MASTERING THE ART OF MAGICAL FX IN HOUDINI -WEEK1

hello everyone and welcome to mastering the art of magical effects in houdini my name is jayden patterson and uh thank you for joining this workshop i'm just gonna quickly just try and describe everything we'll be covering in the eight weeks so it's split into eight weeks in total four of those weeks we'll be dealing with one production style shot so that's this one over here i've tried to to form this into more of a shot production style than a standard tutorial just so that the actual effects we're working on we need to deal with in a sort of live fashion so we need to be considerate of the type of camera used the distance from camera take all of that into account while we're working on the effects so we will work on the first effect in the in the initial four weeks the first effect will be the portal over here so that will take two weeks of our time to work on the portal starting with the basic setup of the scene and this shot over here looking for reference a general inspiration for this type of effect also touching a little bit on the difference between generating more magical style effects for fantasy versus the more sci-fi type of effect we're going for here in these shots on top of that will start to work on the basics of most good general magic setups for the portal which which starts out with a standard volume simulation and then we get quite involved in the advection of the particles we start to play with what we can do with the particle sims after the sim and see how far we can take it in general i think um the first week will be a good introduction to the way i work personally to my workflow and to how i approach using houdini as an artist in general i would not describe myself as a td i'm not the most technical person and so if you're looking for someone to teach you how to do a nested for loop instead of a copy stamp inside of a compile network or i'm not that person i am much more an artist first so my approach has always been when i picked up houdini uh was i needed to make something work i needed to make sure the pictures look good how can i bend houdini to my will to make that happen and that's kind of been my approach ever since so this first effect in this shot is a broad stroke introduction to that kind of part of my workflow and how we can very simply and very quickly get complex looking effects just by using some of the more simple style tools that we have available so i hope you find that interesting and and in terms of the general the general stuff we'll be looking at during the entire course i hope there's a more emphasis on the artistic aspect of it and less on getting bogged down by a lot of the technicalities or the technical details so moving on after the portal we'll be taking a look at the second effect here in weeks three and four which is this magical shield so once again a few of the same elements will apply in techniques but with a few extra things to go on top of that so a little bit extra on the shading some more interesting lighting aspects and then obviously we also deal with the secondary effects that surround our main magic over here so we'll be doing the bullets the impacts all that smoke and everything you see there in the in week three we'll basically do pretty much the bulk of the work on the shield so uh procedurally setting up the shield how it's placed in the scene how big it is and then the particles and objection workflows we use to generate the main part of that effect in that shot and in week 4 we'll add a bunch of the extra elements so make sure we've got some really interesting layers maybe some extra details on that shield and all of the environmental effects and lighting as well i should mention that for both of these effects and for all of the effects in this workshop they they all involve a fair amount of compositing um and with magic in general you will find that magic in particular does need quite a lot of compositing um in a way that sort of destruction or purely volumetric effects work might work without compositing magic can really be taken to the next level in comp so we do spare spend a fair amount of time in comp as well going through that and whether you're using who d um nuke or fusion uh you should be able to follow along for the most part at this point i think fusion is still actually free so if you are interested in picking it up they're not that different and you can get used to fusion if you know nuke quite easily i think i actually use both at the moment and moving on from that the the uh from week five to eight is another shot which i'll show you here this is our d cloak and our emp shockwave effects so at this point we jump into a completely different shot different camera different environment and a different main character type thing here so once again hoping to learn a few extra techniques that i generally use to drive the unwrapping or unfolding animation of this drone object we generally call that a decloak it's an invisible object and it's becoming visible before it does its magic power so a bunch of extra stuff involved here that we would not have tackled in the previous effects such as those lines and the electrical arcs traveling on the surface and then a little bit of a more detailed sock based geometry editing as well i would say this particular effect also has some slightly more advanced shading techniques nothing too crazy but we do spend some time in the shader and then a pretty complicated composite as well then moving on into the last two weeks of the course we tackle this emp effect which kind of the goal with this one was to try and bring together a bunch of the techniques we had used in the previous effects to see if we can apply them to something completely different so here we've got the shock wave we have impact dust we have some magical element in the middle of the shot and we have quite a lot of electricity some shading as well and just general effects lighting so just to recap i think i think we pretty much tackle everything and every technique i use to deal with magical style effects in this course it is definitely a lot more sci-fi focused but every single one of these elements is very applicable to a fantasy style for example so magic is magic at the end of the day and what directors and clients want to see is these energy related elements the electrical effects have their part in that magical list as well along with the addicted particles that we render here and rasterize in the shot as well in terms of following along with me as i'm working through the course i do try and not move too quick but at the same time it would be beneficial if you if you have some knowledge of houdini already and are quite comfortable moving around i'll cover that in another video just it just to discuss the prerequisites but in general what i want anyone who does this course to get out of it and even if that's someone who's very experienced and can already do all of this stuff and they have their own methods and techniques is more to take away my own personal viewpoint viewpoint and that is make sure to always keep the art first unless you're going out to actually become a td specifically i think everyone would agree the most important thing is what does the end product look like and so my method of using houdini is just make sure i'm constantly looking at the end product i don't care how how deep my networks go how advanced how many angles i use at the end of the day i consider myself to be using very simplistic approaches in houdini to achieve as complex looking art as i can and so it's more of a guerrilla style use of houdini to get maximum effect on the final image so i hope in some capacity you you latch on to that kind of message in the course and at least take away that fundamental like want to experiment and test out and use that approach yourself to focus on the art and to use houdini in a way that makes creating that art uh pretty easy for you so with that said um welcome to mastering the art of magic and i'll see you guys in the next few weeks hello everyone so before we get stuck into the course proper just uh just an overview of what i think the prerequisites are for joining this course so i don't i wouldn't personally call this a super advanced course if you already know your way around houdini and you actually make effects yourself if if you're an effects artist in any capacity and have knowledge of dops in general pops as well and you know your way quite smoothly around sops and you've done your own shading etc then you should be able to follow along quite easily so in general i would say a basic general knowledge of houdini as a whole would be extremely beneficial if you consider yourself a little bit more on the early stages of your learning progress then you might find i move a little bit too quickly through some of the important aspects here um so i might i might uh just very quickly throw down some pop nets and some dops and get a result and carry on from there and uh hopefully you'll be able to follow along with that but if you don't i'm pretty sure you can catch up or go through it slower or re-watch it however you want to do it but keep that in mind that there are some of the some of the more effects heavy areas where i probably do move quite quickly through that and so if you don't