baked fx
baked studios / 28 w 44th st. 22nd floor new york, ny 10036
if the selected rigid body is baked, the button label is
unbake
and clicking it removes the keyframes and restores the body to dynamic status .
the modifier interface consists of several rollouts on the modify panel plus a modifier stack with four sub - object levels. most of the controls on this rollout are available only for unbaked rigid bodies and become unavailable once you' ve baked an object' s motion. to restore the controls, click the unbake button on the rigid body properties rollout .
since opening its doors in 2005, baked studios worked with such brands as toyota, disney, lg, and state farm. they have created visual effects for television series like game of thrones, and feature films such as' now you see me and the final destination. the team has also collaborated with major artists including snoop dogg, rihanna, phish, and justin bieber. the company has won three prime time emmy awards for season 2, 3 and 4 of game of thrones .
for instance, i can train my 16 - year old daughter to make a lasagna for supper. i give her plenty of time to brown the meat, boil the noodles, mix the cheese and apply the layers. we then put the finished product into the oven to bake and less than an hour later we have a delicious meal. if i asked her to make two lasagnas in the same timeframe, she might be able to do it. if i asked for four or six or more, shortcuts start to get taken, layers get applied sloppily and the baked product is likely to fall short of the first one .
eitht … you referring to the color swatches in houdini? by default, color correction / gamma was set to 1. 0 and that makes it non - linear? … well in a sense of wysiwyg yes, it' s non - linear since you set your color swatch to color you see on monitor and you want to have the same color in final picture if that setting is 1, then the color you see on monitor is not the color represented by numerical values set on the color parameter, since monitor has gamma 2. 2 and therefore changes that color, basically it' s the same as for textures. so if you set color settings to correct all outputs to 2. 2, then you will see the swatch with gamma 2. 2 applied on top to compensate monitor, which keeps the value of the color parameter linear, because you see directly the color which is represented by numerical values edit: so if you are going to use linear workflow in houdini, set that setting to 2. 2 (or whatewer gamma is your monitor) and keep all checkboxes checked, then the only concern is to make sure all your textures are linear or make them linear in the shader. and if you are not rendering to linear formats (like exr or other floating point data), you can bake in the gamma 2. 2 to your renders by adding vm _ gamma property to mantra rop, in that case you would need to make sure you are not having gamma set on mplay or render window since it will be already baked in
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urltoken
we can help you avoid severe migraines by gently walking you through video compression best practices with our friendly tutorials .
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turning 30 frames - per - second video into 240 frames - per - second slow - motion using ai technology .
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hi all, hope this dont sound silly. i understand users define what 1 houdini unit is, can be in metres, centimeters and so on. say i have a prop with a diameter of 5cm, a sphere have a radius of 0. 025 which makes it insanely tiny. is this going affect the lighting, texturing or rendering process, is it be advisable to treat 1 houdini unit as 1cm instead to work with bigger props within the viewport? another doubt is shown inside the viewport, i highlighted 2 boxes on the construction grid is equals to 1 houdini unit - am i wrong? please! :? eitht .
as long as you don' t have to deal with matching real world' s focal lengths / disctances, or exchange data with other apps were it could matter, the only thing i know of that' s more or less scale - dependend in h is: dops and pops this doesn' t mean, you can' t work with other scales, but it' s much easier, because standard values (e. g. gravity), parts of the tools shelf, … are optimized for 1 unit = 1 meter
appreciate both your replies! i' m matching a still photo with local length. there' s no dop / pop involved. is it safe to say i will not encounter any lighting / texturing problems if i use the default of 1 unit = 1 metre? eitht .
rob, if you are willing to answer another question… all along i de - gamma by setting 0. 455 gamma to my texture images in photoshop, is this the proper way or do one need other editing softwares to perform this task? thanks in advance! eitht .
