https://www.unrealengine.com/marketplace/en-US/product/vector-field-collection The collection of 109 vector fields I placed on Unreal Marketplace for Cascade and Niagara is now live and response has been really gratifying, thank you! If you’re using this pack, please send me links to what you’ve made, I can’t wait to see what people are doing with them!
Writing custom vector fields is pretty easy in VOPs. You can leverage the multiple noise functions Houdini offers, easily create vortices and whirling clouds, and with just a bit more effort bring in curves and use them as paths which the field can orbit around or follow along. Whip up an additive shader and you can get very nice results… or export the fields to use in Unreal or some other game engine. I plan on eventually offering a number of free static vector fields here on the site for game effects artists, but for now here are some basic test renders, cheers.
This was fun and quick to do by restricting the direction particles could move to 45 degree increments and keeping them flat on the ground plane. Eventually I’ll be posting .hip files with these posts, once I get this blog’s back end a bit more up to date.
There are a billion discussions of the Fibonacci sequence, phi, the golden section etc. So I’m going to let you browse the wonderful web and largely find out about it for yourself (try here), with only this brief summary…
The Fibonacci sequence is a series of numbers such that the last two numbers of the sequence added together result in the next: 0,1,1,2,3,5,8,13… ie: Fn = Fn-1 + Fn-2.
If you take the ratio between any two consecutive numbers in the fibonacci sequence, they increasingly converge towards a single value, 1.61538 (memorize it!) which is called the “Golden Number” or Phi: Φ
This ratio is found throughout nature, as well as classical art, mathematics etc. It crops up in an amazing number of places. A logarithmic spiral in which points of the spiral are Φ units apart after a quarter turn is called a “golden spiral”, for instance, and can be found in seashells, seed pods, flowers, pinecones and as I said before, lots and lots of websites. If you’ve had a certain amount of coffee, this video might be illuminating:
Other artists using ICE have put out tutorials and compounds relating to these spirals, browse around (hint I’m one of them.)
Recently as I fiddled around I came across an interesting point about these kinds of distributions that caught my attention: they are a very efficient way to pack particles evenly on a surface. This is an important point to an effects artist, because not only is a large part of this job mimicking nature, but distributing points efficiently on surfaces lets us maximize the number of non-overlapping particles we emit.
So, I built some compounds, first to calculate phi (or simply return it as a stored constant, depending on the accuracy needed.) Another to convert phi into angles in degrees and radians (the “golden angle”), and finally I took these and made an emitter. Hooray, it indeed did allow me to emit a sphere of particles packed efficiently, and even better since I didn’t have to use a “generate sample set” it allows millions of particles to be emitted much faster than simply emitting particles from spherical geometry, and without any resolution-dependance on the LOD of a polygonal sphere. And this “phi” distribution has a nice, natural look.
Here are the compounds, enjoy: ICE_phiDistribution
Here’s a quick example of a number of handy tricks in ICE.
A compound I shared earlier on the softimage mailing list is used to create a grid of particles on a camera plane at a definable resolution, as if each particle was a pixel. The basic camera attributes like FOV etc are respected. This bit uses a little simple trig to identify the corners of the camera frustum at any distance from the camera, which can be incredibly useful. I’ll try to make some time to go over this in a future post.
A simple raycast is then used to project particles onto geometry and to color those particles based on the depth of the projection.
A lot can be done with the (super) simple techniques in this scene, trust me. Perhaps the simplest and yet most useful is to cull particles outside the camera frustum prior to writing a cache – if you are dealing with a shot that has a locked down camera this can be used to reduce cache data by massive amounts. If you are dealing with a stereo production and have access to depth maps, you can use that information to cull particles which are “behind” footage elements, or even have particles react to the “surface” of footage elements. Very cool! Knowing where a particle or object is in camera “screen-space” is easy and has a lot of use, too.
File: Softimage 2013, ~2.5MB example_cameraDataInICE
The simulation is “meh”, but it was a test. This scene wasn’t originally about particle clumping, either: that was just put in as a way for me to play with the idea but not really my original focus. I was using it as a testbed for a homebrew collision/bounce node, which functions, but in the end that part wasn’t anything particularly special or even sophisticated. The clumping part is more interesting in the long run.
Someone recently asked about clumping particles online, and I recalled that I had this scene on hand. So here it is, as built by yours truly while never intending it to be anything other than personal experimentation… with some comments put in after the fact.
The file (softimage2013 ~8mb): example_createParticleClusters
To make a point that the underlying concepts introduced in this simple tutorial are far more important than the simple look of our example, here are some images which derive from the simple parametric circle equation discussed. The scene used to make the anaglyph is below. This isn’t rocket science stuff, this is novice level ICE… and much of it applies to realflow, thinking particles, maya or whatever. Cheers – AM
And here’s the scene used to make the anaglyph version, with comments throughout (softimage 2013 ed, ~200kb) spirographEmission_anaglyph