Houdini: Simple C4D-Like Attractor Dynamics

hey everybody liam klisham here and today we are going to tackle this c4d like attractor but inside of houdini buddy reached out to me a couple weeks ago on how to set this up and i'm finally getting around to making an official tutorial for it um we are going to cover some things that are a little bit more than basic but we're not going to get too crazy either so if you're new to houdini this is probably a good um i don't know like third week into houdini kind of tutorial if you've spent at least like three weeks into it you can probably follow along quite easily with that said let's go ahead and jump into the scene and break it down a bit so inside of houdini here's our scene you can see everything that's been going on if i just kind of scrub through here that's our looping scene just of course in clay mode so let's go through it first and then we'll rebuild it and get in depth about some things all right so what i've got going here is just this super quad and i'm using this as our main totem object i extrude a little bit scale it a little bit rotate it a little bit set up some collision parameters for it too and that's basically that to begin with then over on this side here is all of our copies to be colliding with this totem type thing in the center and it's just a box with a little bit of bevel here are the materials for it taurus right there and then this is our base where all these are being copied and we're scattering points along adding some attributes in here which we'll talk about copying it going into our dopp network here where we simulate it and then cache it out here merge it back together and then do some time shifting and blend shapes to get that loop going so that probably seemed like a lot but i swear we'll we'll take it slow and it'll be all right so i'm just gonna go ahead and reset my timeline here a bit there we go and let's begin all right so i've already got this new geometry here just labeled it new base let's go ahead and dive in actually i'm going to flag that first so what should we tackle first um i guess we should just do the boxes and taurus taurai tauruses whatever the pluto is and copying those first and then we'll set up our central collider totem type thing and then work on the rbd so first hit tab let's get a box go ahead and throw that in there let's get a taurus throw that in here and that looks good and fine and we're going to throw down a merge and just keep it nice and organized so like that maybe i'll even label this let's call this attracted objects sure that works for me and move it over so we have some space next we need to set up our origin of scattering for these objects here so i used a box in my version let's go with a sphere let's change it up a little bit turn that on let's look on okay but it's set to primitive so if you're new to houdini there's a few different primitive types there's primitive polygon mesh nurbs bezier polygon soup just i'm going to cover the first couple a primitive is basically just a representation of the object but it's only one point right in the center there let me go into wireframe you can kind of tell at the moment it's just right there the centroid that's all this is creating at the moment it's not creating any polygons or anything and we definitely want some polygons so we'll go ahead and change out the polygon and now i must be having it oh it's just super light i'm going to go ahead and turn up my point size because why are they not growing well they're there they're just really hard to see at the moment um so that's what we're gonna do is just have polygons and we can do flat wire shaded polygon mesh is more of a quad style mesh instead of a triangular style you can do whatever you want i think i'll just do that all right so next we want to define where these are going to scatter we could just scatter along the points right now so if i do a copy and copy the points merge that there merge that there you'll see it gets all crazy and a lot of overlap and that's not exactly what we want part of that's due to scale but part of that's also just the positioning of all these points that we're really copying to each one of these i want to do a scatter that way we have a little bit more randomness to it we can control how many points we have so if we want to do 500 instead of the 13 by 24 so whatever that math is 13 or 24 by 13 so 312. um yeah i just prefer scattering a little bit more but to each their own if you do want to go this method with just the points quick tip for you is to just throw down an ad stop and normally this creates points you just turn that on it creates a point wherever you decide but you can also go and i already screwed this up oh there we go didn't have it connected uh plug that in and then hit delete geometry but keep the points so get sort of all your primitives in there and that way it's a little bit easier to work with a little bit cleaner a little bit more lightweight but we're just going to do scatter all right so let's take a look now that's kind of what i'm going for with all the randomization but we still have that weird overlap so the way we're going to take care of that is through p scale that's particle scale or point scale and what it does is says for each thing that gets copied onto one of these points use this value