SIGGRAPH 2019亚洲论坛SIGGRAPH Asia 2019

SIGGRAPH 2019亚洲论坛SIGGRAPH Asia 2019

Houdini: You’re learning it wrong (no really this time) | Matt Estela | SIGGRAPH Asia 2019

In Part 2 (no really this time) of the ‘Houdini: You’re Learning It Wrong’ series, Matt covers the technical pitfalls, workflow and incorrect assumptions people make when jumping from another package (eg Maya) to Houdini.

1) Houdini Spreadsheet vs Maya Outliner

2) Points vs verticies

3) Understanding contexts: don’t get confused by the diving up and down

4) Template vs display vs output nodes vs null vs capital letter nodes

5) Attributes at different levels, points vs verts vs prims

6) Tab menu, first letter of nodes trick

7) Tab in viewport vs tab in network editor

8) Shift enter to auto connect new nodes

9) All in one vs lots of obj nodes: pros and cons

10) Network boxes are evil – use colour and sticky notes instead

11) HDA’s vs Maya references: how they’re similar, how they can be used to construct scenes, impose order

12) Attributes vs baked maps

13) Manual layout vs clever (the @P.x += @ptnum*check(‘spread’) example)

14) Not everything needs sim, do as little sim as you can

15) Time dependency: be aware of it, use it to your advantage

16) Do everything in the one package vs rig and animate elsewhere, bring caches into Houdini

17) Network topology like a map you navigate, get familiar with vs containerised stuff that’s often a hindrance

18) Over VEXing things, over proceduralism

19) Less python!

20) Stop reading copy stamp tutorials

21) Crashes and bugs are probably you, until it isn’t. Initially you blame yourself, but over time you can start to identify when it’s Houdini being weird. Give it about 2 months.

22) When attributes can drive sop parameters, when they can’t, how to know in advance (per point/prim vs global control, generally don’t try)


Matt Estela is VFX Lead in Residence at The Animal Logic Academy, University of Technology Sydney. He teaches VFX and VR as part of a Masters of Animation and Visualization. Matt also maintains CGWiki, a popular website for Houdini training, and prior to UTS spent nearly 10 years at Animal Logic in Lighting, FX and CG supervisor roles.





5)属性在不同级别,分VS绿党VS prims





10)网络盒是邪恶的 – 用颜色和便签代替



13)手动布局VS巧妙(该@ P.x + = @ ptnum *校验( ‘扩散’)的例子)













New RBD Workflow Tools in Houdini 18 | Nick Petit | SIGGRAPH Asia 2019

Houdini 18 introduces a number of new RBD workflow tools to enhance and simplify the creation of Bullet simulations from within SOPs.

SideFX’s Nick Petit walks through the new tools using practical (and some less practical!) examples.


Nick Petit is a Senior Technical Director at SideFX who has been using Houdini in production for 10 years. With 20 years of VFX experience and a range of skills covering many disciplines, Nick has worked in different roles at various studios including RSP, MPC, Double Negative and most recently as FX Supervisor at Weta Digital. He has contributed to films such as “Harry Potter and the Order of the Phoenix”, “The Chronicles of Narnia: Prince Caspian”, “Avatar”, “Man of Steel”, “John Carter”, “Dawn of the Planet of the Apes” and “Alita: Battle Angel”. At SideFX, Nick works with R&D to design production oriented tools.




尼克·佩蒂特是SideFX一个高级技术总监谁一直在使用霍迪尼在生产了10年。经过20年的VFX经验和一系列的技能涵盖许多学科,尼克已在不同的角色在不同的工作室,包括可吸入悬浮粒子,MPC,双重否定,最近的外汇主管在Weta Digital的工作。他为电影如“哈利·波特与凤凰令”,“纳尼亚传奇:凯斯宾王子”贡献了“阿凡达”,“钢铁侠”,“约翰·卡特”,“的行星的黎明猿”和‘Alita:战斗天使’。在SideFX,尼克可与R&d,以设计生产为导向的工具。



Punching Above Your Weight | Nick Angus | SIGGRAPH Asia 2019

Alt VFX’s Nick Angus covers transitioning a studio’s pipeline to Houdini-centric.

