Houdini to Maya Grooming Workflow with Project Breakdown

all right how's it going everyone my name is sam welker and this is cosmic sandbox and today i'm going to be taking you through my process of creating this hair simulation uh let's actually hit play so you can watch it this hair simulation that i've created in houdini and then i have pulled it into maya and rendered it in arnold now i had a lot of trouble figuring out how to get hair from a groom like a simulated groom in houdini into maya and i spent the better half of two days uh googling it trying to figure it out because maya just kept on crashing and doing all sorts of things so i figured maybe i could help people not suffer the way i did so hopefully this helps you now i'm sure there are other ways to do this there's potentially better ways to do this uh but this is the way that i figured out how to get my groom and simulation from houdini into maya for rendering with arnold so um some notable things to mention up front first of all this groom is just something i whip together for this tutorial so it's not very uh finalized like you'll see some like random hair right here that just you know sits there and doesn't really go well with the part and you know it maybe that's more realistic i don't know but there's also um not enough subdivisions on the hairs and there's a little bit of like flickering in here in certain spots you know like right here but i think you know if you're pixel peeping then you'll find stuff like that but overall i think it's a pretty fantastic simulation for what it's worth and also um another notable fact is all of this simulation all the grooming all the coloring included uh we're all done in houdini i basically colored all the curves in hoodie and i wanted something a little bit more stylized and something more instead of something more physically accurate so if i wanted more physical accuracy it would be better to do a lot of the coloring in the actual shaders in arnold using the melanin sliders but i actually kind of skipped that now i know that's not very realistic but it does look good and it covers the needs and yeah i think it was pretty good so i wanna basically pull you through my scene files and if you are interested in learning a little bit more about any of this process uh that i don't cover here please uh let me know in the comments below i would be happy to expand on this further i actually had a really good time doing this and enjoyed it quite a bit and it was a really smooth process so you know i'd love to uh show you more so anyways uh this is my houdini scene and over here you can see my maya scene these are two separate monitors i'm going to be switching between um for the soul fact that pulling my into here is the ui just gets too small and it's not how i'm set up to work so anyways uh here's our houdini scene and we have the skin object here let me hide others and what i've got is this quote skin object with a couple of attributes painted onto it some of them i'm using some of them i'm not but it just give me some stuff to work with i created a groom with it pulled it in and simulated it and i'll show you how i did that a little bit and then i took that and i pulled that into an object merge and i had a group node that i never used and then i uh put it into an out null just in case and then i put it into an alembic and i exported it so that's 120 frames and you can see the olympic is loaded in here so if we go in and look at the actual hair simulation itself let's let it load it's going to take just a moment if i middle uh middle mouse click and hold you can see that there are 225 000 points and uh there are excuse me um polygons there's uh 225 000 primitives but there's also uh 10 um 10 points per hair so there are 2.25 million points now in a cache simulation that's a lot this is something like a two three gigabyte file and if you're loading this all into the gpu it could be a little bit intense um so uh you know for rendering and things like that and i did render on arnold's gpu rendering um but uh it worked out pretty well for my actual needs but it's a pretty large file and that's where i was running into most of my issues so if we switch over to maya you can see that i've got maya here and what you can't see is the hair is already loaded it's right here i've pulled in the skin alembic which i exported as well just to make sure that the position was in the right space from houdini which you can see over here and then i pulled in the groom simulation i'll show you how to did that um so i wrote the alembic in houdini to disk and then in maya you go to cache gpu cache import and let me pull this over and it is let me actually pull that back all right now we are in our directory okay so this is where the maya project is and uh the scene file is saved in here the olympics are here i've got the simulation in the sphere this is the simulation file for it and uh this file is pretty pretty large it's three gigabytes as you can see right here so we just go ahead and click import and that's it now it's in maya and if you go to the attribute editor you can see uh if you scroll down you've got some arnold settings in here if you need to actually tweak any of these but everything came in just fine for me um i did need to tweak the material uh the shader um but that ended up being just fine so that is exactly how i loaded in the geometry i know that's fairly simple but you know sometimes it's just knowing what buttons to press um so let's go ahead and look at the shader itself also if you select the hair in the outliner and then right click and hold you can assign the material down with the existing materials down here and that's how i sent the material as well so um let's go let's open up the hypershade and i'll show you how i built the material it's incredibly simple um but what i did was i just turned off the base color and i ended up going with the diffuse color and the diffuse color just uses the color as you can see from the hair simulation in houdini now i'll break down