk about how I implement all of those four I think I'll start with this one since this wine is a little bit easier I think I created Saab scalar few and then I bring aimed that I think I bringing this field here and I called those confinement and then I was using this confinement field as a mask or as a control field to to affect the whole this area the box area and then maybe using two Microsoft one is a gas turbulence and another is gas vortex confinement and this is what is box volume four and you can see the control settings here I map that I think is a deforest density and then I change it at tube confinement and here is confinement itself so I would just change it to full effect and gas turbulence I think I just this thing is oh yeah I think this will actually this is a scale things things get different since guys different parameters but I will talk about my flat tank sings gala later but I think by default this is like this yeah I changed it to somewhere like this I think it's probably because the Hosting's is very big so I was he accordingly increasing the swell size and the scale of the turbulence and let's see there's a push velocities and this is generally at was only injecting that velocity and then a push I put all the density and temperature of goes to zero and I was only have 0.04 of this velocity and then I didn't normalize the velocity so I added on to it and to make sure that all of those are volume velocities they're all goes to the third input of the flip solver which is volume velocities and if you have like if you want some pop force I would say you would probably want to go to the particle velocities which is probably the fourth input and source and issue turbulence I is this yes this one is a pirate one you just inject the power here which is the same and only using 0.01 that one person of the smoke velocity since this the smoke is a little bit - I feel it's a little bit too had it too much disturbance and probably has a lot of already has a lot of you know microwave velocity seen you in it so I only put it to 0.01 make sure there are some micro velocities to affect it and there's a source initiative announced noise I think is a water surface noise and it's also the same nothing it's these theories are more or less you know in the work flowing it's it the workflow I seen the same way I think I was only also using curl velocity noise before but I had end up with not using it to be careful with it this is this is the collision that way or you know we're doing in the first place a flip solver flips over there will be similar things to be mention about in the sub-genre the first thing is when we are using Arab and we have to have receipts on like if you're not created as from shelf to I think I created this from shelf to so I automatically lock my receipt part goes but if you're created from scratch when you were open when you're click the able particles in the Arab and I put this never been to five everything default it was like three I want more particles on an Arab and if you have this on then backing the receding particles your you have you had this on because receipt particles is maining creating and deleting the points based on the pressures and this is very important since never ban is meaning as many you know creating and deleting points if you disable this it's not gonna work and you know when we throw a rocks into the water you know this if you threw it softly it's only going to create a small splashes if you're throwing oddly into the water surface it's going to make a big splash right so you know dynamics is all about velocity as long as you control the velocity you actually control the dynamics it's the same with pyro like if you have a lot of poof pyro a mushroom shape but it's because probably because your velocity is too uniform or too quick and you want to use the gas disturbance to to break to break the edge of the of the pyro and this is what I have here but I think I have probably added too much disturbance over here so this is receding and because it is creating I wish I could paint over here receive particles is a lot relative to the pressure of the fluid if there is high pressure of of the fluid and then you know it's going to create a lot of points and it will make sure that all these points will be linked together and to create a smoother meshes as well I simply just added the here I just simply added the vorticity and I changed it the collision detection has move outside collision which is this part is probably though any this kind of thing I think this is the one I'm using bottom body motion I think the lower higher this thing that less details you actually get because it's smoothing your velocities alright and usually you don't actually want it but according to this big scale I think a little bit more philosophy smoothing is actually better but avoid 0.1 but here I do feel I probably need more this is volume limits and this is pretty much about it and and here I think I'm going I was just create you know higher particle higher particle resolutions and especially the collision volumes here here's the thing like if if I if I'm going to Sam seamless when I if I want to send this in a lower resolution it's going to create some weird some really weird collision of our shows and it's going to be very sharp and very big it's because you have to have this on if you have the same problem with me that you have to have this on sense there's something it it is actually controlling this thing is actually controlling the collision separation and it means a collision resolution and if you have this on and put it to a higher resolution then your collision will not be just a box or something because you it this thing this thing matters you don't always think like if you put the static object and then the collision will work with fluid well with fluid but actually you have to you have to change the collision resolution as well yeah so those things are pretty much that things I think I want