Testing mpm solver for mixing color paint strokes #houdini #mpm

Alvaro Moreira showcased hand-tracking tests in Houdini, using the... MPM solver for a jelly-like effect. See more:show more

Lava flow with MPM solver. Rendered in KarmaXPU SideFX

Sergei Sukhorukov explored Houdini's MPM solver to visualize tire... contact patch behavior on dirt. See more:show more

Join us at SIGGRAPH 2025 for a first look... at Houdini 21! Learn about enhancements to COPs, MPM and Solaris – new ML-based workflows – easy-to-use pyro presets – facial rigging with KineFX... and more! Use code HOUD1156 for a FREE Exhibits Only pass.show more

Axiom 4 for Houdini is out Check out the... changes to the popular GPU-accelerated sparse volumetric fluid solver for VFX and games, including improved collisions between smoke and surrounding objects #Houdini #simulation #VFX #gamedev Theory Acceleratedshow more

I did some magic with this color mixing, watch... to the end for some magicshow more

Hello artists, I have a problem! I'm looking for... a way to fix this issue in Clip Studio Paint: As you can see in the video, my shadow layer is clipped to my base color layer, but it's still stretching the color to the edges of the base color. I've tried looking for an option or something to fix this, but haven't found anything. I've changed my brush settings, created a new brush, etc., but nothing works. I went back to Paint Tool SAI and saw that when I make a selection, it doesn't do this in Paint Tool SAI. So I tried it in Clip Studio Paint, and unfortunately, the problem persists. It spreads the color to the selection edges where Paint Tool SAI doesn't. If anyone has a solution, a better-programmed brush, an add-on, or anything that can fix this problem, I would be very grateful!show more

Hi hi! I would like to share a pearl... brush i created in ibis paint. Please make sure to set the base color to red for the best results!:3show more

Krea might have a chance to be the next... generation Procreate with this. Great job Krea.. acquiring Wand was an interesting move. Now can we have collapsible layers and the ability to paint into the paint layer from the Ai stream. And larger brush sizes for quick color passes?show more

Who is secretly funding the fancy lawyers suing Pres.... Trump for American flag blue paint? A no-name nonprofit says the Reflecting Pool color is too “resort” for the Mall. If they win, the repairs for America 250 stop. Follow the money. 🎥 Margo Martin & meshow more

Grandma and Grandpa Duo Together 😎 ChatGPT Image 2+... Seedance 2 Creation in Magnific Editing app - Capcut INTENT: Create a whimsical magical-adventure sequence that begins with playful curiosity and discovery, briefly escalates into supernatural danger when one student is swept into a living paint current, then resolves with a clever emotional rescue and uplifting ending. STYLE: stylized family-feature 3D animation feel, rounded expressive silhouettes, painterly fantasy environments, clean readable forms, magical brushstroke textures, soft cinematic lighting, colorful atmospheric depth, polished animated-film finish. WORLD: a living fantasy painting world where landscapes, oceans, clouds, and structures are made entirely from moving paint strokes and sketch textures. Wet brush marks ripple across the environment, floating pigment drifts through the air, and drawn lines can physically reshape the world in real time. REFERENCES: Use the provided previs storyboard page @[storyboard_image] as the main reference. Do not treat the page as one single image. Treat the panels as sequential shot keyframes and expand them into a coherent short scene with clear continuity. Use the @[character_sheet_image] as characters reference. VISUAL APPROACH: Match the storyboard's spatial variety and emotional pacing. Prioritize readability, screen direction, and continuity of action across beats. Keep visual motion calm and intentional rather than restless. Preserve the playful exploration energy during the beginning, then gradually shift into suspense and urgency once the magical paint current appears. The painted world should constantly feel alive — brushstrokes flowing, paint rippling, sketch lines forming dynamically in space, and environments subtly reshaping themselves organically. CAMERA FLOW: Wide establishing shot inside an art studio as two students discover a glowing magical painting. Tracking exploration shots through colorful painted landscapes and moving brushstroke terrain. 3/4 suspense angle as one student accidentally approaches unstable ocean-like paint strokes. High-angle danger shot as the student slips into a giant flowing paint current and gets swept away. Medium action shot as the second student realizes sketch tools can alter the world itself. Dynamic low-angle rescue sequence as glowing hand-drawn bridges and ramps rapidly appear across the moving paint river. Hero rescue moment as one friend grabs the other moments before disappearing into the massive paint wave. Wide emotional payoff shot as the magical world calms, sunlight returns, and the newly drawn paths remain across the landscape. LIGHTING: Warm magical gallery light at the beginning. Bright fantasy color palettes during exploration. Stormy blue paint turbulence and dramatic contrast during danger. Soft golden painterly sunlight during the ending. MOOD: adventurous, playful, magical, emotional, suspenseful for a brief moment, then uplifting and triumphant. ANIMATION FEEL: Expressive family-animation energy with cinematic staging, strong silhouette readability, emotional body language, smooth environmental transitions, and visually clear storytelling designed for a short-form animated sequence. Prompt with Image style inspired by Kōdashow more

