Voxyde VFX
Energy Trails Intro - After Effects Tutorial ( No plug-ins! )
updated
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In this video I cover the extremely underrated and often overlooked "rot" attribute. This attribute is very helpful when it comes to orienting copies and even adjusting rotation for RBDS. You can also this attribute to add spin or rotation post-simulation to particles.
A very huge advantage to using this rot attribute is that all the rotation operations are added on top of existing orientation. This means you don't have to override the orientation of the particles or rbds, but rather add to it.
► Chapters:
00:00 - 08:39 : Spin Particles
08:39 - 12:34 : Rotate Rigids
12:34 - 17:02 : Apply over existing simulation
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Welcome to a new Houdini tutorial, Burning Cloth Tear
Vellum & Attribute Growth
We will start this course by creating a simple cloth setup using Vellum.
We will create and animate the collider geometry to drive the main deformations of our cloth.
Using a custom growth solver we will be able to manually delete constraints from the vellum object, causing the cloth to tear.
To have more flexibility, we will create a separate vellum simulation with wind and noise, which we will combine with our main tearing simulation. So we will be essentially layering two separate vellum simulations on top of eachother.
Particles
After we cleanup the geometry, we move on to particles.
We will base our particle emission source on the cloth that we created.
Here we will talk about how to manually interpolate our particle source to create a smooth result without stepping issues.
We will create a smoke simulation first, and then advect our particles using the velocity field, and we will create 2 different layers of particles.
Rendering
In the rendering section, everything will be fairly simple and straight forward. We will create a cloth material using megascans texture, and set up a simple shader for our particle layers.
Nuke / Compositing
Inside Nuke we bring everything together. In this section I will show you a very flexible way to add a logo to our cloth, that follows the animation.
We will map the logo using the UV coordinates from our cloth, and also show you how to use the normals AOV in order to re-light our geometry.
We are going to color the particles directly inside of Nuke, using our own custom gradient, to ensure maximum flexiblity.
So I hope you will enjoy this course and let's get started!
Downloads
Everything needed to complete this course is included in the downloads (except a couple of megascans textures).
The downloads also includes the completed project file (ver 19.0.657)
voxyde.gumroad.com/l/fcccb
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Fracture
We start off this course by creating glass shards using a custom fracturing technique.
Sop level animation
Then we will create the portal opening animation through a combination of sop level nodes.
This flexible setup will ensure that we have absolute control over how the shards move, spread and spin, in real time, without
relying on any kind of simulation.
Nebula
After we create the terrain and environment, we will take a look at a very simple way to create a
nebula by combining simulations with different noise setups post simulation.
Particles
We will use the moving shards to generate extra particles that will add to magical nature of this effect.
In this section, we cover different problems that you might encounter while running pyro and pops simulations,
and the optimal solutions to achieve fast results.
Rendering
We will be rendering everything in Redshift, in this section we will talk about using redshift proxies to speed up render times.
I will also show you my prefered method to setting things up so that we have an easier time when we do our compositing.
Compositing
In the nuke section, we will bring everything together. We are going to assemble all the render layers from Houdini, and also
use these layers to create new elements such as fog and background atmospheres, and also we will be creating a simple particle system
to add on top of everything.
DOWNLOADS
Everything needed to complete this course is included in the downloads (except a couple of megascans textures).
The downloads also includes the completed project file (ver 19.0.657)
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Heya! Wanted to create a video that covers all of the methods I use to generate fractured pieces. I tried to include all the fracturing methods I know, so I hope you find this video useful.
When it comes to fracturing, we really have only 2 methods: Voronoi and Boolean. In this video I cover how to set-up both ways independently, and then how to combine these two methods to get the best of both worlds.
Additionally we cover some special cases for glass and I also included various tips and tricks to get you started at least in the right direction, hopefully!
