了解Niels Prayer如何使用Houdini和Mantra创建抽象图像...
Discover how Niels Prayer's creates abstract images with Houdini and Mantra...
Storm is an abstract piece created in Houdini and rendered in Mantra. The power in using a software like Houdini is that it's an FX-oriented package. You can really control every step of process and procedurally modify and customize during the process of creation. It's a really pleasant way to work, having the freedom to make modifications at every step without destroying anything you've built. This image is a great example of the power of this way of working. When I start a project like this one, I have an idea, but I know it will evolve thanks to the procedural approach of this software. The FX-oriented aspect allows you to easily generate really fun effects in combination with others; for example, having particles, curves, fluids and pyro effects in the same scene. It doesn't matter if you don't have any model or setup; you can go from scratch to an abstract piece in few hours, from idea to final render.
风暴是在Houdini和Mantra创造的一个抽象的部分。 使用像Houdini这样的软件的力量是它是一个面向外汇的包。 你可以真正地控制过程的每一步，并在创建过程中进行程序修改和自定义。 这是一个非常愉快的工作方式，有自由修改在每一步，而不破坏任何你已经建立的。 这个图像是这种工作方式的力量的一个很好的例子。 当我开始一个像这样的项目，我有一个想法，但我知道它会发展，由于这个软件的程序方法。 面向外汇的方面，您可以轻松生成真正有趣的效果与他人结合; 例如，在同一场景中具有粒子，曲线，流体和热解效应。 没关系，如果你没有任何模型或设置; 你可以从头到抽象的作品在几个小时内，从想法到最终渲染。
In this making-of, you will see how I've managed a particle system to create trails and metallic curves in conjunction with spheres to create an abstract flower shape. I've also played with effects such as smoke and detailed particles to frame the image and create the overall mood. Finally, we'll cover the lighting and rendering steps and how I've put the final touches in compositing to fine-tune the atmosphere. Thanks for reading and I hope you like it!
在这个制作中，你将看到我是如何管理粒子系统创建轨迹和金属曲线结合球体创建一个抽象的花形状。 我也玩过的效果，如烟雾和详细的粒子框架的图像和创造整体的心情。 最后，我们将介绍照明和渲染步骤，以及我如何在合成中最终完成微调气氛。 感谢阅读，我希望你喜欢它！
Step 01: Particle SOP
For this particular scene, I wanted to have a dark, cloudy mood and play with the contrast of textures and shapes. The opposition of materials, such as clouds and metallic shaders for instance, is a great way to create detailed depth in an image. Playing with lighting, specular highlights, bouncing lights, and create eye-catching details will put your image in another dimension. The viewer is really sensitive to details in an abstract piece, so you have to create catchy elements! Even if it's a poetic vision, in my opinion, you have to put a notion of reality that the viewer can identify with.
First, we start with a particle system done with a Particle SOP (Surface Operator). With some custom forces made with metaballs and turbulences (directly into the Particle SOP node), I've created this pattern to fit my composition. I wanted to create a squared ratio image, with an organic shape rising up, so I've generated my particle system more on the Y and Z axis than the X axis. With a really tiny focal length, it will be really effective when I add the depth of field in comp.
步骤01：粒子SOP
对于这个特定的场景，我想有一个黑暗，多云的心情和戏剧的纹理和形状的对比。材料的对立，例如云和金属着色器，是在图像中创建详细深度的一种很好的方法。使用照明，镜面高光，弹跳灯和创造引人注目的细节将把你的形象在另一个维度。观众对一个抽象的部分中的细节真的很敏感，所以你必须创建引人入胜的元素！即使这是一个诗意的视觉，在我看来，你必须给观众可以识别的现实的概念。
首先，我们从粒子SOP（表面运算符）开始粒子系统。有了一些自定义力量的metaballs和湍流（直接进入粒子SOP节点），我创造了这种模式，以适应我的组成。我想创建一个平方比的图像，有机形状上升，所以我已经生成我的粒子系统在Y和Z轴比X轴。有了一个非常小的焦距，它将真正有效，当我添加景深在comp。
Step 02: Converting to curves
To create these trails, I converted my particles into curves. When I generated my points, I simulated some main particles and, with a Solver SOP, I merged the previous and next frames of the simulation to create nice trails of particles. In my simulation, I added an "id" attribute on my points so I could get the point numbers and generate curves on each trails. For that, I used an Add SOP in Polygons and "id" for attribute group method. I now have nice curves trails following my particle simulation.
步骤02：转换为曲线
要创建这些踪迹，我把我的粒子转化为曲线。当我产生了观点，我模拟了一些主要的粒子，以求解SOP，我合并了前一个和下一个模拟框架，以创建粒子的好踪迹。 在我的模拟中，我在我的点上添加了一个“id”属性，所以我可以获得点数，并在每个轨迹上生成曲线。 为此，我在多边形中使用了Add SOP，对于属性组方法使用了“id”。 我现在有很好的曲线跟踪我的粒子模拟。
Step 03: Converting to polygons
I knew for this image I wanted some rough metallic shapes for the curves. The problem was that my trails were just some NURBS curves, so I wouldn't be able to apply the textures for roughness or reflectivity later in Mantra. I needed to convert them to polygons and create a basic UV system. So I used a Polywire SOP to convert the curves into polygons, and generated basics UVs with a UV Texture SOP. This meant I could add details to my trails' material for the shading process later.
