Mesh to Substance painter Scale/repeating tiles issue when painting

The trick is when you are in the UV editing panel to select the individual faces and apply the the texture needed to each one. So if on the left hand side of your image you want the graffiti, you select that face and assign the image with graffiti to it. You would then select the remaining face/faces and just apply the brick texture without the graffiti.


Vertex Normals different from loop normals

I never used tessface logic, but I can tell that you are using the wrong index in data.loops[] : each polygon has a loop_begin and a loop_end variable, and each loop with index in [loop_begin; loop_end[ belongs to that face, and is associated with a vertex, which have loop.vertex_index as index.
that means that there are WAY more loops than vertices.

also, it seems that you are using flat shading. in that case, loop normals  are the same that their faces' normals, and (I am not sure about that last bit) vertex normals are interpolated between face normals, and will be used for smooth shading


Cursor and Pivot point not centre of Object

The object center is based on the whole area.
To find the vertical center, select only the highest and lowest vertices and snap cursor to them.
Origin is at the object's center, 3D cursor is at the 'vertical' center


Normally, that's caused by the Aspect Ratio setting you've made.

It will change the anamorphic pixel aspect, and output the final render based on the actual X/Y resolution in Render setting.

Set 1.000 for both X and Y, which is the default value, and will solve the stretching.


How to make all edges in the scene rendered by freestyle?

A simple python script can turn them all on/off

import bpy

for object in bpy.data.objects:
    if object.type == 'MESH':
        for edge in object.data.edges:
            edge.use_freestyle_mark = True

        #show the marked edges
        object.data.show_freestyle_edge_marks = True

Just paste this into the text editor, and press the hotkey ALTP, or the Run Script button to run it.

Then, to remove the marks, just change True's to False, and run the script and they should all be gone.


as @DuarteFarrajotaRamos said in comments (and his answer to the linked question) it's a current limit in viewport implementation, and it should work when rendered.
While the animation, though the video will not be updated in the 3d viewport, you can click on the viewport (anywhere) to see the "current" frame. Not so useful, but it shows at least what is shown at that frame...
But there's a (silly) temporary workaround if you need to see that video really playing in the viewport: start playing the animation with the shortcut (ALTA) while hovering the mouse cursor in the right-side texture preview panel, like shown here (note: my screen capturing tool doesn't show the cursor, just the clicks):

so, if you need to see something, at least you have some way to go...


How can I bake the cloth simulation into keyframed vertices or shape keyed vertices?

If you look in the Modifiers section of the properties you will see an Apply button (you probably don't want that one) and an Apply as Shape Key button.  That's the one you want.

After you have turned the cloth shape into a Shape Key, you will have to go to the mesh section and dial up the influence of the new Cloth shape key to 1.0 to change the cloth into the shape that you "baked".


I don't understand the options under "which part to snap onto the target"

First of all, I prefer to think of snapping a 'Source' (the moving element) to a 'Target' (the stationary element), so I wish this menu was called 'Snap Source'

'Active' When you make a selection of elements, the last one selected becomes the 'Active' element. In Object Mode, that will be the last selected object. In Edit Mode, that will be the last selected face, edge or vertex. For the purposes of snapping, The position of an Object is its pivot point. The position of an Edge or Face is the median point of its vertices, and the position of a Vertex is, well, itself. When moving a selection containing an Active element, only the position of the active element will be considered a possible snap source.
'Closest' This, to my mind, is the most confusing of the options. It seems to me to be the closest element of a selection to the target, in the constraint direction, before the transformation was initiated. For example, if you translate a selection constrained to X (GX) then whichever element was closest to the target you're hovering over, in X, before you started moving, will be considered the source.
'Median' This will consider the average (arithmetic mean) position of the elements to be the snap source. In Object Mode, that will be the average position of the pivot points; in Edit mode, of the vertices in the selected elements. It is an average. For example, if your selection contains two identically located objects amongst others, the source position will be weighted more towards those objects.
'Center' This uses the Transform Center, as defined when you select the pivot point for your transformation, as the source position. It's where the manipulator appears when you start your move, rotation, or scale. It's most useful with the 3D Cursor: We'll use it to move your windows.

How to snap your windows? Assuming the worst case, (No conveniently aligned pivot points, median points, or anything), assuming you've got vertices you would like to coincide, and assuming you want to move your windows in Object Mode.

Go into Edit Mode on one of your windows, and select a vertex which you know you will want to be coincident with a vertex in the target frames.
ShiftS, select '3D Cursor to Selected'
Set your Transform Pivot Point to '3D Cursor'
Set your snap to 'Snap To' 'Vertex' and 'Snap Target' (source!) 'Center'.
In Object mode, select all the windows, and G, free translate them until the transform center snaps to the appropriate target vertex.