how i did all of that a little bit more after we get through the basics here but uh let's go back to maya so what i did was i just turned diffuse up to one hundred percent um or just to one uh by default it's at zero and base is at one but uh i just turned to that all down turned this up and left the roughness as is and then i used an ai user data color and i used the cd node or attribute which is from houdini if we middle mouse click on this hair again you can see cd is a point attribute which stands for color in houdini i don't know what the d is for but that's what it is so back over here you can see that that attribute just pulled over just fine i i know that that color is relatively close to the hair color that we rendered but uh earlier when i was doing tests at it as pink so you know just i that helped me to know that the simulation was working so um anyways that's how it works and then i just set up my render settings and wrote it to disk and hit render um and again i used the gpu renderer um i have two gpus in my system and one of them is for monitors one of them is for monitors simulation so i'd uh tell arnold to only use one of them and i tried motion blur it was not having it so i'll explore that more later on the projects i'm doing currently with grooming but anyways that is how i rendered hair in houdini or from houdini in maya um there was a massive massive headache trying to pull in olympic caches as references or just as olympics because even with a single frame 20 megabyte file for some reason my ram which by the way my computer is not like the strongest but it's it's not weak um my computer was uh you know basically filling up all of its ram uh quite quite quickly uh and i run at i mean i have a lot running right now but i have 32 gigs of ram and maya would quickly just take all of that ram and just like as you can see even just as is it just hogged all the ram so um as i would import those olympics uh maya would just stop working so the gpu cache was the only thing i could get to work but it worked uh really well and i did have um some issues with you know being able to see it um you know not being able to see it was potentially a risk but i think it i think it worked out well for the actual render and i could see it well enough and who do you need to know so let's go ahead and actually break down a little bit further the scenes that i have so um while we're in my i'll go ahead and switch for out of my camera and into my perspective view and i'll show you the lighting setup i have um because i know some people find this interesting so this is the lighting this is uh there are five lights in here and if we actually go into the arnold uh i think it's utilities light editor okay that opened up on the other window and let's go ahead and open up the render view and i'm gonna go ahead and actually switch to uh the other uh monitor for this uh this is the motion blur version by the way this is what i was talking about it just didn't work um so let's go ahead and look at one light at a time so you can see um if i turn off all the lights you can see this is the blue fill shape that i have uh let's look at the next one there's blue rim um an orange key light and an overall white uh front kind of overhead soft box and then i have a bright white uh rim as well that actually ended up being less of a rim and more of just a general fill oh excuse me nope that is not solid sorry that's the rim okay my apologies that was not correct okay so anyways that's the lighting setup i had and if you want to see the settings on these um you know these are the intensities most of the exposures were balanced around eight and then uh the blue fill here which i'm sewing now which you can see right there was uh set to an exposure of five so that is how i set that up and if you aren't familiar with zootools they are amazing and i used the place reflection tool i don't know if this is built into my or not it and to be honest it probably could be um oh it looks like this actually is a tool uh from brave rabbit but uh yeah basically i would select the actual light and then click place reflection and then i'd click on the sphere and it would just place the lights based on where i wanted them um and that was really helpful and if you don't know what zootools is check it out it's it's absolutely a game saver like it's so good so let's wait for maya to pull this in this is a little bit too large right now so uh we'll go back to the light editor real quick to turn all these back on in case we want to have them available later all right so yeah so that is our uh render and it is inside of maya and uh you can't see it animating in the viewport but you can in houdini but it does in fact animate and a mort i don't know what i was trying to say but uh yeah it does animate in maya it does work and as you can see based on the actual renders itself let's take a peek at that again uh this is the viewport versus the nuke export you know it's you know pretty faithful so uh let's take a peek at how we actually built this in houdini so this was fun um now i'm gonna show you what tool i used uh this is the grooming tool i used i have spent a decent bit of time lately looking at different tools out there uh for grooming i've used the default tools built into houdini i've used xgen never again that was terrible xgen is highly unreliable and it crashes like none other so i don't recommend using xgen if you can avoid it i don't want to spend a bunch of money for this project on yeti or ornatex or um and shaving a haircut hasn't been supported in a while so i ended up not looking at any of those but what i did do was i found groom bear as a tool kit for working in houdini and houdini's in my opinion a very usable easy to use system once you understand it if you're not trying to do like the really deep technical stuff it's actually fairly simple and this just is the most artist-friendly approach i have used yet which is ironic because it's houdini which is not thought of as a very artist-friendly system but groom