to conclude fluid tank I think I'm going to get get into the meshing part so I do so when I cash it out I think I was cashing the snow since I want everything to be faster and smaller this this is actually smaller when I went being cash down to the disc and it's actually fast to read I feel it's actually pretty fast over here let us see how many points we have here eight million it's actually not bad it's not super high res but not too low res as well I think over here I think when it gets doing the meshing part I always changing to menu because it's taking too much long time I used the money box to basically carved out some area that has a little bit you know weird velocities on it where does it go okay at this thing but I think if you want to see the meshes here's a mesh this is generally the meshes that was I was producing out see it's actually not them much complex it doesn't have super detailed mesh which I don't really want it since this this thing right now I actually put a lot of erosion scale to make sure that there won't be too much ugly meshes out there outside of whitewater so I actually have a lot erosion scale and then and then on the smoothing part I think of using the Gaussian and that's why it looks a little bit more smooth and here I think I was many also using the mask and to define that which were Tiffany and ranch it's very I want to you know smooth and this is also the you know the things we have to really do in meshing and attribute delete I think you just delete the color doesn't matter already update here yeah I think there isn't too much about thing about meshing I think normally people would burn on you use this note they will use vidi-vidi workflow really mesh workflow but I think mmm I think this is also good enough so I didn't actually use VTB mesh workflow but I think it's probably faster if you do it that way out VDB for a mesh collide I think this is also the mesh collide and let me see why is updating this is a mesh I was using and then if I put into the second input of this particle flow surface it's going to delete all these points that's you know on the surface inside this it's going to delete all those particles and inside this collision geometry and I think about whitewater it's actually the in the load the oldest whitewater system I think flip tank this is the probably this is really just a flip tank this great if on shelf tool on the size here's the size if you want to look into it and this is particles and part of the surface so you could see here there are a lot of points particles and surface this is this is really just the two components of the fluid and each one of them they are they're not only the representation of the fluid but they're also contributing to the whole fluid algorithm system sometimes probably wondering why there are volumes in the particle you know inflate particles because the algorithms are using them they're using volumes to contained the contained of you know volume of your your fluid because if it's fluid you have the pocket particles they give you if you pull a cup of water into your cup this cup will join doubt the government this cup will actually be fulfilled with water you will if you will not just collapse into a single layer of the water and this is because the fluid always has volume so this is what surface is about it's a volume and then this is what particles as well and where many when we are using the park the flipped solver we are actually calculating all those two field and two velocities Bala's points velocity and voting velocity while water here I think here why water source here is actually also pretty straightforward this object mode brain brings in the your compressed cash or you have your points cash you could plug it here as well since this is really a solver what water source is a sovereign to determine that at which at which you know ranch of a certain attribute that you want to make the white water I think I didn't add too many things here I think I just kept most of the things on default I think I've changed this vorticity to something like a ten to thirty but I didn't but I still end up with using the default value here since I I just feel I like this again well I after after a cache does what water source and go into the by water solver here here the most thing probably not too much most of the important things here but here is you know spray bubbles solver depth is as I think the more depth you will create more particles since I was using laptop I think I wasn't I wasn't ready you know favor of the high high point resolution of the water this is a lifespan again I think I was liking I was just increasing the vibration of the lifespan here preserve forum I think I was many want to preserve the forum and let it not you know dissipate too quickly and after that I just catch everything out they were here and if you could see I think this is I also have the caches here you will see there's a bubble's foam and spray so after your cache this is what you like and then I do a color node Yuriko Sudhir just a rangos and you know you would be faster but right now here I would think I was just too lazy I just want to quickly know what is going out of here and I think spray the spray blue spray rat is foam and this green thing as the bubbles it's actually a lot one thing about spray is like it's if you see on the first frame there there isn't too much you can see it's only in priority twenty two hundred and sixty to eighty to two hundred eighty-two thousand points and then later I just becomes massive sometimes some millions sometimes 11 million sometimes you know it could be even 1 billion this is it depends on how much you really want let's see how much is heavy here see it's going to get a lot this is okay twenty-six million so let's scrub it to the let's grab it to the very last frame to see how much the particles are there this is the reason why I don't favor of you know a lot why water says it's getting more and more after afterward