Monday, May 27, 2024 - 10:55

Golaem proudly announces the release of Golaem 9, a groundbreaking version that elevates the quality level of crowd characters to animated hero characters with the same acclaimed user-friendly interface and efficiency

Golaem crowd tools keep playing an important role in ambitious projects, like filling Paris streets with cars for John Wick (RodeoFX), or populating Time Square for TMNT Mutant Mayhem (Mikros Animation) where animated characters need to be at the hero quality level.

Golam 9 facilitates the creation of such characters by providing universal joint rig animation support and direct animation replay, as well as crowd levels which enable adding secondary simulations on top of chosen characters after the main simulation pass. To bring details even further, Golaem 9 also includes a beta ML Deformer able to bring advanced character deformation into the crowds.

Keeping Golaem's mantra of making artists’ life easier in mind, a slew of workflow and UI improvements have been added into Golaem 9 based on customer feedback and their experiences in major crowd productions.

New Animation Engine

Golaem 9 comes with a powered-up animation engine, lifting some input constraints and making Golaem able to animate any character in a straightforward way. These enhancements empower the crowd team as well as rigging and animation departments to enhance the quality of their crowd characters, ultimately saving significant time and effort.

Direct FBX/USD/BVH Animation Replay

Golaem 9 supports native motion format inputs (FBX/USD/BVH), enabling artists to play animations directly on their crowd characters. Thanks to the new one-click mapping workflow, Golaem can automatically play these motions on any character and retarget them on the fly if needed.

9-DOF Animation Support

Golaem 9 now supports animations influencing rotation, translation and scale, providing flexibility for riggers and animators to work as they please and enabling the creation of more advanced characters and motions.

Modular Rigs Support

Golaem 9 is the first commercial crowd software to support modular rigs without relying on a secondary skeleton mapping, hence giving artists the freedom to work with the same structure as hero characters.

Crowd ML Deformer (beta)

Golaem 9 ships with a ML Deformer node which can reproduce advanced deformations on top of crowds. The Crowd ML Deformer comes with a training tool to encode any deformation done on a Maya rig, even with custom plugins. The trained network can then be linked to Golaem Characters to be executed at render time.

Create Shots Without Simulation

Creating Characters From Scratch

Create a shot from scratch with the Golaem 9 CreateEntity Layer. No simulation required anymore, you can build an entire shot with the Layout tool. Any character can be brought into your shot and multiplied later with the Duplicate or SnapTo layers. They can then be animated with a PlayMotion node. 

PlayMotion Layer

The new PlayMotion layer can animate or reanimate the characters in your shots. Create new characters and bring them to life, or select a few characters in an existing crowd and assign them a new animation. 

Crowd Levels

Golaem 9 introduces the Crowd Levels paradigm, allowing artists to build shots incrementally by re-introducing cached and layouted simulations as a source in a new simulation level hence allowing new possibilities.

Adding Details to Simulation

The new Crowd Level paradigm enables artists to first focus on the crowd simulation itself and add extra passes like cloth simulation or secondary animation made with physics simulation afterwards. By blurring the lines between simulation and layout, Crowd Levels makess it possible to take advantage of the best of both worlds to create a shot. Indeed, it simplifies the crowd workflow while giving the ability to push details where they are needed for maximum visual impact.

Taking Notes Or Changes Into Account

Populating shots which are changing daily can sometimes be frustrating and cumbersome. The crowd simulation levels enable artists to keep their existing simulation and mix it with a new one in a non-destructive way, whether adding new character types, more people or new obstacles in their shots or completely resimulate a character without affecting the others.

More Control On Your Crowds

Track Locator Navigation

The Track Locator provides a new way to drive characters between two curves which can be dynamically animated, hence giving control on the overall shape of the crowds on top of the path to be followed.

Foot Locking

Thanks to the new foot locking feature, Golaem 9 can automatically enhance foot contacts on the ground, offering a procedural solution for users who may lack the time or skills to fine-tune their input motions beforehand.

Workflow and UI Improvements

New LOD Workflow

The new LOD workflow facilitates the creation of LOD levels by giving the possibility to have different numbers of meshes and different meshes names in each LOD, hence allowing the creation of completely custom LODs. The Character Maker Geometry tool also facilitates their export to different geometry files.

Custom Skeleton Display

While artists will often use the Render Previz display mode showing the near final look of their characters, for more clarity or improved performance, sometimes they just want to see a bone display of their skeleton. Golaem 9 enables the creation of a custom display shape for this character proxy hence making this display more useful and efficient.