bear is an insanely useful system and you know for the price this is in my opinion this is highly under priced for what it brings to the table it's incredible um and you can watch their video to uh see more about it now if this thumbnail is weirding you out don't worry it weird me out too uh turns out those are actually feathers on a gorilla um just as a technical demonstration but this stuff is insanely good and that's using the uh houdini grooming system as well so it does benefit from houdini's amazing grooming tools but uh the um actual guide placement tools are a little lackluster compared to groom bear so i did end up using that so again here's the sphere that i decided to put this on and let's go ahead and take a peek at the actual groom so this is the groom that i have here uh so when you create a groom using the shelf tools which are the hair tools up here i just clicked add fur and then inside i get the guides up here and then the guides skin and vdb exports and then um using the groom bear c menu over here you can just you know hit c and go to base options tools and then groom and it'll actually set it up for you and you can just have it link up everything or you can just manually link it up the guides go in the first out first input skin and the second skin vdb in the third and so forth and then basically i took that and i created this really simple uh haircut here and i just drew a bunch of guides in where i wanted them i used the scatter tool to scatter in and fill in the actual um nodes a bit more you actually can see hopefully won't crash there we go okay yeah um so you can see that you can uh let's ghost other objects actually let's just show all okay um let me turn off the hair gen oh that turned on the hair gen excuse me hold on just one moment i apologize for the delay all right so this is what the hair looks like from houdini's view point this is like actually shaded um let's go back there we go okay so um i basically can use the scatter tool to just draw on and fill in more um more points here and i can either scatter with the initial brush and uh just do one extra point or i can just use a paint brush and it'll just kind of follow the approximation of the other guides so it's really fast and easy to just get a bunch of like general shape in and then just fill it in now um i wasn't super thrilled with the transition of long hair on top and then really short hair on the side i didn't think it looked as good um as a blended look would have looked but uh you know it worked out so um and then i used a rust node out of that and a guide partition basically the shelf tool for part guides is basically what i used what you do is you just select this drop into a guide partition and the guide partition can allow you to draw a parting line and if we look at that actual parting line um let's see for some reason it's not easy to see right now but uh let's see if i can make it more visible there you go this is the parting line that i drew i basically made sure i could see the sphere and everything and i just drew a line right between the guides and then i used that to create a guide partition and that helps who do you need to know that the hair needs to go two separate sides and then i used an expression to grab all the roots this is a drop down right here in the group expressions you just click this little drop down and it is first point of primitive um now you already have a root guide coming out of this naturally but i just created my own just in case and then i dropped it into a vellum hair simulation and vellum solver and in the vellum hair simulation i put my root points group as the root points and then i upped the stiffness on stretch and bend and that was it and then in the vellum solver if we drop in you can see that i used a pop wind force with uh a negative 2 negative 0.5 and one in the amplitude and that's all i changed very simple and that gave me the vellum simulation for the hair and i thought it looked really nice very similar to oh gosh i can't remember his name off the top of my head i apologize for this um but uh the uh there it the it's houdini time videos they're great if you haven't seen them um oh man i'm gonna feel really bad for not remembering the same but uh yeah the guy um that made the tutorial on doing vellum hair just uh did that basic you know setup just like that so um i just you know followed that exact exact uh same process and it worked out really well for uh the hair simulation i thought it looked really good so um again this uh this could use more love and more tweaks and you know there's some loose hair here that looks kind of you know kind of messy you know be nice at the crown to use the swirl brush from um from groom bear but i didn't end up doing that so again you know could have pushed it a little further with that um let's go ahead and go up and go into the hair gen itself and this is the hair uh generation and i'm going to show you how i got to getting the hair to look like this so when you pull the hair in uh let's go ahead and create a null i'm going to show you what it looks like so let me see can i just yeah okay layout all right so this is the hair that i get when it comes in right so it is very basic um let's actually look at the skin hair gen settings as well i have 150 000 uh in my density and then i changed my influence radius i turned it down and i set the uh maximum guide count to be lower i also used a density attribute from the skin that i'll show you so when you have your density if you set it uh if you set this to no overrides it'll just give you these like spherical um spherical or excuse me uh circular um influences around the guides and i just find that to be very unnatural so instead i used a skin attribute and you can see it looks a lot better there um it's still kind of circular but um i used the density attribute to kind of loosen it up a bit and i'll show you again how i made that in the skin in a minute um and then i uh basically took that and this is what you get out of it this is what it actually