3d

MakeSomeNoise

3D Graphics / By

MakeSomeNoise v1.1.2 is Released

 

What’s MakeSomeNoise?

MakeSomeNoise is a free tool I built for generating procedural noise textures, texture atlas (sprite sheets), and image sequences. It’s a standalone Windows app, just download and run.

What does it do?

  • Mix two layers of noise using common weighted blending modes.
  • 6 different kinds of noise (for now, more are coming).
  • Explore the 3d noise space and preview the noise animating through Z slice at user-defined speed and frame numbers.
  • Export the result as a single frame, atlas or image sequence with clean naming for your use.

Built-in Learning Guide

I added a complete “Guide To Noise” right in the app. Click the help button and you get detailed explanations for every noise algorithm—the history, how it works, when to use it, and pro tips. I wanted to make this tool educational, not just functional. Whether you’re learning about noise for the first time or just need a quick refresher on how these noise functions work it’s all there.

Export Previews & Animation Playback 

You can now preview before export. Want to see what that 16-frame atlas will look like? Preview it. Need to check your animation sequence? Play it back at any FPS from 1-60. There’s also a handy right-click menu for copying the preview to clipboard or jumping straight to your export folder.

Smarter File Management

The app now automatically manages file versions for you (_v00, _v01, etc.), so you’ll never accidentally overwrite that perfect noise pattern you made. Export paths are now fully visible prior to export.

Cleaner, Smoother Experience

I’ve been squashing bugs and polishing the UI. Better tooltips everywhere, improved thread management (no more crashes when you spam sliders), and generally just a more responsive app.

The Licensing Thing

Quick note: The app itself is free to use for anything, including commercial projects. You just can’t sell the app or bundle it for profit without asking me first. But anything you generate with it (textures, images, animations) is completely yours under CC0. Use them commercially, sell them, whatever. No attribution needed (though it’s always appreciated 😊).

Download It!

Ready to make some noise? Head over to the GitHub Release Page and grab the executable. It’s a single 120MB file—download, double-click, and you’re good to go.

First run might take a few seconds while Windows Defender does its thing, but after that it’s smooth sailing.

If you’ve got ideas or feature requests, hit me up on GitHub!

Download: MakeSomeNoise v1.1.2 on GitHub

Happy noise-making! 🎨

– Andy

Popcorn FX fractalFlame

Examples, PopcornFX / By

Popcorn FX is capable of some pretty sophisticated particle effects. With a little effort one can get past the “usual” turbularized effects and push the limits a bit. Here’s a “fractal flame” look made by spawning, coloring and moving particles with layered noise fields. Given the number of particles used to give the soft look it’s not really something you could include in a game or application but was a fun way to explore some techniques which could be used for more efficient effects. You can get a similar look with much better performance using a vertex shader to distort a mesh and a fragment shader with an additive fresnel transparency, but again the point of the exercise was more an exploration of PopcornFX. That said, this does run in realtime with about 24 fps in the editor, pretty nice.

Experiment

3D Graphics, Houdini / By

Took a few of the basic assets I’ve made so far and applied them together to get this abstract shell-like shape. Yep.

And the obligatory randomized polyextrude with a couple assets for making hex grids. It had to happen.

Example: LK Fabric early test scene

3D Graphics / By

Since LK Fabric is out I dug up one of the early test scenes we used on Nike “Evolution” at Royale in which we developed some of the techniques we used to get various looks. This setup is very basic but covers some of the key tricks for getting a natural result and was used as a starting point for a number of shots.

LKF_demo1b_am

I have replaced the original many-versions-old compounds with ones from Leonard’s public release, and have also left in a few “helper” compounds I built which weren’t part of his official release. I then removed everything superfulous to the basic effect and commented the resulting ICE tree throughout. Any typos or misspellings are entirely my fault. :D

LKF_demo1d_am

 

LKF_demo1_am

The actual setup is very simple.

This scene demonstrates:

  • A basic setup of a single evolving swatch of fabric, with the most basic pattern and the modifiers we used most often.
  • Using the “slide profile over U/V” compound and other techniques to shape the leading edge of fabric growth.
  • Using the “offset” core parameter to make the leading strands animate and form a shape for the thread tips.
  • Using a second ICE “post” effect to add per-strand variance and “frizz” effects.

 

 

LKF_demo1c_am

The early tests like this were pretty chaotic, we knew the system did a good job of creating a “perfect” weave so we were pushing in the other direction and adding ways to create chaos and randomness.

Ironically despite the first briefs being focused on “organic” and “evolving” concepts the client spent much of the latter half of the job dialing in a more out-of-box mechanical look… that’s the way it goes sometimes. But this means there is a lot of capability which hasn’t been seen yet. I’d love to see some people use some of the per-strand and per-thread modifiers, and the capability to create patterns beyond the basic “canvas,” to create a more organic, aggressive look.