i think the best you can do is convert your files to rat files and you can specify gamma of the texture while converting it, therefore you will have correct linear rat files you can directly use in all shaders, so no need for other software other thing you can do instead of converting is append power vop after each srgb texture in shader and set it to 2. 2 which has the same effect as setting gamma to 0. 45 (rat files might be better though) and of course don' t forget to have linear color swatches as well, but this is handled automatically if you have edit / color settings / color correction set to 2. 2 and checked everything
i strip out the gamma in the shader. ive found it will do 99% of the time rob
tamte of course don' t forget to have linear color swatches as well, but this is handled automatically if you have edit / color settings / color correction set to 2. 2 and checked everything you referring to the color swatches in houdini? by default, color correction / gamma was set to 1. 0 and that makes it non - linear? trying to wrap my head around the whole lwf, here' s a screen - cap of what i did to the de - gamma. does the renders look like they were done correctly? this is what i would work in the future, 1) de - gamma textures 2) render stuff out with linear color space in my mantra rop 3) render out my final composite with srgb color space in nuke anybody see a problem or am i on the right track now? apologize for being long - winded! eitht .
i assume the color settings and swatches greatly affects how the virtual lights behave too huh? :? eitht .
they don' t change rendering behaviour at all, it actually doesn' t matter how you set that setting, mantra will still compute the same result given the same input values it just changes how you see the values, so setting all to 2. 2 gets rid of monitor gamma correction so you see directly linear values and therefore set them correctly for mantra, which can give you much realistic result compared to feeding mantra with false values and expect correct result. but it' s all the same principle, just search for linear workflow on the internet, plenty of info there, it' s not specific to houdini btw, saving an image from mplay which has correction 2. 2 doesn' t automatically bake that correction into the files (there is an other option for gamma when you chose to save the frame) so you probably saved images (in your updated post) without baking the gamma in, because neither of them looks correct, but if you apply gamma 2. 2 on the second one, it may be correct .
i am understanding this much better now! baking the gamma in is this checkbox in the screen - cap? that' s what i did when i saved both of the images above. i was told simply typing 2. 2 into mplay doesn' t bake it but setting this when saving out images bakes it. eitht .
it just changes how you see the values, so setting all to 2. 2 gets rid of monitor gamma correction so you see directly linear values and therefore set them correctly for mantra, which can give you much realistic result compared to feeding mantra with false values and expect correct result. i leave all that at default and strip the gamma from textures in the shader refer to my site (urltoken [ circusmonkey. com. au ]. i then render and in the mplay display and set my gamma to 2. 2. what i see in mplay on my monitor it whats important and as long as there' s lots of range. all my renders are linear and then in comp when you output your image you can set the gamma to 2. 2 if you wish. as a standard though i always deliver linear for the render out of nuke. the next question i swear we will get is why are lights in houdini set using intensity and not stops! rob
i cant thank you guys enough for the explanations given so far! and rob' s prediction was spot on… i started a topic related to lights. : shock: will visit your webby, cheers! eitht .
with the screen shot below, am i understanding houdini grids, is each grid 1 meter? if i wanted to model something that is 0. 28194 width in meters how can, this may be really simple question create a cube which is of that width? also when creating large bodies of water as a example how do you any of you get the measurements of a body of a water ?
houdini is life cereal, once you had a bowl you can' t stop .
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after that, i experiences some crash, then webkit web inspector got broken .
also, delete key doesn' t make
back
. is it normal ?
i did try
reset safari
but it didn' t help. disabling extension and plugins also didn' t help .
the webkit web inspector is completely broken for me, while the new web inspector is a real pain to use. i feel like it cut my productivity in half. for now i guess i have to move to chrome .
i really dislike the new web inspector. i submitted feedback here asking the at least give us the old one back as an option: urltoken
i noticed the exact same thing. i think it' s a bug for sure. if anyone has found a workaround please share. the other issue i am having is using the new web inspector in investigate the dom tree. i use the
inspect element
option frequently in debugging sites, but now the view seems to have word wrapping on the inspector window which makes reading the code almost impossible if you are inspecting an element that is several level deep in on the dom. does anyone know if word wrap can be turned off in this view ?
