Webinar: Explosion FX Inside Houdini

welcome everybody this is super excited uh super exciting for us as well to actually do our first webinar like this and uh again yeah we're gonna do it on explosions because we are just kind of released we just kind of released our you know uh the explosion is a kunini uh workshop and i think this is the and i think rebel way is kind of known for doing explosions so uh we thought this would be a really good first webinar so yeah welcome everybody uh to our first webinar ever yay uh i think we're gonna start with i think caleb will just roll the the workshop promo one one more time if just in case you guys haven't seen it already [Music] [Music] so [Music] all right so i think that's pretty cool i think we spent like a couple of months working on that so uh i just we're we're very proud of that that's why we wanted we wanted to show it one more time so the common question we actually get is do we only do explosions at rub away and the answer is uh no that's not the only thing we do even though that's kind of what we're known for and we actually do magic as well and magic and explosions actually go hand to hand in in a lot of cases because and i'm gonna show you guys this look at this like i have a lot of things like that i want to go through before we actually go to the houdini part then this is going to be mostly just covering the artistic elements of explosions and that's why i think knowing your artistic elements with effects in general is super important and this comes into play with explosions as well i know many people don't actually connect the two together they think yeah you just put some gas temperature and you know the explosion goes boom but that's not the whole thing you have to in many cases you have to art direct the explosion oh yeah i'm not sharing my screen and i wait oh my god share screen there we go so in case yeah i was just talking but so this was a slide and this is what we're gonna have to we're gonna go through uh these are the examples that we're gonna talk in that we're gonna be talking about and this is just gonna be the first like 20 minutes i think of the webinar then we're going to go into the juicy stuff with actual houdini with the houdini presentation look at this let me make this a bit bigger when i let me just see okay so we're going to go through the presentation first and so i was saying that magic the artistic elements that you learned with doing magic is actually something that applies to explosions as well because you can our direct explosions and we also do environments and rub away and we also do many other things which i'm going to show you when we play this next video and it's going to be a brief presentation and an overview of the rebelway the new website that we actually have at web away welcome everybody to our brand new rep away website i'm pretty sure most of you have already seen it but i'm we are we are actually quite proud of how it looks uh if maybe some of you are the og rebelway fans they remember the old website and to be honest i don't i don't want to remember the old website this is how i want to remember it it's brand new and shiny so what is rebelway actually all about we want to give the opportunity to anyone who wants to become a vfx or a cg professional uh the opportunity to learn with us at as we would like to think an affordable cost if i give you a quick tour down the website uh i think this is the most important area where we actually showcase what our students are actually capable of doing after the workshop and i think this this is the most important part this is where this is the thing that we want to show off with and i wouldn't even call them students to be honest and i don't like using that word what i like to call them are just our intendees they attend our workshops some of them are beginners some of them are already seasoned veterans in vfx and they just want to learn a new skill because as a lot of you know you have people that specialize in let's say pyro or flip but then you you become the master at doing pyro right but you still want to learn how to do flip even though you are a seasoned vfx artist you can still join us and then learn that other trait that you want to learn and you know you can go down the website and just check it by yourself this is our team which is a an ever growing team of people all of them are very seasoned already we also have a free book anyway you can do this by yourself but what i really want to show you today is our courses and obviously most of you are here because of the pyroweb webinar and i'm gonna show you how to do some explosions here just in a minute if you're not here for explosions you can uh leave because that's the only thing we're gonna be talking about but if you are here for explosions then you're more than welcome anyway i just wanted to show you guys that we have a few new workshops one of them is the explosion effects in houdini we also have the advanced shading in arnold the houdini fundamentals is also quite new and i would encourage anybody who is starting in the industry to check this one out because this will really give you a boost if you're starting out with houdini and fx and cg in general we also have the futuristic ui design in houdini a lot of the people ask us you only do destruction and explosions right and we said no we also do futuristic ui design in houdini so you know i think that's impressive we also do advanced houdini fx rise and advanced houdini effects the chase and i'm going to talk about the chase a bit more because i think it's very important we also have math for uh houdini fx artist because let's be honest we both know you and i we don't we don't know how to do math and we never i never learned math in school this is this is literally the first time i even heard of math and then i opened houdini and i was like yeah i'm gonna do some crazy destruction and then math punched me in the face and we also have some tutorials that are on demand right now if you want to check them out i want to show you the houdini advanced effects to chase and i want to just showcase that a bit more because i think it's a very important workshop that we have okay so why do i want to talk about this workshop in particular because the way we design workshops here at web away is we reverse engineer the final output that we do so essentially we start we start with the cinematic the thing that you're seeing right here we start with this which means that we do all the work we do we do the layout we do the effects we do all the camera the cinematic shot creations so we create a whole sequence we do the compositing we do the lighting we do everything and that's why this one is so important because we show how to do everything on a cinematic shot as you can see here and we include a lot of the compositing in this one as well and how to create cinematic uh cameras and how to create cinematic shots that actually have intensity because all of this will help you with your visual effects all of this especially being a good compositor is completely vital in doing effects you will think that most effects look good when you render them right wrong they look the worst i remember doing an effect and it was just a bunch of magic particles and electricity it looked the worst when i rented it but i knew i knew that i'm gonna make it look good in comp and i did but usually i would be very afraid at that point because when that effect didn't look the way you would expect it to look coming straight from houdini you know you start panicking but if you have those compositing skills you can say to yourself ah it's completely fine i'm gonna make it you know i'm gonna fix it in post which is exactly what we do all the time and yeah that's why i wanted to showcase this one but let's get back to the the webinar and actually talk a bit more about explosions hey and we're back uh that video was way longer than i anticipated i'm gonna share my screen right away because i might forget again there we go so i just saw a question what render ranging is the best for houdini and what will i'll be using today i just use mantra most of the time and we also use arnold at rubberway and those are the two main ones but honestly i just do my mantra most of the time so let's get back to this i'm i actually want to go through this a bit faster and just show you the houdini stuff sooner so we also came a long way with uh we also came a long way with explosions if you guys remember our first pyre workshop it looked like this so this had a bunch of problems in terms of shading uh you can see the shading it feels like it's just on top it just it doesn't feel like it's well integrated it doesn't have it doesn't have that crispy details that we have with the new explosions i mean look at this look at this it's amazing we didn't have that before but what we did had what we have uh what we had before was the the custom combustion model that if some of you who took the first pyro workshop we're going to show how to do that in the new one plus a lot of different examples so we're kind of combining all of this we're combining everything we did with the new tools and with that nuke explosion which this one was very difficult to get right uh and we're combining it with what we did before but just look at the so like i said we learn as well as we go and i think we learned quite a lot in in the time uh when we from the time we did the first workshop and again yeah these are the examples that we're going to be