tag:blogger.com,1999:blog-10714881699579133412024-03-13T10:48:08.979+08:00Patrick's VFX BlogA blog about my journey into the working world of Visual Effects.
<br><br>
Read about my music journey here: <a href="http://journeyintomusic.blogspot.com/">http://journeyintomusic.blogspot.com/</a>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.comBlogger203125tag:blogger.com,1999:blog-1071488169957913341.post-26081297518895756992022-06-12T04:12:00.004+08:002022-06-12T04:12:39.202+08:0020220612 NOT Crowd, But Points Steering<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrNVd47IWTySRKhNUAKVfRWH2k-w2PKPxYflypuHPCz207rhp05NnSAuolJ01O_mH2-r8eMU4i01FoHXAoNTTtmideNOqFtIedCHMCtdvqoCN1ddsA1EZR3zKudty3sL1MY9wcMKeIi6vciXQKQQVX6cFd9MWamigRfkrnhbu0_ON0XoIxU3wFKVRLEA/s1619/20220612_h_solverNoiseSteerPoints_v001_01_still.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="606" data-original-width="1619" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrNVd47IWTySRKhNUAKVfRWH2k-w2PKPxYflypuHPCz207rhp05NnSAuolJ01O_mH2-r8eMU4i01FoHXAoNTTtmideNOqFtIedCHMCtdvqoCN1ddsA1EZR3zKudty3sL1MY9wcMKeIi6vciXQKQQVX6cFd9MWamigRfkrnhbu0_ON0XoIxU3wFKVRLEA/w640-h240/20220612_h_solverNoiseSteerPoints_v001_01_still.png" width="640" /></a></div><br /><p></p><p><span style="background-color: white; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 16px; white-space: pre-wrap;">This is NOT a crowd simulation. Merely a Houdini practice in steering points around with no collision avoidance, speed variation, or feet-sliding checks whatsoever. Yet somehow it is intriguing to watch after I've set it up ;) I'll post updates if I decide to improve it.</span></p>
<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="564" src="https://player.vimeo.com/video/719436816?h=0e131fe6b6" width="640"></iframe>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-55279446084631893622022-05-29T04:09:00.000+08:002022-06-12T04:10:23.723+08:00My Attempt at the Matrix Code Falling Effect<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOQq_dNskO_WNM0111_Puz5IK_FqaP-ZNFnrXFVi0glj2hNq9dtSJIvtiqhsfYQREAePE6vgMVIzEg9_vn3FMbh0WMDqjn8C3JVfJVAroPp_sY7BVfTn_tJsK4ClevFAeT2JfAk7K-HtJ7SzOc7PaOLg0nrFGgVgtOI23bugXzhYxeEJ4eUQn93R1skg/s1920/20220525_h_matrixTry_v006_01.0297.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOQq_dNskO_WNM0111_Puz5IK_FqaP-ZNFnrXFVi0glj2hNq9dtSJIvtiqhsfYQREAePE6vgMVIzEg9_vn3FMbh0WMDqjn8C3JVfJVAroPp_sY7BVfTn_tJsK4ClevFAeT2JfAk7K-HtJ7SzOc7PaOLg0nrFGgVgtOI23bugXzhYxeEJ4eUQn93R1skg/w640-h360/20220525_h_matrixTry_v006_01.0297.jpg" width="640" /></a></div><br /><div>Here is my take on the Falling Code effect in the style of The Matrix. I am 23 years late to the game. If you asked me a year before if I would be able to achieve this effect, I wouldn't believe I would be able to achieve this without looking up a tutorial, even when I was already using Houdini for a good number of years. But I can now say I am able to achieve a decent set-up with some way to control various aspects of the effect, all on my own :)</div><div><br /></div><iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="564" src="https://player.vimeo.com/video/714796691?h=d6205eb8e8" width="640"></iframe>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-61892493890184643442022-03-22T11:16:00.002+08:002022-03-22T11:22:00.390+08:00Alembic Cache Export and Import in May<div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5BtytpC0by5seaLQieJ66-9Y4nAfpUxXjLF4YLk-FAPkaID2Dq5LlQOzDW8rh7BVUu9zzWTVtyEdLb1ZTJYLaHNsJIwnO897ZRtyQOzB0ZH26SZfjWRG5RAg5HsCqg1UH5FY4x5qYD5TNvf0o2nL7x_5ij2aTU2tyzrni3awGhpnVqc2igY-1DyngaA/s1922/2022-03-22%2000-21-21_edited_still.PNG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: #eeeeee;"><img border="0" data-original-height="761" data-original-width="1922" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5BtytpC0by5seaLQieJ66-9Y4nAfpUxXjLF4YLk-FAPkaID2Dq5LlQOzDW8rh7BVUu9zzWTVtyEdLb1ZTJYLaHNsJIwnO897ZRtyQOzB0ZH26SZfjWRG5RAg5HsCqg1UH5FY4x5qYD5TNvf0o2nL7x_5ij2aTU2tyzrni3awGhpnVqc2igY-1DyngaA/w640-h254/2022-03-22%2000-21-21_edited_still.PNG" width="640" /></span></a></div><span style="color: #eeeeee;"><br /></span><div><span style="color: #eeeeee;"><br /></span></div><span style="color: #eeeeee;"><iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="270" src="https://player.vimeo.com/video/690777553?h=800fc5bc65&portrait=0" width="640"></iframe>
</span><p><span style="color: #eeeeee;"><a href="https://vimeo.com/690777553" style="font-size: small;">Alembic Cache Export and Import in Maya</a><span style="font-size: x-small;"> from </span><a href="https://vimeo.com/patrickwoo76" style="font-size: small;">Patrick Woo</a><span style="font-size: x-small;"> on </span><a href="https://vimeo.com" style="font-size: small;">Vimeo</a><span style="font-size: x-small;">.</span><br /><br /><a href="https://www.youtube.com/watch?v=ugMOBCPpe4w" rel="nofollow" target="_blank">Watch this on YouTube.</a></span></p><p><span style="color: #eeeeee;"><span face="Helvetica Neue, Helvetica, Arial, sans-serif"><span style="font-size: 14px; letter-spacing: 0.16px;">Here's a new video I've created on my channel. This video shows how I export and import models and animation to the Alembic format (.abc). It also shows how imported Alembic files can have some flexibility in terms of offsetting animation timings, playback speed and cycling options</span></span><span face=""Helvetica Neue", Helvetica, Arial, sans-serif" style="background-color: white; font-size: 14px; letter-spacing: 0.16px;">.</span></span></p>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-3109478730132445592022-03-07T02:14:00.005+08:002022-03-07T02:19:34.319+08:00My Tutorial Appeared in The Corridor Crew's Video<div>One of my viewers informed me that a few seconds of my <a href="https://www.youtube.com/watch?v=f9yg3jn9eXY&lc=Ugw4y40XdFsIrN03net4AaABAg" rel="nofollow" target="_blank">Maya Expressions part 06 - Noise</a> video got to appear in one of their videos.</div><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ocNxd2xDr38" title="YouTube video player" width="560"></iframe>