i know you can click on the dom tree element and switch to' source code' but them you lose the element inspector view .
i installed the nightly webkit build and was able to use the webkit inspector, but i can' t figure out how to get files open in new scripts tab unless i happen to hit an exception or something. clicking on line numbers in the resources tab no longer sets a breakpoint. how do you set a breakpoint now ?
apple, if you' re listening, this is the sound of your developers fleeing the platform. this is not hyperbole, this is reality - - safari is no longer useful to develop for the open - standard web that you' ve pushed so very hard for .
agreed as well. i had recently moved to safari from chrome and was really appreciating the polish it brought to everything, but a non - functional web inspector is a non - starter for a web developer like myself .
i gave it an honest effort, also for about a week, but found it made 100% of tasks 1000% slower and more difficult. just having it open effectively broke any web page with heavy js use .
i sent apple feedback with a full list of problems from my perspective. i' d encourage others to do the same .
such a shame... chrome feels primitive in so many areas of ui integration .
i give up. safari' s web inspector is worthless for examining network requests. i' ve been using safari, chrome and ff, with safari as my main browser, but no more bcause i cannot do the work i need to .
this site contains user submitted content, comments and opinions and is for informational purposes only. apple may provide or recommend responses as a possible solution based on the information provided; every potential issue may involve several factors not detailed in the conversations captured in an electronic forum and apple can therefore provide no guarantee as to the efficacy of any proposed solutions on the community forums. apple disclaims any and all liability for the acts, omissions and conduct of any third parties in connection with or related to your use of the site. all postings and use of the content on this site are subject to the apple support communities terms of use .
strobing, highlighting, bathing in the dust of a thousand angelic fairies — call it what you want, this bright and dewy makeup trend has taken over the beauty world. but there are a handful of highlighter mistakes you' re making that could be the reason you think this trend isn' t working for you. don' t worry, i fancy myself somewhat of a highlighter expert and can teach you exactly how to correct those mistakes .
the highlighting or strobing trend can make us look like glowy, gorgeous vampires in the sun — if we do it right. correctly done, a highlight on the face lifts, brightens, and improves the overall look of your skin and makeup. it' s a great way to play up the features you love, while making your natural skin look more luminous and healthy .
if the trend isn' t working for you, you may have an application or formulation issue. a great highlight is made to look dewy, not oily. it grabs attention, instead of spotlighting something you' d rather hide, like scar or uneven skin texture. but if you' re having trouble achieving a perfect sparkling highlight that looks great on you, you may be making some serious highlighter mistakes .
instead of looking like a golden, mythical greek goddess you wanted to, you came out looking like a grease ball. no worries. to achieve a more
glowing from within
look that doesn' t play up natural oily skin, apply your highlighter after your foundation but before your blush. doing this will minimize the shine while still giving you an illuminated appearance .
beaming like a lighthouse? if you' re not into the extreme strobe look or just want to tone things down for a more daytime appropriate style, you can blend a drop of liquid highlight into your foundation. this is a great alternative if you prefer a
less is more
look, or aren' t into packing on the products .
light is great, but sparkles are best left for the' 90s (unless that' s your jam !). if your highlight looks like you just took a sparkly body roller to the face, you may be using a bad formulation. drugstore dupes for higher - end products can work, but sometimes there' s a reason they come at a lower price point: the formulation is chalky, patchy, or sparkly. if this sounds like you, begin the hunt for a creamier powder. my favorite is, of course, jaclyn hill' s champagne pop. it' s extremely creamy, so it blends seamlessly into my skin instead of sitting on top of it like a bad frosting .
face looking a bit larger than usual? yes, strobing can actually make your face look wider if you are not highlighting in the correct spot. it' s important to highlight the cheeks and above, never sweeping highlight below the cheekbone. remember: lifting up (literally, anything like bronzer, eyeshadow, blush, or highlight) will help the whole face look lifted, tighter, and younger. dragging product down lower than it needs to go on your face will only make you look more tired .