New ChOps Nodes Attributes

Since its first release in Golaem 6 for the Castlerock attack by Unsullied and Dothrakis cavalry in Game of Thrones, artists have put the node-based custom behavior creation tool to good work in order to get advanced control of their crowds. 

Golaem 9 introduces new nodes (GeometryInput, Memory, Ramp, Counter,...) and attributes to make this tool even more powerful and simpler to use. It also comes with detailed video tutorials explaining the use of each node.

And Still...

Traffic Simulation

Less known than its character animation capabilities, Golaem also comes with traffic simulation features, enabling putting cars on a network of road curves in minutes, complete with traffic light system, number of lanes and speed control, and so on. 

Flocking Behaviors

Golaem features flocking behaviors that can simulate birds, fishes, butterflies,  bats, or even space ships. Whether it is to put a few birds in a scene, or to create advanced shots with bees perching on a main actor's face, Golaem can do it!

Advanced Crowd Characters FX

Golaem supports skinned fur generation, and GPU accelerated cloth simulation on crowd characters. Thanks to its various export formats and DCC plugins, it also makes it easy to interface with other character fx simulation tools.

Golaem 9 is compatible with all Maya versions from 2020 to 2024 and provides integrations with Houdini, Unreal Engine, Katana, 3dsMax and all USD-compatible platforms, like Unity or NVidia Omniverse. 

Want to try Golaem for free??!
Download Golaem PLE version

Friday, March 8, 2024 - 10:09

Benjamin Dupin, Crowd Supervisor at Mikros Animation Paris tell us about how he and his team developped a powerful pipeline around Golaem for the acclaimed TMNT: Mutant Mayhem movie. He goes into details about how they were able to fit with the unique graphic style, and insuflate life to New York city.

Can you present yourself and the studio?
My name is Benjamin Dupin, I am currently the Crowd supervisor at Mikros Animation Paris. I had the chance to work on different productions for Mikros Animation such as TMNT Mutant Mayhem, Tiger Apprentices, Thelma the Unicorn, etc... Mikros Animation is a global CGI animation creative studio. We provide filmmakers with top-tier animation and CGI services through a complete range of front and back-end creative services to bring unforgettable and stylized stories to life in every format, for every platform.

What was the size of your team and how long have you worked on this project?
On this project we were 6 with Gaetan Luzy acting as Lead Crowd, Vincent Rigaud, Wendy Duez, Valentine Arles and Dyane Guerin as Crowd artist. I would like to add that our team was under the guidance of our department coordinator Emmanuelle Trillot

We officially started at the beginning of September of 2022 for a wrap in the end of May 2023. I was the first to be onboarded on the project at the beginning of January 2022 and started working closely with the CG Supervisor Brian Gossart on some R&D. Gaetan and Vincent started in September to help me with the creation of our crowd assets. Followed Wendy by the end of the year 2022 to finally complete the team with Valentine in January 2023 and Dyane at the end of February 2023.

How did you assemble and train your team? How long before a new hire was productive on the project?
The team was made of different profiles with various backgrounds and experience.
We had the chance to already have Gaetan and Vincent who worked on our previous production (Tiger's Apprentice). It was a big plus for the department because we were able to leverage on their past experience in Mikros Animation.
Wendy who just finished an internship at Golaem was highly recommended. She was already autonomous as she was ready to tackle shots without spending time on training.
Valentine had already used Golaem in her past experience during her time at MPC Paris. Even if it was a VFX experience with Golaem it still was beneficial and she was ready to work at shot level.
Dyane was wrapping Tiger's apprentice in a different department (Technical/fix Animation) when I heard she was interested to join our department. She already had followed Golaem Academy training which means she knew the basics of Golaem. In the end, it took longer for them to adjust to the Mikros pipeline than to learn Golaem which usually takes a few days to be productive with.

Can you describe how many shots you did and which kind of shots?
In terms of shot counts it was not that high. We ended up around 70. That number is explained by the attention to details needed in order to approve a shot. Since the movie is based in NYC, every shot portrays a moment in that city that a lot of people know. The New York crowd is part of the landscape for that city, so in order to do it justice we had to make sure to inject enough life in the background.

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How many characters are there in the shot? How close are they from the camera?
It really depends on the shots but as high as 400 - 500 and as low as 20 - 30 characters. We got some shots where the crowd's characters are really close to the camera. In such a situation we need to put an extra care on the animation cycles used and make sure to assign these shots to the artist who has a bit more experience in animation.