looks like so this is the hair that comes out of it it's very dense it doesn't look very good and it's not shaded in this particular scenario so it's kind of hard to see um let me show all so you can see it with the sphere and it might give a little bit better context um yeah trying to think if there's a better way to view this i think just different angles but you can kind of tell you know what's what's going on here um and let's go ahead and take a peek at how i set that up so first of all the density element was really easy to do basically just took an attribute paint and let's hide the other objects let's just take a peek at this there you go so i just painted on this right here using the attribute paint um i guess i left a little spot off here but that's fine um and then i used the shift key while painting to smooth it out and then i took that and i forgot to actually set the name of that and instead of just changing the name in here i uh for some reason just used an attribute copy and just copied it from mask to density and just created a new attribute from that and then i did another paint and this was for the part i was going to use this for the part but i ended up not i realized that using the uh guide partition node was uh the way to go so that is how i created that and then the um last thing i did was i created an attribute clump uh a clump attribute paint and i did end up using something different in the end but this is what i initially used for some clumping um and this is a skin attribute and it outputs on the skin that i was able to then use in the actual hair generation over here um again this didn't actually get used in some cases but uh if you look at the actual clump here actually never mind i did um i used uh the skin attribute to drive my clump nodes and uh that was really useful so anyways let's look at how i actually clumped the hair so if you look at this hair it looks really flat and like i mentioned it looks kind of like it has kind of a hard cut off and i think i recover it fairly well in the clumping of the layout but you can see it's kind of like short here and then like this long hair that just ends and it just kind of looks like a bowl cut it's not very clean so let's uh turn off the grid and add the sphere back in um but uh let's go ahead and start by let's do this let's actually go to the output hairs and then we're just gonna disable these notes and go uh one by one and then i'm going to go ahead and can i yeah that's not worth it okay um we'll just use a color node which is fine okay so um this is how uh the hair looks when it comes in again not perfect and some of the you know partitioned here didn't come off so well you can see how it just kind of goes back and forth it's a little a little messy um some of the part doesn't look very good there just got a little too close um so uh let's take a peek at what we actually said or what we did set this up to make it look a little bit better so first thing i did was i set up the hair clumps now i'm going to create another color node to just kind of bring down with me and take the guides and push them into it and we're going to use a random from attribute and then i called this clump id1 and at least i think i did yeah i did okay oh you know what this needs to be set to primitive okay and then i need to delete the original colors okay so this is the hair clumps uh that i get from my initial clumping now this actually could have been even smaller normally it's best to start with a very very small clump i find at least you know it really depends on uh what you're going for um in the style but i find that generally if you're doing a shorter set of hair for something like that doing some really small clumps first and working smaller to bigger um tends to look pretty good so you can't do that the inverted way but it depends on you know what style you're going for i find it to look more realistic if i start with the smaller clumps first um so the next thing i'm going to do is pass in to the second clump and you can see we still have clump id1 um you can see this the shape change let's look at that um and i'll go through the actual settings in a moment but uh the clump id1 is still the shading for the first clump and then if we go to two you can see the second set of clumps and then again a big surprise with clump id three and again you can see it change again but we still have clump id two and one visible here so you can see what they look like with that variation let's look at three these are the chunks of hair that are clumping together and i find that this is more natural for how this type of hair seems to form together so let's go ahead and take a peek at clump id1 and just look at these and see how they vary so first thing is uh the clump itself is driven by this blend here and then the size of the clump is the radius at how you know how far it looks to create a clump crossover rate is basically how much can it uh steal from its neighbors and have a more natural blend otherwise you get some really unnatural clumping together where it's just kind of like all spotty and it's weird um straight rate also lets you have a couple of random hairs poke out which again is more natural and then i used uh curling very minimally with the skin attribute of clump that we looked at earlier and i wanted it to only clump on the top um or excuse me curl uh so if we turn on and off curling you can see very subtly it uh actually that's actually a lot more than subtle that actually changes it quite a bit um it's a very small amount but you can see it's quite a dramatic change and that's uh something i used on all of the different club nodes and it just kind of gave it a lot more realism so we move on to the next clump and uh the next yeah the next clump node and we have the exact same type of setup um with just different numbers and then i also used fractal clumping here so if we set this to one you can see it's a variation on you know the clumping itself i think what this does is it basically will adjust the um the