<p>I love videos from The Corridor Crew. They have excellent content that informs and entertains industry professionals and lay-people alike. <br /><br />It is an honour that they stumbled on my videos, and an honour to have my few seconds of fame on their show. :)</p><p>If you are really interested, My tiny moment of fame happens 10 minutes 9 seconds into the show.</p>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-13713568363843020302021-12-14T01:23:00.007+08:002021-12-14T01:26:53.345+08:00Houdini Pyro Colour Advection<div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh5Z4JBXPetZqTT_DuaE6NArF_3G_y8OnFEClyyyvlSpZD-X-bFjoGWwcEcB95Y6V_ZOL6lYRCNPlqLdxjdyC0eKI-VW07D-C46C83GNae24wkuoBI5r8pzN6CwAgVvmY0oqkqiLF_DNM_NsOouTNPOLrNur0zNCycRI38DiZuzp6_ftIA69ktWKJHkRw=s2560" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="2560" height="270" src="https://blogger.googleusercontent.com/img/a/AVvXsEh5Z4JBXPetZqTT_DuaE6NArF_3G_y8OnFEClyyyvlSpZD-X-bFjoGWwcEcB95Y6V_ZOL6lYRCNPlqLdxjdyC0eKI-VW07D-C46C83GNae24wkuoBI5r8pzN6CwAgVvmY0oqkqiLF_DNM_NsOouTNPOLrNur0zNCycRI38DiZuzp6_ftIA69ktWKJHkRw=w640-h270" width="640" /></a></div><p><iframe allowfullscreen="" frameborder="0" height="400" src="https://player.vimeo.com/video/655066290?h=0b3cc2b91d" title="vimeo-player" width="640"></iframe></p><div><div>I've always wanted to do this! Advecting swirling colours in Houdini used to require quite a bit of preparation constructing the volumes, but not any more with the volumeRasterizeAttributes that can create volumes from mixed data types (float, vec3, etc). </div><div><br /></div><div>This is a viewport flipbook, not rendered</div><div><br /></div><div>For some reason, I find myself watching the yellows and greens every time.</div></div>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-8297064275474432142021-10-22T00:43:00.009+08:002021-11-07T03:17:17.326+08:00This Blog is Listed Top 60 VFX Websites to Follow in 2021<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNy6xeA94IrFR7OHnnp-Tr19A5fi_pVcr_R9jutWBz-sFmgY1qADqM4al3GSKYq8YdIZCCxXeNXKPPWx2_-GFTfnUKTLcUVskVBpoIE4Y2laKT0URKbThK4O0inTubdZ9IomG5ExprgJSk/s1282/patrickVfxBlog44thPlaceIn2021.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="533" data-original-width="1282" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNy6xeA94IrFR7OHnnp-Tr19A5fi_pVcr_R9jutWBz-sFmgY1qADqM4al3GSKYq8YdIZCCxXeNXKPPWx2_-GFTfnUKTLcUVskVBpoIE4Y2laKT0URKbThK4O0inTubdZ9IomG5ExprgJSk/w400-h166/patrickVfxBlog44thPlaceIn2021.PNG" width="400" /></a></div><br /><p>One of my students who widely crawls the Internet (<a href="https://www.linkedin.com/in/shivam-upadhyay-bb508a187?miniProfileUrn=urn%3Ali%3Afs_miniProfile%3AACoAACv4wjkBjb52bjG1fQCwgKau1FSjH-k-CeU&lipi=urn%3Ali%3Apage%3Ad_flagship3_search_srp_all%3BJDeSV0FsSuy70eecYaKrLA%3D%3D" rel="nofollow" target="_blank">Shivam Upadhyay</a>, that's you!) pointed me to this website: <a href="https://blog.feedspot.com/vfx_blogs/">https://blog.feedspot.com/vfx_blogs/</a></p><p>Written on Oct 17 2021, this article lists my blog as 44th of the top 60 websites to follow in 2021. </p><p>I am super honoured to be listed together with the top personalities online such as Allan McKay, VFX Soldier, cmiVFX, Andrew Kramer of Video Copilot, etc.</p><p>This pleasant surprise serves to motivate me and to keep my passion alive. Thank you for reading my articles and following this blog for the years I've been writing. <br /><br />Here's to many more years of writing, learning and sharing!</p><p></p><div class="separator" style="clear: both; text-align: left;"><br /></div><p></p><p>Update 07 Nov 2021:</p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvTdla0WYZKfrDN3EndvoZuaFJGY-5hpzfMrSygmYwqUsJqIGUNnGpgvsceWdQoPq2irRKxT3UvaB_WETVSxCtdqXiX3VABgmPxKom6-uHtezRVKsmhtSWYYhATf_aELOvwK7SuAZjRjxI/" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img alt="" data-original-height="328" data-original-width="983" height="67" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvTdla0WYZKfrDN3EndvoZuaFJGY-5hpzfMrSygmYwqUsJqIGUNnGpgvsceWdQoPq2irRKxT3UvaB_WETVSxCtdqXiX3VABgmPxKom6-uHtezRVKsmhtSWYYhATf_aELOvwK7SuAZjRjxI/w200-h67/image.png" width="200" /></a></p><p>The volatility of the ranking shocked me. According to that same page, my blog is now ranked 29th on the same page! It is a pleasant surprise, and I am dead certain it has nothing to do with my popularity or publicity skills. The ranking exceeds pages of wildly popular names like The Gnomon Workshop, Video Copilot and Houdini Videos blog. This is pure fluke I would say! Again for people who follow and keep their eyes on my blog, I am deeply humbled and encouraged. Thank you again.</p>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-2228700425457032022021-06-21T00:50:00.003+08:002021-06-21T01:12:14.864+08:00Houdini Ocean Spectrum on Toy<div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMGaGw5PoLbATytjUkUv_hkXkclOJ9nUwwLle4608VRJBR6C7BWmABqGg6K_Ftn6QnzAhtDIYcN74kTx62jBOKsTAVdEF9jcz75VhIBDiElrne9B6Mrlge7ZJT1BymbpfOwN2x6ZLxWsjY/s2048/000239.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="2048" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMGaGw5PoLbATytjUkUv_hkXkclOJ9nUwwLle4608VRJBR6C7BWmABqGg6K_Ftn6QnzAhtDIYcN74kTx62jBOKsTAVdEF9jcz75VhIBDiElrne9B6Mrlge7ZJT1BymbpfOwN2x6ZLxWsjY/w640-h360/000239.png" width="640" /></a></div><div><br /></div><iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/565273611" width="640"></iframe>