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Could you give a bit of details about the challenges or features used in the shots?
As I said, I was lucky enough to start sooner and was able to work hand to hand with the CG supervisor to isolate the different challenges in this movie. At Mikros animation we've got two main levels: Asset and Shot level, which both had their challenges.
Asset level, our main challenge was to be able to create a line up of crowd characters that fit right into the style of the movie, keeping in mind that we needed to have variation (clothes, accessories, color variation, etc...). We also had to integrate one important element of the movie: the lines. Each character has some drawing lines popping on top of it, or directly integrated on it, which makes them look more like a drawing. They play an essential part in the style of the movie. Thanks to the Golaem fur feature where we can bring curves with skin attached to it, we were able to quickly find a solution to achieve this.

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Shot level, the big challenge we had to tackle is the animation stylization, that looks a bit like stop-motion, with some skip frames. We had to come up with rules to make sure we were following the main animation, so the crowd would blend-in. 

On top of that we suggested animation degradation depending on the camera's depth in the scene. As an example, the artist would build a scene to create layers in simulation (ex: foreground, middle ground and background) then set more or less skip frames on these layers depending on the distance to camera and intention in the shot. 

Could you share a few details about the custom pipeline/tools you built around Golaem?
To be sure that we were on track, we had to build some tools around Golaem, some were already existing from previous production and others built for the sole purpose of this production.

One tool that is at the core of our department is called "crowd casting". It is used at shot level, to help the crowd artist with the casting in his/her scene by providing a simple UI with vignettes representing the characters as it will be simulated. You can see it as a friendly GCHA reader because it takes all the information contained in the GCHA files and makes a visual representation of the Datas. It is crucial for our department to use this tool since all of our other tools are dependents to this one.

We also have a tool that is called "crowd recast", which is used when an artist needs to do a new simulation from an existing cache but wants to make sure he/she will keep the casting as well as all the attributes from that cache. I heard that with Golaem 9 a new feature will replace that tool and will be a great addition to the Golaem tools.

As I said one of our main challenges was the animation style, so we built the "GlmCacheStepped" which gave the artists the ability to skip frames either from their cacheProxy nodes or crowdfields as a post-cache process (non destructive). They also can choose the amount of frame they can skip, if they want to also have the locomotion being stepped and if they want to have the facial animation in stepped or linear.

The last pipeline element we had to work on was the processing of the line per characters. As I mentioned previously the line has been created to emphasize the rough drawing style coming from the artistic direction. The modeling department delivered curves for each garment which we had to process and include in our GCHA for each character. This part was automated with the help of our TD at Mikros Animation in order to deliver it in time. Since our render engine is Arnold and our scene assembly software for lighting is Katana we had to figure out a way to have the control of the line width depending on the camera depth. We ended up using Arnold operator for each character simulated and then let the lighting artist choose the final width they want using  a custom katana node's (macro).

How did the Layout tool help you make the shots faster?
The Golaem layout tool was massively used on this production and gave us the opportunity to stay on schedule while giving the artists enough flexibility so they could find their own way of working.

The Layout Tool is at the core of our workflow. To be sure we are as productive as possible we tend to work with caches at the sequence level which means that we are intensively using the layout tools in order to manipulate cache at the shot level. It is also a tool that helps us to fix any issue coming from either the simulation, animation cycle, sliding foot, last minute change, etc...

Is there a part of the project you are most proud of?
I think foremost in general I would say the team, they did an incredible job adjusting to the style of the movie and fast pace of the production.

I think compared to previous production, we were able to move the crowd really close to the camera without losing details. Also being able to integrate inside Golaem all the different challenges mentioned previously with the short amount of time we had. 

And last but not least, the client's approval, since we had really good feedback from Nickelodeon.

Anything else you would like to add?
I did not talk too much about it but we were responsible for the asset creation part. I am really proud that the client was confident enough to give us the opportunity to deliver the lineup for the crowd characters. It took us a period of 3 months to be able to complete that task and was also a pretty intense challenge.
I would like once again to thank everyone in my team for the work and hope we will see each other soon for new challenges!

Learn more:

Friday, February 11, 2022 - 17:33

Tristan Saindon trained himself as a crowd artist at L'Atelier Animation to help with the production of the recently released Fireheart animation movie. For a first try in crowds, this is a big success, as we have been astonished by the life in the streets of the movie.  Today, he shares his story and insights with us. 