let me see and this was a lot this is already this is really the last frame of the simulation it's just waiting Oh don't crash Houdini don't crash okay over here so it's at the very last frame becomes 83 million particles so you know why I actually decrease does death value no cure okay imagine if I have 0.5 how many is here going to be it's very going to be 4 times than this so I don't want to have too much my space even even this kind of meet res simulation it already took my words my space about 1 terabytes I think it's nine hundred gigabytes but very very he also includes the renders and flipbooks I'm eight so but you can imagine like how big the space is here I think after I did all these and remember that this flap flat tank is really a flat surface of the water so we we have to we have to do something about it here I'll just go go into a rendering stuff right now like we're going to talk about the unlimited ocean and some spread shader the light passes and light geometry and here is I think this is right I think this is just the preview here so first of all after after cashing all the other flips image and the white water simulation I directly go into a look development of unlimited ocean first of all you create a grid that's manages unlimited and you see I place the render flag here which means the unlimited ocean we're rendering whether you believe or not is actually just a grid and it's a little bit like low res great but as long as we yeah you can see the rows and columns are only two so there are only four points but when we render this grid it's going to be unlimited ocean since we are using the displacement map displays my shader of the ocean so when we want to actually render display the render flag out just displays the grid and then I was we scattered the grid point since you know in the old way if we're doing unlimited ocean there there it's going to be repetitive ocean it's it's really annoying because if everything is right repetitive then we have to probably also the store or the further the further grid it's not going to be this low res animate a low res squared anymore but if we're you know right now I think it's probably from Houdini sixteen point five they have this unlimited ocean and then you could scatter you could actually randomize your ocean surface by those points so I scatter the points on the grid and then I think I was meaning having to ocean spectrum to let them let them combine together and so this one will be probably a larger let me see what's the difference here over here 200-250 I think one is smaller wave and one is another big bigger wave and let me see what does it look like at the end here right this is what I was having this is owning a small grit which is here this one is has a lot of points rows and columns as you can see here and here I do have this ocean preview and after I feel like this is party probably very good and then I will actually save 1 frame or frame range of this thing and then I will do a test render so just like this just put everything else outside and then I'm going to render this I came with I think I came with some the default ocean surface and as you could see here this thing the spectra is actually where I was you know this is a spectrum geometries that we just talked about that world we were saving from this ocean surface geometry node and this is and this is basically the shader out of it but you can see it's I didn't actually even change too much I just decrease I think it just decrease the diffuse to zero because I don't I don't we don't need diffuse in the water and I think I probably didn't even use the volume the volume no less source and now we're going to rock thingit's here ocean surface you can see this this is a render settings I was having we'll talk about the passes later right now let me just give a shot and I think I created three different Lighting's here - distant lighting what environment lighting another is also another distant lightning to add more more field light this is a key sunlight and this environment light I do actually have an HDR I think I will provide you guys with that as well and let's just go render it it's going to take a while I think but you know it is I think it's probably something like this this is very very much of initial rendering I was happy and what else this one this one this one this one I think next thing I think I would be talking about data rate I will be talking about the spray shader and then the geometry lighting you they're all very easy by the way I think this spray has actually the default shader which is using volume rasterize particles and then use I think I was using the default shader as well but one thing is if you have two large spray safir's things probably your particle scale has been too much and your white water resolution is too less right this is what I what I was having right now yep there probably isn't too much thing to talk about the ocean surface if but I'm into it if there's anything I want to mention about here will be I think it would be either the wind a wave instance saying I think this is area where your instance the wave come to those points which you can say have two different radius so you create more vibration you will not see the repetitive patterns of the limited ocean wind I do have a lot more chunk to make a more spiky this is probably the main thing I actually whatever like it since you will create some sharp edges of the ocean like that direction movement I think that these are really just what what it means in terms of name okay so after I created this small region and unlimited ocean I will be worried about like my mesh right our mesh is like flat how we how are we going to match that wave to the unlimited ocean so here I basically put this wave in port put this mesh over here as a input of the ocean preview and then I turn this on and then you could say there's a deform input geometry but in fact I want my displacement that I wanted to place my map of