<p><a href="https://vimeo.com/565273611">Houdini Ocean Spectrum on Toy</a> from <a href="https://vimeo.com/patrickwoo76">Patrick Woo</a> on <a href="https://vimeo.com">Vimeo</a>.</p><p><a href="https://www.youtube.com/watch?v=q9ZX5hP8LHk" rel="nofollow" target="_blank">Watch this on YouTube</a> too!</p><p>Here's my latest test in Houdini. In this test, I manage to apply Houdini's Ocean Spectrum a non-planar shape.</p><p>The ocean spectrum in Houdini allows the artist to define parameters that describe an open-ocean surface. With these settings, Houdini can generate a very natural-looking ocean surface without the expensive simulation time (this is much like how Houdini's Heightfield is implemented). Since this tool was meant for an open ocean surface, it mainly works with a flat grid by adding displacement to it.</p><p>If we plug a non-planar object to evaluate this spectrum with the OceanEvaluate SOP, it results in a streaking projection downwards in the Y-axis. Also, the faces that face towards negative Y will get an inverted displacement pattern of that ocean spectrum.</p><p>In this test, I derive a set-up that overcomes the planar nature of the projection and the negative pattern caused by the same projection process. The output of a single ocean spectrum can now achieve a continuously displaced ocean across the surface of a complex object.</p><p>This is then rendered with Mantra and finally composited in Nuke.</p>
<p> </p>
Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-2823485292345766052021-06-07T01:47:00.002+08:002021-06-07T01:48:47.076+08:00Houdini Boxes Rolling Set-up<p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe_YqGxKXKaZP1bJ6ZZwKIpFr-0cvytuYZhg1uQhm4oAVaNEVQ-1wXhhNdNhGQykSFXLY2Yj0tHtMInDA16K6VfvepW8wQvGM-2S6MGVieyySX0ve0Wtwy0Ojy5371hPsOzUvxpM8X_Ogf/s1281/H_cubeRoll_v001_01_snapshot_00.29.250.png" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="584" data-original-width="1281" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe_YqGxKXKaZP1bJ6ZZwKIpFr-0cvytuYZhg1uQhm4oAVaNEVQ-1wXhhNdNhGQykSFXLY2Yj0tHtMInDA16K6VfvepW8wQvGM-2S6MGVieyySX0ve0Wtwy0Ojy5371hPsOzUvxpM8X_Ogf/w640-h291/H_cubeRoll_v001_01_snapshot_00.29.250.png" width="640" /></a><br /></p>
<iframe allowfullscreen="" frameborder="0" height="292" src="https://player.vimeo.com/video/559567534" title="vimeo-player" width="640"></iframe>
<div><div><br /></div><div>This is a Houdini implementation of my previous <a href="https://patrickvfx.blogspot.com/2021/06/rolling-boxes-set-up-in-maya.html" rel="nofollow" target="_blank">Maya Boxes Rolling Rig</a>.</div><div><br /></div><div>In this set-up, I also switched in a Rubber Toy to see how it would look.</div><div><br /></div><div>The path of travel was created with a Solver SOP that advances the position with a noise animated over time.</div><div><br /></div><div>Another Solver SOP handles the rotation of the box/rubber-toy, and driven by the accumulated distance travelled.</div></div>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-24467143260497666442021-06-04T23:09:00.002+08:002021-06-04T23:09:20.729+08:00Houdini Network Node Flags<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEtYyq3LDJUl6rdUvl8t0U6fgbKCyUSiVMnYFHW8yoKtr708sw6XMf0zq7UKZ75qAonFMODakHuEZC8zfhjlrwhS0jgEmhqjxoL5TBosm7WP0xegP6evqW1Dy7jHjxXjpIm6nWGFPqy8gp/s2092/h_displayFlags_v001_01_edited_snapshot_edited.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="883" data-original-width="2092" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEtYyq3LDJUl6rdUvl8t0U6fgbKCyUSiVMnYFHW8yoKtr708sw6XMf0zq7UKZ75qAonFMODakHuEZC8zfhjlrwhS0jgEmhqjxoL5TBosm7WP0xegP6evqW1Dy7jHjxXjpIm6nWGFPqy8gp/w640-h270/h_displayFlags_v001_01_edited_snapshot_edited.png" width="640" /></a></div><br /><div><br /></div><iframe allowfullscreen="" frameborder="0" height="270" src="https://player.vimeo.com/video/559036670" title="vimeo-player" width="640"></iframe><div><a href="https://youtu.be/1FkB3hPeQGw" rel="nofollow" target="_blank">Video is also on YouTube here</a>.</div><div><br /></div><div><div>In this video, I talk about a basic feature working with Houdini: flags in network nodes. These are the display, render, template and template-shaded and lock flags.</div><div><br /></div><div>I also show how I use them in two working situations.</div><div><br /></div><div>The most note-worthy flag is the lock flag. This helps to freeze the evaluation of upstream nodes for faster evaluation of nodes downstream.</div><div><br /></div><div>A special shout-out to Kin Hoeng from Voodoo Visual (https://voodoo-visual.com) who contributed to the asset in the later demonstration.</div></div>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-11790392373489589742021-06-01T15:56:00.007+08:002021-06-01T16:10:12.086+08:00Rolling Boxes Set-up in Maya<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJLQ5QHzaIGYWgL2gd3-FUUO6nk-uuw79k_ZCnk_2aFmgsq2Wm7Rlmgga0DP-7u8tzEz7z9ox8c5l5SKcSXY_4h7QW9xrwwvtX3p3bDstQ4QhcOPas5VRM20acW2azm54f57Uoqrm-qil6/s2048/boxRollRig_v003_01.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1402" data-original-width="2048" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJLQ5QHzaIGYWgL2gd3-FUUO6nk-uuw79k_ZCnk_2aFmgsq2Wm7Rlmgga0DP-7u8tzEz7z9ox8c5l5SKcSXY_4h7QW9xrwwvtX3p3bDstQ4QhcOPas5VRM20acW2azm54f57Uoqrm-qil6/w400-h274/boxRollRig_v003_01.png" width="400" /></a></div><br /><p><br /></p><p><iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/557471165" width="640"></iframe></p><p><a href="https://vimeo.com/557471165">Maya Boxes Rolling Rig</a> from <a href="https://vimeo.com/patrickwoo76">Patrick Woo</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