you tried the highlight trend, only to find every pore of your face visible? you may be highlighting in the wrong area for you. i love the highlighted look, but i often get uneven texture on the tops of my cheeks and have to skip highlighting in that area. instead, i highlight my cupid' s bow, nose, chin, and above the brow bone. if there' s a particular area you have trouble in (let' s say, you hate the bridge of your nose) then definitely skip highlighting that area. just because you can, doesn' t mean you have to. find the highlight area that looks best on you and forget the rest !
looking more casper and less cara delevingne? you may be using a highlight shade that is too light for your skin tone. there are all kinds of highlighter shades on the market, some with peachy, pinky, bronze, or white undertones. if you are pale skinned, pinks look gorgeous on you. if you are medium, peachy highlighters are beautiful. if you have dark skin, you should rock peach to bronze highlights. as long as the powder or cream is two to three shades lighter than your foundation, you are good to go .
if you want to watch a highlight pro in action, check out jaclyn hill' s makeup tutorial for how to properly use a highlighter cream .
do you know how many calls agent number 29 can handle in a given hour? is this the only metric you need to measure? in the era of the call center on demand, what metrics are you using to determine success? if it’s simply based on the number of calls, you may be headed for disaster .
a recent metrics piece highlighted the challenge of looking at success with just the number of calls mentality. the example given had much to do with “i love lucy” and a certain candy factory assembly line episode. whether you’re old enough to remember the episode or not (i am only old enough to remember the “nick at night” version, thank you very much) the point is simple – they received too little training to maintain the expected level of activity .
the first few minutes on the chocolate line went fine, but as soon as the assembly line needed to increase in speed, there was no way our beloved characters could keep up. is this really the approach agents should take in the call center on demand? if the goal is simply to complete a set number of calls within a set amount of time, will you truly achieve goals that mean anything ?
in the lasagna example, i’ve trained my daughter to do one lasagna well and then expected her to apply it across too many in less time. i didn’t show her how to develop an assembly line to putting the lasagnas together or give her adequate time so that quality was maintained. the timing pressure also is sure to lead to a bigger mess in the kitchen and a stressed out teenager .
the call center on demand requires a different approach as well. while you do want to have guidelines for the number of calls you would like agents to complete, isn’t the outcome of the call more important? if they reach 20 prospects in a given hour and none of them turn into sales, were these 20 quality interactions? if the same agent could instead reach five prospects in the hour and turn three of them into sales and two of them into potential leads to contact later, the outcome is so much better .
this is why it’s important to get away from the calls per hour mentality. while the “quality over quantity” mantra may seem tired, it’s still a valuable rule in the call center on demand. go for the metrics that drive the outcomes you need and not just activity or there soon won’t be any activity to drive .
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urltoken
if this is your first visit, be sure to check out the faq by clicking the link above. you may have to register before you can post: click the register link above to proceed. to start viewing messages, select the forum that you want to visit from the selection below .
for quite some time, i' ve wanted to work on a new mandolin design which has the features desired by f - style players, but with post - victorian style, and the complexity allowed by modern tooling .
a fancy
strap holder
which was sleek and modern but maintained f body balance .
3 - d binding
which highlighted the form of the instrument, protected the edges and didn' t require bending plastic .
a headstock which was attractive, had f - style mass but was sleek and didn' t get complicated with scroll work .
comfortable tuning and easy neck adjustment. (the prototype has alessi tuners and a two - way truss rod. )
tone and playability in the
modern - bluegrass
mode with a powerful chop and clear, even response across the neck .
my cohort, randy torno, suggested that i should dribble out a few detail pictures to get started. that' s just cruel isn' t it ?