How did you become a Crowd Artist?
Short answer, by necessity. To be more precise, I came in at l’Atelier animation with no experience in the industry with an opportunity as a wrangler. I did that for a while and at one point, my employer needed a crowd artist.  The show had already been in motion for some time and they had trouble finding someone. So I took a chance and said that I would be willing to step in as their crowd artist if they would let me learn to be one with them. This is how it started.

Could you share a few projects you have worked on?
For now, the only one that I can talk about is Fireheart. The story of a young woman in New York City who wished to be a firefighter in 1930, where women were not able to.  Very good movie, and really challenging to do. As a first challenge, it was a good one. The crowd was not implemented yet in the pipe at l’Atelier Animation so a dev had to first step up to help me in the process.  Julien Buisseret, was a key to the whole project, without him, I would not have been able to do so much. I then started my job and filled Times Square with thousands of characters walking on sidewalks, crossing the streets, waiting on the corner for the light to change, having to simulate traffic, trying to make the whole thing synergise. 

Given your experience in crowds, which trends have you seen emerge over time, and how do you see the future for crowds?
I think that all the movies or shows that are coming out right now try to beat each other in terms of wanting to leave an impression on the viewer so a way they go is to have more stuff. Either visual effects, bigger crowds, etc. So I think crowds actually have a bright future. I’m pretty sure the demand for crowd artists will go up even more then it is right now. 

How did the COVID crisis affect film production and the way you are going to work with crowds?
The experience I had was fine, doing the same job from a different place, that’s pretty much it. Right now, the crowd department doesn’t seem well established in the pipeline of a lot of studios and it feels like we are out of the loop sometimes. So working from home didn’t really change anything for me.

Would you recommend CG artists to get in crowds? How? Which skills should they develop?
Yes, come and have fun with us. I can’t speak for other programs since my experience is limited to Golaem, but it's easy to learn and to use, they have some great tutorials to learn by yourself as I did and there is a good community that helps each other. I know that when we had issues or questions regarding Golaem, their team was quick to help us.  

The best skill you should develop is logic and creativity. And this one is more important to me, but not necessary, try to be clean and precise with your work. It’s easy with the Layout tool to get messy and if something is wrong in your graph, it will be easier to find it if everything is well labeled. 

Would you have some advice for people wanting to create a demo reel in order to be hired as Crowd TD?
Don’t waste too much time on something grandiose with dynamic camera movement, gorgeous lighting and hyper realistic animation, show that you can use Golaem, try all their tools to get used to them. Studios right now are hiring and the more time you spend on your demo, the less you’ll get working in the industry. You can spend 6 month full time and put out an incredible shot, but in reality you don’t get that much time to do that when you work.

Anything else you would like to share?
I want to thank Golaem for the good times they provide me through their program every time I work. It’s a lot of fun every day and it let’s me push myself and try new things to get some amazing simulation. If you are interested in learning how to use the program, you can join their discord, they are pretty active there and there are a ton of artists helping each other and if you have any questions for them, reach out, they will help you if they can with whatever you need.

Friday, January 14, 2022 - 15:51

We know Yannick Cibin for a long time, and he has kind of accompanied, and sometimes driven the evolution of Golaem, using it on more and more advanced shots, the peak so far being the incredible bees shot he did for Holmes & Watson, marking the start of 3D terrains usage in Golaem. Today, he shares his story with us. 

How did you become a Crowd Artist?
I started as a runner and then 3d generalist in a small company, which was a great way to start in the industry. I loved the variety it offered and the opportunity it gave me to dive into different aspects of 3d.

I really enjoyed programming in python, texturing, modelling; everything to be honest. But one thing that really got me was when we worked on War and Peace and I had create our first crowd shots. We had a visit from the golaem team to show us the software. At first I wasn't too taken by it, but as soon as I started using it I fell in love with the whole thing. Since then, anytime I got a Golaem project I got the biggest smile on my face.

Could you share a few projects you have worked on?
I have worked on War and peace, The Last Kingdom,  Holmes and Watson, Batman amongst others. My two favorite shows to date were War And Peace and Holmes and Watson as we had to develop lots of new skills and do a lot of R&D. I love it when we have to do something that isn't integrated or possible yet and we have to find a way to get there. 

Given your experience in crowds, which trends have you seen emerge over time, and how do you see the future for crowds?
I feel like crowds is still a very niche part of the industry. It's hard to find artists, and there is quite a bit of demand. I feel like, as I'm sure everyone is saying, AI will surely take over and help improve crowds. In my experience, what still requires a lot of effort in any crowd software I've used is to create realistic and smooth avoidance in tight quarters. I selfishly hope AI could help with this the future.

