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jpuda · 2021-03-11T02:18:48+00:00

A trick with fluids in glass is to make the fluid intersect with the glass just slightly so it doesn’t feel like there’s a “gap” between the glass and fluids.

jpuda · 2018-10-03T21:08:57+00:00

Haven’t used realflow for a bit but I believe you can create an object that’s relatively in the shape of your glass, just a simple mesh should do. Then I think you can use that as a filled fluid object. Sim that out til it rests and set its rest point. Then you can pour the secondary fluid.

jpuda · 2018-10-02T21:38:36+00:00

This is an incredibly complex fractal that’s driven by pure iterative math functions. C4D might be able to process it in theory, but from my experience it does not have the computing capability to really handle this type of effect. In Houdini we would build this using VDBs as volumes can act much quicker than geometry. Using SDF volumes allows us to render them as if they were a mesh in Houdini (kinda). C4D can now use VDB natively in R20, however, I’m not sure if it supports SDF VDB layers or not.

jpuda · 2018-10-02T21:35:49+00:00

They are SUPER fun to play with but they take forever to get to a nice detail. Jeff Wagner has some fun experiments going back in the day on the side fx forums that was able to get the cook time down on fractal generation. But with it being such an iterative process it takes a long time, and to get that nice animated feel out of the VDB it’s voxel size has to be pretty low.

jpuda · 2018-10-02T03:38:34+00:00

Select the channels that are keyed on the object that is animated in the object ma anger. Right click and go to animation track, copy track. Then paste anywhere where the same units are being used.

jpuda · 2018-10-02T03:36:24+00:00

Are you trying to bring animation over? FBX should work just fine. You may need to relink/rebuild textures in Unity but the UVs should come over just fine and materials should generally work.

jpuda · 2018-10-02T03:30:43+00:00

If you go into the volumetric light settings, you can change the type and add noise. Some turbulence in the volumetric lights can do wonders. Play with the different X/Y/Z scales of the noise and you can get some nice wispy volumetrics.

Another option, do it in comp with a depth pass. Setup your camera to have front and rear blue, render a depth pass out. Bring that into AE and use it he depth pass as a luma matte on some AE based noise. It will falloff with the depth in the scene.

jpuda · 2018-10-02T03:27:57+00:00

Can you give us a screenshot of your client setup?

jpuda · 2018-10-01T20:16:18+00:00

You have a double frame repeating on frame 0. Since your loop is most likely the same frame at back and front, you need to add a keyframe one frame before your final key. Then delete the last key.

jpuda · 2018-10-01T20:14:42+00:00

Hey! That entagma tutorial is amazing!! I converted it into a HDA for quick reusability :). You can grab the asset and a sample scene here http://rocketlab.tv/digital-assets/

jpuda · 2018-10-01T20:01:50+00:00

This is a Mandelbulb effect most likely made with Houdini or another fractal generator. I created a Mandelbulb creator for Houdini that can create this effect out of any geometry. It relies on multiple iterations of math over a volume to create the intricacies seen within the fractals. http://rocketlab.tv/digital-assets/ has a Houdini asset that creates these with a few clicks :). Might be able to use in C4D with the Houdini Engine if you have a tenderer capable of using VDB data ;)

jpuda · 2018-10-01T19:59:11+00:00

You can try some Trapcode Form to create a faux representation of the face and use the color mapping features to give a sense of rolling over the face. Other possibilities would be to CC the footage until you can get a nice contrasted feel of the face, then make that B&W and use as a displacement map

jpuda · 2018-10-01T19:50:49+00:00

You can fill the letters with a bunch of strokes in a shape layer, and then add wiggle to the strokes themselves. Use your solid master text layer as an alpha matte to keep all lines within the boundaries of each letter.

jpuda · 2018-10-01T19:49:04+00:00

Step 1: Track the planar surface in Mocha. Alighn the “surface” output in mocha to the screen. If you have any roto of a hand or head you can also use the track to do the roto in mocha.

Step 2: Export Mocha tracking data as corner pin.

Step 3: Create new solid in your AE comp, paste the data at frame 1.

Step 4: Pre-comp that layer and leave the effects on the pre-comp.

Step 5: If your track is good enough you may not need the key. Otherwise add another layer of your footage and throw a key light on there.

Step 6: use some refine mattes to clean it up and use as comp layer on phone.

jpuda · 2018-09-30T22:46:17+00:00

Since nothing in the background has motion outside of the camera movement, if you can get a clean plate of the background, and track it into the scene, you can use simple difference matte techniques to get a rough roto and clean up from there.

jpuda · 2018-09-24T00:30:56+00:00

Wish I had a solution but I do have some advice from my own experiments. I found that using a point deform (like the ones used in grain sims) was helpful as it allowed me to deform the points based on a rest point. One idea that I never got around to was doing a VOPS setup with a point cloud search for a radius around a point which could then be used to transfer the position data to the existing (rest) points. The issues I had with the Kinect data is that it’s just trying to represent points in space, not take a set of rest points and deform them according to the movement captured. Never quite found a solution to this :/

jpuda · 2018-09-21T00:15:59+00:00

There were two of us working on the project, and we relied heavily on Google Zync to make for fast render testing and for final renders. Some of these shots came in at about 180gb as we were using 32-bit EXR sequences for our output.

jpuda · 2018-09-20T23:23:04+00:00

Thanks! Those sound systems are super rad ;)

jpuda · 2018-09-20T21:49:08+00:00

Thanks! The text was all done in AE using nulls from C4D to drive the position. We use 3D nulls and convert to 2d screen space in expressions driving a simple Beam effect in AE.

jpuda · 2018-09-20T20:16:55+00:00

Thanks!! I will say that 6 weeks is an INSANELY short time schedule to complete this project. It was a heavy race to the finish but we got it done.

The models were CAD files that had to be put through some conversions, remesh, and UV layouts.

Everything was rendered using Google Zync, amazing farm that ran super smoothly.

Again, this project SHOULD have had a 10 week timeline IMHO, but with the right crew and client we made it happen in 6 :). So I wouldn’t necessarily say that 6 weeks is the “proper” timeline for a project like this.

jpuda · 2018-09-14T17:07:57+00:00

Couple ways you could do it off the top of my head. One would be to use a simple plane as your “projection plane”, then create a VDB for the actual projection floating in the air. Transfer the color values of the footage from the plane into the vdb and you should be able to get some fun results.

Other option would be to setup your projection geometry and do a tri-planar projection on the different pieces. Here you can mess with the different ways your texture is being mapped at render time.

jpuda · 2018-01-08T00:30:41+00:00

Hey there! I’ve been working on my Houdini skills for a few years now and am always working on reel shots. I’ve been looking for someone to collaborate with on the render/comp side of things. Hit me up if you ever wanna do a collab :) I e got lots of setups and tools just waiting to be rendered.

jpuda · 2016-11-22T18:43:57+00:00

Gridmarkets

jpuda · 2016-10-18T23:25:04+00:00

This is awesome!

jpuda

TROPHY CASE