Magical Butterfly FX in Houdini

1. 01 Class Project Overview: Hello and welcome to magical butterfly effects in Houdini course, my name is, says OK, and I will be your instructor for this course. First, we will start with creating the butterfly wings. And then we're going to use the chops to create wings flapping animation. Then we will use particle simulation to make particles from butterfly wings. And we're going to learn how to color our particles with the image texture. And then we will create smoke simulation and use the smoke simulation velocities to advect our particles. And then we will all our scene into lobes Solaris for lighting and shading and for rendering. Mainly we're going to use the karma XB you to render our magical effect. And we will finish our course off by compositing inside of After Effects. We will learn how we can import our render sequence and passes in the correct OCI, your color space to the after-effects. This course is for anyone who is looking to polish their route, any skilled want to add magical effect in their portfolio. So without further ado, let's get to it 2. 02 Setup New Project: Okay, so let's start this project off by first creating a new project. So go into the file, new project. Let's name our project to be magical. Butterfly. And choose the location where you want to save your project. I'm going with this c. So you can choose the path wherever you want in it, except for this project. I'm gonna using this ten animated butterflies is a free 3D model and it is from CG trader. Make BY MR. David's. Just download that by pressing this button. Free download. And it will ask you to wait for 20 s and press the download button to start download. And it will ask you to login to your account. If you don't have the CG Twitter account, you can create your own account by going onto the register and enter your details and registered to create an SAG Twitter account. And then you will be able to download this model. So I already downloaded the model. So let's unzip that. And we're going to import this model into DNA in the next lesson. 3. 03 Making Butterfly Wings: Alright, now let's take a look at the files that we have downloaded. So here are the files that I unzipped animator butterfly packs. And here we have the idle animation folder. Let's open that. So here we have the idle animation of the butterfly. So let's go back. And here we have the single butterfly falling apart. Let's open that. So here it is, moving its wings very fast. Let's see. Now we have the Slovenian butterfly, idle, slow flapping. And here we have the textures for the butterfly. And here we have the blender to penetrate folder where we have these diffuse stored. Let's take a look. We have the Alpha map. And this is the basic butterfly body that's open. So that is the basic body of our butterfly. And we have the normal map and the diffuse map. Okay, so now let's import this into Houdini. Let's create a geometry node. And now inside here, let's create a file load. Bring up this parameter. And here let's load our basic butterfly body. So that is the butterfly body. It Games in very huge. So let's scale it down by creating an image size node. And click on scale to fit. And press F on your keyboard to frame our geometry. And let's make it sit onto the floor by going to the justify. Why set this to a minimum? Now sitting on floor, if you middle click on the geometry, you see we have some attributes. We have CD, mask and some groups. For our project, we don't need them, so let's remove these attributes and group by creating an cleans up and check the remove attributes and remove groups and uncheck the removed to generate perimeters. Ok. Now if you middle click, now you see we don't have all these attributes. Nice, Good. So now let's import our wins and we're going to create wings inside of Houdini. So because if you take a look at these model, you see it's using these simple planes and using the Alpha map to cut out these planes to render its wings. So that won't help in our project. So instead, we will come to create wings on our own. So let's create them by using an, a trace up. So the trace out will lead the Alpha map to trace out the silhouette of the geometry. So if we take a look at the textures, you see we have the Alpha map. So we're going to use this map to trace out the wings. So let's open the parameter for the trace and the image input. Let's let the alpha opacity. Okay, so here we have the silhouette of the butterfly. And if we turn on the display, you see we have very dense point. So let's add a resample node to filter out these points. So let's change the length to 0.15, 015. And let's add another reason to load. This time, change this to 0.01 and change this to subdivision curves. It will smooth out any of these jagged edges. Okay? So let's add an a transform node to transform. Rotate this butterfly onto the 90 degrees in the X. Okay? So let's add a match size to add this into the center of the x axis because we later, we're going to use the Middle South to create the mirror geometry of the wings. So just click on the justify why to minimum to make sure it sits on the floor, on the x2 max. And now it is perfectly sitting onto the x-axis. Okay, so now if we want to use the mirror, you see it is mirrored correctly. So let's delete that for now. Let's create the UVs and shade our bins. So let's create an edge UV project node to create a UVs. Let's create an edge uv quick shade node to shade our UVs. So here on to the texture map. Let's select our diffuse map. Okay? So here, as you can see, we have some problems. So let's adjust these UVs to fit the diffuse map properly to our geometry. So let's create a UV transform node before the UV. Quick shared node. Over here we have created the UVs by using reject null. So let's add that. Let's set the display flag to the gooey cookies so we can check the changes that we're making. So first let's center the pivot to our geometry by using the dollar sign C x, dollar sign C, y for the y and dollar sign C for these add to center out the direct. Okay, so first let's scale these UVs up or scale down 0.9. Let's translate them in this direction by a very small amount. Let's move this a little bit. Okay, so these are the accurate values. Translate set this to 0.0, 3.0, 0.03. Cited the scale to 0.89, 20.8, 6.0, 0.9, and it is looking good. Okay. So in the next lesson, let's animate these beings 4. 