doing in the workshop and i think they look pretty good and these are all rendered with mantra and it wasn't to be honest it wasn't really this render like the whole sequence uh took and maybe an hour and a half to render okay so the art of explosions so i just want to show you a lot of different explosions and i'm going to talk about what makes them look good and what makes them uh what makes an explosion look good versus a bad cg explosion and then we're going to be also be looking at some real-life references so this is uh this is a breakdown from the avengers that ilm did and you can see obviously the explosions are uh you know cg but what makes this explosion so good uh and one of the big things is it has different color variation which is something that we were doing as well so you can see there's a there's color variation we have you have black and you have some white smoke and then you have some gray in between so that's really important to break off to break the the uh the do to make something look a bit more realistic because most of the explosions you see uh out there that are cg they're just gray and that really breaks it uh the second thing is you can see how their emission starts they don't start they don't start the emission immediately it first you get just the smoke coming up and then it kind of in the flames from after the uh the smoke so it's almost like you would pour gasoline and then you light it on fire and that makes it uh essentially you stage your explosion in different stages uh in different steps so not everything just happens at uh at the same time but you actually have stages so you have stage one where you just have the smoke stage two when it uh gets lit on fire and then they also do multiple emissions uh of the explosion so you can stage it up and that comes then down to art directing because just imagine if this explosion was just one big puff and everything goes up it's not very pleasing to look at also one thing that people say with explosions is that you have to destroy the mushroom like the mushroom shape doesn't that it makes it look super cg you know if you have mushrooms and that is actually not that true like every explosion has mushrooms that's the whole thing you're gonna get mushrooms with explosions even with real ones uh there's no avoiding that it's just what's gonna make an explosion look good is actually breaking those mushrooms into more mushrooms so let's say with this this is all one big mushrooms but look at it it has multiple shapes to it that's why that's what you have to break not the actual mushroom you cannot break i mean this might be even better if it had more shapes like this but this is the thing you have to break you see like you get multiple shapes and that's that's the thing when people usually refer to when they say that you have to break the mushroom shapes there's no there's no other way of actually making an explosion without having these mushroomy shapes going up and billowing up because that's a re that's what the real explosion does and so i think we can all agree this looks pretty amazing [Music] and you can see just based on this on the breakdown that they have i'm gonna show you that what we're gonna do in our workshop is actually the same thing so look at this path if i go to houdini quickly and i start this render you will see that and i hope mantra is a bit faster today than usual there we go so if we look at if we look at this this path which is this this is the emission pass so you have the smoke you have your emission and then you have the emission multiplied by the density and this is what gives you the really cool crispy shapes this is the this is one of the tricks how to get this and so you see we're getting this which is i think it's really close to what we just saw with avengers which is just crazy that we're able to do these kind of explosions now that you know we can actually match the level that they have on this multi-million budget movies so this is the combined density uh multiplied with emission but if we just go to the emission part you can see this is looking exactly the same as in avengers so when we were the way we learned all of these techniques was actually just watching uh breakdowns and seeing how they do it on the big movies and that's how we learn as well by just looking at breakdowns and trying to uh figure out how to do all of these techniques but you can see when you multiply the emission with the density and i can showcase you guys i can showcase just the density this is how the density our map looks like and then we use this map and just imagine like an alpha map and then you multiply uh this with with the emission and you get the nice details that we all want i think this looks pretty good anyway let me go back to premiere uh so i just wanted to go through a bunch of different things uh this is the same kind of technique very similar that we used in one of our other promos that we did but this one is actually using a bit of that inverted shading technique that maybe some of you guys maybe you heard of it the inverted pyro shader and you can see it here on this destiny cinematic as well now i'm gonna be just this is my personal opinion i'm gonna be going through these cinematics and just telling you guys what i think works and what doesn't and this is in no means me like talking badly about the work that the artist did uh because i'm going to be showcasing some of my work as well that i think doesn't look the best but this is just all for academic purposes we're just you know i'm just showing you guys what works and what doesn't and the different ways that people render explosions and why this way that we're going to be showcasing in our workshop is i think the best way that you can do explosions right now but you can see the inverted shader here happening and also it's a bit blown out and it just doesn't look right the reason why we were doing the inverted shader is because that was the way that we got these black crispy details if we inverted the shader not inverted it you just remap the emission so it kind of gives you that flamey look and i'm going to show you how that looks so this is a cinematic that i worked on and this is my explosion and you can see i was doing the same thing i uh we were going for that gassy gassy explosion fiery gas explosion look and there's a bunch of things going wrong here that it should be more bright because if it's a really i mean we were kind of we wanted to expose for the flames in this case but i think they should be brighter but uh you can see here i was doing the inverted shader technique as well uh and the reference that we had for that was i mean it's not that far off so this is like this is a real-life flamey [Music] uh explosion almost like a flamethrower actually there's a flamethrower and this is the result that you have and that's kind of what we were going for with that reference with that explosion let me come back to it and in some cases we actually succeeded in making it look kind of similar uh the reason but i'm not the biggest fan of this like be when i worked on this we i still didn't exactly know how to make details like this so the inverted kind of shader technique was the only way to do it the the thing that i like about this explosion is it has multiple stages and that's what i was telling you guys uh when i was talking about art directing explosion explosions so you have this and then you have the really intense burst of flames coming out of the barrel because he just shot a flaming arrow to it and that creates a shape and then that shape almost disappears it implodes and then it explodes and we have we have this one first big explosion happening and then a second one and it you can see there is one big one and then the second one happens and it creates these shapes and the the ground the dust wave it has multiple stages and you have to think about explosions like that where you so how you have to think about how to make it more impactful than it actually is this is another good example about when that i think they were kind of doing the same thing that we are where they were multiplying the ambition with the density uh and it looks just looks amazing and they were doing the [Music] i mean it almost looks they're changing the color in the in the smoke but the reason why this works so well is uh actually there's a different reason and the that reason is the fibonacci sequence and this is something that blew my mind when i first heard about it and it's actually something you can apply to uh everything not just if not just explosions and not just effects but you can apply this to music you can apply this to your art anything really uh and and the fibonacci sequence is something that you can also call the the power ramp so if you have a ramp like this you this is kind of the power ramp so you want uh essentially you want a lot of small pieces and then not a lot of big pieces and then you know medium amount of medium pieces i know it makes super it's very intuitive but if you look at this tree you have one big trunk like here and then you have 21 small pieces and this gives you a perfect ratio between small medium to big pieces and see here this is that scale actually you see how many small emissions you have with the sparks and the the trails and then you have one big explosion but even that a big explosion is separated into multiple shapes and that's what you have to look into see this is a medium-sized shape this is a big shape uh medium medium