the unlimited ocean to be applied until this mesh as well so here you will have the same wave as our limited ocean so out but what what the most important thing here will be UV right if you see here this grid after this node it will have UV if I don't and then you will not have movies and I think this is project by the why and here is the same thing if I don't have this thing it will not have UV but after this no it will process the UV for me and as long as I have UV and displacement map of the wave and I don't so I don't need the form the input geometry displacement map will subdivide it and it will create a high resolution wave geometry out of it import mesh here we go and we're going to I think I also add point velocities we're going to say this I think here here's a thing no I think you can see the velocity changed quite a bit when I was actually adding this point of velocity so but I really want the velocity paths and so which velocity should I use I think I should use this one only because this is only because the reason why I use velocity pass is because I want to modify modify the area that has a lot of velocities because these are the areas I could give it to the comp to refine a little bit more otherwise I don't want this you know shaped you'll be too to be too obvious for the viewers or the compositors so after we we so we are owning checking the UV attribute here so after we cash this where you know where export this mesh with this kind of UV attribute okay after did that we're processing the Whitewater okay the Whitewater will be another different thing wow this is fur so so it's a lot of point 62 million and and we're not processing you vir should be right now we're also not processing the point velocities where we're only two were only we're only going to use the for input geometry because this wave has to well this wave these phones are are having to follow the wave right so we're going to deform it modes take a while I think I should press 8d this funny I just I would just plays over here and I will add those two I think I will cache it to here and by the way when I was using cut does cutting I was pressing Y and pressing Y I could do this thing and here we go here is a cache deformed in whitewater so this thing is really just about to form the white water well it's taken a lot longer okay but anyway this is a process of the mesh after your mesh and after your cash the Whitewater I think the cash takes about what I was using an app Talia was taking 12 hours for it was thinking 12 hours for caching let me let me take a look again here so you can see flip points amount is from 6 million to 14 million bucks so Fox shows because we are using 4 as an Arab and so it's actually a lot less surface particles but it has a lot of oxes so it's zero point two billion boxes there and I was using 14 hours a single laptop and there's a narrow band which is on and then we see particles on stick on collision this is off after I experiment I definitely want to I I was trying to collect the sun's take on collision but I found I wasn't it wasn't giving me there just so many flip points on the top of the dissipation it's never coming down and or it's coming down very very slow so I definitely want to take off this and yeah and this is about this thing and the flip mesh and a wild water I think why water takes about three days to cash on a laptop but I think with my machine right now we will and then probably we're going to use the latest white water it won't beat as much but this is a little bit crazy but you know for 0 to 83 million here yeah that's really about it I think I'm going to get us back to my normal grid and let it just display this thing mother my sister so heavy okay and there you go this is our limited ocean and about this spaceship well I think there isn't too much thing but you know this is just a spaceship Spray Foam spray volume I think those are the three ways that was using for rendering I didn't actually end up you know I actually end up rendering all spray foam and and bubbles so together let me see oh okay I think I I was rendering both spray and bubbles in the spray node and in a foam in the foam here I think I was only using I was only using the foam here yep I think this is owning the phone and I was using a VDP volume resto as particles here I think I did think the default value is too big I think this is one one on one but I put it down in half so that those those volume won't won't be too severe go to back and let me see it what else there's a spray volume it's also the Saints rendering this thing oh okay I think foam this this is rendering this is now rendering the volume rasterization this is what a vendor has a uniform volume shader this way is you only using classic shader this one is using default space shooter as spray is the one that comes with when you're clicking the shelf tool I think I was meaning changed saw smoke density and shadow density that's a photon and uniform uniform volume is from the material palette there's uniform volume shader here and ocean surface oh no no sorry and then there's a classic shader that has that has some diffuse and reflect and some opacity down it so you could see I mean I'm sorry let me show this to you so those are three those are the three foams shaders so this one is classic shader spray the spray shader is what it was by using volume rasterization with spray shader and which is actually the default but I just reduced the P scale and in a decree I increase the density and the decreased the shadow density foam here is uniform one I think it's not bad generally nabe actually captures it actually captures the light pretty well especially with volume thing so if you come where the particles to volumes like using one of our stores ation it's going to create much more light scattering fun your fun our geometry light and I think I'm going to go to the geometry light right now so what did I do I created to geometry lights and then I think I uncheck the