步骤03：转换为多边形
我知道这个图像是我想要一些粗糙的金属形状的曲线。 问题是，我的踪迹只是一些NURBS曲线，所以我不能在 Mantra里应用纹理粗糙度或反射性。 我需要将它们转换为多边形并创建一个基本的UV系统。 所以我使用了一个Polywire SOP将曲线转换为多边形，并用UV纹理SOP生成基本UV。 这意味着我可以添加细节到我的踪迹的材料以后的着色过程。
Step 04: Converting to polygons
At the beginnings of the trails, I wanted to have a sphere to give a floral look to this abstract shape. When I simulated the particles, I grouped the main ones with a Group SOP for this step. With a Copy SOP and a couple of random expressions (for the size, mostly) in the stamp attributes, I put some spheres randomly at the beginnings of my trails. This gave me the final flower-like appearance I wanted for these trails.
步骤04：转换为多边形
从小径的开始，我想有一个球体给这个抽象的形状花卉的外观。 当我模拟粒子，我分组主要的与这个步骤的组SOP。 使用复制SOP和几个随机表达式（对于大小，大多数）在戳属性，我把一些球体随机在我的踪迹的开始。 这给了我想要的这些足迹的最终花状的外观。
Step 05: Creating extra details
For this type of image, I like to play with contrast of shape, textures and materials. I felt my composition was a little simple at this stage, so decided to generate some particles around my main shape, using spheres added with a Copy SOP, to get better framing. Later, to contrast with the solid aspect of the trail flower, I'll put a glass shader on these spheres to add something light and fragile.
步骤05：创建额外的详细信息
对于这种类型的图像，我喜欢玩弄形状，纹理和材料的对比度。 我觉得我的构图在这个阶段有点简单，所以决定生成一些粒子在我的主要形状，使用添加了复制SOP的球体，以获得更好的框架。 后来，为了与直线花的坚实方面形成对比，我将玻璃着色器放在这些球体上以增加轻微和脆弱的东西。
Step 06: Using Pyro FX
Now the fun part! Smoke! Since the beginning, I knew I wanted a dark, cloudy atmosphere for this image. To create these cloud shapes, I used Houdini's Pyro FX, which is a really powerful tool. With a little tuning, you can make something really cool with a lot of control over your shape. I have two emitters (standard sphere) with a lot of turbulence at emission. On my Pyro FX, I have a lot of swirl with a large amplitude to get those nice rounded shapes. Of course, I put a heavy density in my smoke, to get a really opaque aspect later in lighting.
步骤06：使用Pyro FX
现在有趣的部分！烟雾！ 从一开始，我知道我想要一个阴暗，多云的气氛这个形象。 为了创建这些云形状，我使用Houdini的Pyro FX，这是一个非常强大的工具。 有了一点调整，你可以做一些很酷的东西，很多的控制你的形状。 我有两个发射器（标准球体）在发射时有很多湍流。 在我的Pyro FX，我有很大的漩涡，大振幅，得到这些好的圆形。 当然，我把一个重的密度给我的烟雾，得到一个真正不透明的外观。
Step 07: Shading and lighting
For the lighting, I used two kind of lights. First I set my environment with an HDRI map using the environment light tool. With that, I got an initial mood for the scene, ready to go further to adjust details. I added an area light on the top left to reveal a lot specular on my trails and spheres, and to get really good shadows in my smoke clouds.
For the shading, I used Mantra surfaces for every shader. I created a metallic one for the flower trail, with a little noise in Displacement and Roughness to obtain a really interesting render. As I mentioned earlier, I used a glass shader on the levitating spheres and finally a Billowy Smoke shader for the clouds with a colored ramp in the density attribute.
步骤07：阴影和照明
对于照明，我使用了两种灯。 首先，我使用环境光工具使用HDRI地图设置我的环境。 这样，我得到了场景的初始情绪，准备进一步调整细节。 我在左上方添加了一个区域灯，在我的轨迹和球体上显示了很多镜面，并且在我的烟云中获得了真正的阴影。
对于阴影，我为每个着色器使用Mantra表面。 我创造了一个金属的花轨迹，在位移和粗糙有一点噪音，以获得一个非常有趣的渲染。 正如我前面提到的，我在悬浮球上使用了一个玻璃着色器，最后一个Billowy Smoke着色器用于浓度属性中的彩色斜坡。
Step 08: Compositing and post-work
Final step, compositing! For the background, I used a custom HDRi map, really blurred to give a cloudy sky feeling in the scene. I put a glow on the really bright specular and desaturated the overall image a little bit. With the depth of field, I got a lot of nice bokeh in the front. In combination with a little flare, I use God Rays on the smoke to give a final stormy effect. Playing with the contrast and the size of the depth of field, I adjust the final mood of my scene to get this stormy abstract effect.
步骤08：合成和后期工作
最后一步，合成！ 对于背景，我使用了一个自定义的HDRi地图，真的模糊，给一个多云的天空的感觉在现场。 我把辉光放在真正明亮的镜面上，使整个图像失去了一点点。 随着景深，我在前面有很多很好的散景。 结合一个小火光，我使用上帝的光线在烟雾，给最后的暴风雨的效果。 使用对比度和景深的大小，我调整我的场景的最终情绪，以获得这种暴风雨的抽象效果。
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