clump scale uh and the clumps just make them look a little bit more natural based on fractals um that's my assumption i could be totally wrong but that's what i'm using it for so again if i'm wrong you know maybe check the documentation see if that is what it is doing for you but uh that's that's what i use that for um so this is clump id 2 and let's again take a peek at what it looks like with and without the curling so the curling just kind of you know creates some individual hair strands let's go back to this you can see one thing that really just comes across well is just like a really natural set of um it almost looks like fur almost these uh chunks of clumps over here and these little like chunks of hair just you know if you're looking at like uh animal fur or something like that this is you know kind of how you could approach that and i think it's also a fairly common approach for uh human hair styles um it just looks good to have that breakup um so the next thing we're gonna do is check out hair clump three and this is clump id three and again let's uh let's make sure uh curling is on there we go and then curling again just adding more break up and variation and uh i don't think i changed the frequency on any of these and i didn't but the frequency is just how much curl it does like if you want a lot of curl um just more more curling you know more intense breakup frequency going higher just adds more uh breakup so we'll just leave it at the default and then again fractal clumping and again uh just a larger clump size and a blend again using the skin attribute of clump and then a crossover rate and a stray rate and i had thought i actually used groom bear in here to paint on these but that was actually on a completely separate uh scene and render so anyways let's go ahead and continue on i'm gonna go back to clump id one for previews and uh let's go ahead and actually let's just disable this no let's keep it enabled maybe we'll try looking at clump id two or three um so what i did here is i kind of trimmed out the hair um let's let's just have a broader view with clump id3 so notice the length of all of the hairs and then i basically use this to thin it out a bit so i used this set length node or the set length operation in the guide process node so you just type in length and its guide processes set length and that's how you get to the node same thing with frizz uh that's how i snagged all that but basically i use the guide process and instead of um setting the length with uh set i used it to multiply and i just took the actual length and i set it comes in like so and you just click randomize and i set the minimum scale factor to 0.5 and it basically just kind of the hair kind of trims down and any any strand of hair has the you know ability to end up between half its length and its current length and i'm using the cut or extend not the scale method if we use scale you can see it's just scaling the actual strands and that looks weird it just creates kind of a messy cluster but when you use cutter extend it actually takes the length of the strand and it goes along that and trims it down and it's really helpful the next thing i did was i used frizz and frizz just breaks it up a little bit more again just like all the curling and everything and just you know frizzy hair it just hair frizzes and just adding a very subtle amount of this with these settings here um gave me a very nice clean frizz and uh basically with and without uh it's very very subtle but that's what i did um and then i took the clump id attributes and i promoted them uh so using the promote attribute um what i was able to do was take these clumps and i did clump id uh two r one two and three and i uh basically used the attribute promote node to take them from a primitive attribute to turn them into a point attribute and then what i was able to do there is work some really fun magic and color my hair this is the attribute vap node and i basically created a ramp to take a grayscale input based on these randoms here which i'll show you or based on the ids of these clumps and uh what i did was i pulled it into the attribute vop and i'm not even honestly sure in the end if i needed these to be point attributes um but uh it ended up working so i left it as is um but this is a point uh system the attribute bob is working on points and then what i did was i jumped in and i created a bind node that's the first thing i did so i took the bind and let's actually just go ahead and pull this in and i'll show you the actual process of or i'll show you the actual breakdown but i'll just start with the process of how i did this so the bind went into a random node and then basically this is this is super cool what you can do with this is um it's kind of like the uh color node where you have a random from attribute let's just plug this in um so this random attribute will give me a based on my input i don't have a parameter set here yet so let's change that clump id 1. so now we have this 1d input which is the integer and 1d output which is a one-dimensional output not a it's a float output so instead of it being a fl uh vector 3 in other words something like a color which is you know rg and b um instead it just has uh basically just the brightness in the 1d output so that's what i ended up using but you can use the 3d color if you want to just have a variety of color and then what you can do is you can just you know use a color mix node and uh let's say we want the hair color to be something a little bit more the saturated brown and then i want to have mostly this color here and then you can just use that too that's not very bright i'd like that to be brighter okay this doesn't look very good but uh this is the principle i've used this a lot with particles but you can take that randomness and then you can use the color mix with it and then just kind of pull in some you know variation in hue and saturation and you can also add a color correct note after the random to tweak it a bit but um and anyways what i ended up using