medium obviously there's one big shape doing everything but then you have a lot of small ones happening here and this is kind of the fibonacci sequence in play here so you have you know 50 of these you have uh 10 of the medium ones and then you have two of the bigger shapes happening here and this is perfectly demonstrated in star wars because with star wars you see this you see how many sparks they had [Music] so they really play on that uh on that concept where with a lot of small details and you know obviously destruction and rbd you create a big sense of scale because this the more of the small things you have and spa sparks and rbd and you know all of these elements that fill out the explosion the bigger the explosions is going to feel and it's also it's going to make it look um i don't know how to call it more meaty like you know and this is a good example as well and here you can actually see all the small trails that are happening and then you have you know again this is this is really important that's why that's why i'm repeating this you have shapes that's how i see explosions all i see is these shapes and then one big shape and then a lot of small shapes this is all i see i just see shapes and that's how you should look in explosions and this is where you start art directing and you can see they they are doing the same thing they're multiplying they have the emission paths they're multiplying it with the density and that's how they get the nice and crispy explosions and i just love watching it i mean look at this oh my god oh so good here another example of how many small details they added and that's really important the small details are sometimes more important than the big ones just amazing i think this is one of my favorite explosions ever made look at look at how many small i'm not sure how well it shows on the stream uh but look you can check this out i think it yeah uh last jedi bombing uh i think if you go the last jedi uh ilm breakdown you're gonna be able to see all of this in hd but just amazing stuff another good example uh from king kong i think this movie is super underrated in terms of effects i think what they were doing with this movie like visually it's so stunning just amazing stuff like to look at how much detail they were getting in the fire simulation this is something we might be this is actually a good topic maybe for the next webinar we we might do a flamethrower and i can show you guys how to get all of these details in the flame as well because the flamethrower is just a bit different than doing like a classic explosion uh this is not related to explosions but i think it just looks so cool i think this movie has one of the best effects ever it's in in terms of water and fur and what they were doing with like scale in general it's just so good uh but there's an explosion coming as well that's why i'm that's why i'm showing you guys this there's gonna be an explosion so this one uh look at this this looks so full even though it doesn't make any sense so he was he had he just had i think a couple of grenades on him and this exploded in the most brutal way how does how did this happen here like he had the grenade i guess he maybe he dropped it from his hand but this is just huge for the for the grenade that he had but it's so good look at the small details they added so this is what i'm saying but this looks so huge because it has so many small details and this is something i wanted to add to our explosions as well so when so when we were doing these guys uh these guys i i was adding a lot of the debris but it's just not visible you can see it here there's uh i should i should have added even more debris for sure but you see how many sparks i added as well just to emphasize the scale and then obviously i added the environment as well to showcase this so back to this explosion uh it just looks amazing and it's so beefy it's so good the way it explodes it has so many details so many small shapes that it makes it look amazing and huge uh another um this is a bit old i guess but it doesn't matter because they were this is art directing this is gonna be all art directing and i'm gonna tell you why in a second here so again these explosions if you look at the shader in some cases it almost looks like that just basic pyro shader that we want to get away from like nobody really likes the basic pyro shader that's why they you know with houdini 18.5 they created the scatter shader and you can now combine it with the fire uh pass and all of that and and in general this like when you on a still frame this doesn't look the best but why this works is because of the animation the animation of this explosion is amazing how fast it explodes how many small element elements it has you see the sparks and everything the debris how the debris uh covers up the explosion you see the shapes it creates the the spiky shapes and the ratio and the ratio comes back to the fibonacci sequence like this is a perfect example of the fibonacci sequence again and they were breaking the shapes uh quite well again you see it's not just one plume it's not just one mushroom it's multiple mushrooms and that's what i'm talking about when i'm saying art direction uh so yeah when i'm talking about art directing the explosions you see this one like i'm not the biggest fan of this shader to be honest it it looks super stylized and it doesn't fit this cinematic uh this thematic is supposed to be super realistic the way they were portraying it and the shader looks almost cartoony but look how fast it it explodes and this is that's why it gives it uh it still feels like a really massive blast and it still works it still it it portrays the emotion what they were trying to show with that effect and that was that he got hit really hard really hard but he still keeps uh walking forward so it's not all about the shading techniques it's in a lot of cases it's about how you know how to art direct your explosion so it creates the emotion and it moves moves the piece forward and when i say the piece i mean uh the cinematic or like whatever trailer or movie that you're doing so this is a cinematic from titanfall and this almost had the right details but still not quite and i believe this was done with fume effects and it did have the you know kind of the crispy shapes but it's still not the right kind of crispiness that uh that they had here in uh star wars right it's not the same crispiness and it's not the same crispiness that we have in our explosions uh maybe not this crit like this this crispiness and i think they were also doing the inverted shader in that one uh but they also had some geolights so you can you can just use the volume and convert it into a vdb and turn that into geolight and that will give you this inside illumination of the explosion but that is really slow to render and with the new scatter techniques you actually don't have to do it this is another example from ilm and this is back in the day where they also didn't have that scattering technique like this is they still didn't perfect the crispiness that they have right now that's why i wanted to show you guys but it's still the explosion looks good it just doesn't have the uh the right shader yet applied like here so this is a very similar shot with the explosion right uh with the you know with the ship exploding uh but what mega lease did uh they have this they have this nailed down they uh they have you know the the look the scatter look with the crispiness and i think it looks way better than what they did on the on the battleship obviously it's an older movie and i'm not saying it's bad i'm just comparing the two shots and this one to me looks uh way better and again the fibonacci sequence is amazing this is one of my favorite explosions and we obviously uh borrowed from it in the in our nuke explosion that we did and this just goes to show like when when they did these passes you can see this explosion doesn't have a lot of details it it actually looks super low res but with the comp and the secondary elements and the all the passes while the glow passes it looks amazing and because it happens so fast and the speed of it again our direction it looks amazing it looks like the biggest thing ever but when you look when you break it down into layers it's not that high detail so don't be concerned with voxel count a lot of people they uh they think the more voxels you have the higher the better your explosion is going to look like but that's usually not exactly the case you can create something that looks super high detailed and amazing with a low voxel count so this is an this is another example that we were trying to uh imitate with our workshop uh this kind of spiky explosions that happen and i have a perfect real life reference for this as well that i'm going to show you in a second uh but here you can actually see how they did it and i i really like watching breakdowns like this i'm pretty sure they didn't use these particle sims for the actual emission i think this is something that other animators have to showcase where the effect is going to be and then they create different emissions actually i think they have the same emissions that we are going to show in the uh in our workshop i mean to be honest we came really close to this result and that was kind of the goal like if you look at this that's pretty much that's so fast but yeah that's pretty much uh almost like a one-to-one reference to the avengers it's another example from star wars i mean look at