04 Procedural Wings Flapping Animation: Let's animate our wing by adding the wing-flapping animation. So first, let me pass the UV shared node. So let's hide these UVs checkered pattern by clicking on this UV checkout icon. And here as you can see, we have one big N gone here. So later on we're going to use the velum to add the flexible animation into our wind. So we need some geometry in our wings to create the good animation. So let's create a 3D mesh node. And let's change the target size to 0.02. And let's increase the iteration to try and to create the even out triangles. And let's increase the smoothing tool, smooth out the triangles. Okay? So let me enable my UV quick shared node. And let's animate by adding an, a transform node. And we're going to animate this rotation z value. Okay? So for the animation, I'm gonna using the motion effects. So right-click and say emotional effects. So right now it is currently cut off the screen. But here I'm choosing the motion effects and the V at the, this is the very last option wave. Okay? So here as you can see, we have the wave patterns generated. So let me close this window. So you can also view the wave in the motion effects view. So here we are in the jobs. So if we go back, you'll see here we have the motion effects job network. So let's dive inside. So here it is, bringing up the parameter and using the wave node to generate the vague. So let's go back to our scene view. Let me bring up my labor and let's play. Let's click on the lock icon to check the real-time playback. So let's hit play. So as you can see, we have the wing flapping. So let's increase the amplitude of our wave. So this one. Let me play that again. So let's change the amplitude to 30. Let's play that again. Okay, so that is looking good. Let's change the period to do to create an, a slow moving flapping animation. And let's change. Our animation ran 220. So this is the frame range that we are going to use in this project. Okay? So let's go back. So let's add a mirror node to mirror our geometry. Let's connect to mirror node. And let's add the resistance to create the space for the butterfly body. So let's increase the distance. Let's change this to 0.07. So that is I think, enough spacing for the body to fit in. So let's add another match size. Two. Central route the both wings. Okay, so let's change the justify why to none and Z2 num. We only need the x to be in the center. Okay, so now it is looking good. Okay. So in the next lesson, let's create the velum simulation. To create, add the flexibility to our wings. 5. 05 Simulating Wings In Vellum: Now let's use the velum to simulate our wings. So for that, let's create our group that will be fun to animation. So here, as you can see, we have estimated our butterfly. So we need the pin group two when our basic animation. So before the middle node. So here onto the transform where we animated our wings. So let me rename my transform to being. Here. Let's group some points. So let's select the Select tool or from the primitive. Let's change these two points. And let me select some points for painting. And maybe let's change the selection mode to brush selection. Hold on the Shift to add the points to the groups. Let's select this inner vein that may be responsible for the wings animation in this in this case. So this point will work good enough for us. Acme add couple of more. Hit Tab on the viewport. Let's try group to group the selection. So here as you can see, the group node has been created. So let's rename this group to pin. And when we have our geometry, we do have these pin groups. Okay? So here as you can see, on the point group, we have 358 points and before the mirror, we have 179. So after the mirror, we do have these points into the pin group. Okay. So let me place my wings to where I want. So let's create an a transform node after the match size and moves the veins up a bit. Let's create another transform load. For this, let's scale our wings up to buy three units. And let's create another transform to place livings in our angle. So let's move one unit up in the y. And let's rotate this to negative 60 degrees. If we play. This angle is looking good for me. And now let's create a vellum constraint. Configure cloth. This one. Here, it says pin to Animation. Let's select our ingroup to pin to our animation. Let's add an a vellum solver and hit play. And here as you can see, our animation has not been imported. So let's fix that onto the velum plot constraint. Now let's check the match animation. Let's play that again. And now as you can see, our animation is important. So what the wings are very flexible. So let's increase this bend stiffness. So where it says Bend and the stiffness. So it's multiplier is the 0.001, which is very small value. So let's increase this to 100,000. Let's play that again. Okay? I think the flexibility is good. So if he's, if it is too flexible for you, you can change the band stiffness