<p><span style="font-family: Source Serif Pro, serif;">Here's my latest crazy experiment in 3D!</span></p><p><span style="font-family: Source Serif Pro, serif;">The principles and techniques behind this deceptively simple-looking rig took years to click together for me. This is more so from the perspective of optimisation and simplicity of the implemented solution in my mind.</span></p><p><span style="font-family: Source Serif Pro, serif;">The paths of the boxes are pre-animated via a path constraint. But I make sure the boxes are pivoting with their corners planted on the ground, that they are not sliding. </span></p><p><span style="font-family: "Source Serif Pro", serif;">Students who have attended my rigging classes will understand the tedious process of manually rigging a "rolling cube" by unfolding it from corner pivots.</span></p><p><span style="font-family: Source Serif Pro, serif;">The main technique used here is very different. It treats the box more like a rolling wheel than a pivoting box. I may create a tutorial for this in the coming months.</span></p>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-67875233844436576152021-04-30T22:45:00.002+08:002021-04-30T22:49:06.436+08:00Houdini Cubes Icosahedron Formation<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/UXxUj0xD_c0" title="YouTube video player" width="560"></iframe></p><div>Watch this on <a href="https://youtu.be/UXxUj0xD_c0" rel="nofollow" target="_blank">YouTube</a> and <a href="https://vimeo.com/543100190" rel="nofollow" target="_blank">Vimeo</a>.</div><br /><div>Here's my latest test: directable and procedural cubes transiting from a shape to another in Houdini. It is mainly a VEX-driven set-up.<p>This is part of a research effort to determine the viability of an idea for my student's project. Before I began I was wondering if I was able to achieve this at all. Even though it is not perfect in its present form, I am quite happy with the result and confident that I can help to guide the student in her efforts.</p><p>#houdini #vex #motiondesign #procedural</p></div>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0tag:blogger.com,1999:blog-1071488169957913341.post-60233623457125116022021-03-31T02:24:00.004+08:002021-04-02T02:49:40.932+08:00Jooble.org - A Jobs Platform for VFX Artists<p><span style="font-size: 18.6667px; white-space: pre-wrap;">I am excited to share a visual effects jobs platform that has been recommended to me! </span></p><p><span style="font-size: 18.6667px; white-space: pre-wrap;">Check out <a href="https://jooble.org/jobs-vfx">Jooble.com</a>!</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://jooble.org/jobs-vfx" rel="nofollow" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="323" data-original-width="475" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDNFSaVMJQMAs5FHcLaOs2pgCuO1O0fNBAW-aoDdLCBOSbvuBV9aqnoKvQ9mdNkdEuOzj3unuX8Jgkt4KRgibSaR7ljRGmfuGjCu1CA3pf8UjbWEOAWsAqc0QhTLZLhkJPRmX5-3AVUxUa/s16000/jbvfx.jpg" /></a></div><br /><p></p><div><span id="docs-internal-guid-0c866b75-7fff-4f96-26e8-517d812e36a3"><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt;"><span style="font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Searching for jobs online is a trend that continues to grow. Large resources with an audience of millions, such as Jooble.org, are most effective in this case. They provide a huge database of offers and simplify the search through convenient tools, thereby connecting the job seeker and the employer. Jooble currently hosts job opportunities in 71 countries. This is especially relevant for freelancers seeking international connections and opportunities.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt;"><span style="font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Jooble’s key features</span></p><ul style="margin-bottom: 0px; margin-top: 0px; padding-inline-start: 48px;"><li aria-level="1" dir="ltr" style="font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Collecting jobs from resources all over the world. Thus, in one place collected offers from numerous online sites, including even regional and city websites, which significantly saves time on searching.</span></p></li><li aria-level="1" dir="ltr" style="font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Excellent usability in both desktop and mobile versions. There is no unnecessary information on the site that can be confusing. First of all, the owners monetize the platform from the traffic sent to the sites of their partners, so it is important to them that the user finds what he is looking for.</span></p></li><li aria-level="1" dir="ltr" style="font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt;"><span style="font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Advanced features include filters narrow search results according to the user's requirements.