LKF_demo1e_am

 

Here’s the file (Softimage 2013 scene file, ~0.6mb): LKFabric_AMexample1

Example: A Reticulate Noise Function

3D Graphics / By

Here’s a scene file and a couple of compounds which compute a simple noise function and then create a reticulated “push” from it. It’s meant to demonstrate how a simple spatial noise can be layered on itself to create a fractal, visually pleasing result, as well as give a little insight into how functions like perlin, worley, turbulence etc can be similarly layered to create a huge variety of natural looking patterns.

am_computedNoise

Scene file and compounds (softimage 2013): exampleICEreticulation

CG Supervisor gig: Nike Tech Fleece

3D Graphics, VFX / By

Softimage, Arnold, ICE and LKfabric, intensive small-team project @ Studio Royale, I think this video is meant to play in the Nike stores inside of a sculpture/model of the loom. If anyone sees it in one of the store sculptures, send me a pic, it sounds cool. :)

 

Fleece_s04a

Fleece_s04b

 

Fleece_s04c

Fleece_s04d

 

nikeFleece-s08

Image converted using ifftoany

Ideas, traveling

3D Graphics / By

Pingo van der Brinkloev hit me up for a very rough discussion of the conceptual approach to building knitted patterns in CG and came up with a pretty cool workflow to get similar results in C4D. Cool, nice work!

Art is collaborative. It loops back and forth between artists, techniques grow and we present constant challenges to ourselves and each other. Nothing makes me happier than to see this kind of mutual exchange of ideas across different toolsets. We are artists first, inspiring one another – the borders of studios, tools, location, language or genre should never keep us from exchange of ideas. Thriving ideas lead to a thriving market as a whole, employed artists, and most importantly better art across the board. I really believe lifting each other up is the best route to success for the individual artist as well as the industry as a whole, so when I saw how Pingo built this I was as excited as I was when I saw Jonah Friedman make entwiner in ICE. How can you not get excited? This is cool stuff!

CG Supervisor for 3 Nike Spots

3D Graphics, Creative Work / By

Two of 3 spots. “Evolution” was a small team, 3 weeks, lighting and effects with Softimage and Arnold.

I love small but intense projects like this.

“Run” was primarily Maya/Vray with a touch of ICE. The studio (Royale) is only 6 years old but advancing fast, and it’s been a real pleasure working with them. For their first exploration of ICE, Royale invited in some familiar SI friends – Ciaran Moloney, Steven Caron, Leonard Kotch, Billy Morrison and yours truly doing a first gig start to finish as a CG sup (which with guys like this mostly involved saying “go for it.”)

Like the Psyop “Telstra” spot, this commercial essentially required us to create a system for knitting cloth from massive numbers of strands. Leonard Kotch wrote a system which performs many of the same tasks as the Psyop “Entwiner” tool, but he took a slightly different direction, it was fascinating to compare how the two diverged. The progressive animation required for these two shots resulted in a pretty flexible and broad system, which we are currently using for the last of the three spots, which will wrap in production soon.

strandlayoutb_s40_062613 NikeEvo_shoe_comp_v001 NIKE_evolution_shot40

Royale has been an enthusiastic and fun group to work with and it’s been great getting to show a studio as strong as they are in design some of the possibilities ICE can bring to jobs like this. Expect to see some version of Leonard’s “LKFabric” system gifted to the community before long – very cool Royale, thanks! (They also throw good parties, their 6’th birthday celebration was impressive and… unusual.)

 

 

Strands are our friends

3D Graphics, Creative Work / By

And so is Psyop!

This little commercial project from a while back was a LOT of fun. A very small team of us (5 or 6 total, I think) made this (plus a few shots more) in just a few short weeks (two or three I forget) at the LA studio, using a hybrid Maya/Softimage approach which Psyop does really well. All models and animation in maya are brought to Softimage for lighting with Arnold and additional ICE effects – in this case, the characters, and stuffing are entirely strands. No geometry aside from the little plastic eyes and their teeth.

Psyop’s lighting supervisor Jonah Friedman wowed me with the system for knitting via strands he built, and how fast he built it. He also quickly made it on my “favorite people” list in general, it was a blast working with him and the others there. The system, which we called “entwiner” builds layers upon layers of strands… these knit characters are built down to every individual fiber. And Arnold powered right through these millions of strands without a blip. Pretty cool. It was so efficient at it in fact, that it made sense to make the “stuffing” out of tiny fibers too, which gave it a nice volumetric kind of feel when lit.

The liquid is a simple lagoa setup, with wet maps generated in ICE. While the commercial was so simple I was really pleased with how the studio took pains to take their clients ideas and give it the very best. A couple of knit characters could have been faked with geometry and textures, but going that extra mile even when time was so short is what really impressed me, and the combination of maya/softimage, ICE and Arnold is a powerful one, as Psyop shows even on small jobs like this. My kind of studio. Thanks for having me you guys.