to a higher value to create an, a more stiff wings. From my paupers, 100,000 is good. And you can also onto the green group, you can add more points to the pin group. So where you're feeling that there animation is going to solve. So for example, here on to the group. Let me add more points to the pin group. To the group, Let's select this selector icon. And let's add these points onto the group as well. To create a more stiff animation. Press Enter to complete the selection. And let's check that again. Now as you can see, now the animation is stiff. Okay? So now let's cash-out our simulation. Let's create an F phi cash node and attach the first input. So that is our geometry. So before I flash out, if I middle click on this board here, as you can see, we have lots of points, attributes, and groups that we don't need. So they will increase out our cache size and we don't need them anyway. So let's remove them by ad and a clean saw up here onto the clean. So let's uncheck the removed to generate primitive. Let's remove the attributes and groups. And this will also remove the UVs. So we don't want that. So for the after the star, let's add the heart sign on the shift six to add this crap sign and add UV. So it means that delete everything except UVs. So now, if we were to click, now you see we have the UV attribute. So we can confirm that by connecting the UV quick share known. So let me shake this node off. And let's connect after the clean node and set the display flag. So here as you can see, we have UVs. Okay? So let me pass this node here on to the file cache known. And let's set the base name. Suddenly, I'm going to name these things. Flapping and change the base folder where you want the cash to be stored. So let's check here on to the dollar sign job and onto the same hit Accept to select the folder. And the name will be wings flapping. And here we have the version, version set to one. Let's check the load from trace corruption and saved to disk to cash out your emission. Alright, so our caches has been written out to disk and we are loading the caches from the disk. Okay, So let's shake you quick shade load and place it here. And let's enable that node to view it with our shader. So in the next lesson, let's create the particle simulation to emit particles from our wings 6. 06 Emit Particles From Wings: Now let's create our particle simulation. So for that, let's create a scatter salt to scatter some point onto our geometry. So after the file cache, Let's add an S scatter salt onto the scatter salt. Let's uncheck the legs iteration. We don't need that. So let's increase the force total count. Now let's create a pop network. So dive inside here onto the pop source. Let's uncheck the guide and the emission type we said to scatter onto surface. So currently we don't have any surface. So let's change this to all points because we are using the points as a source. So here onto the birth, let's decrease the life expectancy to two and add an a life variance of one. So let's hit play. Here. As you can see, the particles are generated but they're not moving because the, currently there are no forces. So let's create a pop when force. So we want the wind velocity to be into the negative z direction. So we're on to the vane velocity. Let's change the wind velocity onto the z two negative five. And let's introduce some noise. So let's increase the noise amplitude to two. Now let's increase the salt size to 1.5. So let's hit play. So now as you can see, our particles are moving with the forces. So let me change the particle display options from where it says display material. So right-click on it. Let's change the particle display two pixels. So after the path, then, let's add an a Bob drag to add any drag effect. So let's connect that. So now as you can see, we have some particles stepping problem because our source is moving very fast. That is why the particle stepping is happening. So let's fix that. So for that, Let's create an, a trill SOP to create the in-between frames. So let's connect the points to the trails up. And the result type where it says Preserve Richard original. Let's change this to connect as polygons. So now if we hit Play, as you can see, our trig sub is connecting these particles as polygons. So let's change the trail increment to ten. Let's play that again. So as you can see, our trail sub is struggling to work with. And that is because these scatter salt does not generating the consistent points on every frame. So if we take a look at the point number, so these are very dense, so let me decrease the point numbers. So harris can see the point count is changing in every frame. So that is what confusing the trail. So we need the consistent points to be generated every frame. So for that, let me hide the point number. Let's create an a time shift node after the file cache. So time shift here onto the frame, right-click and let's delete channel to delete the expression onto the frame. So now we have the steel frame. So let's scatter the points onto this steel frame. Let me increase the particle count. Okay, so now we don't have animation. So we need, we want to stick these particles to the animation. So for that, we're going to use the attribute intercalate sob. So the attribute interprets up has two inputs. So one is the destination geometry. So the destination geometry is the scatter salt. And the required source attributes to interplay. So we want the position attribute to be interpolating. So this will be in the our second input. So let's set the display flag to the attribute interpellate. So as you can see that actually will interpret soft throws an error. And that is because the attribute