steve sorensen sorensen mandolin & guitar co. urltoken
on the bench today
updates on facebook
he swings... .... he hits... .... it' s gone! !! ...... .... what a great looking instrument steve! !! !! love it when folks think outside the traditional f - 5 box... ...... . can you talk a little about how you did the binding? ?? it' s really nice the way it flares out at the points and such... ...... . really good job... ...... jim urltoken
i love it! ! beautiful, beautiful work steve. i also love the binding flare at the points. the inlay is great as is the tailpiece design. how about a picture of the entire instrument and some of the back .
steve, need a drooling emoticon. that is effin awesome! ! need to see how college financial aid works out, but i may be contacting you in the next few weeks... very cool design, indeed !
yeah... pretty much have to have one of those ...
there are three kinds of people: those of us that are good at math and those that are not .
steve davis i should really be practicing instead of sitting in front of the computer .
music speaks to us all. and to each of us, she speaks with a different voice. j bovier a5 tradition
that' s drop dead gorgeous right there steve. that headstock is the stuff of headstock posters. the body and head stock binding is very cool looking and is visually reinforced by the bound pickguard. given the short grain in some areas of the binding, you must have selected a tough as well as beautiful species of wood. can' t wait to see vids of this one! scott
steve, thank you for sharing these... you nailed it! i love it, i would love to see some full photos like larry mentioned, and an audio clip... i seriously want one of these. i assume you' ll have additional info on these soon, but i' ll connect via your website to email / discuss lead times, availability, etc. beautiful, sophisticated... . good stuff... i' m sold on the looks and really look forward to hearing one! jason urltoken
steve, you are out of control - - in the very best of ways. that design is crazy cool. i was just talking to my wife about your mandolins yesterday, showing her photos and describing the models. i noted that if someone gave me a certificate for any sorensen mandolin of my choice, i just don' t know what i' d do. you have now made this even more difficult! i need to visit your shop someday and play them all. beautiful work, as usual. kudos .
i screwed some hooks into our cedar fence to hang a ladder, but yeah, your skills are pretty good, too, i suppose .
cool design, outside the box but still has all the features of an f style .
fresh design! i' m looking forward to having you join us in the lutheirs pavilion at the big cba father' s day bluegrass festival in grass valley this june. instruments like this should stir up the folks .
wow! !! - that' s' radical' for sure - amazingly so. lovely design, wonderful craftsmanship & an absolute show stopper. terrific work steve, ivan
weber f - 5' fern'. lebeda f - 5
special
. stelling bellflower banjo tokai -' tele - alike'. ellis deluxe
a
style .
have i not commanded you? be strong and courageous. do not be afraid; do not be discouraged, for the lord your god will be with you wherever you go .
~ joshua 1: 9
back neck and sides are sugar maple. one - piece back; two - piece bookmatched neck .
top is a one - piece sitka spruce with amazing silking .
parallel
tone bars .
this instrument is a prototype, so the real goal is for the build and the resulting instrument to help refine the process and components for future builds. based on how this came together, i' m looking forward to doing it again !
players in the future! hopefully i' ll be able to snag some good video / sound .
as michael lewis mentioned, we do have a table at grass valley in june; randy torno will be teaching a jam class at huck finn jubilee; we' ll also be at ibma in september .
for a geometric object to participate in a physics simulation, it must have the massfx rigid body modifier applied. (alternatively, use the mcloth modifier .) the easiest way to convert an object to a rigid body is by selecting the object and then choosing the appropriate rigid body type from the flyout on the massfx toolbar .
as indicated by the path annotations at the start of this topic, you can apply the rigid body modifier to objects in any of several different ways. when applying the modifier to more than one object at a time, using the animation menu or massfx toolbar method results in a separate modifier per object. however, choosing the modifier from the modifier list results in an instanced modifier on each object. to edit the instanced modifier, you can select any object to which it is applied, and the changes will affect all instances of the modifier .
with non - instanced modifiers, the modify panel rollouts for the rigid body modifier are available for only one object at a time; if multiple rigid bodies are selected, the rollouts do not appear. however, you can edit multiple selected rigid bodies on the
of the massfx tools dialog. most of the editor controls are the same as those on the modify panel .