How did the COVID crisis affect film production and the way you are going to work with crowds?
Currently there is a lot of crowd work, due to the devastating consequences of Covid. Unfortunately large groups of people can't be filmed together, so using cg crowds can be a safe way of achieving this. I assume this will bring more awareness to the possibility of using cg crowds as an alternative.

Would you recommend CG artists to get in crowds? How? Which skills should they develop?
I would absolutely recommend it. To be honest, I would recommend playing with a crowd software of their choice and seeing if they like it. The chances are the first few weeks/months will be painful, so don't be scared to reach out to the community. Golaem Crowd support has been incredibly approachable and friendly with me and the many questions I have had for them.

In terms of skills, I personally love scripting for anything VFX. But just go for it and see how it feels and what you enjoy. When I decided to join the industry I was pretty scared that I would need to be both an artist/programming genius. Don't be intimidated by what you think you'll need to know coming in. This is generally a welcoming industry and as long as you come in with a good attitude and motivation to learn, people are likely to want to teach and support you. 

Would you have some advice for people wanting to create a demo reel in order to be hired as Crowd TD?
I'm going to be honest here. There isn't too much competition right now, as it's still quite niche. I think just set yourself a goal and try and achieve it. When I needed to learn flocking for Holmes and Watson, I created a pretty tight obstacle course and I kept learning and tweaking until I managed to make the bees follow it perfectly. You could try that. Otherwise if you can show that you can make agents go from standing to walking and back to standing without sliding feet, that would be a good start.

Anything else you would like to share?
Try things out. Don't be intimidated by the amount of options and steps available and ask for help when you need it. It's not always easy to get into the industry, but once your in things get easier. Crowds is currently a good way in as there is a lot of demand.

Thursday, October 28, 2021 - 14:15

Golaem releases Golaem 8, making its crowd simulation engine available in Unreal Engine, and enhancing its already advanced Previs/Layout capabilities.

Recently awarded with an Engineering Emmy Award® acknowledging its contribution to the Television industry (among other productions Game of Thrones, The Walking Dead, Lovecraft Country, Love Death & Robots...), Golaem stays at the bleeding edge of innovation and makes its crowd simulation features available within Unreal Engine in real-time, facilitating interactive usage and Unreal Engine based creation workflows.

Golaem 8 also increases the crowd previsualization quality inside the Maya viewport while keeping Golaem great performances. Nicolas Chaverou, Product Manager explains: “Golaem is used by more and more animation studios for all kinds of TV Shows and Feature Films, for example The SpongeBob Movie: Sponge on the Run, Invincibles, Jurassic Park Camp Cretaceous, or  My Little Pony: A New Generation…. They need to match a precise ambiance for their shots, and have more advanced needs in terms of character previsualization. I think they will be delighted with the previsualization novelties in Golaem 8. Coupled with the new Layout layers, this will really make it even easier for them to validate their crowds before rendering, and iterate faster.”

Real-Time Simulation in Unreal Engine

Real-Time Simulation Engine

Golaem simulations can now be executed in real-time within Unreal Engine, reacting to player actions, or taking into account changes in the environment.

This new workflow speeds up scene creations in Unreal Engine and makes it possible to use Golaem character simulation capabilities for interactive use.

Interaction with Unreal Engine Blueprints

The new Golaem execution engine integrated into Unreal Engine includes Golaem Blueprint nodes, making it possible to create interactions between Golaem and Unreal Engine.

This Blueprint integration can be used to trigger events in the Golaem Simulation, or to override placement or simulation parameters.

Unreal Engine Character Pack

To facilitate the use of Golaem into Unreal Engine, all characters from the Golaem Character Pack are available as ready-to-use Unreal Engine characters, complete with shaders diversity.

It literally just takes one minute to setup a Golaem scene in Unreal Engine with fully diverse characters.

Viewport Previsualization Improvements

Visual Diversity in the Viewport

Golaem 8 implements shading diversity for all characters, directly in the Maya viewport, while keeping the same performances which made its reputation.

Artists will be able to validate the look of their crowd characters directly at simulation step, and use the Golaem Layout layers to override it if needed.

Shading Diversity Weights Control

To make shading repartition more controllable for artists, shading diversity has been made controllable thanks to weight sliders similar to the ones used asset repartition.

It will help artists come even closer to the final look they desire for their crowd, which can always be 100% artistically controlled thanks to the Golaem Layout shader overrides nodes.