this amazing just so good i could look like i think i saw this clip like a million times uh but again like the maybe it's not here but yeah just like like this one the multiple stages the way it explodes so it explodes once it explodes once and then it has another internal explosion happening like here and then another big one so you can see the stages it has three stages that's that's the blocking of explosions that's gonna make it look uh more interesting bigger and uh yeah that's what you should be looking for and then these explosions are the ones that we're going to give you the free hip files at the end so if you stick to the end we're going to be giving free hip files to these setups and these are done with houdini 18.5 so we just tweaked them a bit to make you know this carpet bombing happening and uh having all the trails with uh you know sparks and lights at the end so i think it's it's a cool example another this is a different kind of explosion i'm not sure who did this i'm not sure if it's ilm but it's on avengers and it's something that saber uh the ceo of rebelway did as well so we did this one which is very similar to the other explosion avengers it's a bit it's a completely different type of shading and it's very interesting to see as well and it doesn't use the it doesn't use this concept the emission multiplied by density it's a different concept that it uses and uh yeah it's very interesting to see and uh i'm pretty sure he's going to be showing some of this in the workshop as well and this is another example of that shading technique and this is from our uh cinematic as well that we did all right so these are i think all the cg explosions that i had and yeah this is the thing i forgot earlier but yeah the first 30 people will get a 10 discount and the discount will expire uh in five hours maybe a bit more i'm not sure but yeah it has a time block on it so if you are undecisive if you want to join a workshop or not i think now it's the time to do it uh so looking at cinematics and movies is one thing and it's good because they they had concept art and they had uh you know in a lot of cases they had they were looking at real references as well so as a if you do explosions and just like as an fx artist you have to look at real life explo uh references uh and action vfx actually they have amazing detailed explosions if you go to their website you can just see uh they actually shot these on camera so these are real explosions that they have and real like smoke bursts and you can just see how much detail this has and how like it's almost starts raining down at the end and this is something i wouldn't think of if i didn't see this reference but it makes it look so satisfying and because it's mostly a smoke explosion like this it doesn't have a lot of temperature so it actually goes down super fast like it's hot in the beginning but then it goes down you see like it's almost like buoyancy is negative one uh so this is a good place to get references this is another good reference that i was showing you before uh and it in some cases it just looks unrealistic almost because you don't see explosions like this from this perspective but see how the how the fire just climbs up and catches the fuel on fire [Music] this is just so interesting to me to see [Music] and look at all the small you see all the small things at the end like the fuzziness of the the droplets happening like this is something if you want to create something that looks super realistic like this like you would have to take that into account yeah just some nuclear explosions uh i think this one is super interesting you see the ring that it creates i'm not sure what exactly that gas is and how it creates it but it just looks so unrealistic and you would never think of it because if you would do this in an explosion it would almost look fake but it's actually like this happens in real life with explosions and it's something that we actually did when i was doing the nuke the nuclear explosion if you look closely thus you see this black shell that's happening so that was the gas leaving the explosion and that's why this explosion feels like it has multiple stages because it actually has it has the first stage it explodes expands super fast and then it all the rings appear and it feels like it has multiple stages and you know like i said it's it's because it has and also i think this is pretty cool like how the ring shows at the top and it's and the setup is actually procedural so the rings are actually showing based on the height of the explosion so yeah uh this is yeah we're going to show how to do this in the workshop hey guys we're almost at the end and then we go to houdini uh another really cool reference and this is the one the spikiness that i was telling you about the spiky reference and this is probably what the avengers guys were also looking at so you see the difference in color variation you have some ground that is actually more brownish dark and then you have white and then you have more grayish dark uh smoke happening and this is based on what ground it hit and the important thing here is you can see how they don't billow these explosions they don't below that much because they don't have a lot of temperature they're mostly done and they don't have much gas in it or burn they're mostly done with just smoke and they don't billow up they actually see how straight these lines are it's almost it's they're so pointy and they just kind of break apart a bit they never become a full mushroom shape and i think this is something we achieved quite well as well uh with this one if you look at here at this part see it just goes it just goes up it never actually breaks and this is something that is difficult to do and i'm gonna show you how to do it and then you have some of them that actually fill out uh like this and this is something and this this goes back to when i was saying that some people say you have to oh cg explosions they don't like they create mushroom shapes it's not true like this all creates a mushroom shape at the end that's just how it is that's how that's how the the smoke expands and uh in real life as well but again look at the difference in color as well here so that's quite important and then another one that i think was just so good in terms of you see how much detail there is in the with the chunks of the ship happening it's actually quite important coming back to the to the fibonacci sequence having all of those shapes and they fly way more up in the sky because they're smaller and they just go they go way off the screen and that's also important when you are directing and the last one this one was uh interesting the way so this one actually looks like that explosion from titanfall that i was showing you before uh so this really goes to show how many different explosions are going to create different type of emission so not the the the scatter shader doesn't actually apply i mean you can do this with the scatter shader but i'm just saying you cannot not every explosion has the same look so you have to take that into account when you're creating explosions that not all of them actually have the same look okay guys i think this is it for the for just for the references part and the kind of the artistic part uh did you guys enjoy that part because i like i really like talking about stuff like this and just looking and going through the references i mean do you guys like stuff like that because uh if you do in the next webinar we can do more of these and just showcase more references and breakdowns okay because i think this is the most fun just gathering references you know when you when you're working in a studio and they give you a shot to do and then you spend like three days just looking at references and gathering data it feels like you're a scientist uh gathering data and trying to uh you know evaluate how to do this effect for real before you and then you start calculating the forces and how much fuel you have to inject and how big is the space and everything i just find that super fascinating uh but yeah let's go to houdini i think we have enough of enough of the references for now so this is the this is the gas explosion this is the big gas explosion that i did uh can i hide this and i'm not sure yeah i won't be able to show you this explosion in real time i think in the end it had like 3 100 million voxels but like i said it's not about the voxels in this case i think the important part is that i wanted to show you is the shapes i think they were quite interesting and if you if you look at the shapes at the top they don't break like i was showing you in the spiky reference they don't bailout they actually just stay sharp look at this and this is something that was really difficult for me to do and to figure this out and it took me a lot of experimenting to get to this point so obviously you have some of them that are belonging out but these ones look how sharp they stay they never break yeah so see they stay sharp and then they just kind of uh they never billow out into like a ball of flames or uh smoke that you would expect and i think that that was i was quite proud to get that result and let me just quickly go to the explosion scatter show the and maybe if we try to render this quickly uh i will show you guys the setup for this just in a second yeah i think this looks pretty good especially i like these parts the most that are that don't have a lot of ambition anymore but they you still get the black spots