interpret South needs these two attributes to work with. So it needs this whole supreme and source supreme UV attribute So here on to the scatter cell onto the output attribute. Let's enable the brim num and the UV attribute. So when scattered, scattered the points onto these geometry. So it will store this information onto which primitive it is a landing the point and what is its primitive? Uv position, prim uv position. Okay, So we are enabling that. So let's set the display flag to the attribute intercalate. Now if we hit Play, as you can see, now, all particles are sticking to the geometry and they are consistent. So now let's connect the trails up. I want to be attributed interplay and certainly display flag to the trail. Now as you can see, our trig sub is working fine. If we enable the point display there, as you can see, we have these basically two streams and these lines are connecting between frames. So let's add an, a scatter sub two scatter points onto our this new geometry to create anymore filled geometry to this character, let's increase the particles count. Okay? So now let's use this as a source. Set the display flag to the pop net. So let's go back to the first frame first. Now, let's set the display flag. So now as you can see, we don't have those weird particle stepping. Okay. So now let's further improve our source by adding the noise. So after the scatter SOP, let's create an attribute warp. Connect that, and dive inside. Now let's create an a and T aliased flow noise. So let's connect the position to the position. And for the flow, we're going to connect the time as a flow. Let's put the noise to CD. Okay? So now the noise is currently very low-frequency. So let's increase its frequency. Okay, After the mTLS flow noise, Let's add an, a fixed range to clamp some noise values. So source minimum, let's decrease this to negative two to add a bit more contrast. Okay? So now let's break up our source by deleting all these black values. So for that, let's create an attribute triangle. Let's type in a simple expression. So we're going to say if C, D capital C lowercase t is less than a threshold value. So we're going to create an a threshold value through a slider. So our skeleton as CHF, which means the channel float. So here we will type the threshold. And let's close the parentheses for the if. So, if the condition is true, we want to remove points. Move point, and the geometry should be zero and the port number is large side and a semicolon. And let's click on the channel Create, to create the channel, let's increase the threshold value. So here as you can see, we are removing the points with the black color value. Okay? So let's set the slider to our liking. And now let's use this as a source, as our source. And now we have an, a more breakout source. So now let's import our color attributes. So this color, I want this color to be onto my particles. So for that, after we remove some points, Let's create an attribute from map. So if we middle click on to this node here, as you can see, we have these UVs. So the UVs that we have created onto the original geometry. So these UVs are inherited with the scatter salt. So as you can see, we do have UVs on to these points. So which means we can use the attribute from AB to load out our map as a CD attribute. So here onto the texture map, Let's select our to our dollar sign job texture, butterfly texture, and load our diffuse color. So now we are importing the diffuse color as an a, C, D attribute. So now when we simulate this CD, attributes will be inherited. Okay? Now as you can see, we are importing the color attribute onto our particles as well. Okay. So in the next lesson, let's create a smoke simulation to advect our particles 7. 07 Advect Particles From Volume Velocity: So now let's create the smoke simulation for particle advection. Before that, let me fix some values. So here onto the scattered SOP. So let's uncheck the relaxed iteration. We don't need that. And let's increase the particle count to nine to five. And here onto the, before the attribute interpolates up onto this character. So let's change these force count to 400,000 to create any more detail source. So now if we take a look. So here as you can see, we have lot more particles. Okay? So let me organize my node graph. So here onto the file cache, Let's add another scatters up. To scatter some points. Uncheck the relaxer tuition, increase the force count. And let's break up our source by copying this whole setup that we have generated, this noise and the particle removal wrangle. So let's duplicate that. My press and hold and drag to duplicate these node. And let's connect that, set the display flag. And here as you can see, we have these particles breakups. And let's create a spiral source node and change the particle scale to one and initialize to source smoke. And let's create a velocity. So we're gonna use the point velocity. So let's connect that point velocity node. Select the initialization to set to value. And let's add a velocity into the negative z-direction. So let's change this to negative one. And let's lift up a little bit to 0.3. And onto the noise. Let's add an, a girl noise and animated. Let's chain the soul size 21.3 and lower the overall scale to 0.5. Now let's add an a volume restaurants attribute node. Connect that. And lets rasterize our density and temperature and velocity. Let's check the normalized by acclaimed coverage. And let's lower the voxel size to zero points. Simon. We don't need that much detail smoke. So let's create an viral solver. Connect that. And let's change this to 0.07. And onto the sourcing. We have density to density, temperature to