Mesh Drive Display Mode

Golaem features a new Mesh Drive display mode, generating real Maya geometry for all characters, including all deformations.

Artists can check the final look of their scenes before even rendering. Cherry on the cake, thanks to the Mesh Drive display mode, Golaem characters are now renderable with any renderer!

DOF / Fog Support in the viewport

Golaem 8 adds support for Maya viewport depth of field and fog features with Golaem characters display in order to enhance previsualization quality.

Triggers Visual Feedback

Enhancing Golaem visual debug capabilities, Golaem 8 can now display in real-time the behavior triggers status in the Behavior Editor.

Artists can click on any character in the crowd and follow how their behavior is executed, check when events trigger a behavior or not, and debug blocked behaviors.

New Layout Layers

Group Trajectory Edit Layer

The Trajectory Edit layer is back! Golaem characters trajectories can be edited after simulation based on director's feedback, or to adapt to changes in the environment. 

The Trajectory Edit layer features two modes: mesh based and curve based. The mesh based mode enables deforming trajectories with tools like the Lattice Deformer. Curve based mode will be used to draw trajectories with curves, with the added advantage of being able to preserve characters speed while deforming their trajectory.

Group Snap-to Layer

Golaem Snap-To Layer enables to re-populate a scene with the Golaem Layout Tool. With the Group Snap-To layer artists can place a group of people on each user-defined position.

As in the example video, it is particularly useful to populate a battle scene with groups of soldiers!

Mirror Layout Layer

The Mirror Layer will mirror a simulation cache geometry and animation. 

It can be used to adapt an existing cache to a new environment or script, but also on random characters in your scene to generate even more diversity.

New Keyframable Attributes

Golaem 8 Layout Tool can take keyframes into account on two new layers: Kill and SetMeshAssets.

Thanks to the keyframable Kill layer, characters visibility can be animated during the shot in order to make the population evolve.

With the SetMeshAssets Layer, characters' equipment or garments can also evolve during the shot.

Custom LOD Layers

Golaem provides some rules for automatic LOD, but when dealing with LOD, isn’t it more comfortable to set them by directly selecting characters in the viewport?

This is what the new LOD layers are about! Just select some characters, add a Layout node, set the desired LOD level, and you are done.

Physics / Cloth Simulation

Torque on Force Behavior

A Torque attribute was added on the Force Behavior. It brings more realism in the physics simulation and allows artists to control how your characters react to an explosion or other kind of physics events.

GPU Real-Time Simulation for Windows/Linux

Thanks to its NVidia Apex integration Golaem can simulate clothes in real-time with many characters.

Through a partnership with NVidia & Autodesk, Golaem is maintaining the Physx/Apex plugin code and hosts builds for Windows & Linux and for new versions of Maya.

And still...

Morphology Variations

Golaem provides morphology variations thanks to the Skeleton Overrides feature.

Several kinds of morphologies (small, tall, thin, fat...) can be added on a character definition by setting scale ranges for every bone. Users can then control their repartition the same way as other assets, and they can even be mixed to obtain the maximum of variations inside a population.

The generated characters definitely look more diverse and natural.

Fur Workflow

Golaem includes an advanced procedural fur workflow with skinned fur which can be deformed along the character animation and bone chains.

This workflow is compatible with most of the major fur simulation solutions (Xgen, Yeti, Ornatrix,…) and proprietary engines provided they can be imported within Maya as curves (or Alembic curves).

Houdini Workflow

Golaem simulations can be brought into Houdini with a dedicated plugin expanding them to real Houdini geometry. The Golaem for Houdini plugin comes with the Golaem Cache Library and Layout Tool for easy imports and modifications directly in Houdini.

Look! Golaem characters can even be rendered with Mantra!

USD Procedural

Golaem includes a procedural plugin for Pixar’s USD, efficiently loading Golaem characters in the USD pipeline, therefore making them directly usable in many digital content creation tools supporting USD.

The Golaem for USD procedural plugin is available for USD Standalone, Houdini and Katana. The procedural code is open source for studios who need to build it themselves.

Golaem 8 is compatible with all Maya versions from 2018 to 2022 and provides integrations with 3dsMax, Houdini, Katana, Unreal Engine, and all USD-compatible platforms, like Unity or NVidia Omniverse.

The Golaem Crowd Simulation Real-Time simulation engine is available through Golaem for Unreal Engine or as a standalone C++ SDK.


Want to try Golaem for free??!
Download Golaem PLE version