Alt started with 6 people and a couple of freelance artists. They burst out of the gate with an amazing commercial, then reality sunk in that they were limited by “off the shelf” tools, and when new jobs came along that had a huge variety of needs, they realized they needed to become far more innovative – and started to look at Houdini.

“One interesting piece of advice I received was to think of Houdini as more of a 3D operating system,” says Nick, “I tasked myself with learning as many aspects of Houdini as I could before I proposed rolling it out as a full solution, and we then moved our lighting, FX, and fur/feathers over to Houdini entirely. We realized that training was far less intimidating than we had thought, as people could just bite off small parts at a time. A lighter only needed a day or two to get up to their normal speed.”

Nick Angus is one of the founding members of the Alt VFX team, Nick has been an integral part of the company’s growth and continued success across the world. Starting his career in graphic design before moving into 3D and visual effects, Nick’s creative eye and technical knowledge has earned him a valued reputation in the industry. Today, he continues to play a major role in the majority of the work that passes through Alt’s studios in Brisbane, Sydney, Melbourne, Tokyo and LA. Nick has been one of the lead CG supervisors on almost every Alt project since inception, including countless award-winning TVCs. He is also one of the leading FX artists in the region and is perfectly-suited to the complicated simulations and photorealistic visual effects that clients have come to expect from Nick and the team at Alt.

Alt键开始与6人,一对夫妇的自由艺术家。他们以惊人的商业,那么现实中,他们被限制击沉爆门去“现成”的工具,并在新的工作岗位沿着来到了一个巨大的各种需求,他们意识到他们需要变得更加创新 – 并开始看胡迪尼。




Open Firehawk: Hybrid Open Cloud Infrastructure & PDG | Andrew Graham | SIGGRAPH Asia 2019

Open Firehawk is an initiative by Andrew Graham to automate direct access to cloud infrastructure at lower cost and with more control than prior solutions were able to offer. It also seeks to resolve issues of vendor lock in – it is open source, community focused and seeks to provide as much render power to artists as efficiently possible. Particularly for the Houdini user, it approaches heavy VFX scenarios by leveraging SideFX PDG to handle dependencies across multiple locations and avoids transport of heavy data unless necessary.

Open Firehawk automates creation of VFX architecture with open source infrastructure as code. The design is fully automatable, and uses tools like Hashicorp Terraform, Vagrant and RedHat Ansible to procedurally build out from scratch any onsite and cloud-based render nodes, schedulers (AWS Thinkbox Deadline), OpenVPN, and virtual NAS appliances (SoftNAS). This approach potentially enables usage with multiple cloud providers in the future. We provision Deadline as a scheduler which is free to use with AWS, and SoftNAS as it is the most affordable and performant NAS appliance that could be automatically provisioned in AWS with excellent support.

Andrew Graham
2019 marks the 20th year he has worked in computer graphics. In that time he has contributed to Hollywood film, motion graphics and architectural visualization. He’s worked for companies such as ILM, Weta Digital, Sony Pictures Imageworks, Rising Sun Pictures, Image Engine and Macrograph and on films such as Rogue One: A Star Wars Story, Dr Strange, Only The Brave, Harry Potter and the Deathly Hallows, and The Hunger Games. As an FX TD, he has a deep interest in tools that allow detailed images to be realized. He wants to interact with cloud compute resources more closely while making them as cost effective as possible. He’s started to build something with Open Firehawk that can help studios and individuals offload 3D rendering / simulation workloads with infrastructure as code that they can customize for their own needs.
开火鹰是由安德鲁·格雷厄姆一项倡议,以更低的成本和更多的控制比现有的解决方案能够提供自动化云基础设施的直接访问。它还试图在供应商锁定的解决问题 – 它是开源的,以社区为中心,力求提供尽可能多的渲染力的艺术家可能有效。另外,特别是胡迪尼的用户,它通过利用SideFX PDG跨多个地点手柄的依赖接近重特效场景和避免重数据除非必要的运输。