temperature. We don't have flame. Let's remove that. And the velocity, Let's bump up the velocity two to less the temperature. And let's set the temperature method from pool to add. So we are adding the temperature. So onto the output. We don't need the temperature or flame or CD. So we only need the velocity field. So I am still exporting the density so I can look at the smoke simulation. So let's hit play. So as you can see, our smoke is rising up. So let's go on to the quantity shape. We are on to the buoyancy. Let's change the buoyancy direction y to zero and change this to one. So now you go on to the negative z direction. Let's add some wind. Let's enable the vein. Let's set the wind direction to negative z direction. So here onto the fields. Let's uncheck the flame so we don't have flim, flam, so let's uncheck that. So we are on to the density dissipation. So let's lower the patient to 0.05 And here onto the shape tab, Let's enable the blends and set the scale to one. Let's check. Okay, so now let's connect this into the second input of our subnet. So let's dive inside. Here after the bulb when let's add a pop, advect by volume. Connect that. And we'll ask to source where it says solve. Let's change this to second contexts, geometry. And the advection type set this to update velocity and change the advection method to trace. And let's lower the velocity scale to 0.8. Okay, let's hit Play. So we have lot more particles so that why our animation is slow. So let's go back to the first frame. And after the pop net merge, add an attribute, leads up. So click on the Delete, non-selective. So because nothing is selected, so every attribute is deleted. So now we don't have any attributes. So before that we have 23 point attributes. So these will increase our car size and we don't need them anyway. So let's lead them. And we still have the one-point groups. So let's add a group delete. To delete that group. And select our group that we want to delete. And now we don't have any groups, we only have points. So let's add a color to color. These are particles to black. Now, let's transfer our this color onto these points. So that is because I don't want my whole articles color to be the butterfly wings color, but the blue color, I wanted this color to bleed out a little bit. So let's create an, a transform node. And let's center out its pivot. So the pivot translate. Let's add dollar sign C, e x on the x. I'll assign CE. Why? I don't put onto the z dollar sign C, E, Z. Okay. To center out our pre-vet. Okay, so now let's scale down our whole particles just a little bit. So let's scale down it by 0.9. So now let's add an attribute transfer. So I want to transfer the CD attribute from this train to the attribute transfer. Let's uncheck the primitive. And we only want the CD attribute to be transferred to the conditions. Let's zero out the distance threshold, increase the blend width to 0.0, 15. Okay, So now as you can see, we have a little bit color bleeding effect. Okay, So here on to the transform node. So let's just little bit add a nudge onto the negative x-direction is 0.05. Clay onto the z. Let's add 0.3. So basically we have an, a color bleeding effect. So the butterfly color is on the inside of the particles and the outside will be completely black particles. Okay? At this point, if you want to crash out your simulation, this smoke simulation, you can add an F file cash and cash that out separately. But I'm going to cash out when I have all these steps term, okay? So it's all up to you if you want to catch this separately. So what I'm caching after I have done all these operations. So if you middle click, now we have the CD and the p. Okay? So let's add an a phi cash node. Connect that, set the display flag to file cache. Let's set the name to be particles, cash. And change the base folder to dollar sign job and onto the same. And hit Accept. Check the load from disk and press the saved to disk option to cash out your particle simulation 8. 08 Settings up Smoke Simulation: Okay, all done. So I have written out all the caches. So after the file cache or scraped and no, let's call this null out particles. Okay, so now let's create a smoke simulation that we are going to render. So this smoke simulation that we have created here, this is for the advection. So now we need to create another smoke simulation for rendering. So let's copy our whole setup here. Press and hold the Alt key and drag to duplicate all these nodes. Okay? So for the volume restaurants attribute, so let me lower down the voxel size to 0.03. So this is a much higher risk simulation. So let's create a viral solver node. So let me bring back my play bar to the first frame. To the pyro solver. Let's lower the voxel size to 0.03. And onto the sourcing tends to do density and temperature. Let's set the operation to add. Let's uncheck the flame velocity. So let's change this to two. And onto the field. Let's uncheck the flame. Now let's check the spirit field. So for the dissipation, we're going to use the 0.05 for the dissipation onto the ship. So let's zero out the y and set this to one because we want the smoke to travel in, in the negative side. Okay? So let's enable the disturbance. Also enable the turbulence. Here onto the disturbance. Let's enable the use control field and the control phase already set to speed and the range is zero to one. Okay? And let's set the disturbance to ten and the turbulence to one, or maybe five. We're going to create another turbulence node inside of the pyro solver nodes. So let's dive inside here onto the forces. Let's create another gas turbulence node. And let's connect that. Let's set its scale to one. So we have