Houdini真实破坏特效制作视频教程

本课程将指导您使用Houdini和Bullet完成最新的销毁流程和工作流程。技术方法和眼睛的发展在课程中结合在一起，你将被引导通过完整的销毁过程，产生一个现实的最终结果。

真实的破坏始于参考和高质量的、有代表性的裂缝。基于材质类型，刚体对象之间的约束应该是不同的和适当的。真实性测试可以在模拟之前进行，模拟可以由科学家和动画师来评估。后期处理可以在几天而不是几周内完成一个艰难的破坏镜头。 FXPHD – HOU230 – Realistic Destruction Workflows

大小解压后：4.4G 持续时间6小时15分钟 包括项目文件 1920X1080 MP4 语言：英语+中英文字幕（云桥CG资源站机译）

FX PhD–Hou 230–真实的销毁工作流程


多年来，Andrew一直是业内公认的外汇TD和培训师。电影学分研究包括/木乃伊3，阁楼上的外星人，Invictus，雷神，吸盘冲床，变形金刚3，杰克巨人杀手，和工作室数字域安德的游戏，节奏和色调，动物逻辑。他在世界各地举办了许多研讨会，撰写了文章，撰写了一本胡迪尼的书，并领导了像胡迪尼音乐工具集这样的倡议。他还在动画工作室和fxphd等专门机构进行正式培训。

第1课:销毁工作流程概述和定制断裂
大型复杂破坏模拟的思想和工作流程概述。使用预制工具是一个好的开始，但定制压裂是从破坏中获得快速可靠外观的关键。在这堂课中，低层次的几何过程将被用来创造一个令人难以置信的有效和直接的断裂模式。

第2课:约束设置和使用
约束是破坏模拟的生命线。在本课程中，核心约束概念和逻辑被应用于创建高度具体的约束关系。

第3课:锥形扭曲约束
详细讨论了旋转锥扭曲约束类型的特殊需求，并在一个简单的测试场景中进行了应用。


第4课:锥形扭转应用
圆锥扭曲约束类型的使用和应用在一个高度旋转和复杂的对象中清晰可见:一把带轮子的办公椅。应用此约束类型的实践将有助于以前涉及弯曲、断裂或机械零件的困难模拟。

第5类:动态弯曲和断裂
约束工作流用于在刚性对象之间创建高度专业化和强大的关系，以模仿柔体技术，从而大幅提高性能和稳定性。

第六课:模拟微观测试
通过严格的测试和组织实践，精心制作了大型破坏场景的科学和艺术。

类别7:全局约束关系
这个类的视野很广，包括了主要物体和材料类型之间更大的约束关系。

第8课:用变换和计时雕刻模拟
在进行刚体模拟时，时间和3D空间的扭曲是一种未被充分利用的强大方法。在这里，一个通常繁琐和沉重的模拟被分解成小而直接的部分使用时间操纵。

第9课:控制重型模拟
繁重的模拟通常会让大三学生和大四学生感到恐惧，并可能导致长时间的迭代和繁琐的工作流程。在这堂课中，你将会看到如何用速度和控制来接近和导航一个沉重的模拟。

第10类:动态表面处理
任何破坏镜头的最后阶段是从低分辨率或代理对象产生可渲染的结果。在这堂课中，将教授和演示使用低级和高效几何操作的表面处理艺术，以改变拓扑和分裂效果。

This course will guide you through the latest destruction processes and workflows using Houdini and Bullet. Technical methods as well as eye development come together in the course and you’ll be guided through the complete destruction process, producing a realistic final result.

Realistic destruction starts with reference and high quality, representative fractures. Constraints between rigid body objects should be varied and appropriate based on material type. Testing for realism can be performed prior to simulation and the simulation can be assessed both as a scientist as well as an animator. Post motion processing can final a tough destruction shot in days instead of weeks.

For many years Andrew has been recognized by industry as an FX TD and trainer.Movie creditsstudios include /Mummy 3, Aliens in the Attic, Invictus, Thor, Sucker Punch, Transformers 3, Jack the Giant Slayer, and Ender’s Game at studios Digital Domain, Rhythm and Hues, and Animal Logic.He’s conducted many seminars around the world and written articles, authored a Houdini book, and heads initiatives like the Houdini Music Toolset. He also conducts formal training at dedicated institutions such as Animation Workshop and fxphd.

CLASS 1: DESTRUCTION WORKFLOW OVERVIEW & CUSTOM FRACTURING
An overview of mentalities and workflows for large and complex destruction simulation. Using pre-made tools is good for a start, but custom fracturing is the key to getting a fast and reliable look from destruction. In this class, low level geometry processes will be used to create an incredibly efficient and direct-able fracture pattern.
CLASS 2: CONSTRAINT SETUP AND USES
Constraints are the life-blood of a destruction simulation. In this class, core constraint concepts and logic are applied to create highly specific constraint relationships.
CLASS 3: THE CONE-TWIST CONSTRAINT
The special needs of the rotational cone-twist constraint type are discussed in detail and applied in a simple test scenario.
CLASS 4: CONE-TWIST APPLICATION
The use and application of the cone-twist constraint type is clearly on display in a highly rotational and complex object: an office chair with wheels. Practice in applying this constraint type will aid in previously difficult simulations involving bending, breaking, or mechanical parts.
CLASS 5: DYNAMIC BENDING AND BREAKING
Constraint workflows are applied to create highly specialized and powerful relationships between rigid objects to mimic soft body technology for a blazing performance and stability improvement.
CLASS 6: SIMULATION MICRO-TESTING
The science and art of orchestrating larger destruction scenes is crafted through rigorous testing and organizational practices.
CLASS 7: GLOBAL CONSTRAINT RELATIONSHIPS
This class sets its sights wide and all encompassing with a move into larger constraint relationships between major objects and material types.
CLASS 8: SCULPTING SIMULATIONS WITH TRANSFORMS AND TIMING
The distortion of time and 3D space is a highly underused and powerful methodology when approaching rigid body simulations. Here a normally cumbersome and heavy simulation is broken into small and directable parts using time manipulation.
CLASS 9: TAKING CONTROL OF HEAVY SIMULATIONS
A heavy simulation often strikes fear into juniors and seniors alike and can lead to long iteration times and cumbersome workflows. In this class, you will see how a heavy simulation may be approached and navigated with speed and control.
CLASS 10: DYNAMIC SURFACING
The final phase of any destruction shot is producing a renderable result from low resolution or proxy objects. In this class, the art of surfacing with low level and highly efficient geometry operations is taught and demonstrated for changing topology as well as splintering effects.