In this tutorial will cover how to create scratched and worn materials inside of houdini with redshift. Will cover how to mix materials and create mattes inside of houdini to reveal each material in a controlled and art directable way. The test model uses three parts of this pack from Vitaly. So if you wish to get the pack of mechanical pieces, please check out his incredible work and support him at: https://vitalybulgarov.com/3d-kitbash Some of the techniques here are inspired by this tutorial I found on greyscale gorilla / super thankful for their contribution online: https://www.youtube.com/watch?v=SFoWmGQadbk The project file can be found here: https://drive.google.com/file/d/1SipjW4oW2o-uuv9CwHx9yNRxUg6veIj2/view?usp=sharing

In this tutorial will cover how to paint geometry and isolate the parts that you paint. The isolated parts will be turned into points and will copy geometry onto this points. Will cover copystamping and manipulation of copy stamp variables such as variation, rotation and random scale. File: https://drive.google.com/file/d/1TMwhCpxKNdmieoqNEk1JFgrJQN-eWE2Y/view?usp=sharing

Will cover how to create the source, collision and forces that effect a sand simulation in houdini. Project File: https://drive.google.com/file/d/1wnPI-wpmFzs2EpIwI5GCraQ-4IlxLrWY/view?usp=sharing

In this tutorial will be covering how to turn your geometry into lines. Then we will study a couple of different ways that you can make this lines become more interesting, change the form and shape that they have. Good take aways from this tutorial are: - Using the Curve tool. This is a great way to animate curves covering your geometry in multiple different ways. - Applying and controlling the curve tool on high density meshes. - Using the scatter sop and how to randomize the position of the points as it covers the geometry. - Connect adjacent pieces : A very powerful tool for connecting the points through lines. Remember to change it to connect adjacent points. - Use a Vop to control the color of the geometry by applying a noise. Plug the P to the Noise and the noise to the Cd. - Then we isolat the red channel by applying a float to vector. - Group expression for isolating the red only. - Using a delete sop and making its points deleted based on the group we created, therefore deleting the reds or only the blacks. - Then we use a poly wire and turn this into vdbs. - We use the vdb - vdb smooth sdf and the Vdb convert to turn it back into polygons.

Lets have a closer look on a great way to setup your ZD in Redshift for houdini. Will cover how to set it up to work on your beuty, reshift rop and export it separately into your AOVS.

This is a quick start guide for some of the fundamentals and must knows for making awesome still images in redshift. Will be covering how to setup lights, materials, camera and render settings. Heres some of the key things we cover: - Rs Dome light : Make sure to add a dome map, disable from background and from viewport. - Rs lights - set to spherical and tick off the visibility - Uv quick shade : Test to make sure your uvs look how you wish before putting the material. because you cant visualize the diffuse once the material is on. - On the materials will be creating a redshift material, then you want to connect the rs material to the redshift material. - Rs Texture : Ensure its RS not just a texture so that redshift reads it. - Will be using an RS Bump - Reduce intensity to .1 or less - Rs AO plug into the overall - Rs color correct to tweak your textures - Rs Displacement plug into the displacement - Rs texture connected to roughness helps tweak the reflections - Redshift render in our OUT context - Make sure you have global illumination to brute force - On our OBJ context, tesselation is on and also our displacement - Refer to sec 16 to tweak your ZD, you need to enable this on the redshift cam parameters. - At min 19 I show you where to tweak your final render paramenters and increase the samples to get more detail form your images.

This is a quick tip on how to setup camera rigs in Houdini. Will cover how to draw splines and have the camera follow this path. In additional, will also learn how to creat nulls that control the rotation of your camera. File: https://drive.google.com/file/d/1S6UmYajABP5dJNibmA3ahxEz5RIy_GOm/view?usp=sharing

Learn to use magnet and metaballs do displace geometry in Houdini. You can use this on any kind of geometry. Drop down a magnet and geometry goes on the left and metaballs on the right. Use the parameters of the magnet to control the way the geometry is displaced. Therefore you can use the transform parameters or scale parameters to effect the the geometry. The intensity is based on the proximity of the metaball to the geometry. The weight and kernel functions will also effect the result you get. Refer to minute 5 to see how you can add multiple metaballs togther and utilize a trail to generate interesting animated deformations.

