Valentine Landscape Design : Full process in SideFX Houdini !

hi welcome back on my channel where we experiment cg workflows to make cool art so i stumbled upon some very interesting landscape on my pinterest lately it's a lot of lakes and forests with a heart shape so that's kind of cute i figured that could make a very interesting tutorial at least we could see the whole process from blocking doing the model of the terrain to the scattering and final render so i'm gonna reuse a lot of elements i did in the past whether it's tools setups trees that kind of thing just to speed up the process otherwise it would be very long it's still a one-hour tutorial so i'm gonna actually split it into several parts if you're only interested let's say into the terrain creation or the look dev check out the time code in description and yeah we are pretty much ready to start so without further ado let's dive in so here are some of the picture that inspired me for this tutorial as you can see we got a lot of colorful trees some red yellow orange variations pretty crazy and we have a very specific type of tree around the water which are pine tree where we have this touch of green and it gets scattered in the hills that kind of thing where it's showing more of this orange and vibrant color so to speed up the process i already organized a bunch of things in this scene imported some trees atmospheric setup some light rigs from the past youtube tutorial and some megascan models if we have a look at the trees it's nothing really crazy it's actually everything i show in my camera tutorial about tree creation otherwise i've got another type of tree i'm gonna use which is an orange tree and well clearly it's not gonna fit the best the picture i have but i'll do with it should be okay for the distance let's start with the terrain creation so this node is going to be the terrain for ground that will be only terrain actually let's initialize the height field it will be a two kilometer by two kilometer kind of terrain and i'm gonna start first to create the shape of the lake with a curve node let's see the grid and enable the grid snapping that's very important if you want to kind of snap the point on a flat plane and now you can draw whatever you want i'm doing your hurt because it's valentine's day so yeah sure why not let's fine tune a beat this shape and i'm going to add a resample to kind of smooth the result the length will be 10 it's like a spacing of 10 or 100 meter if you want up to you and here let's set subdivision curves instead that will help smooth the result and we can still drive actually the shape at this point so that's the pretty cool thing about having procedural setups and you can control shift click to actually add points on the curve or just shift actually okay at this point we're gonna fully extrude this shape to give it some volume let's increase the distance and also output back this way it's a closed geometry perfect now what we can do with this shape is use it to drive a mask on our height field so mask by object and as you can see in a in a sec i'm just going to create a null that will be the shape like we will do more modification here let's go back on mask by object and as you can see or heard turn red it means hooding is creating a mask based on the object that was plugged in second input and we can blur the result this way and what's cool is that we can use this mask for multiple purpose in that case i'm using a remap to remap the height of the terrain only at this specific place and in that case at put max of minus 50 is kind of digging the terrain i'm gonna go with something a bit more subtle you may want to like try to experiment with realistic values like a 100 meter for such a small lake i don't know wouldn't make sense and using a mask shrink at this point to kind of have a novel layer of depth in the middle that we're gonna blur with mask blur and let's increase blur actually i shouldn't have plugged the second input let's dump and yeah that's that's pretty good at this point let's do another remap compute range and actually i'm gonna copy this as a parameter and what we can notice is it's actually the input mean should be uh this parameter divided by two yeah pretty much same here and let's set output pin to let's say minus 50 i don't know that seems very deep for a lake though i'll probably modify the dimensions later but for now it's just a matter of having the nodes set up convert height field will turn this height field into a polygon mesh and can control the density to control how dense it is and at this point let's use al water attribute which is a tool i designed to speed up environment creation so you can find it on my gumroad either part of the bundle of this tutorial or the project files of the ultimate terrain workflow and otherwise they are just by themselves here and it includes a bunch of tools for scattering that we'll use later some terrain export things like that and this particular node actually allowed me to kind of control some water attributes on the mesh so that's making life a little bit easier you have this water height to kind of define the height for the water it's pretty self-explanatory and the size control for the water plane so i'm just going to fit it to my terrain like so and actually the sock on the output of this node is exporting the water so i'm going to just create a null output water and we'll bring this output water into another geometric context i usually prefer doing things like that can crank up the subdivisions yeah so let's create another geometric context where we'll just bring this water to do so we'll use an object merge to merge this particular output into this node so let's grab output water so why i'm doing that is i feel like it's cleaner to separate into different contacts just so we can edit the properties of the terrain and the water separately either if it's for displacement geometry id that kind of thing i feel like it's usually a better idea and i'm gonna keep going and add more detail into the steering