Lately I have been wondering how to improve points or particles simulations, increasing its resolution by procedural post processing. This is a very first approach of upres with a trail at each particle based on the velocity attribute.
The video shows controls for point density, tail length, longitudinal shape, noise displacement and randomness. Being fully procedural means you just need to simulate the low res particles, no time dependency for the trail. It is made of ‘For each’ and ‘vop sop’ and can be used to enhance fireworks simulations, for example.
Obviously there are better methods to extrapolate point data, but it’s a beginning. Next goal is to get a more surface like result using point cloud iteration.
This is my VFX showreel for 2012 including latest commercial work.
Looking for new opportunities in 2013.
A few years ago… I did an electric rays setup for an animated film. Since then I’ve been thinking how to make it more generic, so it could become an automatic tool. Sadly, I always found that it would be heavy and slow, and would require hundreds of code lines in the platform I was using, Maya.
With Houdini I was able to retake it from scratch.
The new approach is modular and takes advantage of the visual programming from VOPs.
You can find the Asset Library here.
Since January 2012 I am working on Kandor Graphics new animated project, “Justin and the Knights of Valour”. My position is fully based in Houdini.
The Studio is located in Granada, Spain and has lots of friendly and talented people.
A couple of Houdini assets I created to make any kind of geometry growing easier. You just plug a set of points describing motion and your animated geometry samples, and take a seat to watch them raise.
The first asset samples the points path to draw curves or tubes, so it’s good for creating streams of objects.
The second asset uses the points attributes and its own parameters to instantiate geometry samples, offsetting transform and animation to add randomness.
You can find the OTL file here.
Finally, the teaser of the animation film I worked on last year in Lightbox Entertainment Studios.
My role was leading the FX team and designing department’s pipeline based on 3DS Max. I am very proud of the end result.
In theaters August 2012.
An approach to cartoon alike 3D explosions.
Though based in dynamics (so no procedural animation here), I think that how 2D and 3D elements mixed together is worth this post.
Tool designed to ease the way an animation set is filled up with objects, the idea is to paint them as if the terrain were a white sheet of paper.
Select the ground object and choose between several props (foliage in this case) to paint. The tool retains the strokes to set props scale, randomnes and density per surface area.
Finally you can choose to export the end result to frozen geometry.
[vimeo http://vimeo.com/42739282 w=500]
Everything in this picture was painted, even the trees.
Point scattering, attributes and expressions, beside python code under the cover this time.
These are a couple of shots I did for a friend’s ambitious shortfilm. My role was to turn a standard character into a volumetric one, without losing its features and animation.
By that time I discovered Peter Shipkov’s Soup plugin, a tool that makes Maya more procedural. It allowed me to do volume scattering, transfer texture colors to fluid emission and separate the simulation into 2 different stages using wavelet turbulence.
Thanks to Peter for developing this wonderful tool… http://www.soup-dev.com/
This was my first Houdini digital asset… it converts any input geometry to voxels.
It is a very simple setup based on volume scattering, the copy and attribute transfer sops, and It proved I was able to do stuff with this software.
Here is the asset’s ‘otl’ file… PixelizeME
Just plug your geo to find its pixelized version.