This is a tutorial inspired on a very successful commercial video made for Bonbonite. You can check out the projects result here: https://www.rmadesign.tv/rma-bonbonite-pin-gold On this series of tutorials will be covering how to create art directable and highly efficient liquid covering FX. Will teach procedural methods to gain full control over what parts of the geo are covered, how to make best use of the leading edges shape and uv mapping of liquids in Houdini. Part 1: https://www.youtube.com/watch?v=sRQAfWhmBYc&t=5s Notes from part 2: - The ray sop helps us adhere the geo to the surface. - We are using the normals to show the ray sop in which direction to adhere the surface to the geo. - Normals are controllable with wrangles like this: @N = {0,0,0} - Control the ray direction to get the curves adhere better from your cameras angle. - We can now control the control over the leading edges shape and the uvs are also working. - Delete by bounding box is great to isolate the part of the geo will be using, I use it to help optimize our scene. - $CR delete the red and allows to keep the black which is what will be surfacing with the VDB from particles. - Use a VDB combine to help us remove the points and liquid that penetrates the geo. - I am using booleasn as well to remove parts of the geo that the liquid should not be touching. So you can delete and shape your vdb to suit the shape you wish it to take. - The higher point count or geo, the more detail will have on our uvs.

This is a tutorial inspired on a very succesful commercial video made for Bonbonite. You can check out the projects result here: https://www.rmadesign.tv/rma-bonbonite-pin-gold On this series of tutorials will be covering how to create art directable and highly efficient liquid covering FX. Will teach procedural methods to gain full control over what parts of the geo are covered, how to make best use of the leading edges shape and uv mapping of liquids in houdini. Part 2: https://youtu.be/TvSg2NxveqY Notes from part 1: - First thing is to create the geo that will be covered in gold. - I used vdb techniques to smooth the geo and make it feel similar to the brands pin. - The uniformity of the logos geometry after vdb processing helps the splines find how to adhere to the geometry. - Its a good idea to cache the vdb geo so its quicker to view andwork with. - Were using a simple two point line which is being copied onto another line. - The line in which we copy this line we are resampling and applying noise to it. - ( 0:05:25:01 ) Chramp of size multiplied by curveu and direcion of the normal is controlled in wrangles. - We control the amount of drips that are being created with the noise here. - ( 0:09:16:02 ) Show syou what I mean by the size of the drips. - (0:09:32:09) How to apply noise to a line using vops. - ( 0:12:30:13 ) Shows how to setup the noise output on the pscale using vops. - To setup the uvs we need to use a time freeze and apply the uvs, then copy this attribute to our original setup. This grabs the uvs and maps to that frame, so it will cause the uvs to stretch and shring. This is explained further here ( 0:15:17:06 ) - After setting up uvs, you want to place the lines ontop of the logo. You can use a bend sop to help you make it feel like its following the geo closer. - I am then using a ray to have the geo adhere to the surfacer.

This is a breakdown that shows how to use vellum for creative cloth solutions. This is an example from a commercial done for a shoe company ( the video is not yet released so will be updating this tutorial once its out ) You will see how to prep your greo for vellum, create your cloth with controllable uvs and cache simualtions so its easy to work with when setting up lights and cameras.

This is a basic intro to wrangles and will cover how to control and understand integer, float and vector values. Will also introduce geometry spread sheets and how to manipulate variables. - Integer : Whole number - for example: 1, 2 , 3 - Float : Decimal numbers - for example : 1.1, 2.2, 3.3 - Vector : Three values - x y z - for example: { 1, 2, 3 } - To create our first attribute we will declare a value: i@atti = 1; // This means i stands for integer, @atti can be anything, the name you wish the attribute to have. - Use the geometry spread sheet to analize the input values on the wrangle. (0:04:09:16) - f@attf = 1.1; // This means float and the name of the attribute. You can see we will get decimals here ( 0:05:11:22 ) - v@attv = { 1, 2, 3 }; // This will get us the vector values on our geo spread sheet. Heres is the code: i@atti = 1; f@attf = 1.1; v@attv = { 1, 2, 3 }; // Note this double slash means its a comment so houdini doesent read this line of code. And houdini starts counting from 0, just like computer science. - Variable; int vara = 1; float varb = 1.1; vector varc = { 1,1,1 }; Examples for manipulating normals: @N = {1,0,0}; per vector manipulationf: @N.x = 1; and you can also do @N.x, @N.y, @N.z // Houdini understands a set of global attributes that have already been declared as integer, vector or floats. This are set values inside of houdini so we dont need to declare this global attributes. Example of global attributes: P = vector = point position N = vector = normal direction v = vector = velocity id = int = uniqu element ID pscale = float = uniform scale scale = vector = scale non uniform