so i'm going to go ahead and do an attribute randomize there we go put that there and right now it's set to cd which is color diffuse or color and what we want is p scale over here like so turn on randomized there um zero to one is going to be way too big let's try like zero zero five yeah and zero point zero zero oh let's try zero one let's see how that looks that might still be two oh that seems okay a little bit small maybe let's try zero one two zero point zero zero five all right that's all right looking okay but we've got this issue here where each box and each taurus are on the same point and we need some variation to that so starting in i believe 17 17.5 maybe it was 18 it's it's been in here a little while i use it all the time now so it's hard to remember but pretty recently there's this new piece attribute called variant and if you put a variant attribute on each one of these and on your points as well then it'll know okay on this point it's variant one on this point it's variant five and then it knows to pick variant one two three zero five twenty whatever you have over here and put it in that spot so right now we're getting this warning here that we don't have anything set up let's go ahead and set it up for the left side geometry first and then we'll create the attribute on the right side as well so the easiest way i find is to throw down a conductivity stop put it right there and change this to variant i have to remember that's an a a n t i always misspell that and put ent and on the right side let's do an attribute create and just so i have some sanity here this is going to be p scale and this will be variant and we're going to type variant in here as well and you'll notice nothing's happened and that's because for the incoming points it actually needs to be an integer so that way it knows object zero object one if we had three objects object two if we have a float and it's going from zero to 1 it's just it's not going to copyright so go to integer there and now they're all set to 1 currently and we're just going to create an attribute randomize now if you try and do an attribute randomized for integers before declaring it's an integer in here um it it won't work so that's why we're setting up this variant integer first and then doing a randomize like so throw this here again it's set to color and we want variant like so let me just set this down to one dimension and this is fine because we only have two objects so the minimum value is zero maximum is one but if we wanted to throw in another object let's say um let's do a pig head let's do that really quick pipe that in there i don't need a shader just make it easy and you'll see nothing's happening is because we don't have that integer defined so it's only going for these first two objects so we need to maximize this up to two and you'll see now we've got some pig heads in there nice and easy and if you want to randomize it more you can go into your options and we have all these seeds in here so you can always just go like that and set whatever number you want but that is pretty much good to go for getting our variations on these i'll just leave the pig head in there it's all right and the next thing we want to do is set this to pack an instance so if you're new to houdini everything's databased so you are worried about the memory of a cube of the taurus of the pig you're trying to keep things as lightweight as possible so if you middle mouse click here you'll see that we have 1172 primitives uh which are the faces of each of these objects and then when we come down here as it gets scattered it goes all the way up to 383 000 and almost 400 we'll just leave it close to 384 thousand so that's a lot but we can lighten that up a bit by saying pack everything and turn it into an instance we do that lightens up a little bit and now we're back to 1000 primitives 1000 points vertices because everything is packed and that's because we have 1000 points in total here and so each one of these have now just been made into a primitive like we were talking about before where it's just represented by a dot and super lightweight if we go down to 500 middle mouse click here we've got 500 pretty cool um i think i'm actually going to leave it at 500 to keep this tutorial lightweight and moving but you can set it up as high as you want and it'll be lovely so next thing we want to do is set up our center object um i guess i'll do like a inception style totem again so the way i did that is just by doing a super quad putting that here turn that on and right now it looks like a sphere but we can actually start messing with these and get something else so there we go starting to get our totem shape there maybe a little bit rounder throw in some more segments here and something a little bit like that and we'll throw down we'll just do a little poly extrude so i'm just going to type pex if you're new to houdini you can do contextual searching in here so p for polygon e x for extrude and it will locate it really quickly and i'm going to just do let's do like 0.01 just a little bit make sure we're outputting our back faces if we don't do that there it'd just be hollow on the inside and we want some volume to this for when we're calculating our collisions and what else let's let's start with that let's see if we can get things to collide