feel particularly comfortable in very quickly moving around houdini for example or jumping from one section to another and relying heavily on particles and volumes then you you should consider if you haven't yet taking some of the prerequisite courses to get up to speed on that and so here in the in the course on rebelway the prerequisite is introduction to houdini effects artists or introduction to effects in houdini which i think is a great one to go with because what i'm saying is that basically if you know houdini so if you are lighter in houdini or something you might find it difficult if you don't have experience jumping in and out of the effects related techniques that i'll be using so any experience in using houdini as an effects artist or if you know the basics of running particle simulations and advecting particles with volumes then you should be fine to follow along quite happily so uh i look forward to seeing you guys and talking more in the coming weeks bye hello everyone so just a quick introduction over here to let you know what to expect in week one so obviously this week we will be starting our portal effect and to start with we'll take a look at as much reference as we can and just get some inspiration uh it's a pretty good time at this point during the week to also look at your own reference so if you see something interesting that you like and i'm not going down that route then please save those images and look at that reference and try and make your own effects go in that direction instead of mine after that we'll start with just the basic scene setup over here and also work on our initial volume simulation and that simulation ends up being what drives all of the effects in the portal itself so that's another good opportunity to experiment and push the effect in a direction that i don't after the volume sim some basic advection of points and we'll we'll have a few layers of particle advection done through that simulation with options to take it in different directions through our pop network and then finally before the week is done uh we should be experimenting with sub-based approaches to to add some interest to these layers so basically the effect doesn't end after the sim and we spend a bunch of time experimenting after some adding deformations and using some tips and tricks over there to to help make our layers interesting so it's going to be a pretty busy week and by the end of it we'll pretty much have the bulk of our portal simulation work done and i hope you enjoy it so i'll see you in the next video hi guys welcome to a week one of mastering the art of magical effects in houdini i'm just gonna start with us a short video um to discuss what we'll be working on firstly and to look at some reference and inspiration for the two effects the two first effects so what we have and i've set set this up in houdini already so i think i'll be sharing this with you guys scene one shot one is the portal and then the magical shield [Music] and what i've done is it it's magical effects and all of these um workflows that i'll be using i use for both sci-fi and fantasy style magic but for this course i've decided to lean more towards sci-fi just to make it interesting so from the next video we'll be diving straight in setting up the scene and getting ready to make the portal so in general i mean i usually do look up a bunch of reference and i use pinterest you can see i've typed in portal effects already um art station uh specifically for magic because there's no real life video reference we can find um concept art is really good for that so let's just have a look firstly at pinterest here something that comes up a lot is this blink portal from x-men which is really awesome and if you don't have a pinterest account i highly recommend you make one uh because you could save a board and just sort of every time you see an interesting image save it to the board and then revisit that while you're working on the effect to get inspiration and get ideas for extra elements that you can add that's really cool um so i've already done this and i've looked at some things that i find interesting and i think if you do this as well um and i don't end up going down that route for the portal or for any of the effects but you see something that you really like then maybe try and spend some time incorporating that into your effects instead of following 100 what i'm doing um that would be really really good and if we look at our station here see what we find loads of inspiration um and i think concept art in particular is really good for showing you how simple something could be like we are going to try and get as much detail as we can once we're working in houdini but you see an image like this it doesn't need to be complex and it doesn't need to have lots of small details it fits within the overall image and works really well so a lot of peop a lot of times people will just spend way too long trying to add small details that you don't see and in this case it's literally just one color with a small glow and i think there's maybe some particles but overall it really works um so i'll usually grab a bunch of these kind of images as inspiration um and obviously vimeo as well see what we find yep the blink effect comes up immediately let's have a look at this so this is i think everyone's trying to recreate this one so we'll try and steer clear and make our own thing um well there is some really good good things going on in here like i mean this anticipation the flashing lights before it opens is really nice there's a sense of small flakes flying off so maybe we'll use that as one of our elements but overall we'll try and not recreate the exact same look um so yeah this is what i usually do save it into a folder or like i said in pinterest make a board that has lots of good-looking images and we'll revisit that as we're working um so basically what i'm trying to do with the first one is obviously we have this big horizontal style portal which is a bit different and i've put in these sort of layout circles to indicate the scale and we're looking at pretty much the full top half of the frame being filled with the portal which hopefully makes it quite dramatic um so anything that kind of seems to fit that style um and given that i'm leaning towards sci-fi instead of fantasy um obviously that the blues are pretty cool colors sort of shiny there's some particles in there let's see what i have i've got a pictures folder so i've got that blink effect and i've got this image which i think is from the flash tv series so at the moment i'm going to be trying to make something similar to this and then we'll add and subtract elements as we as we feel like it um so go ahead gather some reference and i'll see you in the next video where we'll get stuck into the houdini side of things welcome back guys i've just opened up the basic scene here this is the scene that you'll be getting as well just to discuss what i have and how i have it set up before we get properly started so i have the basic gray environment and the character animation and i've got the layout circles that are my timing and scale reference for now the full shot is 220 frames which does include the shield so i've just set the timeline to 130 just so that when we start wrapping out stuff we're not writing down things we don't need um there's a couple of lights and i've got this null which i'll be referencing for my rops i've set some aliases for cache locations and render locations and this is basically goes to that location sets the name to the name of the object and then to the name of the wrap and that will just help keep things simple once we start writing writing stuff out let me take a quick screenshot just to discuss how i'm how i'm currently thinking about the effect from a director or client point of view i would be assuming that if he's traveling into this location from somewhere else you at least want the effects to move outwards i'm using a mouse so don't judge instead of basically having stuff moving in because out implies an exit and just wouldn't make sense so i'll be kind of sticking with that you don't have to um there's lots of ways you could do this but i'll just do the basic sci-fi trope and another thing to think about at this point because because the shield is taking up the full top half of the camera uh compositionally it's kind of interesting because you would have these lines that sort of travel out into the scene and these are useful for drawing the eye into the spot that you want so hopefully we'll we'll draw the eye of viewer into the spot before the character even jumps through and i can already tell that to make this basically i just need a source and i want to throw out smoke or particles radially from that and take it from there in terms of the settings everything's default the color settings are default for now we might change them later uh once we see how the color amps are reacting and we will end up setting up lookup tables luts for our renders and for compositing so for now i'm just going to put down a geo and i'll cut this video short and carry on in the next one but just to talk a little bit about my usual workflow is we will be making two effects so we start with the portal i'll make a geo and i'll try and get as much down in here as possible and then if i want