so the first thing i want to add some distortion just so that it's not perfectly straight and everything i want to have some turbulence in the edges so that's probably a bit too much i still want to recognize the shape of hurt it's just a matter of tweaking and fiddling with those amplitude and element size and of course we can have another layer of distortion that will control some more high frequency breakups so an iman size in that case is like 20 and very small amplitude so i don't necessarily want this distortion to apply everywhere so that's where we can use a mask by noise let's use combine method to replace and tweak a bit this element size and i'll crank up the gain to one just so we get a very contrasted mask now you see the distortions only applying on the red area so we see a bit more clearly i just gonna use a mask clear it's getting rid of the mask so we just have this high frequency detail appearing in some sections so it's pretty handy yeah something like that moving on i'm gonna do some room and create a mask by feature this is a very useful node that allows you to generate mask based on slope height curvature all that kind of thing in that case using mask by height to extract just the bottom of the lake on which i'm gonna add some variation like noise height fit noise and um we'll plug the mask here and instead of adding we're gonna subtract it this way we got some more interesting stuff going on with all like it's pretty neat i'm just gonna fiddle with the amplitude and element size again yeah something like that maybe a roughness it's probably too much okay it's looking sweet let's tweak a bit this height it's not too bad so if you've seen my tutorial before you know i like to apply colors to important node so hitting c and and i'm playing in that case with the blur radius to kind of see if we could have a more interesting fall off but the problem is gonna deform a little bit too much the shape that we originally have with the heart so yeah i'm gonna leave it this way and after this point we may also wanna kind of move this hurt actually so using a transform will allow me to rescale and move this hurt in a better position so i'm kind of start thinking about the final composition of my shots and yeah i guess so reducing the scale i kind of want to leave some room for the river the forest and have some kind of cool composition and um yeah problem i almost i did detail too early in that stage i should have probably blocked out just the heart shape and and the river and and everything before actually having this kind of turbulence detail because now i'm forced to go back to all this node and and try to find the scale that i liked before otherwise all this feature looks off if i'm reducing the size see what i mean so don't do like me just uh try to prepare everything in advance and have a nice blocking of your scene before going into detail that's a good lesson to remember so gonna take this opportunity to rename things that would be distort small this one would be distort large for large frequency and yeah that's about right let's move on i'm gonna work on the river this time we'll use another curve and we'll draw the main path of that reaver so we'll use the grid snapping again and i realized i wasn't using the curved node my bad and let's draw this river i want it to kind of pass by the hurt a little bit like that that could be interesting and yeah at this point we want to do the same thing with the resample and smooth the result with subdivision curve basic stuff and yeah we need to generate a mesh for this reaver at this point let's make sure you have the side effects labs tool up to date and you should be able to bring this cable generator node and that's going to be pretty useful for us actually let's just make sure to crank up curve resolution to 10 so that it's not too heavy and yeah let's try that so nothing seems to appear because the radius is way too small by default for this kind of scene and the cool thing with this tool is that it generates some kind of random cable right now they are too close to each other so let's increase noise amplitude so we see a bit more what's going on and yeah we start to see some crazy things happening i need to adjust the frequency for a tearing of two kilometers this is way too high frequency by default so i'm reducing that to 0.005 something like that and we kind of see some more interesting shape happening and number of cable as you can see we can define a certain amount of of cable that will represent the branch of our river let's just edit the content of this node because i want it to be flat and a simple way to do that would be to drop a transform node just before the sweep lap sweep and set scale y to zero and here you will you got kind of a reaver geometry and yeah that's pretty much it so that's a cool little trick at this point you can play with number of cables the noise and all that thing i'll let you experiment with it and let's merge this result into the shape lake and if we check out the result it's also going to be taken in account to dig the terrain so that's pretty neat and can always do our adjustment on the fly and see how it's looking so that's pretty neat say maybe four or three yeah and yeah maybe with the water you have a better id it's very cool like to see it's creating some little island and yeah i'm lacking that so i'm gonna position my camera at this point to really make sure that the composition is locked i'm happy with that something kinda kinda like that should be pretty cool and actually i'm gonna do some more tweaking with this hurt it's taking way too much space in my opinion yeah so it's pretty good now but as you can see we got some crazy distortion and also we can transform the river to kind of help with the composition and place it exactly where we want which really depends on your taste of course okay i'm gonna fine-tune those uh those notes here these hearts looking very weird right now yeah it's a little bit better why not why not feel like this distortion is too