one low scale noise and we have one large scale up here. Okay? So here onto the output. Let's disable the temperature, flame, velocity and CD we only need the trends TO attribute. So let's check the convert to VDB and use the 16-bit float. So let's hit play. So right now our smoke is looking very thick. So let's change that. So here onto the pyro source node, let's decrease the particle separation to 0.03 to match our voxel size. Okay, and now let's hit Play. So let me change my color to black. So just click on this icon and go into the fire ground. And let's change the color scheme too dark. Okay, So this is our smoke simulation. So let's catch that out. So let's create a file cache known. Connect that. Let's also check the load from disk and name these two small same. Let's select our dollar sign job. Same folder. And you'd accept and press the Save to risk option to render all these caches 9. 09 Scene Preparation For Rendering: Okay. All done. So I have written out the smoke simulation cash. Okay, So after the file cache, let's create an unknown. Let's call this null to out smoke. Set the display, flex the smoke. Now let's fix our butterfly. Foldy. So it's way up here. So after the clean, so here as you can see, we have the butterfly body. So after the clean, so let's add an colors up to let's color this may be a gray value, half gray. So let's create another transform node and set its scale to three to match the scale of our wins. And let's create another transform with the same value for the placement. So we have lifted one unit up and the rotation was negative 60 degrees. So let's check this with our main cash. So let's merge this view if the placement is correct. So let's merge our wings with the body. So here as you can see, our scale is not matching up. So go into the match size that we have created after we imported the geometry. So we are onto the target size. So let's lower that down the target size. Okay? So our scale is looking good. Maybe let's increase its scale just a little bit more to 0.25. Okay. So now its placement is good. Let's check. Okay, so we don't need this merge node. So after the transform, Let's create another neural. And let's call this null tool our body. Okay? So here onto the particles. So if we middle click here, as you can see, we have the CD and the P. So currently we don't have the B scale attribute. So we need the p scale attribute to set the scale of our particles. So let's create that. Let's create an attribute triangle. Let's set the scale to a lower value, maybe 0.01. We will change it back when we are rendering our particles. Okay, so now let's import all of these, our geometry particles and since smoke simulation into Solaris to render out our final effect. Okay? 10. 10 Import Into LOPs: Okay, so now let's import our scene into Solaris for rendering. So we have forgot one null for the wings. So here on to this file cache, where we have simulated our wings using vellum. So let's create another node. Let's connect that. Let's name this our wins. So that is our wins simulation. So let's go into the state context. Here into the stage, alerts, create an import node. And here onto the soft path. Let's select the body. And let's rename this to body. And let's duplicate that node. Let's import our OUT wins. So let's call this rings. So duplicate again. And let's import our particles. These two particles. And let's duplicate one more time to import our smoke. Let's rename this to smoke. So we have the body, we have the beans, and the particles and smoke. So let's merge them together. Select all of these nodes connected to the merge. Okay? So now we have imported all of our scene geometry into Solaris. So now let's create a dome light. So let's merge the light into our scene. And for the texture. Let's select the Houdini, pick HDRI, and choose the HDRI Haven skylight garage. Okay. So if you don't want the light to be seen in the viewport and just press this eye icon and onto the background and uncheck the display environment height as background. Okay. So let's increase the exposure a bit to-to. We'll change that later when we are rendering. And let's create an, a material library to assign the materials. Lastly, let's create an, a hormone render up to render our scene. So let's connect there. So the camera Indra has two nodes. One, we have the render settings and we have these USD renter up. Okay, so in the next lesson, let's set up our material and shade our scene 11. 11 Materials And Rendering In Karma XPU: Okay, so now let's create our materials for our geometry particles and smoke. Into the material library, Let's dive inside. So it is important that, you know, if you are using the CPU engine, you can use the principal shader, this one. So because I'm gonna be using the karma x q. So which mean is going to utilize my CPU and GPU. So the karma exp EU does not work with principal children. So for Karma XP you, you need to create the material x. So these are the material x node. So we are going to use the material x surface shader, standard surface. So let's create that. So let's rename this to party. And let's duplicate that. And this one will be for our wings and another for the particles. So let's rename this to particles. And for the smoke, we're gonna using the SBU viral previous shader. So this shader will be used to render our smoke. Okay, so let's go back to the stage. So on to the material library. Let's click on the autofill material too. Fill all the material into the proper slot. So for assigning, let's check the assigned to geometry and for the geometry. So let me change my desktop to the Solaris. So now we have the access to the scene graph tree. So let me