happening and then this looks super super nice the way it's illuminating the smoke from the uh from the all the emission okay so how to actually achieve this how to do this uh so this is the setup all of this all of this is important to do this to for this explosion in particular and the way we start is with just simple shapes we do a noise on a sphere we grab a sphere we do some noise this is like that drawing tutorial like yep you start with a sphere you do some noise and then you uh simulate and then you get this but no for real uh the way you do this is you noise it up i'm not gonna go like this will take we're gonna go node by node how to do this in the workshop uh it's impossible for me to do this in a one hour webinar uh i just wanna explain the the logic behind it so you should you you noise it up and we created this tool where you can modify the shapes uh so you can randomize the shape you can do the outward expansion you can do the directional expansion so you can increase the spikes or you can increase just the bulginess of the whole thing and then you can also just shape it like this and it's super easy to be honest we're just using some dot products and multiplying the noise with the normal and and it's really is easy to do something like this and most of these tools that i'm going to show you are simple but it's the way you use them it's the combination you use them okay you scatter the points and then you i was animating them with another tool that we created and the way we have the reason we have this one is just so i could control it manually so this is not a simulation i'm just animating points i'm animating points based on time based on their velocity uh so this is just so i can animate see how poppy it is it's really explosive in the beginning it's almost like time remapping it and i am time remapping it to a degree with this slider so i can make it even more explosive if i don't have this slider it's gonna be very linear uh but to be honest you don't have to do this in a lot of cases you can just do a popnet if you do a popnet you're going to get the same thing that's this one even looks better you even have it has more uh definition and the way you do this is you know do a popnet do all points or maybe just points [Applause] something like this more points and you inherent more velocity and they're just gonna die and that's how you that's how i would do it maybe you put this to five and then the only thing i did different here was i added a pop replicate and i was animating the i was changing the inherent velocity here so i was fitting it between 0.1 and 1 based on the random id on the point and that was giving me uh see this clumps that are happening here maybe if i uh birth more that's too much i mean maybe not really you get really nice shapes for this so it doesn't really matter um that's what i'm trying to say you can do it with a popnet or you can go fancy and do your own animation thing uh you can always just re-uh re-ramp this with the retime so you re-animate it so it's poppy in the beginning that's it well that was we connected uh i was i was creating so with this attribute wrangle and uh in a for loop i'm just creating additional points you can see i'm just copying points on based on their velocity and adding them to a new their new position and the reason i'm doing this because you need a trail uh so from these points i want to create a trail and then add uh create a primitive between them so create a line just connect them and this is going to give me a better admission even though i later on added points again on it but it was just giving me more details and then sometimes you need more points than than this just to just so your volume [Music] is uh you know what i mean you know what i mean you need more points so the the vdb you do at the end i mean the volume you do at the end is has more details so i would think that jitter here let me show you i think i need less points here a jitter was important because it was giving me this it stayed pointy at the end and then i was scaling it up at the bottom so it was giving me these uh firework kind of shapes and the way i did it i used the curve view i don't know where it was yeah here the curve attribute to multiply uh the scale that b scale yeah so then you use p scale here and that's how you do it so you can see even just from this you can see the beginning of this explosion and you have to do it from the beginning that's the trick your emitter has to look like an explosion in the beginning if your emitter is just a sphere or something random your initial shapes will not be good and then i created uh the rest rise and an important thing here so you see they're quite broken up and spiky the shapes from the beginning if they're not broken up in spike in the beginning uh this will like i said it won't work and the way you break them up is with just some noises uh and i was breaking up the noise on the particles before you rasterize it so you get this and then this usually helps as well the point velocity i don't know why it's off here i think it should be on so this is your first emitter and as you can see here i have multiple emitters actually i have one two three four emitters and the second emitter is the second emitter is actually the same thing from the same shape the only difference is this one is for longer shapes so this one creates these shapes here that are kind of longer and it's going to give you uh this is this will break up your explosion that's why you have to create these shapes like that and this whole setup is the same it just has less uh just less points and then i'm doing everything the same this literally just copy pasting the setup and then here on the right i have the pump and this is this is also a trick so you have your emitter so this is actually going to be emitting density and temperature and on the right you have a pump what the pump is going to do is going to be it the pump is going to be pushing the velocities upwards and that's super important and you can see it's the same it's the same thing they overlap but the pump is actually longer and it's so if you look at this one just this one strand the pump actually has it's the same but it's it um it's containing the whole [Music] the whole emitter here and it's actually longer and it's gonna live longer for a couple of frames and this is the push that you need the push in your pump to create uh those shapes that don't break up because if you don't have the pump like this if you only have velocities coming if you only have velocities coming from your from your emitter like this it's going to create ugly velocities and i don't i don't have an example to show you guys but i think you know what i mean so if you just if you do this and pump a lot of velocity you won't get nice shapes you have to pump it with a pump and this is the way to do the pump if you don't do it like this it just it's not going to work properly and then i have the burn here i think it's just this one adds just a bit of burn in the emitter and then i have another emitter that looks like this and this is more for the ground and all of these emitters and this one also has a bump that looks exactly the same it's just bigger like i was saying you need the same thing bigger and it has to be alive for three more frames to actually push the velocities in the right direction because if you just like i said inject velocities in this one in your main emission i mean in your main emitter it's not going to work properly and then after you have all of that there's still more stuff to add so you can see how i'm really adding a lot of small details to to create this uh it's not just one emission and that's it and then let the uh you know the simulation do its thing that's not really it like i'm really specific with my emitters and the next one is i'm not sure if i use i think i in this case i used it as let me see so i used this as a collider not in this one in the next one i'm going to show you i use this one as a collider in this one i just use it as an emission as well and i was emitting so let me show you what this is first it's a rbd simulation and it looks like this and i know with houdini 18.5 you get these trails right you get the trails uh sub and that's great the the thing that the trail saw doesn't do is it doesn't give you rotation and it doesn't give you the randomness that you get from an rbd sim and this is a really simple rbd sim it's again it has that shape uh breaking it up and just doing the sim and i'm just adding random velocities to uh your angular velocity and and i'm using the same velocities that i'm getting from these shapes so this velocity that i'm getting here is the same velocity that i then use to just you know push everything outwards and that gives you random rotation and it gives you random chunks and uh some of them are smaller some of them are bigger and i don't think you can get this kind of detail we're just using the new houdini tools and that's what i'm saying that sometimes it's better if you know how to do this from the ground up so you can build it yourself after we do the rbd uh i connect them like this so i do a trail and then a connection again because if you don't do a connection uh this won't work properly you you always need so either you do a long trail like this or you have to you have to create more sub samples in your explosion but as soon as you create more sub samples it's going to change up your explosion so uh if you go to advanced and use sub