► Chapters:
00:00:00 - 00:02:16 : Intro
00:02:16 - 00:04:20 : Simple Voronoi
00:04:20 - 00:12:10 : Voronoi and Noise
00:12:10 - 00:31:51 : Simple Boolean
00:31:51 - 00:43:15 : Boolean and Voroonoi
00:43:15 - 00:47:17 : Art Direct Voronoi
00:47:17 - 00:51:51 : UVs setup
00:51:51 - 01:07:28 : Recursive Fracturing
01:07:28 - 01:15:49 : Chipping
01:15:49 - 01:30:21 : Glass Boolean Fracture
01:30:21 - 01:38:29 : Compiled Block
01:38:29 - 01:49:39 : Glass Voronoi Fracture
01:49:39 - 01:51:38 : RBD Connected Faces
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Welcome to a new Houdini Course: Laser Reveal
Main FX
We are going to start by creating a growth attribute that will be the main driver of our FX.
From this attribute we will be able to generate a growing VDB mesh, and the laser Rays as well.
We are going to set up different custom attributes to help later with shading.
We are also going to generate smoke where the laser creates the geometry, and also create a simple fog volume to add a bit of ambience to the scene.
Aside from the Helmet geometry which will be provided, we are going to create everything from scratch directly inside Houdini.
Rendering
For rendering we are going to use Redshift. After we set-up all the materials, we're going to cover the best ways to setup various render passes for compositing.
Nuke Compositing
Finally, we will bring everything together in Nuke, where we start by recreating the beauty pass.
By separating all of our AOVs we will have complete control over all aspects of the render, such as reflection, specular and GI.
We're going to combine custom passes and attributes to create new layers and bring more detail to the scene.
Downloads
You will have all the geometry required included with the downloads.
The download archive also include the completed Houdini project file (ver. 19.0.622)
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In this video I want to cover some common cases where you might encounter particle stepping. People often jump to increasing the substeps of the simulation and that's really just putting a band-aid on the problem, instead of addressing the root of the problem.
In the first examples I go over some ways that you can fix stepping by randomizing the interpolation between steps using the ID value of the points.
If all else fails there is the brute force approach that is or own custom interpolation that's happening outside of the simulation.
► Chapters:
00:00 - 14:08 : Source & Randomize based on ID
14:08 - 19:43 : Advection Blending
19:43 - 25:54 : Brute Force Method
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Welcome to a new Houdini Course: Ash Disintegration
This effect is achieved through a method which is essentially layering two different simulations that run at the same time.
Fracturing
We will start by fracturing the rose geometry, using a custom fracture method, which combines the common voronoi workflow with the boolean fracturing method.
Custom Solver
After we fracture the geometry, we are going to run the first simulation which will operate on our fractured pieces, and we are going to create a
custom solver that drives this simulation.
First Simulation
And then on top of this simulation we will run a second simulation that will make each individual fractured piece turn into even smaller pieces that disappear entirely over time.
So essentially, the geoemtry will first disintegrate into big pieces, and then these pieces will disintegrate into even smaller pieces, and we will be able to control
this transition between simulations seamlessly.
Rendering
After we set up all of the geometry and effects, we will render a few passes using Redshift. In this section I also go over how to export custom AOVs such as custom textures and houdini point attributes.
Nuke Compositing
Then we will bring everything inside of Nuke to create the final result.
Here I go over how to leverage the AOVs that we generated to have complete control over all aspects of the final look.
Downloads
You will have all the geometry required included with the downloads. Everything else that I couldn't include (like megascans texture) you will be able to find by using the links provided in the links notepad.
The download archive also include the completed Houdini project file (ver. 19.0.589)
voxyde.gumroad.com/l/susjd
Welcome to the first chapter of the Geometry Based Simulations course. In this chapter we will set up the base of our particle simulations and explore different methods of generating particles from an animated mesh.
We will drive the particles by using the very useful XYZDist function and control the direction by doing vector operations such as Cross Product.
Finally we see how to make our particles stick to the surface of the geometry, and have them update with the animation.
Hope you enjoy this free chapter!
Lessons:
00:00:00 - 00:00:13 : Intro
00:00:13 - 00:02:17 : Overview
00:02:17 - 00:10:00 : Source Geometry
00:10:00 - 00:12:00 : POP Source
00:12:00 - 00:19:46 : Setting Up Curves
00:19:46 - 00:28:28 : Cross Product
00:28:28 - 00:37:49 : XYZDist
00:37:49 - 00:40:48 : MinPos Demonstration
00:40:48 - 00:53:19 : Volume Sample and Volume Gradient
00:53:19 - 01:03:27 : Stick to surface
01:03:27 - 01:12:40 : Stick to Animation
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There are a few ways in which you can have an attribute grow over a surface. One method is using a solver (and this is the method that most tutorials use and most people are familiar with), and the other method is using a pre-defined attribute that you can offset in vops or vex. This second method is faster and offers real-time feedback on the look as it doesn't rely on any kind of simulation.