simply first and then we'll build up from there so i'm going to go ahead and put in a pop network you can create your own dot network but most of what we're going to be doing is based off of the fact that these are packed primitives and acting a bit like particles so i'm just going to start with that and pipe this into here i'm going to make a null over on this side and we'll just call this totem like that just so we can reference it nice and easily inside of our pop network come in here and let's take a look alright so really i should have just done a dot network now that i'm thinking about it it's liking all right these are packed instances and they react like particles um but we're doing rbd packed so ignore that we should have just done a basic dopp network so i'm going to go ahead and clear that out let's do dop i could have reused and remade what was in there but we'll just do this all right so if we come in here we've got nothing the first thing we're going to want to do is throw down a merge where everything is going to come together and we can pipe that to our output i'm going to do a static object for our totem when we get there i'm going to do rbd and we're going to do packed object this is gonna be all of our packed taurus boxes and pig heads we'll grab that in a second and then i'm gonna type solver and i will screw this up if it's rbd solver or rigid body i think it's rigid body yes i did it i really wish they would remove the other one um it always messes with my head so you want rigid body solver and i'm going to pipe that in here and we're going to pipe this into the gray one here for our objects and we're basically good to go to start grabbing those objects so for our packed object we're actually going to just set this to first context here you can go and select whatever geometry you want but because we plugged it right in we're just going to do first input and why are you not showing up there we go that was weird a little hiccup and next thing we want is our collision object so same thing we're going to come up here and you'll see that because we typed in all caps it puts it right at the top for that null and got our totem right there that's looking pretty big so we might get some weird errors right in there i'm going to come back up to our level here and throw down a transform [Music] right here and let's go down to like 0.5 something like that okay so we've got our object our static object we've got our packed primitives let's hit play see what happens nothing and that's because we don't have any kind of forces in our scene so we don't have any gravity we don't have any wind we don't have anything telling these objects what to do so let's uh for fun and games throwing into gravity and see what happens just to make sure our scenes set up right see we hit play and there it goes nice and fast boom all right so that's working we actually don't want any gravity in the scene because we're going to be attracting towards this totem in the center so nice simple easy attractor is through the pop attract so pop being particle object and remember what i was saying and i even confused myself by throwing in a pop network that these are pretty much particles now we're going to change some things and it knows to find the actual shape and geometry of these but for all intents and purposes these are packed points and particles that houdini is seeing so we've got this attract put it in there and right now our goal is set to position which is world 0 right there which is fine because that's where we're summing everything around but you can also set it to other particles you can set it to points from a sop you can set it to surface points and i could bring in this geometry here and would attract these surface points here so if you're moving the geometry around and it's not just in the center of the scene then it still keeps track of that for this simple starter scene let's keep it at position um force seems okay i think it's going to be a little bit strong we might have to mess with that in a second but i think we're good to go so let's hit play you'll see we've got our simple attractor there that's basically it so next is just kind of like fun and figuring out how can we make this better excuse me a moment i am going to take a sip of water alright so the fun i think something that would kind of help with this is some bounciness a little bit less friction on the totem here so that way it's not just piling up and kind of gluing itself to that so if we come into our static object we go to physical see that there's some bounce right now but we can go up a little bit higher let's go up to one and let's bring our friction down to 0.5 and see what happens play there you go so when it impacts it's got a little bit more bounce to it if we start adding some rotation to our totem in the center here that play will also make these objects bounce off as well the other thing we can do is actually add some bounce attributes to each one of these so if we come back up and just for the sake of it let's color code these so i'm going to put if you hit c on the keyboard it will bring up this color panel let's keep our collision say orange and we'll make this green hit c to get rid of it um now i'm about to throw down a few more stops and it's not gonna be color coded but that's okay so we're gonna