$16 for a *very* non-performant material? If this was intended for use in high-detail scenes, not meant for gameplay, one would generally just use a flipbook animation, or looping HD video texture (both of which are higher quality and available for free all over). I love options, but c'mon, that's pretty steep. $5, maybe. And you can loop in materials, using custom HLSL nodes. Also, there are better ways of doing this, all around. Somewhere on the forums, Ryan Brucks (of Epic fame) himself touched on this. I've personally been working on a cool water material (not "material blueprint", thankyouverymuch) and utility functions, and am close to the quality achieved here, sitting at ~180 instructions with everything "turned on". The kicker? It's pure procedural. No textures are needed. So this is cool, no doubt about that. In my humble opinion though, it's not "good". It doesn't run fast, and it's more complicated than it needs to be.
Lee is right - you can use a gradient effect when you vertex paint in your chosen 3d modelling platform (I've done it in max), meaning the wind effect shifts from nothing to maximum along the length of the leaf/branch/whatever.
I'm fairly certain you can vertex paint the bottoms of the foliage and control the movement using vertex colors along with the wind node. I did this in an earlier project and was able to create a scene with grass that moved less and less as it went down until stationary. I created the grass and painted the vertexes black to red (bottom to top) in Maya.
Technical Artist (Houdini) needed at Ubisoft
- Create Houdini digital assets for use in game with Houdini Engine (procedural objects, terrain processing & space population (rocks and vegetation))
- Iterate with the various teams to :
- create tools linking the game engine to Houdini processes
- Empower the level designers by freeing them from redundant tasks
- Allow the artists to express their creativity by providing them with comprehensive tools
- Maintain the processes and pipeline by ensuring that all new addition is compliant with the existing systems.
- Be able to gather in a same rule 1/ the gameplay (playability/variety), 2/ the technical constraints (memory/perf) and 3/ the artistic requirements
- Troubleshoot problems and find appropriate solutions
- Assist the team in learning new technologies and processes
- Between the Houdini Artists, a common trunk of knowledge is shared, but each one is also able to bring his own knowledge in the project.
- Well advanced Houdini knowledge
- Familiar with Python and ideally VEX (or ICE)
- Strong understanding of rendering budgets and other technical constraints related to performance in real-time engines
- Strong understanding of the requirements for a global pipeline, the ability to enforce strong processes and to setup new ones.
- Experience collaborating with graphic programmers and mentoring artists
- Excellent interpersonal and communication skills / like team work
- Good knowledge and understanding of the video game development processes and techniques
- Overall artistic knowledge (composition, colour, motion, etc.) is a plus
- Excellent oral and written English
- Self-motivated and agile
- Valid passport and the ability to travel abroad
Under the responsibility of the Procedural Team Lead, the Houdini Technical Artist works with the Procedural Team Lead, and the other Leads to define and create, support and maintain the procedural content generation pipeline and tools. A key aspect of this role is not only to understand quickly the existing processes and to be able to update/optimize it but is also about being able to understand the level designers and level artists’ needs in order to provide custom tailored tools.