more layers to add complexity i'll usually put down a bunch of like put down a new object and maybe object merge something from here into that and then carry on working from there but for the most part i want as much as possible in one that's just the way i work um you also don't have to follow that workflow at all so i'll end this video here and i'll catch you in the next one hello so let's get started um let me make this a bit bigger this is probably going to drive you crazy because what i do is the viewport is the the most important thing to me usually in my i have my object network quite small and it drives people crazy but i'll try and make it uh bigger than usual so you can at least see so let's dive in actually let me hide some stuff i'll keep the character for some reference and hide everything else set this to ghost and let's jump in and start doing stuff so my sort of approach to this and everything i do is to just start throwing stuff down and not tweak so i want to build a setup that works or does something interesting even if it doesn't look great if i think it has potential i'll keep moving down until i reach some kind of interesting checkpoint and then go back and work on the details and the look so i'll do the same here as i said in the previous video i know i basically just want something in the middle shooting volume and particles out and i think we can build the rest of the effect on top of that so i've put down a sphere i'm gonna use a shelf tool to just get the smoke going i actually usually do use the shelf tools just to make it quicker just for me get nodes down and i'll delete what i don't need and i'll actually copy out all the stuff in the stop and make my own in here they've changed the workflow for the top volume sourcing so i'm kind of glad i've decided to use the shelf tool just pop this in here make sure it works a little bit so let's see what we've got so scattered points with density and temperature adding some noise to both of those and rasterizing it so what we want for starters is some velocity so i'll put down a point quickly nameless i'll i'll try and name things as i go but i might go through a phase of cleaning up add some v based on normal let me make a velocity visualizer here i don't like the trail one i prefer this one so that's working i'll just boost that up times five just make sure that's carrying through i'll put down the top import fields i'm sure you guys are mostly familiar with the volume workflow anyway but i'll go through the way i usually do this and then get as far as possible probably in the video at some point where i feel like there's a good base set up and then do some extra work on it and some tweaks because playing around with the values and sort of experimenting it takes a while so what i'll do is on the next video if i ever spend time and change lots of parameters i'll go over everything i changed and and try and sort of recap where where we're at so here i only need density and velocity just check our velocity is working and it is going to switch the clamping off on the resize we don't need that and let's save right so we have velocity outwards but i want flat velocity and just just a word now i'm actually i know i'm at the origin i'm going to leave it at the origin like this might um save us from some issues later so it's kind of useful to stay at the origin for this effect because i don't want it to interact with the character really or the environment so we're safe to work here and then i can always transform it into the correct place later so we want to flatten this if we just flatten the sphere then we get nice flat flat velocities as well and let's see what we've got hopefully something that looks more like a portal yeah that looks pretty interesting what's it doing i think it's floating up switch off some buoyancy we don't need that either so like i was saying i'm not going to tweak the volume settings right now i think it's probably too turbulent but it works it looks okay let's carry on moving forward i'm gonna jump straight in for me pretty much every magical effect at least as a base consists of some kind of volume sim driving a particle invection and then that point cloud forms the basis of the magic so let's actually put down a circle because if we're going to source into the volume we probably want the the dimensions of the portal opening defined now so this is where i need to see where the character is where is he so i'm going to go crazy with the divisions just in case we end up sourcing from these points scales up a little bit looks about right so i'll use that uh maybe scatter some points on it i don't i don't generally use the relaxed iterations it's a bit slow for my liking so let's go crazy here as well maybe that's too much for testing so plug that in there put the volume in the second input and let's see what happens here set the source to all points and put down an effect by volumes so in in this case right said second context yeah so in this case um advection type i would usually use velocity obviously it depends what you want in this case i want the particles to fully resemble the volume simulation so update velocity and usually i'm i default to trace single step trace is more accurate for me single step seems to overshoot if you have particularly high velocity fields from a volume sim then the pop can't keep up so the particles end up shooting outside of that at vector range so my default is trace you can use single step but basically if you see points not doing what you expect them to do try change it to trace might fix the problem right let's see what happens so that looks okay make the point smaller i kind of like the stuff like i said before i think it's too crazy on the turbulence but that's cool for now so let's hide this character so one thing i don't want is for the the portal effects to have much height we can introduce height later but i mean for the for the base particle advection let's try flatten that out so our options are and i do like doing a lot of work post sim so you could you could just sort of flatten these points out afterwards and take it from there for abstraction points it's kind of useful to do as much as possible inside the pop net for a few reasons but for me the main reason is if you're changing the positions artificially every frame during the simulation then the particle has to be adjected from that position so you actually end up with a completely different result so if i put down a wrangle or a vap to try and and maintain a flat circle then the particles are being ejected from that new position and it will look completely different um so hopefully you'll see that you could use a vop or a wrangle i'm just going to use bob because all i wanted to do is take the velocity and we want to take y and make sure that if it's traveling either up or down so in positive or negative y that we slow those points down so they stay nice and low so we'll just be updating the velocity here so i'll say compare the y velocity if it's not equal to zero so if it's traveling up or down to a switch if it is traveling up or down then multiply the y velocity by 0.25 and if it's if it's at 0 then don't do anything to the velocity and if i reset this down well so you can see already that it's completely different from when i just use the transform to flatten it and it actually looks pretty cool i kind of like it i'll put the camera down here to pretend like we're in the shot yep that's a good that's a good start so what i've done up till now is basically just without changing anything started with nothing and have a workable setup basically like this is the approach that i can use to make a lot of the layers that can go into building the effect so i mean as an example i already like this so what i'll do is i'll just duplicate the pop net and then and it's all really all about experimentation for me so immediately i'll try like what if i just emit from the circle instead of the scattered points and that's already completely different i mean it's the same noises and stuff but the look is different so i really like working like this i feel like you can have you can try different sources you can add noises here maybe and have different noises for each pop you could just have multiple volume sims and have a different one for multiple pops but you could see that you could build up a bunch of layers here and experiment and then just bring together the ones that you really like so let's see so we have this what we probably don't want is a constant flow so i'm going to put down a vap and add some noise to the source and i'm actually going to make the background black i often feel like i can't see these properly make the points bigger so we can just have a i mean any kind of noise here really it's going to start with that's pretty cool start with something like that and then what we'll do is and i'll experiment with with this later but basically we could have a different noise and have multiple pops and that will bring a lot of different variation to the layers so here let's just delete anything that's not white and maybe that's a bit extreme and increase the sub steps a bit slower but you can kind of see what i'm getting at and i mean i could obviously tweak for ages here and i don't want you to watch me uh just trying out things like i said part of