</span></p></li></ul><p dir="ltr" style="line-height: 1.38; margin-bottom: 10pt; margin-top: 0pt;"><span style="font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In fact, Jooble can be thought of as a search engine that displays only jobs in the results. With filters, you can easily sift through unnecessary positions, selecting only what is relevant to you. Everything is absolutely free and convenient, collected in one place, so you don't have to jump through dozens of resources.</span></p><div><span style="font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div></span></div>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com2Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-75979804544581652972021-03-23T01:08:00.005+08:002021-03-23T01:08:56.331+08:00When Darkness Stares Back Rock Eye<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/yv7ZUPFcQOk" title="YouTube video player" width="560"></iframe>
<p>This piece is based on the still image I created for my track "When Darkness Stares Back": <a href="https://soundcloud.com/patrickwoo/patrick-woo-when-darkness-stares-back" target="_blank">soundcloud.com/patrickwoo/patrick-woo-when-darkness-stares-back </a></p><p>Here I used a video to displace vertices. In the finished version I also added further rock maps displacement, shader tweaks, tracked light sources, re-timing of footage and render, and further compositing processes to augment my renders.</p>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-16713682770646000362021-02-28T21:01:00.005+08:002021-02-28T21:02:36.411+08:00Houdini Assembly Per Piece Animation for Reel Breakdown<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHNnKkDxuZDYLbba4UFK7O4mz7YkTyvkR8pOA9mMu7s-IZCveSRUYZw0uoKs_IPNwQVrcNOueUz90TmovvkrlP-JRtcr1uZXSslctJwQf0EpxnaOBBvT08G5bb5-ErRKCSM4m1nH_JZ0_z/s2557/weaponPerPcDropdown_v001_01_snip.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1026" data-original-width="2557" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHNnKkDxuZDYLbba4UFK7O4mz7YkTyvkR8pOA9mMu7s-IZCveSRUYZw0uoKs_IPNwQVrcNOueUz90TmovvkrlP-JRtcr1uZXSslctJwQf0EpxnaOBBvT08G5bb5-ErRKCSM4m1nH_JZ0_z/w640-h256/weaponPerPcDropdown_v001_01_snip.PNG" width="640" /></a></div><br /><p></p>
<iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/517088333" width="640"></iframe>
<p><a href="https://vimeo.com/517088333">Houdini Assembly Per-Piece Animation for Reel Breakdowns</a> from <a href="https://vimeo.com/patrickwoo76">Patrick Woo</a> on <a href="https://vimeo.com">Vimeo</a>.</p><p><br /></p><p class="first" style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;">This is my attempt at recreating the effect of pieces assembling themselves in a VFX reel breakdown.</p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;">In the drop-down version. The points were sorted along the X-axis. Further, using an ExplodedView SOP, I can sort the pieces by the distance which each piece get exploded from the centre. With that sorting order, I am able to achieve the re-assembly style of "Centre Out", and "Outside In".</p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;">The core is done mainly in a point wrangle node. As shown in the beginning, I have controls for start frame, interval (in frames) between each piece and animation duration for each dropping piece. There is also a ramp to control the speed of each piece as they approach their final position.</p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;">Rifle asset is modelled by Matija Švaco and downloaded from <a href="https://sketchfab.com/3d-models/sci-fi-sniper-rifle-free-2d1bef3aa9ae47c5aee26cc3f032ab31" rel="nofollow noopener noreferrer" style="appearance: none; background-color: transparent; border: 0px; box-sizing: border-box; color: #00adef; cursor: pointer; display: inline-block; font-size: inherit; line-height: inherit; padding: 0px; position: relative; text-decoration-line: none; transition: all 0.1s ease-in-out 0s;" target="_blank">sketchfab.com/3d-models/sci-fi-sniper-rifle-free-2d1bef3aa9ae47c5aee26cc3f032ab31</a></p><p style="background-color: white; box-sizing: border-box; color: #1a2e3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 0.875rem; letter-spacing: 0.01rem; line-height: 1.42857; margin: 0px 0px 1.25rem; max-width: 44rem;"><br /></p>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com1Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-50068285130793405172021-02-21T22:49:00.002+08:002021-02-21T22:49:14.980+08:00Maya Python tool: CopyPasteCurvePoints<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3xylrx8SmQfcQ2OIro3_SSZOhre3GXNHA6nA7IlYkucXEQh-3Q3RTZ2bs9nuTBkpYhy3UBlWXl4RjcSWRRjfu3n9pq4591YPLRkBs3Ep__C0LBXIf-_P3TlgNzg4wz7qEJM2j6x5vi9g9/s1378/copyPasteCurvePoints_v003_03_01_headerImage.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="758" data-original-width="1378" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3xylrx8SmQfcQ2OIro3_SSZOhre3GXNHA6nA7IlYkucXEQh-3Q3RTZ2bs9nuTBkpYhy3UBlWXl4RjcSWRRjfu3n9pq4591YPLRkBs3Ep__C0LBXIf-_P3TlgNzg4wz7qEJM2j6x5vi9g9/w640-h352/copyPasteCurvePoints_v003_03_01_headerImage.png" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><br /></div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/cJR9NMgTkVg" width="560"></iframe><div><br /></div><div><div>Here is a tool I wrote a while back. It grabs the points from a source curve and copies the position of those points to a new curve, or an existing target curve. The points receiving the pasted positions can be configured to start from any index on the target curve.