was the 1d output and this looks super clean and then i was able to use another bind node as well and what was that called tightness so this is something you get out of using the clump nodes you don't just get this but if you're using the clump nodes which we are up here all three of these you get these attributes out of it and tightness is one of them so this last tightness is the one we're using so it basically uses the um you know because of how houdini works we have the tightness attribute from this one this one and this one in the end it's just using the most recent one um i don't think it stacks i think it just overwrites it so what we're using is that tightness attribute and also the um uh the bind attribute or the clump id attribute and i'm taking those and then i'm mixing them together and creating something like this so let's go ahead and take the bind attributes of the different clumps and i'll show you when the tightness comes in um let's do this so let's uh let's pull this over so this is again the uh same thing we just saw this is the clumps uh the clump id1 and then let's look at clump id2 and then let's look at them mixed together i'm gonna go ahead and close this sorry that's a lot of real estate probably would have been nice to have i keep that open because it's nice to have to open but yeah so if we look at this um if we mix this and if we disable it you can see the variation it's very subtle i wanted to primarily focus on the variation of color on the single or the small clumps for more individual strands and then i did the same thing with the larger clumps as well where i pulled all this in and then had a small amount just a 20 involvement of the larger clumps and basically it gave us this really nice variation right here and then we multiplied that with the tightness attribute and that just gave us darker roots which is just a really a really popular style like if you've ever seen somebody with blonde dyed hair they have darker roots and it just tends to look good in fact actually even just with sun bleaching it ends up looking that way as well so even if you don't dye your hair a lot of different hairstyles will have the roots just be darker because they just get less sunlight and they keep more melanin and i think that's how that works i actually don't understand the science of that particularly but um basically what happens is the uh roots just maintain a darker look and it just creates a nice contrast separation and you get this nice look so i took that and then i pushed that into this ramp and then in the ramp i also did a little bit of color correction let's uh pull that in so the color correction is just a variation and this gives a little bit more of a darker maroon look this is more of like a orangey blonde look and then i used the mixed node with the factor being i think it was just this guy right here the the uh initial clump id random uh does seem to be the case um yeah that's the case okay so that uh ended up driving the mix between these two so uh basically the difference is just uh the hair looks like well that's actually a really bad sample but um let's turn off the mixed notes so this is just the variation of what it looked like um you know between the color correction and then you know adding back in the original hair color and it just it gave a really nice blend and i love using this method to create variation in the hair um so this is how i prefer to work when i'm working with uh grooming um you can do a lot more in shaders in some areas and you can do a lot of really cool magic with you know different things but uh what i ended up doing was using this method and it stores it as a point attribute which you can end up loading the file size but for something even even something with a couple million hairs it doesn't tend to be too much um so it doesn't affect the simulation itself um and i was able to just export that as an alembic file and this is what the hair looked like as strands without shading and uh yeah so that's basically i think just about everything that i did um let me think if there was anything else um nope i i think that's gonna pretty much cover it so we'll go back to houdini um i created a uh a different camera i guess that's something i did um but uh yeah i just set it up set up the lighting and again let's take a look at the actual hypershade and look at the material and just referring to this is um the color attribute that you got out of that hair in houdini right here um using the cd attribute again just pulling that in through the alembic in maya luckily it just understands it um i'm used to working in cinema 4d and in the past i don't think it uh was able to do stuff like that um i'm not actually quite sure i haven't used uh the newer versions of cinema 40 as much lately um but uh yeah basically just pulling that into the diffuse color like we talked about earlier and pulling that into the standard uh hair surface material so just using that to set the surface shader so very simple uh and if you guys have any other questions uh let me know and i will be happy to answer them and again let's just uh take a peek at what that simulation render looked like again it wasn't perfect it does have issues i think the groom uh guides are just a little bit too close and overlapping with the center but i think i think it was a really good setup and a really good start and i think it covered some uh really good points so this is something i've been working on a lot lately uh for my needs and uh these are some of the issues i ran into and hopefully uh they answered your questions so uh thank you so much for your time and have a fantastic day guys i will see you in the next

Channel: Cosmic Sandbox

Views: 11,629

Keywords: Houdini, Maya, Hair, Groom, Simulation, Alembic, ABC, GPU Cache, Reference, Slow, Groombear, Arnold, Render, 2022, H19, Tutorial, Tip, Trick, Training, tut, cosmic sandbox, cosmic, sandbox, sam welker, sam, welker, studio, lighting

Id: QjVJycl2Hns

Length: 39min 25sec (2365 seconds)

Published: Fri May 13 2022