the modifier stack for rigid bodies provides access to visualization of a number of settings that affect the simulation. when a sub - object level is active, you can change how the simulation begins and proceeds by transforming the respective gizmo .
this level shows a visualization of the axis and direction of the initial spin for the rigid body. use the rotate tool to change the axis .
this level shows a visualization of the location of the center of mass for the rigid body. use the move tool to change the location .
this level lets you adjust the position and rotation of a physical shape for the rigid body. highlight the physical shape to transform in the list on the physical shapes rollout; the physical shape will draw in white wireframe in the viewports. use the move and rotate tools to adjust the physical shape' s relative placement with respect to the rigid body .
the simulation type for all selected rigid bodies. the available choices are dynamic, kinematic, and static. for details, see
when on, massfx converts the selected kinematic body to a dynamic one at the specified frame. available only when rigid body type is set to kinematic .
this means you can animate an object using standard methods and set rigid body type to kinematic so it performs as animated until the designated frame. at that point it becomes a dynamic object and is then subject to the full massfx simulation forces .
for example, to re - create a baseball game, you might animate the ball leaving the pitcher' s hand and flying toward the bat. then, using until frame, when the bat strikes the ball, massfx would take over and accurately simulate the action of the batter hitting a home run (or fouling out) .
a rigid body need not be animated to take advantage of this feature. for example, you might want to suspend several stationary bodies and then drop them at different times. to do so, simply set them all to kinematic and turn on until frame, then select each one in turn and specify the frame at which it should start being subject to gravity and / or other forces .
converts the simulated motion of the rigid body to standard animation keyframes for rendering. applies only to dynamic rigid bodies .
. this means that it will not move until struck by a non - sleeping rigid body. for example, to simulate a domino rally, start all of the dominos except the first in sleep mode .
when on (the default), the rigid body collides with other rigid bodies in the scene .
the physical material properties control the way the rigid body interacts with other elements in the simulation: its mass, friction, bounciness, and so on. you can set the material properties one at a time, or use a preset to simulate real - world substances such as cardboard or rubber .
use the drop - down list to choose the physical shape of the rigid body for which you are changing the material parameters. by default, all physical shapes use the common material setting labeled
( object )
. only physical shapes whose
choose a preset from the list to specify all physical material properties. (the mass of the rigid body is recalculated based on the value of the density and the volume of the object .) when a preset is chosen the settings are not editable, but when preset is set to (none) you can edit the values freely .
to use the settings from a different rigid body in the scene, click and then select a rigid body in the scene .
at the bottom of the list are commands to load and save a preset as a file and to create a new preset .
( grams per cubic centimeter). this is one thousandth of the equivalent measurement in si units: kg / m
. changing this value automatically calculates the correct mass for the object, based on its volume .
the weight of this rigid body, measured in kg (kilograms). changing this value automatically updates the density of the object, based on its volume .
the degree of difficulty for two rigid bodies to start sliding against one another. a value of 0. 0 indicates no friction (more slippery than teflon); a value of 1. 0 indicates full friction (rubber cement on sandpaper) .
the effective static friction between two rigid bodies is the product of their static friction values. if one rigid body has a static friction of 0. 0, it doesn' t matter how what the value of the other is. (everything slides on wet ice; even sandpaper .) once the two objects start sliding, the dynamic friction (see following) applies instead .
the degree of difficulty for two rigid bodies to keep sliding against one another. technically, this parameter is called the
coefficient of kinematic friction .
a value of 0. 0 indicates no friction (more slippery than teflon); a value of 1. 0 indicates full friction (rubber cement on sandpaper) .
in the real world, this value should be less than the coefficient of static friction. (it' s harder to start pushing a couch across the floor than it is to keep it moving .) as with static friction, the effective value between two rigid bodies is the product of their respective values .
how easily and high an object bounces when it hits another rigid body. technically, this parameter is called the
coefficient of restitution .