do a wrangle and don't be scared it's gonna be some code it's okay it's it's pretty simple what we're gonna be doing is an if then statement and we're gonna be saying if the variation number is equal to say 0 we want our bounce to be let's say 0.5 if it's set to variant 2 then we want a bounce of two maybe we could also just set a flat bounce for everything but that doesn't feel organic but that's nice and simple by doing at bounce and here you were thinking oh man code it's going to be terrible i'm not going to know what anything is it's as simple as declaring the attribute bounce it's lovely nice easy code you're going to remember this going forward i promise if you want something to bounce boom call bounce all right so at bounce and let's make it like five just so you can see what's happening all right play through boom gets crazy comes back bounce bounce bounce bounce too much okay so we know that five is too much so let's try our if then statement so we can do if parentheses and brackets and i'm going to say if at and we want our variant attribute that we created before if at variant double equals so that defines which one we're looking for and it's like it has to be this one let's say zero then these brackets here are saying do this so if it equals zero let's bounce it and we'll make this bounce um let's say 0.5 we'll start with that and what i'm going to do is select all of it copy and paste it and we'll define one and let's make this one one and we'll do the next one and let's do two and maybe we'll make this one like a quarter 0.25 all right back at the beginning hit play boom so now you can see some of them bounce a little bit more some of them a little less a little bit more organic feeling here so it's looking pretty good the solver is doing a pretty good job at keeping these shapes let's see but up here we go we come in here you'll see we start to get some intersections there and that's not what we want so how can we solve that well if we go back into our doppnet and take a look at these packed objects we'll see we have bullet data and i'm going to turn off our display geometry for a second and show our guide geometry it might take a second to load up there we go if you take a look it's real close but it's not perfect especially like the pig head that's that's not what it looks like so what's happening is our geometry representation is a convex hole and we need to set it to concave and that way it'll fit much nicer and find the geometry much better than the convex like so go concave and we're all set i wish i could tell you the exact scientific mathematical coolness of convex versus concave i'm just not that smart i'm just not um i know that like if you look at it it's more of like the outer hall of it it's not finding all those details and convex finds the other angles um and starts to rap better but i just i don't i i need to look that up i should really learn the exact mathematical difference in science behind it but i don't um so now that we have our actual shapes fit and concave let's hit play and see if we get any of those overlaps again going through you can see this is a little bit heavier now just because it's doing more math to figure out those shapes but so far i haven't seen any weird intersections yet and okay that seems like a good spot it's all working like so cool i want to make sure stuff isn't too far away from other stuff too when it collides i don't see any like weird gaps i'd that was actually coming near the pig there cool all right so that seems to be fixing some of those issues there the other thing we can do to speed this up is inside our solver is number of sub steps you probably know this if you've worked in c4d about sub steps and basically it's saying how many times to calculate the position from frame one to frame two of each of these objects for something as simple as this we definitely do not need 10 sub steps so let's just go down to like three and you'll see that we'll lighten up our scene quite a bit starts powering through this a lot more and cool everything's still working might even lighten this up a little bit more while we're working on this we can always scatter more later let's do let's do 150 while we're working at this scale and then as we get closer to the end we'll ramp it back up all right so let's add some movement to our totem um we've already got this scaling it down so i'm just going to call this scale make another transform right here and this will be rotation so there's two ways that we can go about this uh we can type like a sine wave type expression in here um i don't want to scare anyone so i'm going to use motion effects and add some waves to that so what motion effects is going to do is say for this attribute here this parameter we're going to add a wave motion to it and if we hit play see it starts to rock back and forth and we can see these waves right there so let's say we wanted to go a little bit further with each rock maybe even further even more but uh that's a little bit fast so maybe we stretch out that period a bit and i try and always get it back on a full loop right there it's almost a full loop pretty close pretty close to an actual loop you can dial it in even more 4.65 all right that seems good so if we go back into our dopp network and we try and simulate this now i'm going to hit escape