</div></div><div><br /></div>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-28123284480360619752021-02-13T22:35:00.018+08:002021-02-21T22:44:33.247+08:00Durian Animation<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY7ZBL_qCJndGF1B4NRDdwlQaxXbs6jjGZDWM78FeUleeyLqvf-TqZhpRxllJo-Eq7bbjCB3FX2_xLtastOwiWbUNXcwlkJdop6mDiWC_EJMEJbMQLCvTmeZGpstRKp6mx69eJzMNveHjA/s1923/durianAnim_v001_05_03_headerImage.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1923" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY7ZBL_qCJndGF1B4NRDdwlQaxXbs6jjGZDWM78FeUleeyLqvf-TqZhpRxllJo-Eq7bbjCB3FX2_xLtastOwiWbUNXcwlkJdop6mDiWC_EJMEJbMQLCvTmeZGpstRKp6mx69eJzMNveHjA/w640-h360/durianAnim_v001_05_03_headerImage.PNG" width="640" /></a></div><br /><div><br /></div><iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/512013909?portrait=0" width="640"></iframe>
<p><a href="https://vimeo.com/512013909">Houdini Procedural Durian Animation</a> from <a href="https://vimeo.com/patrickwoo76">Patrick Woo</a> on <a href="https://vimeo.com">Vimeo</a>.</p><p><br /></p><p><span color="rgba(0, 0, 0, 0.75)" style="background-color: white; font-family: "Source Serif Pro", serif; font-size: 20px;">Here is a rendered durian animation. The procedural model was originally static, built for my students' class assignment, I went to animate, light and render it. Rendered in Houdini Mantra.</span></p>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com2Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-82636742178883671322021-01-02T01:43:00.005+08:002021-01-02T02:02:23.339+08:00Maya Expressions Part 07 - Sine and Cosine Functions<p><iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="270" src="https://player.vimeo.com/video/496240323" width="640"></iframe></p><div>Click here for the <a href="https://youtu.be/bEWwwyhkpJo" rel="nofollow" target="_blank">Youtube version of this video </a></div><div><br /></div><div><span style="background-color: white; font-family: "Source Serif Pro", serif; font-size: 20px;">Happy new year to one and all!</span></div><div><span color="rgba(0, 0, 0, 0.75)" style="background-color: white; font-family: "Source Serif Pro", serif; font-size: 20px;"><br /></span></div><div><span style="background-color: white; font-size: 20px;"><span style="font-family: Source Serif Pro, serif;"><div>Continuing my video series of Maya Expressions, we step into sine and cosine function curves.</div><div><br /></div><div>After talking about random noise functions in the last 2 videos, we talk about the predictable and repeating sine and cosine functions. </div><div><br /></div><div>These beautiful curves are derived from trigonometry rules relating to triangles and circles. With these functions, we open the door to a wide variety of use-cases where we can drive our objects and their attributes in animation. I will also show a few examples in the video.</div><div><br /></div><div><br /></div></span></span></div>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-42686672829947740622020-12-21T10:53:00.006+08:002020-12-21T10:53:53.207+08:00Nuke's Colour Selection Scheme<div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">In these last months I've had the opportunity to become more involved in compositing in Nuke. This involves a lot of working with colours. One of the things that had me curious for while was the sliders on the right side of the standard nuke colour picker. </span></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-KUofuanmOGsiYqKND_v_hFlEMcLrrE_yVnBeQRxoOxU6PKNGXtyux9-VlH7vDAZfvQmeUiI08sU23yTdYkb8iVlO9GzdfHiT8wSaswWGN2NRbH_LhIBYA6xmclBXDFZU4rB9IGMj2HMV/s579/nuke_colour_picker.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="147" data-original-width="579" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-KUofuanmOGsiYqKND_v_hFlEMcLrrE_yVnBeQRxoOxU6PKNGXtyux9-VlH7vDAZfvQmeUiI08sU23yTdYkb8iVlO9GzdfHiT8wSaswWGN2NRbH_LhIBYA6xmclBXDFZU4rB9IGMj2HMV/s16000/nuke_colour_picker.PNG" /></a></div><br /><div class="separator" style="clear: both; text-align: justify;">I am talking about the vertical sliders on the right of the image above. </div><div class="separator" style="clear: both; text-align: justify;">After investing some time in reading the Nuke documentation, I came to the <a href="https://learn.foundry.com/nuke/8.0/content/getting_started/using_interface/using_color_controls.html" rel="nofollow" target="_blank">appropriate page</a> that indicates that this is the TMI colour scheme that allows the user to pick a colour by colour temperature. </div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Nuke also allows for a more comprehensive colour picker by ctrl/cmd-clicking on the colour wheel icon (to the left of the "4" icon on the right of the image above). Nuke calls it the alternative colour picker. Activating it this way will create a floating colour picker panel that you can interact with.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT2U4fp21KE8kuYiA0v95IkyRB8zHnmkjXn_UT-CALGdwTm4mr_EJtUDiXGwih-BSENoO-W37Rr0M9YWF_lAZy1k45sPvzvZAoIrhAmNWKTNYiHP_rfEerJW0D4lzjdsUqfYyPk_wBh6XZ/s537/nuke_colour_picker_alternative.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="537" data-original-width="300" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT2U4fp21KE8kuYiA0v95IkyRB8zHnmkjXn_UT-CALGdwTm4mr_EJtUDiXGwih-BSENoO-W37Rr0M9YWF_lAZy1k45sPvzvZAoIrhAmNWKTNYiHP_rfEerJW0D4lzjdsUqfYyPk_wBh6XZ/s320/nuke_colour_picker_alternative.PNG" /></a></div><br /><div class="separator" style="clear: both; text-align: justify;">In this panel, you can use the top buttons to toggle the visibility of the TMI, HSV and RGB colour schemes to work with whichever way that is more intuitive.