a value of 0. 0 indicates no bounce (a lump of peanut butter dropped on carpet); a value of 1. 0 indicates that the object will bounce off just about as hard as it hit. the effective bounciness between two rigid bodies is the product of their bounciness values. a super - bouncy rubber ball landing on peanut butter will not recover .
use this rollout to edit the physical shapes assigned to an object in the simulation. you can use the controls to add and remove physical shapes, change the shape type, copy physical shapes between objects, and more. when you run the simulation, massfx uses all assigned physical shapes to represent the object' s physical presence. for more information, see rigid body overview .
shows all the physical shapes that comprise the rigid body. highlight a physical shape in the list to rename it, delete it, copy and paste it, change its mesh parameters or affect its transform via the
applies a new physical shape to the rigid body. by default, the new shape is the convex type and covers the entire graphical mesh, the same was when you first apply the massfx rigid body modifier to an object. after you add a shape, it' s highlighted in the list so you can change the shape type, properties, and so on .
change the name for the highlighted physical shape. this name is just for your own use to easily identify multiple physical shapes .
delete the highlighted physical shape from the rigid body. (the last remaining physical shape for a rigid body cannot be deleted. )
copy the highlighted physical shape to the clipboard for subsequent pasting (see following). the physical shape' s parameters and local transform are copied along with the mesh .
paste a previously copied physical shape (see preceding) onto the current rigid body .
the new physical shape is not an instance; any changes you make to the originally copied physical shape do not affect the new physical shape after pasting .
flips the shape geometry around the specified axis (see mirror shape settings, following) .
opens a dialog for setting the axis along which the shape is mirrored, and whether to use the local axis or the world axis .
adapts the highlighted shape in the list to the current state of the graphical mesh. use this to re - fit the physical shape to the graphical mesh after editing either. examples might involve transforming sub - objects or scaling the object .
applied to the highlighted item in the modify shapes list. the available types are sphere, box, capsule, convex, concave, original, and custom. sphere, box, and custom are massfx primitives and simulate more quickly than other hulls. for best performance, use the simplest type you can get away with .
the contents of this rollout vary, depending on the shape type setting. for descriptions of the parameters for each type, see massfx physical shape types .
changing the shape type generates a new shape of the chosen type sized to fit around the graphical mesh. the options for the shape, which depend on the chosen shape type, are available on the physical mesh parameters rollout (see following) .
for example, take the teapot primitive and apply the rigid body modifier with generate shape per element on. this creates four physical - shape elements by default, of which the first is the body of the teapot: element 1. if, with element 1 highlighted in the shapes list, you choose element 2 (the handle) from the shape element list, massfx reshapes the teapot body physical shape to the handle. or if you choose all elements, element 1 takes on the shape and size of the entire teapot mesh. if you then change the shape type setting, say from convex to box, the result is a physical shape of that type that fits around the active shape element item .
clicking this button creates a new editable mesh object in the scene from the highlighted physical shape and sets the shape type to custom. you can use standard mesh - editing tools to adjust the mesh, then update the physical shape from it. for more information, see
. however, you might be working with a complex rigid body that comprises many physical shapes, where you want to use different settings for certain physical shapes. in this case, turn on override physical material. all properties in this section work as described for the physical material rollout, but apply only to the selected physical mesh .
when on, renders the physical shapes as shaded, solid objects in shaded viewports, rather than as wireframes. also turns on the
the contents of this rollout vary, depending on the shape type setting. for descriptions of the parameters for each type, see massfx physical shape types .
use the forces rollout to control gravity and apply force space warps to the rigid body .
use world gravity when off, the rigid body uses only forces applied here and ignores the global gravity setup. when on, the rigid body uses the global gravity setup. scene forces applied lists force space warps in the scene that affect this object in the simulation. use add to apply a space warp to the object. to prevent a space warp from affecting the object, highlight it in the list and then click remove. add applies a force space warp in the scene to the object in the simulation. after adding the space warp to the scene, click add and then click the space warp in the viewport. remove prevents an applied space warp from affecting the object. first highlight it in the list, then click remove .
