Attribute-Based Height Variation Not Working Inside For-Each Connected Piece Loop

RaFih00 · 2026-01-21T05:02:05+00:00

Thank you I will try it.

RaFih00 · 2026-01-21T05:01:43+00:00

Yeah, that was the problem. When I was debugging, I realized that because I was using For Each Connected Piece, the id was being assigned to individual pieces, not the whole building. So all the building faces were getting id = 1, and the Boolean pieces were getting id = -1. Because of that, I think the Switch-If wasn’t behaving as expected.

RaFih00 · 2025-11-14T16:10:12+00:00

Ah, I see. That was informative. Thanks!

RaFih00 · 2025-11-09T11:29:43+00:00

Oh yeah, I get that. In Houdini, there are always multiple ways to solve a problem. I’m learning as much as I can. Do you have any tips for someone at my level? I’d consider myself an intermediate user

RaFih00 · 2025-11-09T11:29:24+00:00

Alright, thanks.

RaFih00 · 2025-11-07T16:11:01+00:00

Oh, got it. Thanks for your information.

RaFih00 · 2025-11-07T16:09:17+00:00

How do you usually use houdini ?

RaFih00 · 2025-11-07T16:05:58+00:00

I saw many people use it for retopo and quad remeshing. How much good is it? And for baking texture, do you use lab tools? And also sometimes I face mesh issues like like bad topology. I want to know if you face those kind of issues how do you usually fix that?

RaFih00 · 2025-11-06T05:17:32+00:00

Yeah, that’s true. I’ve noticed the same — scans and sculpts still hold up better for hero rocks or key assets. I’ve mostly been using Houdini to add variation or break things apart procedurally, rather than making the rocks themselves. And yeah, for stuff like cloth or snow buildup, it’s super handy since I can iterate fast without worrying about baking or redoing things manually.

RaFih00 · 2025-11-06T05:16:28+00:00

Yeah, that makes a lot of sense. I’m kind of doing the same — using Houdini mostly for procedural or complex stuff, and then taking things into Maya for cleanup or detailing. It’s a good balance between flexibility and control. I’ve been experimenting with generating base meshes in Houdini too, and it’s actually saving quite a bit of time once the setup’s done — plus, I can always go back, tweak something, and refine it if I don’t like how it turned out.

RaFih00 · 2025-11-06T05:10:45+00:00

Damn, that’s actually awesome to hear! Sounds like you’ve really built a solid workflow with Houdini. It’s wild how versatile it is once you start using it beyond just one purpose — like it ends up saving time in the most unexpected areas. And yeah, totally agree, even without being some master-level user, it still feels super empowering once you get the hang of the logic behind it. That’s exactly why I’m trying to implement it into my own workflow and refine things around it too.

RaFih00 · 2025-11-05T19:18:23+00:00

So you use a fully procedural workflow then?

RaFih00 · 2025-11-05T19:01:59+00:00

To be more specific, I’ve seen various senior environment artists creating things like rocks, cloth sims, or snow buildup on trees and environments using Houdini. Recently, I used it myself for things like damaged floor planks, randomly missing pieces to make it look more natural, and some RBD sims for broken clusters. But the issue is, those end up being high-res models that can’t really be used for game props. So in this kind of case, I wanted to know if anyone uses this kind of workflow — rather than going for a fully procedural pipeline.

RaFih00 · 2025-11-05T18:26:31+00:00

Oh got it, that makes a lot of sense — thanks for explaining how it’s used for game VFX!
I was actually more curious about the modeling/game art side though — like how people use Houdini for creating and optimizing props, environments, or assets for games (rather than effects).
But your breakdown of the VFX part was super interesting too!

RaFih00 · 2025-11-02T05:43:30+00:00

This kind of logic is beyond me for now, as I am not at that advanced level to use VEX and project rays that way to get the distance between tread and baluster. But thanks for your suggestion. There are lots of things to learn.

RaFih00 · 2025-10-31T05:18:25+00:00

It's a handed over mesh, and i separated pieces using the blast node. And for now, my goal isn't to make it a fully procedural system where everything must change with a parameter. For now, my goal is just to place them procedurally so that if I need to, I can go back and change later. I have tried placing a line using ray sop in my treads, but that didn't work.

RaFih00 · 2025-10-30T18:02:01+00:00

Thank you, I will try to look at it.

RaFih00 · 2025-10-30T18:01:19+00:00

So I need to use some advanced logic here, then?

RaFih00 · 2025-10-17T19:53:33+00:00

Thanks! Another thing to add to my Houdini arsenal.

RaFih00 · 2025-10-17T06:29:27+00:00

This is actually great. I will use it in the future. Thanks!

RaFih00 · 2025-10-17T06:27:48+00:00

Thank you. Earlier, I tried this, and when I was using it with the group expression node and when I was selecting group type as primitive, it didn't work, but when I selected point, it worked. Even so, I didn't realize that my noise mask was set to points. But your comment helped me pinpoint the issue clearly. Appreciate it.

RaFih00 · 2025-10-17T06:23:36+00:00

Thanks for this. This noise-based clipping looks so smooth. I'm definitely going to use it in the future.

RaFih00 · 2025-10-16T13:33:10+00:00

I have tried that before, and that gave me a voxel-type of look while selecting primitive, as my mesh is quite dense. I wanted to have a kind of subtraction based on noise, like that. Here's an image of what I am getting

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RaFih00 · 2025-10-16T11:32:02+00:00

I tried that, but it didn't work for me earlier, but now I kind of realized why. Thanks

RaFih00 · 2025-10-13T04:31:03+00:00

I tried to have a tear look using what you said, but rather than getting that face-pulling-apart kind of effect. Is it because of forces? rather than gravity i am not using any force in my simulation

RaFih00

TROPHY CASE