big or not enough okay yeah sure it's looking a bit more organic i guess and yeah it's not too bad pretty happy with this composition everything fit in the camera so that's a good start and we want to work on some hills now so we want to preserve what we did with the lakes and river and stuff so i'll create a mask by object again could also use a mask by height with the mask by feature but well in that case i think that could work as well so by default we are using blur method i'm going to switch to shrink and yeah we are just like before for the depth of the lake creating an inside mask kind of thing and blurring it so exact same technique we're gonna use that to add some elevation so what we did before was using a remap and we could try that again i'm gonna call that elevation let's crank up output max and compute range of course so yeah that could be pretty interesting additionally we could use some noise to break up this this terrain so looks like the viewport is glitching can happen if you want to fix you just leave the context and come back it should be good so right now the problem is also digging i want to uncheck center noise just to make sure it's only gonna elevate and don't have negative values and can play with element size at this point and yeah something like that and we can play with the noise settings the noise type that kind of thing could probably help too so let's see kind of manathan wally yeah wooly cellular that could be a cool one actually and regular wall-e so this one kind of look more like mountain and that can be useful to make dunes that kind of thing let's see what we can get with that first um i feel like that might be out of scale but why not we can use a height blur maybe that could help getting rid of these sharp ridges because i feel like they should still be pretty smooth so maybe a box blur yep okay actually not happy with this worldly noise maybe wally cellular yeah that's not bad can of course distort it so that it doesn't look so procedural and yeah that's already much better i think just having some broad distortion can really help making things look more natural yeah see it's looking pretty sweet the convert height field are gonna reset the density back to one so that we see all the detail that we had before and maybe try to play a bit more with water height yeah not bad we can uh we are kind of losing though the shape of the heart it's it's looking more like a triangle so i'm gonna reset that this way yeah okay we're gonna create a null to export this terrain so output terrain and that's what will feed into the scattering so let's see how we can do some cool scattering so i usually like to use an instance context mostly because it's a bit more optimized for memory we can actually just displace points and it will take care of applying the shape during the render so for me that's great uh i created a tool al advanced scatter so same deal you can find it on my gum road and i'm gonna specify the input for my terrain so i'll just pick the output terrain and now as you can see we have all those points let's visualize the surface and this surface is a little bit different from the import because it's actually visualizing the density of those points so based on black and white value if we enter an attribute in here let's say water level that was created with ale water attributes well we see the effect that can have on the scattering basically the black area will be removing the points see the the id if we are using the enable height distribution is going to distribute the points based on the height and we can combine all those methods to create some very complex scattering so that's the old deal with this tool and we can of course here in object to scatter define the object that we want to scatter so we can actually visualize those trees that would be a bit more helpful than just points by default we only see the first input that's represented by red dots if we increase the second one we got blue dots for the second object you see that here you got the range from the first to the last object from red to blue if you have something in the middle the green that would be the second object for example okay so i'm going to adjust the scale of those by the way it's replacing with some kind of cube just for memory optimization otherwise that would be a lot of millions of polygons to kind of display that would be a bit crazy and i realized some errors with the size of my trees so those ones are looking too small if i compare to the pine trees and that looks much better i think so back in here let's at some randomization in the scale and what else we could well we already have some rotation kind of randomization happening and if we want to play with the normal it's up to you for trees i would basically leave them in the up direction so let's actually disable that but just know it's here if you need to kind of orient based on the normal direction so at this point i'm going to leave that to zero because i want a very specific distribution of those id and i want to distribute based on an object which was the lake geometry that we created because remember we want the pine tree mostly around the lakes and river so let's see we have these geometries and if we plug that and enable object distribution so we got something crazy because we already got crazy attributes inside this geometry that were generated by cable generator so i'm gonna clean that let's remove groups and attributes that kind of thing and it should be all good now yeah it's not compromising or scattering so in id control i'm gonna set that to zero and as you can see we got some red and blue uh distribution and this distance blend will define how much do you want it to spread i'm gonna reset density to 100 so that it's not killing my blue ideas and can also adjust the scale if we need to of just like the ideas that are further away from these objects so that's how i kind of get the first pass of my scattering it's just using this object distribution and that's the magic of procedural if