steps sub steps i meant sub steps it's going to change up your explosion in some cases it's better if this is like three and two that's usually what i do but in this case one and one we're just fine and uh that's why you have to create a trail because on each sub step like if it's just one piece here it's gonna be trailing or it's gonna miss the explosion because it's gonna be traveling too fast but if you have a whole trail it's gonna it will still let me show you this in a better way so if you look at the explosion and this is this even at the same yeah so like this go back these guys the trails are traveling much faster than the explosion and if they're not trails like this you see this trail if you were just using the piece it would be up here it wouldn't be affecting the sim anymore but because it's a trail it's going to trail it softly upwards and that will help tremendously especially in the beginning with the simulation but in this case i was only using this one on the right so it's the same setup it's the same setup it just has less pieces and i was using this as an emission and let me just show you guys where is it and i was emitting density temperature and divergence with this and this is how it looks here and there's a bunch of cool tricks that we did here let me see where i have them so this has live an attribute called live and it's just based on the length maybe it's better if i showcase it here [Music] i think it's better here yeah yeah so this one the color so we have an attribute called life that will slowly just decay and you can see it's decaying differently per per our strand like it's not the same for all of them so they will slow we use this map to slowly kill them off and then we have another one called uh falloff and the falloff just controls the falloff based on each curve and then we use those to multiply them here we mod we use the follow-up and live we multiplied it with our density and that's this creates where is it it is really nice kind of strands and they're going to slowly die off and this is really important that they slowly die off because if it dies off too fast it's not going to be it's not going to look natural and that's how when we add everything together with all of our emitters that we talked about before so all of these guys and then we add together with this it creates essentially this explosion or you know what maybe in this case i wasn't using the spikiness and i think the spikes i'm going to show you in the next example i think i wasn't using these guys here and it could be that i was just using this left emitter plus this one yeah that's what it is but i was definitely using all of the spikiness all of these guys in the next example that i'm going to show you so what happens next is after you have all of your emitters like this we do something called uh we combine them otherwise you have a lot of different temperatures and divergences and it's okay it's still gonna work but if you combine them it's just gonna it's gonna go from three million voxels to one and it's gonna be a bit more clean so if we go inside so maybe some of you uh in this case i just use the viral solver that they have like this but if you go inside here you will just be prompted to where you can add your micro solvers in terms of divergence and disturbances and i was actually i wanted to change some of those settings so if you just open it up uh you can go inside and then you can go inside again and this is where they do see the forces and everything so i did that and i went inside and i modified this a bit and again it's going to be difficult to show everything that we did here uh in this webinar uh this is going to be done from scratch in the workshop but i just we just wanted to showcase you guys the workflow and how it works in terms of forces there's not there's nothing that intimidating here it's just a bunch of gas disturbances and a confinement in the gas disturbance i like to use velocity as my mask if you don't use velocity as your mask the disturbance is going to be all over the place you don't want your disturbance happening here on areas that are already slow you just want the disturbance happening at the top where everything is moving fast and you want just some disturbance happening in the slow areas that's why your control range can be from 0.5 to 3 in terms of on velocity to do this you have to unlock your disturbance go inside go to this vex part go here [Music] uh put velocity here calculate the length and that's it you have to put down length velocity and that will you know create a speed ramp so a speed map that you can then use a speed field that you can use here so i have a bunch of them that are at different scales uh and different strengths as well so c 0.2 0.1 0.08 0.06 uh here are here is where i put in my uh actually these are the pumps i'm going to show you this in the next example uh and then i create a bunch of different turbulences as well this is a really and this is a cool trick that i'm going to show you the this gas disturbance is actually using a thing called speed so like i was saying here with the uh with the velocity controlling the disturbance i really like that idea but i wanted to have on my turbulence as well and there isn't a way to do this like if you go here and try to find where it is you won't find it there is i at least i couldn't uh a way to calculate the length of your velocity and just use it in the control field so what you what you have to do is you have to create your own field and calculate the length of it so you create a field called speed with the gas match field you analyze the length of your velocity and put it into your speed field and then you just remap that speed field based on how high your velocity is and this will create this works and this isn't the fastest simulation it's definitely not ambigent speed see this so this is that map and i'm gonna let it sim a bit longer and you will see that it's gonna change based on the speed of the simulation and i think that's really important because you don't want your disturbance and you don't want your gas turbulence to be all over the place and that's one of the biggest things that get people do wrong i think in explosions is their disturbance is just like all over the place and the same as with turbulence and this will slowly ramp it off so in areas that are slowing down it's going to be applying less this turbulence and i did this with uh yeah just the one but it's a really cool trick to do and then yeah you have to put your speed field in the control field because it's actually being calculated here you can see the speed field so i think that's it for this explosion i'm not sure maybe i can show you guys some other tricks oh yeah okay no that's not true so when you cache this you have an explosion right and you have some tools now to viral so you have the bake volume which i'm going to show you guys later but you have the post process as well so this will kind of show you some of the scattering i haven't used this one that much but yeah you can you can change the emission scale here and get and kind of see yeah i don't know i don't know the values that are that are appropriate for this explosion but so you can see your scattering that's what i'm trying to say but with the tool that we have and we're gonna show you how to build this is it shows you everything here which is super handy and you can actually switch between just density scatter and then you can also check your temp temperature blur and the way this works is like i said before you create your temperature you blur it like this and then you multiply it with the density and that gives you the nice crispiness that you can see in the final result and we can showcase this in now i'm not going to show you how exactly this was made but we're gonna build it in the workshop but i think it's really cool so you can you can go to your temperature blur and you can do one pass so this is blurring just one time and this is blurring your temperature by the way or you can do it three times and you can see it's gonna be uh it's gonna change a bit you can have the this is how much you're blurring it so the voxel radius so if you do one pass and then blur it twice blur it four times you can see this is how it's going to work and then you can visualize it here already uh in the viewport which is super handy and then once you do this you're kind of ready to go to your rendering but obviously you have to do your shader so the shader takes that information the scatter field that we created uh the scatter field and it puts it into a mission that you can see here and this is actually quite cool like i was showing you before you can control a bunch of things with this and you can add fire elements as well so it's not just a scattering aspect but uh there's a there's a way to add justifier to this as well i'm not gonna do it right now because i don't know the actual values that i would have to put in here uh but like i was showing you you can just showcase the emission uh you can showcase the density and then you can change your map here so you can see this map is going to be changing so if you want more detail if you really want to go extreme with the crispiness you can do this like that and now do a mission and you can see now we have it almost looks like that uh star wars reference that we had one that i like the most where is it like here they were really pushing the crispiness and obviously there's a lot of comp that you have to do with this but