this is is basically put down a bunch of stuff that you feel comfortable experimenting with and then take the time and really try different things i'll come back with when this video is done and try maybe add add some variation to the noise like make it move over time um try a different noise on this one change some simulation settings inside [Music] so i'll play around with this a bit and i'll see you in the next video and probably recap anything i've changed up until this point see you welcome back guys i have opened up the scene again i actually haven't come back and changed anything yet i decided i would record this video of me actually experimenting with stuff so it might not go well or i might come up with something cool i don't know so you could probably skip this video if you don't want to spend some extra time just watching me mess around basically um but let me get started so let me get back my thought process from last time um basically so i have this noise and i'm gonna promote these parameters play with this a little bit i think let me change the background back to blue so we just want something large enough to have an overall effect on the final shape of the simulation so i don't want too much detail [Music] just enough to break it up so that we get uh some interesting streaks or something from the actual sim let's go for something like this something like that looks okay and then i'll just put a dollar f in here and get this moving a bit i'm just very slow and let's see how this looks through the sim and let me delete a little bit more than this this will save us on simulation time and when we're catching stuff out save us on some disk space so kind of what i'm what i'm currently thinking is if we can break this up enough and it changes over time then this particular thread of the network will fill up some spaces in the environment and then maybe another simulation will fill up the gaps in between and that should make it look a bit more complex so and i also don't want to clamp the noise too much because i want as much range between the whites and the blacks as possible to allow for when we go when we go down and color the particles um and figure out how we're going to render them if we can take this range all the way through with us i'll have a lot more to play with when we're messing with the color ramps so that looks okay i might break it up just a little bit more i need more points something like that and i was just looking at the sim and it's looking very flat so i might now experiment with um well this is too broken i need to try um some different versions of that vap where i was affecting the velocity of the points so let me just try that now so in here i was comparing velocity to zero but instead i think i would like to compare the points position so basically we could say if the point is above zero and this is where it comes in handy that we're working at the origin if the points above or below zero then multiply its velocity on y by negative some number so basically as the point starts moving above this it should be multiplied by negative y and change direction and come back into the addiction so i'm hoping if we do that we might get a little bit more interesting result from the actual objection there than what we were seeing now which was very flat so compare the points y position to zero if it's not equal to zero then multiply the y velocity by negative so very quickly change its direction otherwise do nothing so let's have a look at this i've got too many sub steps at the moment i can't remember what we said it before before just put it to one for now okay so that's already a little bit more interesting i think because i did want it to look a bit flat but this is still kind of holding its shape which is giving some really interesting results yeah i like that let's stick with that for now save right so we have a noise that moves and we have an infection system that we like and i was thinking of trying see here i'm gonna just shift this over so we keep what we made before i was thinking of trying one of the new pop um one of the new pop forces which was i think it's pop fluid so if we had backed let me just disable this if we head back now this we should be able to get something that feels uh almost like a viscous uh fluid which could be interesting i'm constantly changing the size of these points right that is that is very strange i kind of like it i'm not sure it's going to work for a portal well okay so let's see what we've got update positions update velocities we got particle separation right so a few things to play with here it seems if it's using particle separation it's going to be highly dependent on the amount of points we have in the sim so obviously if it's expanding like that i'm guessing it needs to be a lot smaller but that that value will completely change if i decide to pump more points into this but you can see already dividing it by 10 and we're getting a more correct scale so what do we get from this not really seeing anything i guess there does seem to be some kind of surface tension force at play here which which would be really nice if it was more obvious it's definitely doing something um what i'm going to do now is actually just fix the stepping before we carry on um because it's bothering me a bit so the thing is the circle doesn't have any initial velocities so i think i'm just going to transfer our velocities from our volume source so we'll take those and scatter should work noise and then in here if we set switch inherit velocity to zero and then i'll play with these jitter settings and then use the point velocity so we get we get some shifting in the points when they're born so that's kind of fixed some of the stepping but it looks like the color is still being affected it's a lot better right so we take that we switch our pop fluid back on and let's let's see let's just boost up these constraint iterations i guess uh what i should be doing and i guess what you guys will be doing is reading up or looking on odd fours or the side effects forums um at any new tool that comes out i kind of just read these little captions and change some values and see what happens it's very slow let me put this a little bit up just so it's it's actually usable and i can try and figure out what the settings do i'm not going to spend too much time of the on this because i don't want you to certainly have to watch me play around i just thought it would be interesting to try so i'll save this here for now and spend some time trying that new solver and then like i said i'm going to kind of split this up now and experiment with different sources so say we have we split this up here here we could have a maybe a lower frequency noise it's less rough but it moves a bit more and we have a bit more range in this one plug that in here that's all good does this have our source now so what did i do it was negative back and use point velocity i really like this one like an octopus or something yep that works for me so you can see that i'm removing sections of it before the popson um it's overall it's still forming quite a solid shape so probably gonna end up playing with these noises a bit i don't want both of these to necessarily form a solid shape because they kind of defeat the purpose although if this one is using that that new um pop fluid i guess it'll look completely different but i won't know until later on and then this was the one where i just used the ring which i also really like i'm gonna keep that let's see if i can think of something else to try thinking maybe one again on the noise front is a very sparse noise so if there's very small i'm going to actually put a ramp here if there's very small sections of points so that the addiction kind of will just shoot out little tight beams of particles into the sun so something like that something like that maybe let's have a look double check negative back use velocity switch that off so i just want to break this up a little bit more something like that so you kind of get the idea and what i could do is treat them all completely differently here as well so i could have a different colors for each one of these and when we merge them later on you can kind of tell the difference so let me end this one here and what i'm going to do is spend some time playing with the pop fluid see if i can get something interesting playing around with the noises and the simulation settings and i'll get back to you in the next video and we can recap anything i changed bye hello welcome back so i've gone through the scene and cleaned up and made a few changes so i'm gonna do a brief recap of what's different from the previous video and then show you the where we're at in terms of the results and the look for starters i i actually ended up i'll just go through this i changed the density of the volume simulation to use volume scatter so if i show you what happens here before i had it on surface which automatically takes the velocity but if you fill the entire sphere which is what i wanted to do just to make sure there was no uh gap in the middle of the volume sim i had to attribute transfer the velocity back onto the scattered points so that's the only change there [Music] and then actually didn't change any of the settings in the the volume sim just left those the same i've ended up