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">A search on the net pointed me to this very informative blog post by <a href="http://www.comp-fu.com/2012/05/tmi-color-temperature-correction/" rel="nofollow" target="_blank">Stefan Ihringer entitled TMI Color Temperature Correction</a>. I strongly suggest you visit and have a read. </div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Stefan mentions that the TMI colour system stands for Temperature, Magenta/Green, Intensity. Temperature controls the gradual change of colour in the orange/blue spectrum as per how a black-body object heats up and changes colour as heat is applied to it.</div><div class="separator" style="clear: both; text-align: justify;">Magenta shifts the colour in the magenta/green spectrum.</div><div class="separator" style="clear: both; text-align: justify;">Intensity controls how bright the colour is.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Stefan has even written a macro to mirror this Nuke colour picking scheme in Fusion.</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><p></p>Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com2Singapore1.352083 103.819836-26.958150836178845 68.663586 29.662316836178846 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-31041758053549659142020-12-21T10:24:00.007+08:002020-12-21T10:24:49.593+08:00Creating a Camera Frustum in Houdini<p> <iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="270" src="https://player.vimeo.com/video/428226626" width="640"></iframe><a href="https://vimeo.com/428226626">Creating a Camera Frustum in Houdini</a> from <a href="https://vimeo.com/patrickwoo76">Patrick Woo</a> on <a href="https://vimeo.com/">Vimeo</a>.</p><br />In this newest video tutorial, I show how to quickly create a camera frustum in Houdini.<br /><br />Having a polygon geometry that outlines the camera frustum is useful as a visual indicator of the camera's direction and shows immediately which objects are inside or outside of the camera.<br /><br />It also allows for a geometric image plane and opens up visualisation options for clipping planes and projection mapping operations.Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.819836-31.77816533796139 68.663586 34.482331337961391 138.976086tag:blogger.com,1999:blog-1071488169957913341.post-64687677772129707142020-04-21T11:52:00.002+08:002020-04-21T11:54:33.678+08:00Maya Expressions 06 - Noise Function<iframe allowfullscreen="" frameborder="0" height="270" src="https://player.vimeo.com/video/410045127" title="vimeo-player" width="640"></iframe>
<br />
<a href="https://youtu.be/f9yg3jn9eXY" target="_blank">Go here if you'd rather view this on YouTube</a> :)<br />
<br />
In Maya Expressions Part 05, I showed how to generate random values in expressions. But the values are discrete, not continuous, and cannot be used for most animation situations.<br />
<br />
In Maya Expressions Part 06 I explore creating animation driven by expression using the noise() function.<br />
<br />
If you enjoy the video, please like and subscribe.<br />
<br />
I hope you enjoy the video. I hope are well, stay safe.<br />
<br />
<br />
<br />Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.8198360.8441055 103.17438899999999 1.8600605 104.465283tag:blogger.com,1999:blog-1071488169957913341.post-58661374125064609832018-10-20T01:33:00.000+08:002018-10-20T01:33:06.234+08:00Seamlessly Looping Animated Noise in Maya<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/KcoDFbgjo1o" width="560"></iframe> <br /><br />I've just finished producing another video that shows how to seamlessly loop animated noise in almost any 3D, compositing, and even video editing software.<br />
<br />
<br />Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com2Singapore1.352083 103.819836000000010.8441055 103.174389 1.8600605 104.46528300000001tag:blogger.com,1999:blog-1071488169957913341.post-42130257834936008702018-09-04T12:06:00.002+08:002018-09-04T12:10:26.714+08:00Maya Expressions 05 - Random Values<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ZaxBwEmPwnE" width="560"></iframe><br />
<div class="style-scope ytd-expander" id="content" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; min-width: 0px; padding: 0px; word-wrap: break-word;">
<div class="style-scope ytd-video-secondary-info-renderer" id="description" slot="content" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; max-width: 615px; padding: 0px;">
<yt-formatted-string class="content style-scope ytd-video-secondary-info-renderer" split-lines="" style="color: var(--yt-primary-text-color); white-space: pre-wrap;">This video is <a href="https://vimeo.com/287765845" target="_blank">also available on Vimeo.</a></yt-formatted-string><br />
<yt-formatted-string class="content style-scope ytd-video-secondary-info-renderer" split-lines="" style="color: var(--yt-primary-text-color); white-space: pre-wrap;"><br /></yt-formatted-string>
<yt-formatted-string class="content style-scope ytd-video-secondary-info-renderer" split-lines="" style="color: var(--yt-primary-text-color); white-space: pre-wrap;">In Maya Expressions Part 05, we take a look at random numbers, how Maya generates them, and how we can use them in our expressions.