because it's trying to assemble way further ahead come back stop stop trying there we go you'll see i hit play and it's not moving and why is that well that's because by default you need to tell the solver that it's actually a deforming or a transforming object so right there hit object transform and that's not it so let's do deforming object and there we go um i'll be honest sometimes it feels like object transform works and sometimes it seems like you have to turn on deforming geometry to get it to work sometimes it feels like you have to turn on both it's a little bit of trial and error for me a lot of times not sure why it is it seems like different things react differently based on its geometry um maybe it's a bug maybe i'm just not paying enough attention i'm setting these things up but so we've got this nice rocking back and forth you can see we've got a little bit of bounce on our static object which is now moving and all the other pieces so the bounce from the static object plus the bounce from all the other colliders is giving us all this variation in here and it's looking pretty good i might roll back this first or the second one here one seems like it's a bit much let's do like 1.75 or 0.75 excuse me i think that's at 1.75 and come back in here so neat little tip is see how fast this is cooking down here all the way to frame 115. i have learned that if you don't actually watch it play and you just skip ahead it actually sims a lot faster because it's not using energy to display in the viewport so if you want a scene to go a bit faster click ahead you'll see look it's it's jumping by like 10 frames plus at some times seven frames seven so it's calculating like seven frames a second now instead of like one at a time so it's a lot faster the other thing i meant to do is uh we need to change our object in here so what's happening is it's outputting everything together so our our collider object and our rbd packed objects and we don't want that because we're going to merge everything together in the end to get our materials situated right and all of that so under object if we do star rbd star that's going to look for everything that has the name rbd and only include that when it's outputting so you'll see this is static and so it's going to ignore that on the output so if i come back there we go come back here you'll see now that object is out of the center there if we want to see it we can just throw this on there so so far so good what else should we set up i guess we'll do the looping and we'll get the inner totem going as well but this is pretty much it now for the basics if i go back to my original scene take a look you'll see the only things that we didn't cover so far is this vdb collision which we don't actually need for this setup we need to cache this out and then just time shift it and the inner part so let's do those really fast so for the inner what i'm going to do is just take a transform right here and we'll come after this scale there and we're going to scale it down a little bit uh yeah 0.75 seems good and make another null i'm just copying and pasting that by holding alt and dragging over we'll call this totem enter so that's all good and next we need to cache our rbd so i'm just going to do a cache you'll see i use an ae file cache for the other one um you can get that through ae lib the ae library but if you don't have that installed we'll just use a regular file cache we'll use a regular file cache if it doesn't jump around there we go and type this in here i'm going to call this rbd new like so one to 240 that is fine and just hit save to disk and you'll see it calculating down here hasn't even popped up yet with this panel yet it was going so fast and it'll probably be about 15 seconds or so to do not bad for a sim almost so close and you're making me look bad i said 15 seconds doing 25. okay so next thing we want to do is load from disk if we turn this on it's all nice and loaded lightweight no more calculations all right so next how do we make this loop so we kind of need to find a spot where it loops pretty well i just realized oh moved everything over here that it did not take the rotation that's my fault there now the inner should rotate together perfect all right good so 24 72 and 144 all right so between 24 and 144 is a full loop so that's what we're going to set this to as we get going so we're going to do a merge so we can have everything together one rbd we want the totem you know what i'll probably just do a merge right here so we know that these belong together and call this totem we've got that cool and i promise the inner totem's in there we just can't see it at the moment so next we're going to use a time shift and i learned this through mark fancher and his course and probably just interacting with mark on slack but this is super awesome so what we're going to do is tell houdini to start looping this data between 24 let's say 144. and so what we do say for this frame offset it from 144 minus 24 and that will shift everything so it loops so if we set this to 24 let's tow 144 we hit play it should loop and i'm getting weird merge error i'm not sure why hmm what's going on all right we're back so uh i think i was just having a weird issue with my drive and it was not picking up the file cache um so recached it i think that fixed the error