locking the the scatter i was getting some strange uh cooking where houdini would re-cook the scatter while i was trying to move the noise around so i've just locked it in case that comes up again not sure why that was happening so most of this you've seen what i've done is i've put down a point replicate after this scatter so that because i locked this off so we only need we don't need to compute that at all and for one pop sim i can have more points than another one let me show you just what i mean exactly so here i've got the same points and at the moment i'm not even i'm not even increasing the amount of points this one is the same as the scatter and then this one has 10 times the amount of points so it gets a little bit more full so i'll show you why i've done that in more detail when i show you the results and here's the noise i had before just made a few tweaks and then i guess most importantly what i have done is before the popson i've just put down a switch and a no so at frame 70 dot f greater than 70 it switches to the null just to stop sourcing particles into the um into the stop so i did that based on when when i thought the portal should be dissipating so in this case if we look at the character he hits the ground and then i expect as he comes to a rest the portal will do whatever it needs to do there so i've just plugged that whole switch into all three of my sources inside here i did end up in the first pubmed oh let me cancel this basically it's busy cooking on frame one because i've set the volume to start at -20 and the pop-net as well just because i don't want any any time to wait here so when once we're looking at the rubbed out um point cloud i'll have a solid sim and what i want to do is in subs after the sim try and make that moment that the portal sort of unwraps from nothing i still want points there so um that saves me trying to do anything awkward with the sourcing so we just have points now from frame one and we'll worry about it in subs afterwards how they appear so let me just set this pop back to one and if i go in here this was the the pop-up that was maintaining some flatness to the simulation and this was the pop fluid i was playing with so one thing i did find is you you obviously start to see much more results with the more particles you had and like i said before the particle separation is highly dependent on the amount of points um so this is actually too high here basically what i've done is i have the scatter set to that 200 000 and then i think i think if i change this but i found that that a good value where i started to see an actual pop fluid reaction in the solver was 0.005 which is pretty small i think for now i'm going to put this back up this is my sort of testing number and so we can see what it does but basically i tweaked these i mean the if you read the the captions that come up it's pretty self-explanatory but it's probably worth looking online and seeing if you can get some good examples or looking at the documentation so this is quite slow there's quite a lot of points now this is kind of at the point where i feel there's probably enough points um to make this sort of production ready and you can kind of see here the kind of fluid results let me switch this back to this it's a little bit hard to see because it's quite a subtle effect so let me just reduce the points here's my delete so i'm just going to delete most of the points see if this speeds things up you can kind of see it wants to maintain its edge very similar to a fluid simulation so i thought that looked pretty cool so i've kept that in this pop net and i want to take that through and see if we can see it further down the line i really like this kind of result and i got to this point pretty much just trying different values here like i ended up turning off viscosity um tensile radius is is how much the particles actually want to push each other apart so but again this is based this is based on what i'm trying to get is to feel like the particles actually stick together so the radius is pretty small and then the particle separation for me seemed to be the the biggest effector so put this to one you'll see that the whole surface tension kind of look is just magnified so the whole simulation wants to stick together so it's basically choose the amount of points you feel you feel like is a good number that you want to move forward with so something that's renderable and then adjust the particle separation based on that until you're still seeing the result but it's at the level you want in this case that was this value for me at 200 000 points so that's pretty cool i ended up liking that one let me change this back and i have a flip book basically after the pop i deleted any any color less than 0.5 just to save even more space so you see 44 000 and there was 75 so basically just saving some disk space and this is the result so the the pop fluid effect is pretty subtle in this and i could have gone more extreme but i'm pretty happy with this and you can see there the particles just stop sourcing at frame 70 which is fine i've also set a a different life span on each one of these so i think it's like two and three and that's that so if we look at the other one i have the same thing i have a slightly different noise put in the same source stopping and inside here no different so this is the basic one that we ended with last time so nothing much to show there so i'll show you the flipbook of that this cache here i really like this one it's it is banding so the the source is still stepped quite a bit but it kind of looks interesting it kind of floats up i guess because the volume might be lifting up slightly there or not sure but pretty happy with that one and the last one this was the one that has much more points i went for a pretty rough noise here that's changing very quick and then what i did just to try and make it even more different from the others is i put down a rangel and i said the y position plus equals red so i'm just adding this point color to the y position so as that noise moves around the the point card is going to move up and down which will just alter the final advected particle result remove points as usual this time quite a lot so i'm getting my small pockets inside here same no changes there either and the result is here so with this one i clearly i wanted to have very small sources that changed quite quickly to get that sort of shooting the shooting result i mean the way i picture it is in the portal we might have quite a heavy base simulation of points to make the portal feel solid and then i want these little flashes of highlights so that's why i went down this kind of source for this one to maybe use this render as a sort of little flashes of um brighter point points so that's that so you can see it's pretty much the same from where we left off just with a few tweaks and then basically experimenting and writing these out so i could show you guys it didn't take too long let's have a look at our point count here and obviously i mean we might come back and increase the number of points um later on and rewrite these out the moment is two million five million and sort of four hundred thousand so not too bad and i feel like i'm i'm managing it a bit by just removing anything in the source that we don't need so i'm going to end this one here and then basically we'll start to try and manipulate these sims now um and just see like how far we can take these base simulations that basically aren't really doing anything that we want from the portal and try and turn them into a portal because i feel like comfortable that we have some interesting movement and we've got good uh like a good base to work from but we need to somehow still turn this into a portal that opens and closes and everything else and you'll also note that i mean up until now i've not used any sort of advanced techniques this is all pretty basic stuff and that's kind of the way i work i mean it's just um just finding them the quickest way to get something and as long as i have something that's usable i can iterate on it later um and i think still use a bunch of interesting sub tools to turn it into something that looks much more complicated than it is and just finally on the wrap you can see i've used that expression that i put in the null on object level so that's just dropping out to the to the location i've set as cache into a folder called effects portal and that one's rob will be the file here will be the name of this rob like that so i'll see you guys in the next video hi guys welcome back so i have made one small change since the previous video i'm basically i'm going to start experimenting from just this first pops of my head and it's not that crazy but the point count is just enough that it's getting extremely slow to try and edit attributes and stuff so we're sitting at 2.2 million and what i did is just delete points by expression at id modulus 10 so i'm basically keeping every 10th point and i've written that out and i put down a switch here so i can switch between low resin uprights basically so i'll start experimenting with the low res one so what i need to do now is try and make this um look like a portal so we have the points and i drew that image before we knew we wanted just some source in the middle to emit points outward but what i