see how crispy this is and then i mean i think we're pushing it a bit too much but yeah that's how you would change this and it's super intuitive and it works really well and then obviously you can go lower with this as well it's quite fast super real time so this is one example and the next one that i'm going to show you is the spikes let me just check this i'm checking the comments a bit love the crispiness yeah it's all about the i call it the crispy chicken the crispy chicken details you know that joke where they do explosions from chicken nuggets that's that's the thing uh so in this cases i think we were using the normal pyro not the sparse but you can use the sparse as well the the thing with houdini 18 sparse was and i haven't tested this if they fixed it in 18.5 it was creating weird stepping and we're going to show this in the workshop all the tests that we did i think we did like 100 different simulations with this and we're going to test this we're going to show you the tests it was doing a weird stepping on the edge of the explosions and that is because they just have to expand the area of the uh where the sparse is happening they just have to expand it a bit uh and i'm not sure if they fixed that in 18.5 uh but that's why we were using the normal solar but it's the same thing it's just the sparse feature is off yeah the stepping is weird yeah the default but it's not just the bound scale even if you increase the bound scale the the sparseness was still covering like it was too close to the to the field and i'm not sure how to fix that if you go inside the solver uh but anyway uh so this is the second example that i wanted to show you guys and you can see here this one takes a bit longer to render but you can see that changes the differences in the color and that really helps that's a big component when it comes to explosions to have the difference in the difference in color and that's not that people don't do this a lot and i think it should be done more often you you and you you can push it as well you saw it with the real life references that we did you can push this quite a lot to where like one strand can be where is it like some strands no it's not this one is this one like this strand here is white and this one is completely gray and they're coming from the same thing and you can push this quite a lot in terms of color and it's not going to look that weird and obviously in comp you can do some color grading on top of it so you can unify it a bit more but yeah so these are just a couple of passes this is just density uh lights and this is the emission and obviously the crispy chicken is here as well and i apologize because i'm not reading the question guys but if you stick till the end uh i'm going to be reading some of the questions if you can just like ask them again at the end that would be great so this setup and let me pull this up so it has a couple of different elements so the element the ground element and the explosion element is separate i don't know why they're not same but these are separate elements and this is a smart way of doing things you don't have to do everything in one sim sometimes it makes sense but in most cases it doesn't you have to do it in multiple sims and it's just going to look better and if we go to our setup you can see it's the same as with the spikey as with the gas explosion i just repurposed the same setup and made it a bit different and like i said in the previous one uh i kind of forgot but i actually was yeah i didn't i wasn't using this part of the setup with the gas explosion i was just using this but here i am using all of them uh so again you just create these spiky shapes with your emitter and this can be quite simple like you saw before with the pop solver or you can go fancy like uh with your own tools if you need to and then you break the shapes quite a lot because that's important and you can see the velocity and everything the point velocity is breaking how that is breaking the velocity field you can see this is really nice and sharp and that's what you want to keep you want to keep the sharpness the way to keep the sharpness is with the pump like we discussed so you have these guys and so this emitter and this one and they're the same except that the one on the right is just covering the whole embedder and that is pushing everything up and that is really important so in this case i am using this as a collider as you can see here i'm pushing it through the collision and then i'm using this emission that we also did from the from the rbd and i'm using it for just emitting temperature and density the reason why i have life and gradient here is for that same reason where i showed you i am multiplying life and gradient and i'm multiplying that with the density so if you just look at the density here it's going to slowly die off see it has a really nice from brian mifudini we're back okay see the gradient it creates and it really slowly dies off and that's really important when it comes to these things otherwise it would just die off it has to slowly die off and that that will create that propagation of shape upwards so we combine all the emitters here and so that's the main emitter that that's it and you can see this almost looks like the main shapes from the spikiness and then you push through you push it through the pyro solver and the pyrosolver is pretty much the same as the one that i showed you before and i'm not going to go through these details i mean the the the the controls uh i will say this in the workshop uh we will go through the workshop is you can join as a beginner as well because we show how to do stuff from the beginning and how to change these values uh and how what everything means so if you're a beginner wanting to do explosions that's also fine but we're going to cover the advanced topics as well uh i'm not i can't there's is it possible to show everything in this webinar like for beginners but if you guys like it maybe we can do like a beginner's webinar as well where we uh show how to do everything from scratch like a really simple explosion so let's see if this works as well so you can see the uh the collider is pushing everything outwards like it's gonna be pushing it outwards because everything is happening so fast in the beginning that's why i was saying you need the strands to actually keep pushing it outwards for a bit longer because if it doesn't if it's not a strand those pieces would be way away from the explosion already and they wouldn't be affecting the explosion and that's not what you want you want it to be affecting it that's why you have the strands if you guys are seeing this and wondering what the hell why is there smoke solver here this is something that stephen nipping showed me and it's in his class it's a fix for the color for the alpha so the alpha works properly with the color and i'm not going to go into it here but essentially you just copied this part which that is responsible for that alpha and then you just plug it in here uh you it doesn't have to be plugged here but then it gives you an error so i just like it to be plugged so in this case everything is pretty much the same we also have a wind that is pushing everything away and the wind is this uh plug-in that i use it's called blow it you can find it on gumroad i think what it's doing is essentially just creating a volume field that's it it's a field and it's pushing velocities uh in one direction with some noise but i just like it because it's so convenient and then what else do we have here you see these gas disturbances now in the previous example i was masking them with the speed field but i'm also masking them with the with the density mask field and what that is doing is let me showcase it on one of them so again i don't want turbulence happening on the whole thing you can see turbulence is happening only here in the right not not on all of them and that is because i am using is it this the second one so density uh test two is actually uh so this density mask and what this is it's these spikes so i'm only applying temp turbulence where i have these density spikes and when they die off and they do quite quickly the turbulence will stop affecting the simulation so i'm only affecting the really beginning the simulation at the very beginning and at the very specific parts that are moving the fastest and then i kind of stop especially with these ones yeah control influence is one so these are just controlled really controlled gas disturbances based on dens based on other fields in this case i just called it density test2 so that's how you can control your your density as well uh so all the other things are quite standard uh i have like i said the forces are here uh legend source i i don't know why i was adding it twice actually no this collision source is here by default uh yeah it's here by default it's actually this guy so that's the second volume for collision and then you cache this it looks like this and i think it looks pretty good and this is here you see this the spikiness and it doesn't billow it just it remains spiky and then it kind of breaks off and that's that's how you do it you do it with those pumps the pumps guys the pumps are the answer the pumps and you can also do it with you have to add point velocity to break the the velocity i know it's so simple this is it you need this velocity happening here i know i'm jumping around a bit too fast but i just want to show you so much but it's really difficult because there's a lot