
In our first course we are going to setup up our Unreal Engine project and import our assets for which we want to generate our sweepeffects from. We will recreate an example of sweep VFX that doesn't work with fast animations and then come to the conclusion that we want to create a nicer method.
In this course we are going to set up our Houdini project and create our tool asset, then later on we will import our animations with root bone locomotion.
In this course we're going to create the Houdini asset and attach our weapon to our imported character.
In this course we're going to create a segment form 2 points and attach it to our weapon and then in a later course we will use that segment to generate our curvemesh from the motion of our animation.
Instead of using a stringwriter we want to use bone dropdownmenu to attach our weapon to our character. We will learn to use Python and Vex in Houdini.
After generating our segment which we have attached to our weapon, we will now create a solver to spawn our segments and then convert these into a mesh.
In this course we are going to create the exporter which automates to file naming and directory for us. It will help us to keep our directories nicely structurised. We will learn to use read geometry attributes with channel expressions.
In this course we're going to bake the segment spawntime frame into the mesh UVs and use this data to spawn and kill our effect inside the Unreal Engine's Niagara effect system.
After exporting our ccurve mesh now it's time to import it to Unreal and to create our Niagara effect in Unreal.
In this course we create a blurring method that helps us smoothen the flow of our mesh but keep the border points from the first and last segment fixed.
In the last course we blurred the flow lines and now we are going to reconstruct these back into our mesh.
We learned how we can use the UVs in our advantage by storing useful data into them. We will now continue upon this because later on we will also store the spawn and end time frame for each segment into the vertex color of our curvemesh, and we will then use these values to create a transitioning effect in our material.
In this chapter we're going to create the effect material for our sweep effect and in this course we will first focus on creating the transitioning effect from the curvemesh data that we stored in the vertex color and UVs
In this course we're going to keep extending our material by adding nice fading edges.
In this course we will keep extending our material
In this course we will create the cool speedlines effect with texturing basics and the animation transitioning.
In this course we will create a dissolving effect for when the sweep effect is supposed to fade. We will create a useful material function for a method that is commonly used in VFX
In this course we will learn to add motion on our sweep meshes by using our baked tangents data from the vertexcolors
In htis course we will add a subtle glow to the tip of our sweepmeshes
In this ocurse we will polish and create a good final look on our sweep effects
In this course we will tackle a new issue for recreating ribbons with camera facing. We first start will first start by extending our houdini tool.
In this course i will explain how to calculate the rotation for the ribbon by using camera projections.
In this course we will actually build the camera facing material function that can be used for sweepmeshes with camera facing.
As a final we will correct the normals by also rotating them in an optimized HLSL function
Now we will build a unique material for camera facing sweep effects with the same animation transitioning functions
We will build our niagara system for curve meshes with camera facing
In Houdini we will fix up a final issue with root transforms so that you can use any rig without having to worry about export rotations for your curvemeshes
This course tackles one of the most common, yet rarely solved, problems in real-time VFX: creating truly precise weapon sweep and swoosh meshes. Unlike typical tutorials, this course offers a unique and professional solution, fully mentored by me. You’ll learn how to build smooth, accurate VFX meshes that won’t overshoot or break, even in slow motion or high-resolution screenshots. Perfect for stylized and realistic games alike.
Across 5 hours of high-quality video lessons, I’ll guide you step by step through building an industry-ready mesh generation tool in Houdini, and then show you how to use those meshes inside Niagara in Unreal Engine 5 for advanced swoosh effects. The lessons are clear, efficient, and straight to the point,no fluff, just practical knowledge and powerful techniques that you can reuse again and again.
The tool is fully compatible with both Houdini 19 and 20 and is flexible enough to adapt across different workflows and projects. Once imported into Unreal, you’ll be able to push your Niagara VFX even further.
You’ll also get full access to my private Discord, where you can ask questions, share progress, and get feedback directly from me.
If you're serious about real-time VFX and want to take your work to the next level, this course will expand both your skillset and your toolset.
Don't forget to rate the course and share it with fellow artists. Let’s level up your swoosh game together!
– Tristan
#Niagara #UE5 #UnrealEngine #Houdini #RealtimeVFX #GameDevelopment