The second solver method is based on a set-up by amazing artist Florian Bard showcases in his disintegration tutorial. You can watch the tutorial for free here: cgcircuit.com/tutorial/disintegration-effect-i
► Chapters:
00:00 - 00:05 : Intro
00:05 - 15:40 : Non-simulation method
15:40 - 37:00 : Simulation method
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Welcome to a new houdini tutorial. This time we're going to recreate the Patronus effect from the Harry Potter series.
We are going to use a bunch of techniques such as particle and smoke advection, see how we can get our simulation to stick to deforming geometry,
and make further modifications post simulation.
We are going to render everything using Redshift, and then use Nuke to composite all of the layers to get the final look.
So I hope you will enjoy this course, and let's get started.
► Chapters:
00:00:00 - 00:00:35 : Trailer
00:00:35 - 00:05:21 : Overview
00:05:21 - 00:10:00 : Prepare Mesh
00:10:00 - 00:20:09 : Optimize Mesh
00:20:09 - 00:23:34 : Scale & Rest Attribute
00:23:34 - 00:35:32 : Curl Field & Particle Source
00:35:32 - 00:49:23 : Advect Particles
00:49:23 - 00:56:00 : Stick To Deforming
00:56:00 - 01:05:29 : Add Colors to Particles
01:05:29 - 01:23:46 : Core Smoke Simulation
01:23:46 - 01:35:00 : Core Advect Particles
01:35:00 - 01:40:31 : Body Smoke
01:40:31 - 01:54:30 : Render Particles
01:54:30 - 02:02:09 : Render Smoke
02:02:09 - 02:08:39 : Extra Passes
02:08:39 - 02:21:12 : Body Layer
02:21:12 - 02:31:50 : Core Layer
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In this video we use the volume analysis SOP to compute a gradient field from a simulated smoke. This gradient volume can be used to "squeeze" the advected particles resulting in an interesting look.
0:00 - 0:05 : Intro
0:00 - 4:15 : Theory
4:15 - 6:48 : Application
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In this video we set up a simple timer for particles that activates every few frames. We do this by using VEX code inside a POP Wrangle, inside the DOP Net simulation.
0:00 - 0:15 : Intro
0:00 - 8:15 : Theory
8:15 - 10:43 : Application
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Welcome to Advanced Particles series : Sci-fi Growth.
Creating the Geometry
In this course we will be creating a mechanical sci-fi reveal from start to finish;
We will create all the geometry inside Houdini, using various procedural techniques and some non-procedural methods as well.
We will also talk about the best methods to create UV's and clean up the mesh so we can apply subdivisions at render time.
Designing FX
The main driver of this growth effects will be generated with particles. We will various vex functions such as volumesample, quaternions, cross products and also talk about how to set up timers to have complete control over the particles.
For the final reveal, we will use a very simple propagation set-up that doesn't rely on overly-complicated solvers, which also offers a lot of freedom and control over the transition.
Rendering
In the rendering section, we will be using Redshift to create all the passes. We will set up all the materials with the textures that you've been provided with, and then take a look at creating custom AOV's and exporting different attributes and textures as separate passes.
Also we will be creating a very simple volumetric pass to add a bit of life to the background.
Compositing
In the nuke section we bring everything together. We start by recreating the beauty pass by splitting up all the AOV's and putting them back together. After we add the custom passes as well, we set up the depth of field effect and add our volumetric effects.
To help our volumetric pass we will be creating a 3D fog environment directly inside of Nuke with the help of it's particle system.
Finally we add a few extra effects to complete the final look.
So I hope you will enjoy this course and let's get started!
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In this video I go over the VolumeSample and VolumeGradient operations in Houdini. After explaining how they work, we go over a few examples of how to use them. If you want to see how I used it in my project, check out the courses in the links above.