hide my parameter window and let me hide the shelf. So here we have the same graph tree. So here onto the material library and assigned to geometry. So we're going to find the body. So here we have the mesh. So let's use that. So now we are using the body. You can use the body node as well. Okay? So for the wings, Let's let the wings and drag it into the assigned to geometry slot for the particles. Let's select the particles and drag it to here. And for the SBU pyro preview, we're going to use the small. So let's do that. So now we have assign our materials to all of our geometry, particles and smoke. Okay, so let me hide the scene graph tree. We don't need that. So let's bring up our display option again and onto the background. Nurse disable the environment light as background. Let's disable this light guide as well by clicking this enable or disable light guide. Okay, so let me change the view to dark. And let me hide the grid. Okay, so let's set the display flag onto the karma render setting here, Let's change this to SBU engine and alerts here onto the perspective. Let's change this to karma to render out our scene. Okay, so let's change some different frame where we go into the 50. Okay? As you can see, the current my x value is very fast. So first, let me focus on the material. So let me disable all of these node. So let's bypass them. So now currently we are only focusing on to the party. Okay, so now let's dive inside the material library. And here we have the body material. So let's bump up the diffuse roughness. We don't want the shiny surface for our body. And let's change its color to a darker value. So going into the specular, and let's lower the specular down. And let's increase the specular roughness to 0.8 So now we have the rough surface for our body. Okay, So let's change this to 0.5. And now let's enable the wings. So let's go into the material library. And for the wings, Let's load out our diffuse texture. So by using the material ECS image known. So here onto the image, let's hear on to the file name. Let's select our dollar sign job into the texture. And here we have the diffuse. So let's select that. Let's connect these two base color. Okay? So now as you can see, we have imported our diffuse color. So now the surface is very shiny. So here onto the wings, go into the specular and let's zero out the specular so we don't want any reflection. So let's change back to normal to see our changes. So now as you can see now we don't have any reflective surface. And maybe let's change the base to 0.8. Okay, so after the material ECS image node, let's lay down and a material x range node. And let's connect that. And here onto the Gamma. Let's lower the Gamma down to maybe 0.45 and outlaw to negative 0.4. Okay, so It's now looking a bit dark. But when we increase the dome light exposure. So let's increase the exposure to four. So go into the material library again. So let's use the same image for the emission. So we want the glow effect, swear on to the emission color. Let's connect that. So go into the wings material. Into the emission. Let's enable the emission by setting the mission to one. So now as you can see, our butterfly is looking good. Okay, So now for the articles, so let me change this to Houdini g, l. And let me disable the body and wings. And for the particles, let's enable that. So go inside the material library where we created the particle material. So here, let's import our CD and use the CD attribute as a base color. So for that, we are going to use the USD ClinVar reader here onto the brim worried. So the variable name does CD will be changed to display color in Solaris. So in Solaris the CD is called the display color. So let's type display and the color have the capital C bar. Let's connect this to our base color. And the signature is the vector. Okay, here onto the particles and the specular. Let's increase it. Roughness to 0.8. And let's change our renderer to grammar to view our particles. Okay, So here as you can see, now we are rendering our CD attribute as a coloring. Okay? So the particles scale is maybe too small, so let's increase that. So let me disable the renderer to Houdini G, L. So let's go back onto the object to the geometry. So we set it RPE scale. So let me rename this to scale. Let's change our scale to a higher value, may be 0.05. And now let's see the stage. And let's change this to caramel. Okay, Now the particle scale is looking good. So let's dive inside and let's use our same CD attribute into our emission as well. So here on to the emission color. Let's plug that onto the particles material going into the emission. Let's enable emission by setting emission 0-1. Okay, so now we have the Emission going on in our particles. Let me change back to Houdini GL, and now let's set up our smoke material. So go into the karma viral preview. And let me disable my particles and enable the smoke. And let's change the renderer to karma to see our current smoke. Okay, So let's dive inside the material library and let's change the density scale to tend to create nMOS, thicker smoke. Let's increase the shadow, tends to turn as well. Okay, so now we do have some shadows. So let's make our smoke color to our darker value. Okay, So this smoke is, smoke color is looking good. Maybe let's increase the density a bit more. Let's change this to 15. Okay, now let's view everything together. So let's enable all our geometries. Let's change this to karma. So now let's rotate our dome light. So let's go into the transform and onto the Y rotation. Let's rotate this into 180 degrees. Okay? Now let's create another light into our scene. So let me bring up my shelf and let's press and