normalized light intensity because I want I do not I want is a very accurate physical result funders and here here's what we are having so I was having this spaceship imported and then I select some geometries groupid and I did term determined that there's areas that only want blue lights so these are the area i selected i want the blue lights and then it's just a geometry without any color right now this is the same over here i have a red light a red light geometries and then I'll just plug those geometry lights into the geometry light here and here and here I do have a lot like exposure though since it creates some you know better better lights through the volumes and I think this is one attesting now if I if it's there is you hardly you're actually hardly seeing it they're special when you have this off but this is a blue light and this is a red light and when it comes all together like you know it has those light scattered through the volumes there isn't that much too much thing to talk about so it's actually pretty easy so but if when you're doing this be sure to check this off and material what we're going to do next so I think we're going to look through the passes how to create those passes I am as you know already probably most of the passes week already doing the x-ray images planned you can see whether it's a limited ocean or flip mesh which is early the small area of the ocean this is unlimited ocean i all all have those six passes on in case if the compositors in needed and I did create my own four passes one is position pass based on the word position this position pass is based on the camera position it's nice to have both ray and then this is velocity vector pass this is velocity float pass and this is for to study flow past and what are they going to look like they're going to look like this is for tissa t so we could actually like grain make this area greener in the compositing so this is velocity and I only want this part of the velocity I want to make them white to be at the same color as the same as the white water this is going to be the war word position pass this is a normal pencil that this is Z depth pass which I think it comes with a default and there's a direct reflection the right refraction in the red reflect in indirect way fact I think all these actually are are in the in the default and this is velocity vector passes so after we are do like rendering all these out we could like multiply all of those together not non multiply I'm sorry graded based on these masks and so I could bring the area I wanted to be a little bit brighter and then you see this is our limited this is a small area of the ocean and this is a huge area of the ocean and then we just completely blend them together and we caught it corrected a little bit and put a spaceship pull the foam and here is what it is now and you can see I only did color question I didn't do any Z tubs z focus thing but we could definitely do it if you want to do it you could do it later I think I'm also going to provide this nuke file as well this flip mesh Foam spray and then here I'm going to go to the material that work says yeah you see you sing there's a lot of velocity passes how I actually did those and made those my own passes so we have to you know right click here here is going okay we don't have directly here which is could directly go into where you have said so yeah you will see these massive networks but don't care about it you're going to bring in a velocity attribute as a vector and then and then when we are act so as long as you bring in an attribute you know from a geometry level you're bringing into the shader you're bringing your brain this geometry attribute into a and it becomes a shader attribute as long as you have this shooter attribute you are able to render this as a render pass and since you're bringing the velocity as a vector so we are going so in a mantra we're able to have V as a vector pass right now your eye right now I'm doing here as a length and then I feed it from - you know from 0 to 1 and I think you could do it in soft level first and then and then see how it's better to match for 0 to 1 so this is you have to customize it yourself and then here's the velocity pass it's exporting as a float pass and years of vorticity vorticity is flowy so I don't have to calculate the length of the vector or something so this is float and then also I was also feeling this vorticity into 0 to 1 range and exporting the vorticity passes and it's going to be here over here it's same with foam and sprays but you can see here is velocity path vorticity pass and V vector pass make sure there's 32-bit float and any position best position pass word position passing because by default our position path is camera so I have to transform it to the workspace and the think I have done it somewhere here we have to use and then we find it but if I could find it position pass [Applause] oh yeah here so I think find your global Global attribute node you could just hit ctrl f to find a node I think I just find a global node if there is own little node then you just create a global node there and then you explore the position to and then transform to from the current workspace to word correct support space and then export it as a vector and you will get a vector field like this okay and this is sit this is the passive part I think yeah as in the compositing it's also it's also really just the color correcting right now you could do the CD focus using z-depth but I think I'd be calling this for now yeah that's it I hope this could help you create your own flip effects and I'll be already appreciate it if you could purchase this file this is actually my first tutorial you would have it will support me a lot and thank you very much and bye bye

Channel: Ocean Sky

Views: 55,433

Rating: 4.9604239 out of 5

Keywords: Houdini, Visual Effects, Ocean, Simulation, Tutorial

Id: Jpcf-Ayvj78

Length: 73min 18sec (4398 seconds)

Published: Sun Jan 19 2020