Using Voronoi fracture and material fracture. - Scatter points onto the geo or points from volume. Points from volume preferred because it creates points inside of your geo. - Jitter the points so that you can scatter them randomly. - Plug the geo onto the right side of the Voronoi and points into the left. - Explode view will show you what you have and how its been fractured. - Voronoi breaks the geo based on the position of the points. The more points, the more pieces that you will have. - In the Voronoi, you can export different groups, such as inside or outside groups. (3:08) you can see an example of inside and outside pieces coloring here. - You can use this group for subdividing, different texture and other control. - Therese options to output different attributes as well. - Check out (4:47) to understand how to control the density in specific places of the amount of broken pieces. - Material fracture is the same thing but much more robust. - No need to use the points in the material fracture because it has the functionality already built inside. You can control the amount of points your scattering inside of the material fracture. (6:13) - The noise controls the position of this points, therefore it controls the variation of the position from the broken pieces. - You have the ability to add multiple layers of fracture. (7:30) It breaks this broken pieces into more small pieces. -The chipping will shatter them in slices / chipping adds a lot of detail. - Control the interior and edge detail to your material fracture. This adds a noise and allows you to create deformation of the geo inside pieces. (9:10) - The constraints allows you to glue pieces for rbd simulations. - Note you can fracture different kinds of default setups. Such as ready to go concrete, glass or wood. (9:10)

This are basic ways you can make the most out of the polyextrude node. Will cover the main parameters and good practices, such as grouping with extrusions so that you can make your setups procedural and efficient. - Make sure you are using polygons so that we have subdivisions to extrude. - Polyextrude is the node we will be using. - To extrude individual elements choose the divide info option below group. - Inset allows us to reduce the size of extruded face. - You can also twist and increase its subdivisions to create subdivided twisted geo. - Note how the same setup works with different geo. (1:54) - The extrude options gives us ability to extrude groups and output different parts. - Enable the output back to make sure your extrusions have closed back. (4:46) - The spline controls is awesome fro adjusting the thickness and twist based on rebuilt spline ramps. - Extruding based on groups is procedural and effective. Once grouped you can pick the name of the group inside the extrude sop.(4:23) - Extrusion based on curve will allow you to control the path of the extrusion. (7:02) - (7:47) Shows you an example of how to mix both the curve extrusion and the thickness ramp control together effectively. - (8:57) Here is how to mix extrusions with vdbs and an idea of how to make growing fx.

Learn what fit range means and the power of the curve u attribute. Will cover the reason for you to use fit range functions and the importance of remapping values. The curve sop is essential the same thing as splines in C4D. You can pick what kind of curve you want to have. We are using the nurves curve. Then converting nurves back into polygons and resampling it. - Resample: This is great for reorganizing the points on your curve, you can increase or decrease them, controlling the level of detail and smoothness. - Note that in the resample, we are also enabling the curveu attribute. (2:28) = The color sop lets us visualize what we are doing when ramping from attribute and writing down curve u attribute. (2:55) = Polywire, we are typing our curveu to control our width in the wire radius. So the curve u gives us a value that goes from white to black from one edge of the spline to the other edge. If we control our radius based on this value, we will get one side thick and thin on the other end. = @curveu*.3 : Will make the thicker side thinner. but it makes the entire thing thinner. We cant control the thickness in an easy way and thats why we use fit functions. - (4:28) Shows you a solution for resolving this issue. Creating attribute create: Name this attribute width and give it a value of @curveu - This tells Houdini that the value is going to be calculated based on our value, in other words curveu = width. - So then when we add the polywire and we type in @width it will give us the width based on the curve u. - Now on (5:17) We type the fit function on our attribute create value. So we know our current value is curveu, now we will control the curveu values to fit them like this: fit(@curveu, 0,1,.5,.3) - (5:25) Explains how the the fit function works. We state that we want to fit. then the parenthesis says that we wan the curveu attribute to be fit. And the first two numbers state to fit the 0 and 1 values. And the second two values state what we want the new values to be. - With this setup, you can now give the beginning and end of the curve a number you desire. - (6:21) Recap of process, quick follow for final result.