of stuff uh but yeah once you have this you get this simulation i think it's too uniform this one especially i created four different variations but this one is a bit too uniform like i would like to see so if i was an art director right now and somebody would show me this i will tell him look this look it's amazing it looks great but this needs to be higher and then we need some of them that are bigger this one maybe make it smaller so you would just create more variation in shape right now right now when i look at this all i see is a box maybe like this and that's not good you need more here bigger smaller higher up and maybe kill this one a bit so that this would be like then art directing it uh but i did i did fix that in the other versions uh but i think i was just basing this off the emitter i think the emitter actually looks good but then the shapes actually you know sometimes you don't know how exactly it's going to turn out and then if you guys were wondering how i did the color it's quite simple and on the main emitter in the pyrosource you just add a field called color and then i colored the whole thing you can do it based on noise and just emit different uh and i think i was noising it up yeah i think he yeah so i was noising up color here so you can see you get this so it's still kind of white with some black parts here and on my second layer which is this one i was doing the same thing but it's a bit more bright so that's how you get these uh more extreme variations in you see here like if you just look at the color this is brown and then this is white and this is more dark gray so that's how you get the variation and i was creating the uh the ground element separately so this is just the ground element again you can see i was doing the same techniques where it doesn't billow out completely you still get a shape a directional shape you see this like the spikiness of it it it keeps it contained it doesn't just be become a bellow kind of explosion and that's how that's how you do it with the with the pump again so if i show you and i i know you heard this a million times if i say pump one more time i swear i'm gonna lose it emitter pump so the pump is bigger and it's gonna last a bit longer that's it but it's the same emitter so try it try it on your own explosions and you can thank me later and there are two separate elements and i was re-timing it so it's a bit faster in the beginning you know so yeah using post-processing tricks you don't have to nail you don't have to nail the timing in the explosion most of the time it's impossible just do it post process i'm not going to cover the sparks they're just sparks i mean we're going to cover them in the workshop though sparks i mean articles i guess they do add they do add a lot though i have to say they add a lot but i'm using the same look at this look at this the same emitter same emitter pop network look at this so professional yeah it's mostly i'm reading the comments again but yeah it's mostly about the source yeah yes pump just pump everything that's it and then yeah the secret sauce that i'm like i said i can't really show you because then uh we have to keep something for the workshop itself but the secret sauce is in the pyrus scatter so look at this this makes it look uh how it should look and then we have the the the two materials that make up everything at the end and to complete the scene i created three different ones three different variations and i was just rotating them and placing them by hand in this case you could create a procedural system where it would actually place them uh you know automatically but i'm just old-fashioned and i just like placing things by hand and then uh rbd which i think we should have more of and different variations in shapes and i don't think the rbd was that visible and the sparks and then everything combined is the final result i don't know why this one is so white no idea probably the visualizer is broken but yeah this is mostly it for the two examples that i wanted to show you uh from the workshop but i do have one more that is actually let me just close this and this is with the houdini 18.5 because so many people were were asking us uh oh are you gonna show the 18.5 tools and sure we will why not so somebody asks what is a pump a pump is a field that's actually a good point what is a pump let me go back what is a pump a pump is a field which is the same so if you go to your pyrosource not this one you create a custom field called pump and a velocity right so you output that in your null here we go to our emitter because pumps are important guys like we need to we need to get to the bottom of this where is it pumps these guys are bumps you import it see all 20 i just do this import it here source volume target field is called a pump and then you import your velocity your target field is val val is the field and then this is the velocity that i had here velocity name v and then you multiply it you multiply it with the pump that's it and then this is the 18.5 tools which i mean i'm not going to go too much into these because you can just watch the presentation uh that and i think they're gonna have another one tomorrow and then the day after for uh 18.5 tools but this is essentially uh kind of it so what i was doing here is let me show you i was creating curves and based on those curves and those are that's this that's this example where the curves were actually spawning towards us this is what i was saying that you can create a procedural system for your uh explosions i just choose sometimes to do it manually by hand so if we go here to fives just so you can see that's how this looks you see that it's going to spawn them based on those curves i think that's pretty cool and because i think i don't know how long this webinar is how long are we going on this two hours oh my god okay because so because this webinar is already two hours long uh we're gonna give you the hit files i'm not exactly sure i'm gonna send them to caleb and caleb can then upload them to you guys here uh but this is how i did this let me just quickly okay this is the last thing uh curve you draw curves right it doesn't matter you just draw some curves resample them because you need the curve view actually you don't need i'm lying you don't need it the curve attribute is going to give you a gradient uh from 0 to 1 for each curve but i i tried it with this i didn't i didn't want it like that so i what i ended up doing is i i mapped the curve into the p dot x so this is going to be 0 to 75 that's my p dot x if we check this it's going to give us a value like this so it's going to be from 0 to 1 based on our x axis and then you use that you use that with the attribute adjust flow and you adjust your start frame the start frame is something that is uh that you can control with your pyrosource here i don't know where it is but trust me it's here somewhere burst animation should be here oh no i can't find it it's a new tool i don't know where it is but there is a burst there's a there's a thing there's a thing somewhere that uses this attribute called the start frame and then you use the curve view to re-map that start frame so this is a new node so you remap it it's called it's here start frame you see it goes from 0 to 70. so exactly where this ends and this will now animate at what start frame it the animation is going to happen cool so that's how you do the that's how you uh do that for the mission and then you just rasterize it you rasterize the burn temperature density you do the pyrrole trail pad and like i said i'm we're going to give you guys the the files so you can play around with this because uh i think we're a bit over the time limit already uh but you get the trails viral source fill source and it's going to give you this so this is what i was saying you can i was doing all of that with the rbd tools so that's that's the different approach that you can take but it was just that yeah i took the rbd approach this is full this is cool and it's fun to do but i just like the rbd approach more and then you just uh you just do the thing you put it into a pyro solver and it's going to do the explosions and now we have the pyrobake volume which is the pyro look uh and it's very similar to our scatter tool that we did very similar it even has some of the same uh you know parameters that you need to create this look and then you render it and that's it and that's how you get this sweet guys thank you so much for joining us i think i hope you enjoyed this i know i talked too much about things but it was just so much information to actually convey it's like my brain was just racing so uh maybe so because this was a more broad look in pyro i think the next one we can do a more specific one so we can maybe actually do it from scratch and actually show you how it's built and obviously we want to do flip we want to show you how to do fluids magic uh environments all of that and even maybe we're gonna probably start doing podcasts where we just talk about vfx in general and art but yeah i think that's it and uh see you guys in the next one bye you

Channel: Rebelway

Views: 31,256

Rating: 4.927536 out of 5

Keywords: Houdini Tutorial, Houdini, SideFX Houdini, Nuke, Nuke Tutorial, VFX, FX, VFX Industry, Special Effects, Visual Effects, Hollywood, Simulation, VFX Tutorial, VFX Tutorials, Explosion, Webinar, Fire, SideFX, Urban Bradesko, Urban, Caleb, Caleb Ward

Id: Hy4R5Vf-dVM

Length: 105min 51sec (6351 seconds)

Published: Fri Oct 30 2020