need is the essentially the gate that the character is going to move through so that is the portal shape which i defined earlier on based on the the character's scale so i have that and i'm going to try and just do an attribute transfer now attribute transfer is my favorite thing to use uh it's so it just gets so much done the problem is it is quite slow but let's just jump in with this so what i'm doing is i'll take the points and i'll attribute transfer their position match p so right now all the points in that sum have been transferred to the position around the edge of the circle and obviously we don't really want that so let's blend that instead and you can you can see that already gives us quite a cool effect let's try some different functions i'll stick with the default one so let's just have a look how this moves because obviously i'm a big fan of of just editing the sims afterwards we could have tried to do this in the pop sim but i mean and we might do this later but for now it's much quicker if we just take that simulation and see how we can manipulate that afterwards so let's play still quite slow but what i do want to do and i might just flip book this a little bit quickly what i do want to do is make sure that it doesn't look fake so we are we are transparent the position of the point so that could easily look wrong like it's not still flowing so let me flip this and let's have a look at our reference so basically i've already looked through a few of these and i want something similar to this where it's a pretty well defined exit basically of the portal that the character is going to jump through so maybe i'll also try some soft tools to kind of get this funneling or this tube but i'm not going for something like this so i do want a kind of solid edge that's enough for us to check yeah so i think i think this is actually working really well it's completely fake um how we're updating the position but it doesn't feel unnatural it actually feels pretty good so i'm happy with that so i think we're safe to use the shape our initial shape and just basically try and transfer that position even onto some of our other sims so for now let's see what else we can do with this one and just as a little recap basically this whole this whole effect is going to be based on this one volume sum um and then i've split that off into three particle sims and then each one of those i can then split off into multiple sort of experiments and merge together while what i like so we can be pretty sure that everything's going to move in a similar way and naturally and then just layer up all those different experiments into something that looks extremely complex but it's actually not it's all based on one sim and i think that's a pretty powerful way to tackle magic in general because you can sell the fact that it's magic if it's all moving smoothly and realistically uh based on that pyrosim but it's all the combination of layers and of fine points or big flakes and once you combine all that together it looks really complex so let's try something else what i can do is actually take our initial circle shape and scale it down and then transfer the position so obviously we don't want that so i'm going to reference copy this and invert the transform so no matter what value i choose here after the attribute transfer it'll always be the same size opening and you can see we have the same settings so let's go bigger there the same size opening the same size blend width but we're getting a slightly different reaction because the the circle's smaller so here's what we can do and i'm going to use multiple transforms instead of one it's easier to find our way i find our way back so i'm going to arbitrarily rotate this in some other direction and then we have this smaller one let's merge those together try some different angles here so basically you can see how interesting this could start to look because our base sim looks like that and if we just did one manipulation we'd get something like this but you start to layer these up and it gets really interesting looking let's try one more i'll start with another transform and this time exaggerate the sort of depth into the room or the height between the floor and the ceiling so let's see scale that maybe scale the whole thing up scale this up a bit so now these points are going to kind of shoot down into the room and i'm going to just to make sure it looks like the rest of the portal put down a wrangle and do kind of the same thing we were doing in the popsums i'll say um if y is greater than zero then y equals zero so i'm not removing the points i'll just keep them but just flatten them down and then you get this kind of it's actually pretty cool as well that's interesting so i mean what i'm trying to show is that without doing anything complicated and this is the way i work because i'm not a technical person really i consider myself just more of an artist so i kind of do as much as i can with a more sort of simplified logic so i could spend a long time trying to get this work in the sim or i can just experiment with attribute transfers and wrangles and get really cool results i think outside of the sim so we can merge this looks cool to me so let's move on to one of the other the other sims so this one i haven't done the same thing uh to speed it up it's actually not too bad this one i still really like the shapes oh it gets slow down here let's see if we can just work with this right so something i haven't done and i'm going to do it on this one first quickly because before i work on other experiments here i need to define some colors or some ramps for the falloff because technically i don't want to have a look at this and see points that aren't supposed to exist anymore so they're supposed to have died and we don't want to see them the moment they pop out of existence so just start with this low res sim here put down a color swap and let's ramp using age because i know we have age and get something that kind of fades off so in this case it's the other way around i want the color to fade off based on age and i can just refit this here and that feels pretty good so and i'll base the alpha off of this color as well so we have the the point slowly disappearing and fully disappearing just before it actually dies so that's cool let's just um have it fade in as well so a small fade in and then let's make this blue so i'm not spending too much time here on the colors specifically i'm just kind of doing a basic version of what i what i think i want to see which is sort of the usual thing for me we have it we have the points of being born i don't want to see that specifically so i'll fade that in and then it reaches a bright point and then slowly phase off until it disappears so a ramp like this is kind of usual for me and then i can tweak it later on one thing i do want to do is multiply that color by the color that we're getting from the sim so we did have a noise as our source that's been simmed through the abduction so we're getting spots of white and then some dark areas as well so that's probably the most interesting looking noise so we just have a basic ramp here and maybe let me switch to the higher point count so we can see it more clearly that's the basic ramp based on age and i'll take the second input and we say color will be multiplied by the point at trip of the second input which in this case is one we want to take cd which is from the switch basically uh pt num no i think there's a float again yeah i think i think that's right that's right so that's good and then i'll also add alpha at this point so i'll do the same thing alpha is multiplied by the blue so where it's brightest blue it should be one actually i'm going to count this so alpha equals the clamped value of blue between zero and one so that looks good so at this point the the points are semi-transparent and they become more solid and then they fade off in the alpha just before they die and to visualize this a bit better i usually use uh discs it's just a bit softer in the viewport but it's it's much slower so i kind of like this so now [Music] we get this all plugged in here i'll switch back to the low reson for now yeah that looks good so one thing i noticed now is i think obviously put down our angle again what we what we don't want is for all of these layers that we're merging together to sort of flatten out so i need something as a highlight and this being the smallest one and the one that's closer to being just the circle i'm just going to multiply the color here check the hi-res yeah so we just have now at least one of those sums with a slightly different color just a bit brighter around the middle this is when i start to sort of get distracted and try other options here so i don't want to spend too much time on this so something like that i'll carry on tweaking that later but i mean the general the general rule for me and it's like i described in this ramp is here we have the point of interest being the brightest point and then we have that ramp falling off as it goes out so i did need to at least take one of these one of these networks and just rarely brighten it up to highlight that ring jumping over to this one i'll do the same i'm going to use a vap this time i'm i'm still kind of getting to grips with trying to transition to wrangles so i'm