Nuke isn’t just for finishing shots, it’s in fact... extremely useful for overall Look-dev. You can push renders way further without constantly re-rendering. Testing lighting, color, and atmosphere becomes fast and flexible, letting you focus on creativity instead of waiting on heavy scene updates. All renders, particles, volumes, destruction passes can be fine-tuned, layered, and balanced directly in comp. This means faster iterations, and more granular control over the final shot. Nuke and compositing is not just the last step in production, I really believe it's part of the whole process.show more

Messi on the pitch, Messi on the canvas. 🐐🎨... Created with Seedance 2.0 on CapCut Prompt: SUBJECT: >>> WARDROBE: Stylish artist outfit consisting of paint-splattered denim overalls over a fitted white tank top. Colorful paint marks scattered naturally across the fabric. Hair tied into a messy creative bun with loose face-framing strands. The front bib of the overalls features a clearly visible embroidered "Zara" patch throughout the video. ENVIRONMENT: Bright contemporary art studio with large floor-to-ceiling windows. Wooden easel centered with a blank white canvas. Worktable covered with acrylic paints, brushes, palettes, palette knives, paint jars, sketchbooks, and colorful paint splatters. Sports magazines and football posters subtly decorate the background. Natural daylight fills the room. MOOD: Creative obsession, intense focus, artistic flow state, passionate admiration for a football legend, energetic craftsmanship. MUSIC: Fast-paced orchestral percussion mixed with rhythmic drums, building momentum throughout the creation process. COLOR LOGIC: Blank white canvas evolves into a vibrant, highly detailed portrait of Lionel Messi. Bright studio neutrals contrasted against rich blues, whites, golds, skin tones, and colorful paint pigments. STYLE: Ultra-realistic cinematic art documentary, high-speed kinetic editing, satisfying creative process visuals, dynamic camera movement, Edgar Wright-inspired pacing. LOGIC RULE: Blank canvas progressively transforms into a realistic painted portrait of Lionel Messi. Every stroke contributes logically to the final artwork. The "Zara" patch remains visible whenever the artist is shown. --- SHOT 1: MCU, 35mm handheld / Girl stands before a blank canvas. A Messi reference photo is clipped beside the easel. She studies both intensely and cracks her knuckles. / SFX: room ambience, knuckle crack. SHOT 2: Insert, 85mm macro / Paint tubes slam onto the table in rapid succession. Blue, white, black, gold, and skin-tone colors scatter across the workspace. / SFX: quick thumps. SHOT 3: ECU, 100mm macro / Thick ribbons of paint are squeezed dramatically onto a palette. / SFX: paint squish. SHOT 4: Insert, 50mm / Brushes are grabbed rapidly from a jar like selecting tools before battle. / SFX: brush clatter. SHOT 5: MS, 24mm push-in / First sketch lines appear on the blank canvas, outlining Messi's face and shoulders. The Zara patch is clearly visible. / SFX: pencil scratch. SHOT 6: ECU, 85mm tracking / Rapid brush strokes establish facial structure, hair, and beard contours. / SFX: paint swishes. SHOT 7: Insert, 100mm macro / Palette knife spreads textured paint across key areas of the portrait. / SFX: scrape. SHOT 8: Overhead WS, 24mm / Timelapse burst as the portrait rapidly takes shape. Messi's recognizable features emerge. / SFX: layered artistic sounds. SHOT 9: MCU, 35mm handheld / Girl steps back, compares the painting to the reference photo, nods, then jumps back into action. Zara patch visible. / SFX: footsteps. SHOT 10: Insert, 85mm macro / Detailed brushwork refines Messi's eyes, beard, and facial expression. / SFX: brush flicks. SHOT 11: MS, 35mm tracking / Rapid layering of highlights and shadows adds realism and depth. / SFX: rhythmic brush strokes. SHOT 12: ECU, 100mm macro / Tiny highlights are added to the eyes, bringing the portrait to life. / SFX: delicate strokes. SHOT 13: Overhead Timelapse / The artwork evolves into a polished, gallery-worthy portrait of Messi. / SFX: artistic montage. SHOT 14: MCU, 50mm / Girl signs the bottom corner of the painting with one confident brush stroke. / SFX: signature brush. SHOT 15: MS, 35mm reveal / She steps aside as the completed portrait of Lionel Messi fills the frame. Bright colors glow in the daylight. She folds her arms, smiles proudly, and nods toward the artwork. The Zara patch is clearly visible. / SFX: triumphant musical climax, music end.show more