so let's try this again um i forget where i left off with setting the timeline so we're going to be doing it between frame 48 and 2 or 144 sorry i was messing around and forgot to reset my stuff exactly where it was so we have a timeline set to 48 to 144 and we're going to go ahead and throw down our time shift i think something else that i realized too is i need to do the next step which is a blend shape before we can really start to see things so come up here go ahead and do minus and we'll do 144 minus 48 like so i think it was 48 let's see where does that loop point is it actually 44 nope 48 144 okay 48 should be fine and we're getting that error again need to set clamp to both clears that out and then we're going to throw down a blend shape to make this all come together so we want to pipe in our left side first which is the merge here and then we're going to go to our time shift turn this on and we're going to go let's say to frame 120 hit alt to set a keyframe on our blend one right there i'm going to say starting on this frame go from the left input and by the time we get to 144 go to the right which is our loop point and there we go kind of has this weird explosion thing but the totem is perfectly looped which is fine it can kind of just have this weird looping explosion right there and we're good to go and i've got something there we go i don't need these on anymore and cool all right so let's get this set up for rendering there's lots of different ways you can go about doing this for my own peace of mind i think it's easier to set the materials up stream before the simulation happens instead of down here and trying to use groups and things like that it's just easier for me so let's come back up here and set some of this stuff up so we're going to have a material on our box let's see this goes orange because we're going to have to re-sim material here matte box close matt taurus uh torx taurus move our pig head there we'll call this matte pig [Music] like so and then we need a material for this totem here should be totem glass because i know i want that to be glass set this to totem enter like so just realize i had killed this merge thinking it was something over here set that back up all right let's go ahead and save this sim again be super fast do maybe i'll speed through this i think you can all wait 20 seconds 10 seconds now the anticipation's rising it's like willy wonka drink some water two one done all right there we go um may have to summon again once we get our materials going now that i just think about that but we'll get there so i've already set this up with redshift um i'm gonna go ahead and open up these extra panels that i've got set up all they are are just um you know some new panels for our contacts here so i can go around a lot faster and then their parameters over there so i've got a redshift rop and ipr which you can do up on the toolbar here just by clicking red shift and i'll set it up for you and then in materials i've got a inner one a glass one a box one a taurus one and then i have some fog too i think the only thing i need now is a pig head so why don't we do this and we'll call this pig and come in here and there's nothing special about this is basically just a plastic shader just with some color and adjusted weights and roughness and stuff and we're kind of doing like blues and oranges and whatever how about this darker purpley blue will be fine and come back up here make sure we put pig there and on the taurus do our taurus material on our box or box and for the totem glass and the inner totem there which is kind of this uh incandescent material if it will go in there we go just max on noise with a ramp coloring it like a darker orange and a lighter orange and we're all set there and i have to swim again sorry about that a lot of re-simming in simulations which is the stupidest sentence ever but it's true you're going to find yourself having to tweak and re-sim and cache tweak resend cache it's kind of part of the game almost there and then i'll fire up redshift and see what's going on cool all right so let's go back up to our main area here and i need to create some lights and some other stuff so let's let me just hit l make sure oh rearranges the layout and go ahead and throw in an rs dome light and i have anything in here um i've got this garden thing from grayscale gorilla is that which one yeah so we'll just use that for now go ahead and hit play on the render view if you're using mantra you can set this up with match or two pretty much the same thing set up all your materials put them where they need to go set up your lights etc waiting on events what event are you waiting on redshift is it because yeah it's because ocio failed i didn't set that up right that's okay all right so we've got our camera here let's go ahead and set that up too i just kind of placed it arbitrarily and something something like that that's not looking too bad cool so we've got background hdri kind of influencing some of the lighting around here but it's still pretty dark i think i'm going to bump it up maybe like one on the exposure let's try that there [Music] cool we can talk about redshift render settings as well real quickly i'm actually just using the auto sampler most of the time now for fast stuff like this where i don't need to be super precise