0:00 - 0:15 : Intro
0:00 - 5:35 : VolumeSample and VolumeGradient explained
5:35 - 11:32 : Example usage
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Welcome to Advanced Destruction Series: Lightning Strike
• Creating the terrain
We will be creating this entire scene in Houdini from scratch, including all the effects, geometry, and compositing.
We will start by first creating a terrain, using the heightfield workflow.
We are going to use multiple cutting techniques to obtain fractured pieces only where we need them.
For the simulation we will create a custom vector that will drive the movement of our pieces.
And then we will create some small rock debris which we add on top of our simulation to add more variation and realism.
• Lightning FX and Rays
For the lightning we will create the geometry in various ways. We will use a combination of POP simulations,
copy to points techniques, and attribute vops to have complete control over the lightning.
From our fractured pieces we will create some volumetric rays to add on top of the lightning.
• Debris Smoke and Dirt
And finally we will use our fractured geometry to create the smoke debris and another layer of particles which
will essentially act as dirt.
• Render and composite
In the rendering section I will go over how we can setup different renders for each layer that also contains AOV's,
to have complete control over each of our elements.
In the Nuke section we will bring everything together to complete the final look. This part will be fairly
straightforward, with the ocasional tips and tricks, and some of my favorites nodes that I use on daily basis.
So I hope you will enjoy this course and we can get started!
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In this video I go over the Dot Product operation in Houdini. After explaining how the Dot Product works, we go over a few examples of how to use it. If you want to see how I used it in my project, check out the courses in the links above.
0:00 - 0:10 : Intro
0:00 - 4:24 : Dot Product Theory
4:24 - 7:16 : Application
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In this video I explain what the PrimUV and XYZDist functions do and how they operate. I also give a few examples of how you would use them. I use these workflows on a daily basis on probably 90% of my projects so I believe they are crucial to have in your toolset. Hope you enjoy.
0:00 - 0:20 : Intro
0:20 - 9:10 : PrimUV
9:10 - 17:53 : XYZDist
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Welcome to Advanced Particles series: Demon Fire Trails.
Some of the things you will learn with this course are going to be:
• How to animate a static geometry along a curve, without relying on constraint networks
• How to setup particle and smoke simulations and optimize them for faster results
• Advanced Techniques for Particle advection
• Creating deformations post-simulation with with VEX.
Along the way I prepared different demo videos with examples, explaining certain techniques before we implement them in our actual project. These are marked with a "DEMO" in front of the title of the lesson.
In the rendering section we learn how to:
• Render particles as smoke with Mantra, and set up different custom passes.
• Create and render volumetric lights and also set up utility passes.
In the Nuke section we bring everything together to achieve the final look.
Here I share some of my favorite nodes and techniques, and also cover workflows regarding
the very powerful DEEP compositing system.
Aside from the skull geometry which you will be provided with we will be creating everything from scratch.
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▶ About:
- All effects created with Houdini, rendered with Redshift, and composited in After Effects.
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Welcome to Advanced Particles 1: Geometry Based Simulations.
In this course we will take an alembic animation of an opening hand, and use it to generate particles. We will learn how to use the geometry to create different attributes and how to get our particles to use those attributes.
We will also learn how to make our particles stick to deforming geometry and how to make the particles transition from one type of movement to a different one. I will also go over how to set up some basic materials and render everything using Redshift, and then also cover how to composite everything inside Nuke.
And while this course asumes you have a working knowledge of Houdini, I will be explaining how different operations work, but also the logic behind why we do things in a certain way. So I hope you will enjoy this course and we can get started with the first lesson.
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▶ About:
- All effects created with Houdini, rendered with Redshift, and composited in After Effects.
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▶ About:
- All effects created with Houdini, rendered with Redshift, and composited in After Effects.
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▶ About:
- All effects created with Houdini, rendered with Redshift, and composited in After Effects.
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▶ About:
- All effects created with Houdini, rendered with Redshift, and composited in After Effects.
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▶ About:
- All effects created with Houdini, rendered with Redshift, and composited in After Effects.