you update the hurt the river the scattering will update as well so i'm going to apply some shaders that are already pre-made we'll actually see a bit more in detail how they are done etc just some gray shader for the terrain right now it will actually create one later together and let's define the camera for the rendering so i'm using redshift feel free to use whatever you have and i'm going to use optics denoiser and yeah let's try to render so we got the terrain the water but instancing is not working and one reason is the way we kind of brought them into the tool so i may adjust that later but it looks like if you are defining a node that won't work you need to define a context only so let's say you just pick the root of the geometry and it should work yeah here we go so everything's looking very similar we got the same green everywhere that's not super helpful first thing i want to tweak is the the water i'm mixing different noise together and plugging that in bulb map in terms of shader we got no diffuse we got some reflections very low roughness iowa of 1.33 and some refraction and finally the transmittance that is actually absorbing some part of the light and giving this green kind of color so it's very useful to kind of make oceans and things like that because the light inside the volume would then tend to fade and yeah at this point i've just playing with the light really um just to see a bit more clearly what's going on so you can actually create this light setup based on my past tutorials and the only difference here is i replaced the area light for the sun by um era sun which is more like a directional light and yeah that's pretty much it for now so the first thing we want to change in the scattering would be the density it's a bit too low right now there's not enough trees so let's increase that and in object to scatter i want to add more variation in the tree geometry so let's say we could have two pine tree so i'm gonna use pantry bba and ba and we'll have orange a and orange a b or ac alright so we can increase object override for the first one to get some pine tree that are overriding the the orange tree and yep let's visualize this i want to use some noise distribution to vary the density so that it's not even so varying the density is one thing but you also may want to have some variation into the scale so we could say the areas that are less dense got bigger tree and the one that are too dense would get smaller trees for example that could be an interesting contrast to have inside the scattering so could also play with the height and in that case what i want to try to achieve is to get bigger trees in altitude so we need to define some kind of mask i'm going to isolate the view of this surface to just the height and the density and and yeah we can clearly see the contribution of the height in that case so i'm actually using the density but i should have done that on the p scale so let's reset that to 100 percent i don't want to touch that i want to touch the scale instead so let's visualize p scale and let's see what we get so one thing i should reproduce the curve i did on the density because i was on the wrong channel and now we can clearly see some bigger trees in the highest point of the hills while the one around the lakes are like much smaller of course so you can use that to really are direct the scattering this should help us get some very fluffy trees on the top and i think that could help matching our picture so playing again with the override to define the variation into this id if we set 100 percent it's going to replace by this particular tree and advanced mode well it can be useful if you want to replace a certain type of trees in that case if i'm doing that it's gonna replace everything but it will conserve the first id so in that case it's not replacing the trees around the lake which are the pine trees so that's pretty handy okay we're gonna do some optimization with a camera calling so what it does it will trim every instance that are out of the camera first round so we can use curl padding to kind of keep some of them just for reflection sec it can be useful but as you can see we are actually removing quite a bit of those trees without and weave so it should help us kind of speed up rendering and saving some memory and also in terms of shader i want to apply some color variation that's where cluster id is very useful it's going to generate a clusters attribute that can be based on different shape either voronoi and you can have like this kind of shapes of course that wouldn't really help us in this case that would be more like for some fields maybe or just a random kind of selection which is more what we want and we have these colors red green and blue that basically we can use inside our shader to drive color variation i'm gonna show you real quick my shader so i'm gonna grab this tree for example and take his shading network so we have a scalar user attribute that is importing the clusters attribute it's actually defined here in my case because i created a string parameter and also exposed a bunch of control for red green blue uh variation so it's already defined gonna have some green some yellow and some red and basically it's gonna be applied with these vector two colors and it's driving different mix and the hue saturation is based on these nodes it's all fed into the diffuse and translucency and yeah that's pretty much it and one thing i want to add is if you are using an instance context like me make sure the display of the trees is off otherwise it would crash if you're using a geometric context you can leave this on but in that case you'd better leave it off and it works um well obviously there's a few things to address i'm not sold on the scale of those three let's increase that and let's see i think the density around the lake of this pine tree is a bit low so let's try and get more pine trees so actually it might not be this one just gonna set that to zero and try to fiddle around with this max density and i'm happy