usually much more happy working up in a vape so but we'll do the same thing this time i'll take age and i'll divide it by life put down a ramp and put it into color so here's our ramp here so we have the same thing basically from light to dark and because i've divided the two values that will fall off perfectly from light to dark at the full range of the age and then we want to multiply in this way it's um it's actually quicker to do this in one i could just multiply using the same input so i have cd here i can actually put a ramp down on this one as well and i'll put down bling so i'm taking the luminosity of color call this something else and multiply the age color by the original color so here we can see we've got that interesting pattern that's coming from our source noise and here i have a little control to kind of exaggerate how much of that noise is multiplying the ramp which then you can play with stuff like this get some interesting streaks and actually i want this ramp to be color and we'll just do another blue so we have a blue color there and then we multiply that let's try some quick shapes here see how much detail you can get just by playing around that looks really cool leave that like that and then i'll take the wrangle so we don't need the second input all i want to copy from this triangle is the alpha so same thing take alpha multiply it by blue and clamp that and i've also just got an idea to remove some points because i will be saving out each one of these again and i'm working with quite a lot of points so what i can do is i'll jump into this rainbow here and say if the alpha is less than some small value then we'll remove the point uh what's the syntax here so remove the point at pt num so remove that point that has an alpha less than 0.01 so let's just see if this is working yep so we can see points being removed and so once we have that in place and we write this out with this we're saving some disk space and some point count so i'll copy that into this triangle as well yeah that's removing a lot i mean i might not want to remove that much but i'll leave that for now visualize disks that doesn't look right yep this looks really cool i like this so the difference is i just basically used a pop-up i could have again done the same thing with a wrangle and i've got a color based on age and i'm multiplying that by the color from the sim and i put a ramp down for that so i can experiment and get different intensities in different areas and then once again basing alpha off of that and alpha's not 100 necessary at this point but i like to visualize it the way i think it's going to be rendered so i like to work through this and change settings visualizing where transparent areas are going to be so that's why i do that and then i guess i can use the alpha attribute in the shader as well right so what do we want to try and do with this let's take let's take our circle actually let's just transfer the position again start with that so here we've got the same kind of setup you can see the attribute transfers a bit slow same kind of setup and then let's see if we can make that kind of that tube kind of um so when i'm looking for a funnel and i have some kind of tunnel moving up from the circle so first thing comes to mind for me is let's see what happens when we try and duplicate this up so i just drop down duplicate which is actually a copy and transform and here i'll just not rotate i'll move it up so each copy goes up that's a bit high it's actually running pretty fast so it's pretty easy to iterate and experiment here uh rotation for each let's one a bit higher here maybe try try scale it up just on y getting the kind of same effect we had on the other one but in this case for each copy it's getting even more scaled in this direction so that looks kind of cool and we can even scale the whole thing down i kind of like that that looks super interesting i would like to see this moving it's a bit slow i really like that so i think this will work great i do want i do want this portal to kind of warp up into the ceiling of the environment so it can't be too narrow because the guy has to the character has to drop down i'll have to play around with these but you can see how how powerful even just that that basic duplicate node can be when you have a good natural underlying sim you get some amazing results what i'm going to do is drop down another actually i've got one here i'll take this wrangle and i'll i'll do the opposite so i'll remove any points that come into the room and just keep the ones that are shooting off into the ceiling super cool so let's um i want to flip with this but i it's going to take a while so i might pause and do that so we can look at it and i'll come back to it i am thinking what i need to do is if i'm basing everything off of this attribute transfer i can try and close the portal because what we have now is we have this shape which just exists forever and i have the particles dying at frame 70 i think it was so at frame 70 they just do that but right now i have these attribute transfers so at frame 70 yeah i mean it's kind of cool but i did want that that portal to suddenly close after the character landed on the floor so the portal to shrink into a singularity just before the particle stop emitting so i'm going to animate this circle and we'll see how that looks maybe i'll flip book that so if this works then basically we're safe because everything that we decide to use the same method to force the portal to the shape will also handle the closing of the portal so let's say from 55 to maybe just before 70 we scale down and i always jump straight into the the animation editor here because what i would usually do i'm guessing would have it ramp something like this so it slowly starts to shut and then quickly accelerates and closes for now let's just have a look at the default see how it looks so i'm going to flip book this quickly because this is where we need to get the timing right although we've we have made those fully procedural so later on i can always change this transformation timing and if i mean all of our attribute transfers will be based on that so i'm not too worried about moving on yes i'm actually quite surprised that this feels still pretty natural the points obviously move outwards as the circle is getting smaller because of that blend in the attribute transfer but it feels kind of like they're being pushed outwards so it still feels natural so definitely a timing issue here so i'll just make one tweak now once again don't want to spend too long on that so i want it i'm going to change it to close at the same frame the particles stop and i'm gonna do it exponentially i'll quickly do one more flipbook uh once i've done some experiments for each one of these i'll probably flip book each one using the high resolution so in the next video i can recap and we'll have something to watch that feels a bit better so it's still closing it's basically it's closed for too long before the particles stop just a little bit i'm going to leave it like that for now because i could spend ages uh tweaking that but just so you know what my thought process is it's just making it snappy so i want the portal to slowly start to close and then to snapshot and at that same moment feel like all the points have stopped sourcing so you get this shut portal and this explosion of points outwards so it's just a matter of tweaking the timing of that animation to get that feel and so we've done we've gotten a really cool result on this one i'm really happy with this so i'll definitely be flip booking this so we can look at it in the next video there's a lot of detail there and let's quickly try something with the last some before i stop this one this was the one that oh we're lucky because there's much fewer points here where i wanted it to feel like there were highlights that were shooting out so it's got a very small noise and the points kind of come shooting out in small areas so let's add let's actually duplicate these two i mean once again i can make changes for each of these you know i can try some different ramps here now i'm just playing around but so that each layer has a slightly different effect so that's cool but i definitely want bright flashes i think maybe maybe i don't want to remove points from this one or i'll just brighten everything up i'm just not happy with the way this one's visualizing it looks cool but i'm i'm not seeing this bright color so maybe i have a completely different age range on this one i'm just going to throw a constant multiply in here ah because we're multiplying it by no we're not so i should see this color update there you go yeah i mean i want something extreme i might have to adjust this when we're doing shading but at least i can see it let me save okay now what can we do just thinking through this so i want to i've got the same closing system throughout so that no matter which particle particle simulation i'm using will close based on this the same animation which is what i want and i need something to define this ring but maybe not not for everyone so you see if we look at this one i have two of these sims constrained to the ring and then i'm merging this one which actually isn't that doesn't have any constraint so here i'll experiment with both as well so let's take this circle