Tesla's Ultra Red is one of the most expensive... paint options in the lineup, and seeing it in person is an absolutely mind-blowing experience 🔥 To really understand why this color looks so incredible, we need to dive into how Tesla actually builds it from the ground up 👇 🎨 Unlike traditional car paint that uses a simple base and clear coat, Tesla uses an advanced multi-coat system applied by precision robotic sprayers. This technique builds the color layer by layer to create massive visual depth. 🚗 The process starts with a primer layer to ensure a perfectly smooth surface on the metal vehicle body. Once prepped, the factory robotics apply a high-chroma base coat. This initial layer contains rich red pigments that give the car its fundamental, vibrant color profile. ✨ Next comes the magic ingredient. The robots spray a metallic mid-coat over the solid base. This layer contains metallic flakes that catch the sunlight. Because this middle layer is slightly translucent, the base color shines from underneath while the metallic flakes reflect light in different directions. 🛡️ Finally, the car receives its finishing touch. Instead of a standard transparent protective seal, Tesla uses a specially tinted clear coat for these premium red finishes. This means the top protective layer actually has a hint of red mixed right into it to protect against UV rays while enhancing the color. 🔥 When you combine a vibrant base, a sparkling metallic middle, and a tinted protective shield on top, the result is exactly what we see on the road. The light travels through the tinted clear coat, bounces off the metallic flakes, and reflects the deep base pigment back to your eyes, giving Ultra Red its famous color-shifting glow. 🛠️ That mesmerizing depth is also exactly why fixing a scratch takes serious expertise. Known in the collision industry by its official paint code PR01, this specific tri-coat formula is notoriously tricky for human painters to replicate perfectly. 💸 Since that magical mid-coat gets darker with every single pass of the spray gun, body shops have to spray physical let-down test panels. They use these cards to match the exact factory thickness before they even think about touching the actual car. 🏎️ They also cannot just patch a single spot. Painters have to perform adjacent panel blending, fading the fresh paint deep into the surrounding undamaged doors or fenders to trick the human eye and hide the repair transition. It requires intense precision and labor, but the tradeoff is absolutely worth it for such a jaw-dropping look on the road.show more

Today is Maki's birthday! She is the kind of... student who always has a spray can in hand, itching to add color to every blank wall she passes. If something looks fun, she will happily forget the rules for a moment, but underneath it all is a pure wish to make the world a little brighter and more cheerful. Even as she stirs up mischief here and there, she has a delicate side that worries more than anyone about troubling or disappointing Sensei. She is full of bright ideas and dazzling talent, though about half of that inspiration seems to come to her only when Sensei is nearby. Today she may have quietly picked out a special color just for Sensei. She is probably keeping one stretch of wall empty, waiting for the moment to paint it together. So today, why not go and find her first, and fill that wall side by side. #BlueArchiveshow more

In 1990, Italian geologist Angelo Pitoni purchased strange blue... stones from a Fula Chief in Sierra Leone in West Africa. The tribe claimed the rocks came from the sky. Pitoni returned home to Europe and brought the mysterious rocks to a university for testing. The results showed the stones didn’t match any known mineral. The researchers couldn’t explain why the rocks retained a blue color. When a small piece was pulverized and viewed under a microscope, there was no blue color visible. Heating the stone to high temperatures would not alter the mineral. Acids would not break it down. Further analysis showed that 77.17% of the stone was Oxygen. The remaining composition was Carbon, Calcium, and an unknown organic compound. The age of the Sky Stones may be as much as 55,000 years old.show more

Happy Final Space Friday! Lots to update. So here’s... the thing… since I legally can’t do a digital version of the comic, I’ve been digging into a little loophole: a motion comic. Like… an actual video version of the book. Still testing it, but Daz Tibbles did a rough test and is trying a few motion poster tests with other characters. If we pull this off, it’s gonna take FOREVER but it’s possible. That’s the key word here. Possible. And maybe worth it. Over on the Color Edition, the print file’s coming together clean. The whole focus right now is threefold: 1.Resizing 2. Color matching 3.And the “Zazz Pass” (if a tweak takes under 30 minutes, I’m hitting it). I’m building a punch list and should have some before/after examples to show off next week. It’s looking really good. On the Midnight Edition, we’re building out the UV Spot File for the cover titles on the front, spine, back, and yep, the shards of glass will glint too. Gonna look sick! Just waiting on the physical samples to land at my door so I can approve it for full print run. Also printer flagged 15 pages where the text bubbles were a little too close to the cut line, so I went in, fixed them, and sent them back. And yes, I asked about international languages. It’s doable, but that’s a whole other mountain would need to re-letter the whole thing. I’m shelving that until the English versions are fully out. Right now, I’m just keeping my head down and charging through the color files. Let me know what you think of Daz Tibbles tackling a full motion comic. -O PRE-ORDER HERE:show more