with that let's reset density to 100 and we already get some more trees around the object the lake and the river so that's cool uh maybe we can also add some more variation uh i think i gonna change that one to ac yeah i've got some more orange in this one in terms of scale that might be a bit too fluffy but that's definitely the right idea let's store this result and we'll compare can also play with the post process again to kind of help see what it looks like because right now it's very dark and yeah let's play with those something like that maybe but definitely some of our trees are way too big so i'm gonna get back in here and actually the this tree has got the you know from scale to 2.5 so that's why it was messed up okay so at this point we should be good um just gonna play with some override let's disable the previous of the cluster just so i can see what i'm changing with the distribution of the id so if i set that to let's say 30 percent we are adding some more pine tree overall okay let's try that and clearly we already see some more pine tree the scale isn't as crazy as before so that's good news so i'm gonna go back in there and do some quick changes in the shader maybe i'm gonna play with the lightness and saturation of this one just getting a different shader for this particular tree that can help bring some more variation also i kind of want to increase a bit more the scale in the height the max scale so 140 gonna go a bit more extreme i should get some pretty fluffy tree in the altitude and let's compare yeah it's doing the job that's pretty much it in terms of scattering for now and it's time to do some more look dev for this part i'm using quick cell bridge to help me transfer some mega scan materials to houdini i bought a couple of them so we got some grass materials this kind of thing let's just make sure megascan plugin is set to redshift and redshift tryplanner in this case and let's export so everything worked fine let's go back to houdini it created the network for us with this mega scan stuff there's just a few things that doesn't really work out for me is first the bump the normal is not accurate uh shouldn't be plugged this way i'd rather use displacement into a bump map and just plug the bump map i need to reduce the bump of course and i'll plug it into the material itself it will be easier for blending materials later let's call that grass wild for example and we're gonna do a test render i'm gonna turn off the scattering and all that stuff just so that we can focus on the terrain so as you can see we got something pretty green i'm gonna go back in the material and we're going to do some adjustments so the first thing is the size of this tri-planer for grass i mean that would be a good idea to leave it on there's no point of having something too big because if we can see the the shape of the the grass that wouldn't be realistic at all um and just using it to kind of give some broad variation in terms of color and yeah at this point let's see probably there's too much reflection happening as well actually gonna tweak that scale a little bit more and yeah that will do the job for now i'm going to go back into object context and i'm going to try on a different light rig just to make sure that this color isn't due to a particular crazy kind of hdr and yeah that's it's pretty much looking the same it's consistent reflection might be a bit too much like the specular is is quite high when you look at it so yeah i need to tweak that so in the material we'll do a color correct for the diffuse first i'm gonna reduce the level scale to kind of get something darker and also the reflection let's decrease the weight so i'll export another material on we're gonna blend some kind of rock i'm gonna try icelanding jagged rock doesn't really matter too much because it's covered with trees right but still we won't make sure that there is something under these these trees there is also a tutorial i did about blending mega scan material definitely check this out if you want something a bit more complex and more complete than that right now i'm just like you know offering a very temp solution that works for kind of very distant shots so let's rename that and make things tidy and can apply some colors and we're going to try this rock shader okay so the scale is too big by default so we see some pretty interesting feature i'm gonna decrease the weight of the reflection and also the weight of the diffuse to make it darker so that's another way if you don't want to do a color correct and yeah i can play with the bump go a bit more crazy for this one i kind of like that get some interesting detail inside the lake probably the option absorption is still too low because we shouldn't see much actually through the lake but whatever at this point i want to blend the grass and the rock material we just imported so i'll use the mask builder which is a tool i created also available on my gumroad and it creates some mask kind of like the advanced scatter did but this time it's actually baked on the geometry and not on points and and yeah you can define the name of an attribute in this case grass and i'm generating this mask and as you can see that should help bring us some some grass let's try that so to set this up we need a material blender and plug the rock as a base material and grass as a second layer we'll use the eris color data to kind of import this mask that we call grass and yeah basically i should do the trick we can assign the default value in case it doesn't find the attribute but well whatever in this case it works we do have some rocks and some grass that are blend together so that should help us a little bit that at least we don't have grass in the bottom of the lake so that's that's pretty much all we need for now i'm gonna trick a bit this water shader uh so i've got high frequency larger frequency and blending those with another mask um not sold on the frequency though um it's kind of tricky yeah something more like that let's check out this mask noise so