hold the Control key and click on the area light to create the light from the current view. Okay. So let me uncheck this lock icon to disable the log. Let's change this to caramel to see the light effect. So maybe let's increase the intensity to three. And also let's increase the exposure to ten. Okay. So here onto the light. So let me disconnect. It's wire. So let's connected hair after their dome light. So here onto the karma intersecting. Let's lower the portray sample to maybe 91, maybe less lower even further by 64 fast preview. So let's change back to normal. Okay? So the area light is a bit harsh. So let's set this very says no cam. Let's look through light, area light, and let's lock the light. So let's place it a little bit more in angle. So let's uncheck the lock icon. And now let's create a camera for our scene. So for that, let me choose a view that I like. And press and hold the Control key and click on the camera icon to create the camera onto that view. So let's unlock the camera. So let's make this bigger and bigger and let's hide the shelf on the camera. Let's merge it with our scene. Okay. So let's go into the karma render setting. Swear on to the resolution. Let's change this to HDTV Trinity. And here onto the image output. And the AOVs. Let's enable the light and emission and the combined emission AOV. So we need the emission it will be for later in the compositing to add a glow effect. So let's select the karma to render. Okay, you can check your movie by clicking on this, viewing the output option. So let's click that. So here we have the combined option AOV, so combined emission. So let's like that. So here as you can see, we have the emission AOV. So this Avi we're going to use later in the compositing to add and add glow effect. Okay, so let's change back to see for the color beauty pass. Okay. So let me change back to Houdini G, L. Okay, so at this point, you can pretty much play around with the camera and all the lights to set up at your liking. So when you are done, go into the USD anaerobe and here onto the render up inside the buret surrender Chrome Frame. Let's change this to render specific frame range. So it will be one to 120. Okay? So here onto the karma render setting where it says Output picture. So let's select that dollar sign job into the render. So let's call this one to be butterfly. Taught. Dollar sign F and G XOR to write out the XOR sequence, hit Accept. So here onto the USDA render setting, precedent it to disk option to render out all your sequence to taste. Okay? 12. 12 Compositing In After Effects: Okay. All done. So the render has been finished. So these are the rendered straight from Houdini. So the particles and smoke are looking very good. So now let's composite them into After Effects. Here, into the after-effects, I already imported the image sequence. So when you are importing your sequence, go to the interpret footage main chain, the frames per second, 30-24, because these are the frame rate that we're using when we are rendering our short in Houdini. And also in the color management. Check the preserve RGB to disable the color management. Okay, because we are using the aces. So for the essays to work correctly inside the After Effects, you need the plug-in. So this is the plug-in open color IO for After Effects. So download that, press the green button to download for Windows. And if you are on Mac, press the math button to download it for Mac. I'm also going to be using the plugin from video copilot. So it's a free plugin. So let's scroll down where it says free plugins. Let's download the color vibrance. Press the download to download that, unzip that, and place it inside the after-effects Plugin Library. Now we have the butterfly. Let's create a new comp. So these are the sequence. So right now they are looking very dark because they are using their knowledge using the correct color space. So let's correct that by adding an open color IO. So let's add there. So here onto the open color io input space, Let's change this to aces and essays CG. And for the output space, these two output and choose the output sRGB. So now the aftereffects is using the correct color space. So let's add a curves adjustment. So let's adjust the curves to create an S curve shape. Now, let's import the emission paths. So I rendered the emission paths separately. So here I have emission bars, so let's import that. So for the emission, let's copy our same open color. I use headings. So select the plugin control C to copy and onto the emission. Press Control V to paste. And now we're using the correct color space for the emission paths as well. So let's add the mission bars blending mode to screen. And let's add an, a VC color vibrance to add color to our glow. So let's change this to blue. And now let's add an, a CC vector blur. So what CC vector blur will do? So if I disable my butterfly sequence. Okay, so let's enable the amount. Increase this to five. Okay, So it will create a more organic looking shapes. Okay, Now let's add a glow to add the glow effect. And let's increase the glow radius 200. Let's increase the glow intensity to create any more intense glow. And let's enable our main butterfly sequence to view it together. Okay. So these are the, pretty much the settings that are used for the glow. I'm using the deep blue. So it is from plugins and everything. So Deep Blue is a paid plug-in. So I use there to add the glow effect. Okay, So now let's render out our sequence by going to composition pre-render. Here, Let's select the format that you want to render. You can use the JPEG sequence or the PNG sequence. Hit Okay, and press Render to render out your composter sequence