set the numeric value to the desired number of times the solver enforces collisions and constraints. higher values might be necessary when the simulation uses many constraints, or the tolerance for joint errors is very low. a value higher than 30 is generally unnecessary .
for a concave static rigid body, turn this on to ensure that dynamic objects in the simulation collide with its back faces .
for example, take a box primitive, convert it to editable poly format, remove a side, and then make it a static rigid body with the original shape type. if you then place a dynamic object inside the box, turn on enable backface collision for the box to keep the object from falling through the sides .
use these settings to determine the surrounding volume within which massfx detects collisions between bodies in the simulation .
an excessively high value can cause objects to interpenetrate visibly. setting this value too low can cause jittering because objects alternate between interpenetrating one frame and being forcibly separated the next .
the best value depends upon variety of factors, including the size of objects in the scene, the proximity of the camera to possible interpenetrations, the settings for gravity acceleration and solver iterations, the inflation amount of the physical shapes, and the frame rate of the simulation .
the distance that resting bodies are allowed to overlap. this setting can come into play when using
changing the contact distance value automatically changes the rest depth value to the new contact distance value plus the difference between the two. for example, say contact distance is 10. 0 and rest depth is 8. 0 (difference = –2. 0). if you then change contact distance to 6. 5, rest depth automatically changes to 4. 5 (6. 5 + (–2. 0) ). however, changing the rest depth value does not affect contact distance .
this setting applies only to rigid bodies that start out kinematic (typically these are already animated) and then switch to dynamic at the frame specified by the until frame setting on the rigid body properties rollout. normally, the initial velocity and initial spin of such bodies are calculated based on the animation for the last frame before they become dynamic. when this option is set to absolute, the values of initial velocity and initial spin (see following) are substituted for the animation - based values. when set to relative, the specified values are added to the values calculated from the animation .
the starting direction and speed (in units per second) for the rigid body when it becomes dynamic. the xyz parameters are maintained as a normalized vector, which can be difficult to edit or picture. to visualize the initial velocity direction and optionally change it with the
the starting axis and speed (in degrees per second) for the rigid body' s rotation when it becomes dynamic. the xyz parameters are maintained as a normalized vector, which can be difficult to edit or picture. to visualize the initial spin axis and optionally change it with the
applies to animated, kinematic rigid bodies. determines the motion values (see preceding) for the animated object at the current frame and then sets the initial velocity and initial spin fields to those values .
use this function to apply initial motion values from a point in the animation of the kinematic body other than those at the frame at which it becomes dynamic .
the point around which a rigid body rotates unless constrained in some way. to visualize and adjust this point graphically for the rigid body, use the center of mass sub - object level .
calculate from meshes automatically determines an appropriate center of mass for the rigid body based on its geometry .
lets you set a distance from the object' s pivot on the x, y, and z axes to use as the center of mass .
move pivot to com relocates the object' s pivot at the center of mass specified by the local offset xyz values. available only when local offset is active .
damping slows down the rigid bodies. typical uses include reducing oscillations in a simulation or causing an object to appear to be traveling through a dense medium .
select ragdoll selects the ragdoll to which the rigid body belongs. available only when the rigid body is part of a ragdoll object .
massfx physical shape types this topic covers the parameters rollouts and settings for the various physical shape types in massfx .
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baked studios , formerly baked goods then baked fx , is a boutique visual effects / post-production facility located in culver city , california . the company provides vfx editorial and color services for the industry ’s top directors , producers , production companies and ad agencies . 
baked studios, formerly baked goods then baked fx, is a boutique visual effects / post-production facility located in culver city, california. the company provides vfx editorial and color services for the industry ’s top directors, producers, production companies and ad agencies.
baked studios, formerly baked goods then baked fx, is a boutique visual effects / post-production facility located in culver city, california. the company provides vfx editorial and color services for the industry ’s top directors, producers, production companies and ad agencies.