this is the mask that makes the large and the high frequency i'm gonna clip those value a little bit more to get something sharper some sharper transition let's say all right let's increase the bump maybe that's kind of a fake because we should actually use some displacement for water i would get some more realistic specular especially if you're moving that that would really help and yeah at this point just trying everything together with the trees so it's kinda dark so we could play with the post process so after fiddling with the curves get some definitely more interesting results there is more room for improvement of course and one thing i want to do is add some atmospheric so we created this setup in the past youtube tutorial so we want to kind of make sure to update those values or settings and while considering the size of the scene can increase the voxel size and make sure to update the camera and i'll add an extra trick is that you can use a volume verb and some turbulence to kind of make this fog less uniform and use this turbulence noise to kind of have some areas that are more dense than other so it's gonna take a bit of time depending on the scale of your scene and the scale of your fog i'm gonna increase it probably just so that it makes things faster and i like the global multiply for the density so let's call that mult so that would be a final multiplier for the density if i increase to 10 it's way more dense pretty straightforward and well as usual the frequency is way too big so yeah as you can see we kind of get some more cloudy shape i guess you can play with the feet wrench to try to get um more interesting results yeah something like that and resetting the final voxel scale and the density i'm gonna leave that to two i think okay i'm gonna export a cache just to make sure that we don't need to recompute all these all the time here we go so it's kind of hard to see with this lighting but we definitely see some fog compared to before and one thing i want to do is tweak the shader of course it can play with mean and new mean so 0.003 that should work absorption coefficient i usually leave it to 0.2 in this kind of for this kind of volume yeah i'm kind of happy with that so at this point we also want to add cloud breakup because most of the time your sun is basically filtered by some cloud and cast some shadows on landscape and can really help to shape the composition so i made this tool al cloud gobo and i'm gonna add in my il tool so if you already bought them you should receive this one pretty soon just need to promote some more settings clean some stuff and yeah you'll receive that fairly soon so you'll have this size setting we want to kind of expand this that would be sky and the minimum scale in that case is pretty small let's push that higher actually yeah i'm gonna go in camera view and probably try some renders at this point so that's pretty interesting we see how having clouds impact our scene that's very cool um probably we could play with the sun scale so that it's not too diffused well we don't want the shadows to be too sharp of course but yeah there's a good middle point here and of course can always play with the settings of the cloud gobo and total points relaxing iteration seed that kind of thing so yeah i must say i usually like get my result on a happy accident like this one i'm pretty happy with that and then i try to kind of fine tune the angle and yeah that could be a interesting take on this composition if we try render with everything it should already make things a little more interesting um in terms of shader for this geometry we don't need anything fancy if we don't see it um i'm just gonna set a wide value and we can play with the opacity of course um so that it's not too opaque yeah if the shadows are too strong decrease the opacity and yeah that should help i'm gonna do some optimization after assigning this material so basically one thing i didn't tell in the past tutorial is that all of this is enabled which are casting reflection gi all that thing and we don't necessarily need those for this volume it's actually like not even shadows i think for the atmospheric and same for this one well depending on what you're doing but i'm gonna disable second raise and just keep primary ray visible so we know that it's only gonna cast shadow on our tearing doesn't need to receive any shadow so i tried more renders based on the technique we just saw i did some kind of grass in the lake and cut out a part in the bottom left corner so that we have this little lake here it kind of help i'm i think in the composition and played more with some shaders and scattering and things like that and one more take with some more blue light well it's pretty cheesy but i'm french i like cheese and this one we got a different shadow kind of thing from the cloud it's looking more interesting i feel like the heart is more visible so i kind kinda like that better i think the water could use some more absorption so that it can simplify the result and yeah from there can do a proper compositing and that's pretty much it for today thank you for watching you know the drill if you like the video don't forget to like and subscribe that would mean the word to me and i'm preparing some very exciting new content for my next video so yeah that would be a shame to miss it in the meantime take care and i'll see you guys next time [Music] you

Channel: Adrien Lambert

Views: 9,130

Rating: 4.9221411 out of 5

Keywords: sidefx, houdini, tutorial houdini, tutorial houdini heightfield, tutorial redshift houdini, redshift engine, tutorial environment in houdini, tutorial scattering in houdini, tutorial procedural modeling, houdini terrain, houdini megascan, houdini quixel bridge, houdini atmostpheric, houdini instancing, houdini render optimization, houdini tips and tricks, houdini advancedScatter, houdini adrien lambert, speedtree, houdini speedtree redshift, landscape full process houdini

Id: XkBXQxnPlbg

Length: 50min 20sec (3020 seconds)

Published: Mon Feb 15 2021