and try something i'm going to copy some lines oh that's kind of interesting that's not what i meant to do i'm still not sure why this one's going up i think it's just the there's either a slight output velocity in the pop sim i can't remember or it's the volume sum so what i was thinking is i'll reduce the amount of points here with the resample and then copy some lines so we have these lines going outwards from the opening of the portal i'll put a random scale here just based on pt between 0.5 and 2 and add some more points because what i'm doing is actually transferring my sum to those lines now that's freaky that's kind of cool i'm going to actually merge merge the actual circle in with the lines as well yeah so this could work because what we have and this follows the theme of the the whole sci-fi thing we want something at least slightly geometric maybe visible to kind of sell that it's a technology and not some kind of natural magic let's just move this what i want to do is if we're going to merge this i'm actually going to transform the sub down a little bit just so it'll fall underneath the other sims i have right and then for the sake of having another layer let's take the un attribute transferred version and merge it on top i guess i should rotate this again so i think this can work quite nicely because we have that shooting we have those points shooting out and now we have shooting lines as well so constrain to those lines we get some interesting shapes let's see if i can flip this one for us quickly that's kind of cool i like it it's kind of interesting to see see the points being attracted to something now i mustn't forget because what i'm missing is the closing i like that but i mustn't forget that i have this closer and i'm here i'll reference copy that and put it in all of these yeah so that's good i'll end this one here and carry on playing with it i'll probably end up dropping all of these out and flip booking them so in the next one we can see how they all look after my tweaks and i'll do a recap of what i changed and i guess what i think the most important and powerful tools in this section of the network are for me so see you then hi guys so i have made a few tweaks not much and i've written out a wrap for each one of these streams we were working on before so to quickly cover the changes um i actually didn't change anything on this on this stream here maybe just some slight changes to the blend width so that's pretty much the same as the last version you saw so here's the flip book so i could probably still work on the timing more of when the portal dissipates but i'm relatively happy with this version for now one thing i don't see as much as i was hoping to see is the this is the sim that i used the pop the new pup force pop fluid and i'm not really seeing much of that although maybe it would look very different if i hadn't used it there's if i look very closely there there is some subtle fluid like a surface tension style but otherwise i'm pretty happy i like the the smaller details so at the center here there's the more attribute transferred point cloud that's kind of closer in on the circle and it it sort of adds a higher detail area in the middle which is perfect so we're keeping that one and if i go to the second one i decided to remove points in this one also based on velocity so i've added the second wrangle and i've said if the if the length of the velocity is less than 2 and i did i checked the spreadsheet then remove that point as well so in that case um it's keeping it you can see it's kind of there's a few gaps so if a point slows down enough it'll disappear and then it might come back into existence so i'm not 100 sure if that's gonna work but i kind of thought it might add something interesting um and then it also keeps some of the outside points that i was losing before and this is the one i actually duplicate so i guess here's the biggest difference is i've keyed this so if i show you what happens is at frame 10 it slowly goes from no duplicates and ramps up to 7 at frame 20. so they'll be just the one ring and then it'll go exponentially up to 7 and at the same time i'm also moving them up so over time using a similar ramp the transformation value on y is also increasing and then what i've done is scaled it down on x and z slightly and scale it up which i did last time as well and then we move the y points minus y to the origin and i flip this out so this is my first kind of attempt at an opening animation we still need to deal with the actual how the portal appears we're kind of dealing with how it's closing but this is the first attempt of trying to make a timing for the actual opening so we still need to get rid of this first section but at frame 10 basically we have this animation of this duplicate which i think is pretty successful so i like this and then the last one i i think i just tweaked some of these uh values and the scale of the lines so no big changes there didn't animate anything i did no i didn't i'm just scaling it up here so like with this transform where i moved it down a bit then after the transfer i'm actually just scaling this one up so my thought process behind that is the opening of the portal is here and we have everything adhering to the circle in the center over there so if i want an element to feel more sci-fi and so we have these lines and like the duplicate version we have those very definite rings moving up i might also have a horizontal ring moving outwards from the center i don't know if you'll see it at the end but i've just scaled the whole system up and we'll see how it looks from there it doesn't make much of a difference here and this one is i like this and i like the feel it goes really crazy there because the sphere that has the circle that has the lines copied to it is changing drastically when it scales down but i don't really hate it it's it's quite dynamic so that's where we're at for now and i think this is this is a good place to stop and let's say end week one there's a lot to play with here and we're a pretty good state there's lots of experimenting you can do between the volume sim the particle sims and then manipulating each one of those sums as well so there's plenty to mess around with and in the next week we'll just have to figure out how the portal is actually going to animate uh to an opening state and then we need to do some scene lighting some shading rendering add some additional effects in the environment to help sell the portal's place in the environment so it's going to be a bit more of a busy week i think then this week has been but hopefully you're starting to see my general kind of approach and workflow and my focus on making sure what i'm looking at is good and using the most simple tools available to me here to get there so i'll see you guys in week two hey guys so i hope you enjoyed week one and uh let's just look at some of the places where you could put your own spin on this or if you're looking at different reference maybe try and incorporate that reference into your effect instead of just replicating exactly what i'm doing here so there's uh there's no shortage of areas here where you could come up with a completely different looking effect than where we are at the moment so for starters just a reminder that this this entire effect is based off of one volume sum so set changing the source of your volume from a sphere or having different velocities messing around obviously in the the volume dop itself will give you wildly different results once we get to the particle advection so that's a good time to put a spin on the simulation that you think more closely matches something you've seen in some other reference obviously it could be something that's not a flat portal like the one we're going for over here and not to mention then we've we've done basically already three variations on the particle objection so lots of things to play with in there and you saw we had one option where we used the pop fluid solver that's one option and there's a million other ways you could add back those points you could possibly even use a force instead of using the velocity advection and then not to mention plenty of room down here to tweak as well so we've already come up with some pretty interesting results i think just by messing around with some of these sub tools something like this so as i showed you during the one of the videos you could add a twist to this you could deform it in a million other ways as well and i would suggest you spend quite a bit of time experimenting with the standard houdini deformers to try and see what you can get um also not to mention that the the colors themselves are based on a very basic addition of color to the source so you can go more or less sci-fi as well with these elements depending on how you're sourcing color into the particles themselves so it's at this point probably more than in week two where you can really affect the final look of our portal over here so really i encourage you to spend a lot of time experimenting and trying to see if you can push this in a completely different direction uh so with that i will see you guys in week two

Channel: Rebelway

Views: 50,708

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Id: Tw4IT0COL3M

Length: 135min 13sec (8113 seconds)

Published: Sun Jul 12 2020