FXPHD – HOU230 – Realistic Destruction Workflows

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。技术方法和眼睛开发在课程中融合在一起，您将通过完整的破坏过程进行指导，从而产生现实的最终结果。

真实的破坏始于参考和高质量、有代表性的裂缝。刚体之间的对象之间的约束应根据材料类型进行变化和适当。可以在模拟之前对现实主义进行测试，并且可以将模拟既可以作为科学家和动画师进行评估。运动后处理可以在几天而不是几周内完成艰难的破坏。

多年以来，安德鲁（Andrew）被行业认可为FX TD和教练。CreditsStudios包括 /木乃伊3，Attic，Invictus，Thor，Thor，Sucker Punch，Transformers 3，Jack the Giant Slayer和Ender在Studios Digital Domain的游戏中的外星人，节奏和色调以及动物逻辑。他还在动画研讨会和FXPHD等专门机构进行正规培训。

第1课：破坏工作流程概述和自定义破裂
的心理和工作流程概述，以进行大型和复杂的破坏模拟。使用预制工具非常适合开始，但是自定义破裂是从破坏中获得快速可靠的外观的关键。在此类中，低水平的几何过程将用于创建一种令人难以置信的直接裂缝模式。

第2课：约束设置和使用
约束是破坏模拟的生命。在此类中，核心约束概念和逻辑被应用于创建高度特定的约束关系。

第3课：锥形约束
旋转锥体键约束类型的特殊需求将进行详细讨论，并在简单的测试场景中应用。

第4课：锥形应用
程序应用和应用锥形约束类型的使用和应用在高度旋转且复杂的对象中显然显示出来：带轮的办公椅。实践应用此约束类型将有助于以前困难的模拟，涉及弯曲，破裂或机械零件。

第5课：动态弯曲和破坏
约束工作流程被应用于建立高度专业化和强大的关系，与模仿软体技术之间的高度专业化和强大的关系，以进行震撼的性能和稳定性的改善。

第6课：模拟
策划更大破坏场景的科学和艺术的模拟是通过严格的测试和组织实践来制定的。

第7课：全球约束关系
该课程将其视线范围广泛，并且全部涵盖了主要对象和材料类型之间更大的约束关系。

第8课：在接近刚性的身体模拟时，用变换和时间
变形的雕刻模拟是一种高度使用和强大的方法。在这里，使用时间操纵通常笨重且重型的模拟分成小且可引导的零件。

第9课：控制重型模拟，
沉重的模拟通常会震惊大三和老年人，并可能导致长时间的迭代时代和繁琐的工作流程。在此课程中，您将看到如何通过速度和控制进行重大模拟和导航。

第10课：动态表面
任何破坏镜头的最后阶段是由低分辨率或代理对象产生可渲染的结果。在此类中，教授和演示了低水平和高效的几何作战的浮雕艺术，以改变拓扑以及裂缝效果。

Duration 6h 15m Project Files Included MP4

Title: FXPHD – HOU230 – Realistic Destruction Workflows

Info:
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.