and getting it down to one second here one second there trimmed off the new auto sampling seems pretty awesome but one thing i'm noticing is we don't have any kind of lighting up here so let's do an rs light for the front section and i'm going to turn off bucket rendering for now let's go ahead and set that to our camera unlock move out i'm just going to hit refresh so it's the camera back and move this back here see our camera's over here so while we move this there like so and it's adding a little bit but not quite enough come into our light over here so this doesn't get confusing for you all twirl those down make this a bit bigger make this a bit bigger and we're getting a little bit in there that's that's way too much probably like let's try 1.5 seems okay do a quick bucket render it's looking pretty decent um the reason i'm skipping over going or the materials is uh just i've covered it in so many other videos that if you've seen my c40 redshift videos it all applies here so i'm going to let you all make your decisions on lighting and how you want to set this up all right so that's good to go so as promised i said i'd show my redshift output and settings so right now i have my adaptive threshold set to 0.1 and under system just have automatic sampling turned on and that's it um i can make this even faster by going up to like 256 or 512. get some huge buckets in here and probably just take like two or three sometimes 512 actually feels slower to me so it's 10 seconds what if i do 256. see if there's much of a difference maybe it is slower this is feeling slower oh no it was just a little bit faster you guys can play with that um what else i don't have any motion blur i have global illumination turned on just to get some nice highlights in there and then in the final if i come back to the object level get the camera go into redshift camera had some depth of field turned on so let's go ahead and make sure we're in range with that put that right there and maybe turn the aspect ratio to 0.6 and if we go into sampling that f-stop is too high we'll do 1.8 give it some real strong background blur there which of course is going to increase the render times but not too terribly especially if you have anything like a 1080 ti or newer it's it's not too bad see it's only 10.81 and it was 10. i think or three five the last time so half a second longer for a frame and not too bad um that's basically it for those settings and then in here i started messing around with color management and photographic exposure so just real quickly turn this on get a little bit better color up here under management i'm using aces and just srgb um i think my final render actually had rec 709 on oh that gets really blown out maybe i did just srgb seems to be acting a little bit weird go back to srgb ah that is definitely not what showed the first time it's like it was delayed and stuck on linear before ocim hmm weird i don't know why that happened um i usually throw in a lut this free one from grayscale gorilla kind of turned down a little bit and maybe crank this f-stop up a little bit i think like f-15s pretty good loud desaturation and maybe we'll throw on some bloom let's crank that up turn down a threshold a bit a little bit higher there i don't like when it gets super soft so i tend to pull it back and then turn the threshold down a little pull that back somewhere in there it's looking pretty decent what else throwing some vignetting a little bit more like so not too bad that's it gotta hit render so quick overview start from the beginning again we've got our collider objects over here in orange mostly in orange and then oh no switch spots i'm sorry i forgot that i hit l and it laid it out this way so we have our clutter objects in the green over here now originally on the right and then over here we have our main totem objects and here's the outer one the inner one and that is all being referenced in the pop stop network right here and we've got our static object rbd packed using attract went through all that and then doing a time shift and a blend shape to bring it all together and loop and then you just gotta hit render so as always please leave any comments suggestions etc below if you like what i'm doing go ahead hit like subscribe all that youtube mumbo jumbo i would truly appreciate it and also thanks for watching and hang out i know this got a little bit long and i'm sorry i had to break it up with the weird cache error in the middle there but yeah i hope you all learned something and see how easy it can be to just set up a quick attractor sim inside of houdini especially if you're coming from c4d it doesn't have to be intimidating thanks everybody and i'll see you on the next one

Channel: Five31

Views: 2,601

Rating: 4.9622641 out of 5

Keywords: redshift, red shift, rs, c4d, cinema4d, octane, otoy, maxon, render, rendering, render engine, redshift for cinema 4d, tutorial, lesson, c4d tut, c4d tutorial, redshift tutorial, c4d rendering, 3d, design, motion design, animation, graphic design, vfx, render farm, workflow, rs workflow, redshift workflow, video maker, video creators, five31, sidefx, houdini, simulation, attractor, dynamics, houdini attractor, houdini tutorial, pops, rbd, rbd dynamics, beginner, easy

Id: ef-0RyQKKgo

Length: 50min 25sec (3025 seconds)

Published: Mon Sep 21 2020