Finally, we put it to use in a simple instrument indicator needle animation.</yt-formatted-string></div>
</div>
Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com1tag:blogger.com,1999:blog-1071488169957913341.post-12007110477774736232018-07-15T02:47:00.001+08:002018-07-15T02:47:06.060+08:00Great Article: Matthew Merkovich Says To Stop With The Crazy Tracking Markers<b>Matthew Merkovich Says To Stop With The Crazy Tracking Markers</b><br />
<b><br /></b> Today I came across a great <a href="https://lesterbanks.com/2016/10/stop-crazy-tracking-markers/" target="_blank">interview with Matthew Merkovich on LesterBanks</a> dated 2 years ago.<br />
<br />
He's a very experienced CG artist. Having spent many years doing matchmove, he gave some of his insights into the quirkiness surrounding the craft and many misunderstood practices that may not be applicable given the capabilities and accuracy of the software tools available to us in the present day.<br />
<br />
One of the points he raised is relating to the practice of placing red/orange crosses for markers during location shooting simply because they are told it is the best way to do things.<br />
<br />
On top of this, in the interview he also has a list of matchmoving dos and don'ts, advice and tips!<br />
<br />
Matthew also has a series of videos showing many matchmove tutorials. <a href="https://vimeo.com/mattmerk" target="_blank">Follow him on Vimeo</a>!<br />
<br />
<div style="padding: 56.25% 0 0 0; position: relative;">
<iframe allowfullscreen="" frameborder="0" mozallowfullscreen="" src="https://player.vimeo.com/video/132978307" style="height: 100%; left: 0; position: absolute; top: 0; width: 100%;" webkitallowfullscreen=""></iframe></div>
<script src="https://player.vimeo.com/api/player.js"></script> <a href="https://vimeo.com/132978307">Tracking Marker Guidelines</a> from <a href="https://vimeo.com/mattmerk">MattMerk</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
As an artist that has been doing matchmoving for no small number of years, I am gladdened to have come to agree with many of Matthew's advice.<br />
<br />
One of the things that I hear many a co-worker ask for is on-set data, camera info sheet, etc. For many years large and structured VFX facilities have relied on them because they are meticulously taken and recorded down, especially on very large productions. We only get this on the most organised shoots and even then human errors are commonplace when the person measuring it does not fully understand how it needs to be used downstream<br />
<br />
One of Matthew's observations I find interesting is that matchmove software of today are already capable of getting accurate solve without needing much camera-specific information. Sometimes errorneous camera readings and information get in the way of the solve instead of helping it.<br />
<br />
This scenario is a commonplace-occurance in today's VFX production. Not all location shoots will come back with reliable per-shot camera data and measurements that big pipelines require for their plates to push through.<br />
<br />
Thus as an independent freelancer and as an artist working on a smaller scale production nowadays, almost every matchmove project I encounter does not have adequate camera data, if at all. I find myself not needing to ask for camera data. You may think this is an extreme case but it is not. This is actually commonplace.<br />
<br />
However, saying that the matchmove process does not require any camera information is probably slightly misleading. I think it's always safe to have camera data, however accurate. Afterall, matchmoving is replicating camera attributes and movement. I see camera data as a back-up and as an instrument to confirm and affirm, for very tough shots when too many variables are involved, when any known variable from data taken from the set would eliminate guesswork and help to greatly speed up the matchmove process.Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.819836000000010.8441055 103.174389 1.8600605 104.46528300000001tag:blogger.com,1999:blog-1071488169957913341.post-88376215377362815162018-07-15T02:37:00.001+08:002018-07-15T02:58:01.343+08:00Foundary Post: How Data Analysis is Improving MatchmovingToday I came across <a href="https://www.foundry.com/trends/business/matchmoving-big-data" target="_blank">a post on Foundary's website about data analysis and matchmoving</a>.<br />
<img alt="Alaistair Barber" height="360" src="https://www.foundry.com/sites/default/files/styles/hero_1440_x_825_/public/paragraphs/full-width-images/Alastair_Interview_Article_01.jpeg?itok=2Z1sALy7" width="640" /><br />
Alastair Barber tries to improve and speed up the pipeline with data analysis and algorithms while working with <a href="http://www.dneg.com/" target="_blank">DNEG</a>.<br />
<br />
Matchmoving is something close to my heart. I started my Hollywood film career as a matchmove artist. I'm also quite interested in machine learning, data analysis and artificial intelligence. Thus this article grabbed my attention.<br />
<br />
It seems that DNEG is a great choice for data analysis, having accumulated 20 years of production data.<br />
<br />
The article does not have specific mention of how the result of the analysis is helping to speed up the process of matchmoving, but we know for sure that something is happening in the field of data and the VFX production process.<br />
<br />
<img alt="Data sets and algorithms in the pipeline" height="360" src="https://www.foundry.com/sites/default/files/styles/hero_1440_x_825_/public/paragraphs/full-width-images/Alastair_Interview_Article_02.jpg?itok=EkloFdza" width="640" />
<br />
<span style="font-size: x-small;">Graph source: <a href="https://www.foundry.com/trends/business/matchmoving-big-data">https://www.foundry.com/trends/business/matchmoving-big-data</a></span><br />
<br />
However there is one concrete thing I find fascinating in the article. This graph in the article actually gives an overview of the time and resources taken up by each stage in the VFX process.Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0Singapore1.352083 103.819836000000010.8441055 103.174389 1.8600605 104.46528300000001tag:blogger.com,1999:blog-1071488169957913341.post-81377222585874124942018-03-19T22:22:00.002+08:002018-03-19T22:44:50.929+08:00My Works: TV CommercialHere's a TV commercial I was involved in last year, while at VHQ. This TV commercial was for JD.com. Almost the whole of the TV Commercial team and Film team were involved.<br />
<br />
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="362" src="https://www.youtube.com/embed/r43au6FAEOQ" width="640"></iframe><br />
<br />
I helped in look-development of Cyborg, especially in texturing, shader creation and lighting the asset. I was also involved in tweaking textures and shaders for Aquaman's asset.<br />
<br />
Also, I helped in the texturing, shader and look-development of the swordfish and the car that got crashed.<br />
<br />
For texturing, I used Mari. Rendering was done with Arnold in Maya.Patrick Woohttp://www.blogger.com/profile/13651060214845014912noreply@blogger.com0