Import of the TV Mesh and seperating the screen from the rest.

Scattering hair-curves on the screen-mesh and creating the pin-group.

To create a pin-group for the first points of the hair, I used a simple expression. This expression defined the conditions under which a given point would be included in the pin group, allowing me to easily and accurately select the points that I wanted to include. Once the pin group was created, I was able to apply additional constraints and settings to it as needed, further refining the behavior of the hairs in the simulation.

The vellum constraints were created through a process of trial and error, with the goal of achieving the desired look and feel for the simulation. This involved adjusting various parameters and settings until the desired result was achieved.

I also created a bounding box from the existing screen mesh and stretched it along the Z-axis and an extruded mesh of the Sony logo for use in the DOP Network's collision detection. Together, these measures ensure that the hairs behave as intended within the simulated environment.

In the DOP Network the Sony logo and bounding box are imported as static objects, with the latter being utilized to ensure that the hairs remain within the bounds of the screen. The former, meanwhile, serves as the basis for the hairs that flow around it, effectively forming the logo itself.

For the movement of the hairs i used an single POP Force. I was experimenting with layering them but i liked the look of a single one with a POP Drag to dampen the movement, the most.

As visible in the final video, the logo collision disappears at the end. I accomplished this using the POP Collision Ignore node and keyframing the activation time at frame 105.

 To create the more hairs while maintaining managable performance with the simulation, I first cached the base simulation. Then, I used that cached simulation to guide the child hairs. This allowed the child hairs to follow the same movements as the base hairs. ( The final simulation is slowed down to 10% of its original speed)

The colors for the shader are determined by the velocity attribute. This means that the color of each part of the shader is based on the speed and direction at which it is moving. This can create a dynamic and interesting visual effect, as the colors will change and shift as the objects in the simulation move.

To create the northern lights inspired misty look, I used the velocity attribute in combination with motion blur. While I slowed the overall simulation to 10%, I kept the velocity at 100% for the motion blur calculation. This allowed the motion blur to capture the full speed and movement of the hairs, even though the simulation itself was slowed down. The result was a misty, ethereal look that resembled the northern lights.

For the final shot, i used an orthographic camera to render the simulation, and then projected the results onto the TV screen.