打开火鹰自动开源基础设施代码创建VFX架构。该设计是完全自动化的,并且使用工具,如Hashicorp Terraform,流浪和RedHat Ansible到程序上从头开始构建任何现场和基于云的渲染节点,调度(AWS Thinkbox截止日期),OpenVPN的,和虚拟NAS设备(SoftNAS)。这种做法可能使得使用在未来的多个云提供商。我们提供截止日期为调度是免费使用AWS使用,SoftNAS因为它是最经济实惠和高性能的NAS设备,它可以在AWS与出色的支持自动配置。

2019马克第20年,他在计算机图形工作过。在这段时间,他已经到好莱坞电影,动画和建筑可视化作出了贡献。他曾经在公司如ILM,Weta Digital公司,索尼图形图像运作,旭日图片,图像引擎和Macrograph和电影,如盗贼之一:星球大战的故事,怪博士,只有勇敢,哈利·波特与死亡圣器,和饥饿游戏。作为FX TD,他在工具,允许实现细腻的图像有浓厚的兴趣。他希望更紧密地与云计算资源进行互动,同时使它们的成本效益越好。他开始建立一些与开放式火鹰,它可以帮助工作室和个人分担的3D渲染/模拟负载与基础设施代码,他们可以自定义自己的需求。


Fun with Reaction-Diffusion in Houdini | Dan Wills | SIGGRAPH Asia 2019

Reaction-Diffusion is a fascinating type of simulation in which the the concentrations of multiple diffusing chemical species in a reaction is simulated spatially, for example on a pixel or voxel array. It also can be made to work on poly-meshes and poly-wires over edge-connectivity, or even just on points in space. The values representing the chemicals are then updated according to one of many different formulae that each have their own different kinds of dynamics. Dan’s work has focused on a formula called ‘Gray-Scott’, which he extended in several ways and discovered some very interesting things. He also wrote an experimental formula based on a tweaked classical 2D ‘Orbits’ fractal step – which led to many interesting results!

In his day-job Dan Wills builds visual-effects pipelines and works on complex effects tasks for Rising Sun Pictures (RSP). He teaches groups of students to use Houdini as an instructor for RSP Education. In the time between caring for a young family, Dan is a fractal explorer, a reaction-diffusion experimenter, and an incessant Houdini workflow-tinkerer and improver.
反应扩散是一个引人入胜的类型的模拟,其中,多个扩散在反应化学物质的浓度在空间上模拟,例如像素或体素阵列上。它也可以对聚网和聚线工作中取得了边连通,甚至只是在空间中的点。那么代表的化学物质的数值是根据许多不同的公式,每个人都有自己不同种类的动态的一个更新。丹的工作都集中在一个叫做“灰色斯科特”公式,这是他在几个方面扩展,发现了一些很有趣的事情。他还写了根据扭捏经典2D“轨道”分步经验公式 – 这导致了许多有趣的结果!



Doing Big Work with a Small Team | Matt Ebb | SIGGRAPH Asia 2019

You don’t always have the resources of a big team and budget, but with the right techniques Houdini can help you do more with less. Matt shows some tips and tricks used while working in production, to help manage a larger scope as a small team or freelancer.


Matt Ebb has a background in design, he loves the abstract, weird and wonderful side of visual effects, using procedural tools to solve difficult creative problems. Matt has worked in visual effects and animation since the mid-2000s across Sydney, London and Amsterdam, in lead roles on films such as Captain Marvel, Guardians of the Galaxy vol. 2, Avengers: Age of Ultron and The Lego Movie. In recent years, Matt has enjoyed working close to the action in smaller teams, and is currently at Cutting Edge in Sydney.


马特大浪淘沙有设计背景,他爱的视觉效果的抽象,怪异和奇妙的侧面,使用程序工具来解决困难的创意问题。因为整个悉尼,伦敦和阿姆斯特丹2000年代中期马特在视觉效果和动画工作,在主角的电影,如Marvel上尉,银河卷的监护人。 2,复仇者:的Ultron的年龄和乐高电影。近年来,马特享有工作接近较小的团队行动,目前在悉尼最前沿。