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▶ About:
- Simulations and dragon rig/animation created with Houdini with pyro simulations and pop simulation, rendered with Redshift, and composited in the final shot with Nuke and After Effects
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▶ About:
- Simulations created with Houdini with pyro simulations and pop simulation, rendered with Redshift, Mantra and composited in the final shot with After Effects
0:00 - 0:07 - Original Version
0:07 - 0:14 - Violet Version
0:14 - 0:23 - Green Version
0:23 - 0:30 - Extra
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▶ About:
- Simulations created with Houdini, rendered with Redshift and composited in the final shot with After Effects
0:00 - 0:07 - Blue Version
0:07 - 0:14 - Red Version
0:14 - 0:23 - Green Version
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▶ About:
- Simulations created with Houdini, rendered with Redshift and composited in the final shot with Nuke and After Effects
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▶ About:
- Environment created and rendered in Unreal Engine 4, with a very basic exterior lighting setup. Populated with megascans assets.
- Particle animation created with Houdini and composited in the final shot with Nuke and After Effects
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▶ About:
- Forest environment completely created and rendered with Unreal Engine 5 using various lighting sources, volumetric fog, sky atmosphere and powered by Lumen.
- Particle animation created with Houdini and composited in the final shot with Nuke
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▶ 3D Dragon Model:
gumroad.com/products/OXrXHj
▶ About:
Dragon model created with Zbrush & Topogun3, textured with Substance Painter. Environment rocks created with Houdini & Zbrush, textured in Painter. The lava texture is a free .sbsar file from substance that can be found here: share.substance3d.com/libraries/629
Scene assembly, rig, animation and all the fire/smoke effects were created in Houdini and rendered with Redshift. Composited with Nuke and final touches in After Effects.
0:00-0:24 - Version with added soundtrack (not included with the download)
0:24-0:47 - Version with only sound effecs (included with download)
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▶ About:
- Particle effects created in Houdini
- Rendered with Redshift
- Composited in After Effects
0:00-0:15 - Original version
0:15-0:30 - Green version
0:30-0:45 - Violet version
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--- INFO ---
After Effects Free Template Intro
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▶ About:
- Particle effects created in Houdini
- Rendered with Redshift
- Composited in After Effects
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► 3D Models:
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▶ Houdini File:
gumroad.com/l/akjGs
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▶ Artstation:
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▶ Soundtrack :
youtube.com/watch?v=nUtAWeSK28g&ab_channel=SecessionStudios
-----------------------------------------------
Well this took a while. All in all I spent around 2 months on this. Majority of the time was spent layering the effects and shading in Houdini and Nuke. Super heavily inspired by Vergil's Judgement Nut End in DMC5
0:00 - 0:20 : Intro
0:20 - 1:36 : Breakdown
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-----------
Landscape, particles, camera animation were created in Houdini.
Rendered with Redshift
Composite in After Effects
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You can buy this as an After Effects Template and make an Intro for your own Logo (or you can use text). Check the links above.
About
----------------
Fire and smoke effects created with Houdini and imported as vdb's in Cinema 4D. Everything else was created and rendered in Cinema 4d with Redshift.
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You can buy this as an After Effects Template and make an Intro for your own Logo (or you can use text). Check the links above.
About
----------------
Environment was created in Cinema 4D using various cyberpunk assets. Simple volumetric lights setup with Redshift Lights.
The smoke and lightning were done made in Houdini.
Everything was comped in After Effects. Rain with rain displacement on the ground was made in After Effects with Particular
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Environment created with SpeedTree Cinema & Megascans. Rendered using Redshift in Houdini with multipled exported passes. Particles simulated in Houdini
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▶ About:
- Particle effects created in Houdini
- Environment created with MegaScans in Cinema 4D (although now I would recommend doing the environment in Houdini as well)
- Rendered with Redshift
- Composited in After Effects
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Quixel Megascans for environment
Houdini for smoke and electricity
Redshift for rendering
After Effects for compositing
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The process:
• Use an animation pack for Unreal Engine
• Switch the model with a ninja dude I found on mixamo
• Export all animations from UE to Cinema 4D
• Make all the animations motion clips so I can direct the scene more easily
• Save the scene as alembic so I can create slow-motion effects
• TurbulenceFD for smoke effects
• X particle for rain effects
• Particular in After Effects to generate wet drops map for the floor
• Compositing magic
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