This Cd value can then be promoted to impact the shade of whichever material you decide to add to your creation. The Color SOP has multiple functions to randomize your color based on attributes, position, or range of values. Playing with your Cd attribute is also a quick way to randomize the color of your object. But it is heavily position based, so the ripple will change based on the position of your object. It's great for adding or faking a water effect. However, it adds an animated ripple across your object. The Ripple SOP is also good for this purpose as well. You can also use it to give your model variation to their shape before you add it to a sim or another piece of geometry. By adding an expression such as $FF/34 in one of the offset values, you can get the noise to move across your model. The Mountain SOP is always a great idea to add abstract movement to your model. This can help give variation to your model. By grouping only certain areas of your object, you can tell different modeling nodes, such as the bend SOP to only affect those areas. Selecting and grouping either the points, vertices, polygons, or edges of your model also helps. This is a fun and simple way of creating something weird, and at the same time seeing how you can manipulate your polygons to different shapes. The easiest way to make an abstract model look cool is changing the subdivision and mesh shape and then polywiring it. So those will always be good starting points for your effects.ĭon't be afraid to get a little VEX heavy. Most abstract effects are created out of lines, particles, and models. The only easy way to do this is to split the simulation into pieces. Sometimes attributes overlap or change values rapidly. Keep trying if something goes wrong, and see if a a vellum DOP works better than a vellum SOP solver.ĭon't be afraid to split a simulation into two or more parts. So don't get frustrated if something goes wrong. Vellum is a bit more complicated than you think. Too many ideas can lead to too many ideas to create the effect. When applying this statement to abstract effects, it's important not to be overwhelmed by ideas. But find the easiest way for the solution. Don't be overwhelmed by what you know, or what you think you have to do. Here is a few things I've picked up from him over the past year. I'll be sharing some of this knowledge, and I'll be doing this through out the article, not just in this section.įocus. He's probably one of the best complex simulation artists I know. He's worked on a few different blockbuster movies such as Wonder Woman, John Wick 3, and X-Men: Dark Phoenix. He's been working in the industry for a solid three years now. :)īefore writing this article I sat down and talked to one of my close friends, and a fellow Houdini artist. I might make a part two to this article, so stick around. So let's talk about some easy abstract effects we can create, and then some more difficult ones. They most likely leaned away from abstract work, as it's more harder to teach and requires more complex concepts. If you ever went to a VFX school then they probably taught you how to focus on destruction work, particles, or pyro effects. Unless it's clouds. :)įor a lot of artists it's the opposite. For me, I love abstract work, but sometimes struggle when it comes to physics based, or reality based work. Building abstract effects can be either really easy, or super hard depending on which type of artist you are.
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