I just edited an OBS file in Blender's VSE and Blender auto-conformed the project frame rate to FPS: 10 FramerateBase: 0.330. So its not quite 30fps. If you added something else to the project first then added the OBS file later, then Blender will default to the first specified frame rate. Either try this rate or add the OBS file first.

Consider checking that you are using SDL as your Audio Device in Blender preferences.


How can I render a light source with a composite fog glow but not blur an object?

The answer is to use ID Mask with the emission object set to index 1 and use an Alpha Over node to place my transparent render on the background.

All credit to @gandalf3 for this answer.


Can I add the output of the VSE as input to the node diagram?

There is an addon to send VSE strips to the compositor:

http://blenderartists.org/forum/attachment.php?attachmentid=262986&d=1380892092

The selected video strips will show as image nodes on the compositor and then the resulting composition gets sent back as a new video strip to the VSE.

A video tutorial on how to use it is here:
https://www.youtube.com/watch?v=fiDlNm9iJs4


Donut tutorial: Source Objects used for sprinkle particles is showing up in render. How do I hide them? Did I mess up my collections?

If you uncheck the checkbox next to your sprinkles collection circled in red, it will hide the objects in the collection, while still showing the particles on the donut.


Fitting rods into a wooden truss (cut off edges)

The Shear tool won't work the way you want because your object is oblique. The Shear tool moves the selected vertices on one of the 3 axis, it doesn't slide the vertices along the existing edges, therefore the object you want to shear needs to be parallel to one of these axis if you don't want it to be deformed, and it is not the case here. Examples with shear on the Y axis:

In your case the solution is to use the Knife tool (K to activate, Z to cut through, C to cut perpendicullary).
That said, we don't know if you want to merge your bar with the other ones, in that case you'd better use the Bridge tool to join 2 faces of the horizontal bars.


For materials such as milk, latte or hot chocolate, the use of Subsurface Scattering is a good choice. It allows the light to enter the solid material, scatter around, and exit at another point. The material is not transparent but still opaque.
The liquid in the following example has a subsurface scattering of 0.055, base color and subsurface color are the same (hex: 835842), Subsurface Radius is (1.0, 0.75, 0.5), no transmission (glass), unchanged alpha (1.0=no transparency).
The Bump map is from the tutorial video "How to Make Milk in Blender EEVEE" (https://youtu.be/Hzpmz683xsw). It adds a very subtle distortion of the reflections on the surface.

Milk shader setup:


How to sort 3D models, like adding tags to them, and select 3D by tags?

Thanks to Mr Zak, Ray Mairlot, and Duarte Farrajota Ramos
Grouping elements is a way to work, and using Blender Groups as Layers is definitively a good workaround of tags to organize the work

Ctrl+G to create group
Shift+G to select similar groups
Ctrl+Shift+G to add selection to selected object group
Ctrl+Alt+G to remove selected object from all groups he is in - How to remove object from group?

If you add an object to a group you can select by that group via Shift+G menu or view groups in the Outliner. – Mr Zak
You group objects by selecting them and pressing Ctrl+G. It doesn't create any extra hierarchy. – Ray Mairlot

Thanks to you two, I didn't know about group and I now understand better what a group is and how to use it. Also I found here ; https://blenderartists.org/forum/showthread.php?181779-SOLVED-Add-several-objects-to-existing-group that using Shift+Ctrl+G is the way to add object to an existing group – LeDucSAS

Using Blender Groups as Layers is a good way to organize a scene. Each object can belong to any number of groups at the same time, essentially working like 'tags'. Set the outliner permanently to Groups view so you can toggle visibility and selectability easily. – Duarte Farrajota Ramos


Why render differs from 3D viewport camera view in depth

Since 3D viewport camera view use the same clipping parametr as final render (so there is not a reason to think clipping is issue).
I think your problem layes in disabled Plane object in Outliner editor that is not disabled from rendering.

Click on Filter icon and click on Camera icon to see what objects are set to be rendered. Ensure if this object is OFF from rendering as well.


Specify tile size for Blender Cycles rendering via the command line

AFAIK, there is no option to set tile sizes directly from the command line.

However, you could use the python api to do this, and execute a python script in blender from the command line. (see this question)

To set tile sizes from python, you can use
bpy.context.scene.render.tile_x
and bpy.context.scene.render.tile_y.

Tile order can be set with bpy.data.scenes["Scene"].cycles.tile_order.
This can be set to 'CENTER', 'RIGHT_TO_LEFT', 'LEFT_TO_RIGHT', 'TOP_TO_BOTTOM', or 'BOTTOM_TO_TOP'

An example script to set the tile size to 32x32 and set the order to Right to Left:

import bpy

for scene in bpy.data.scenes:
    scene.render.tile_x = 32
    scene.render.tile_y = 32
    scene.cycles.tile_order = 'RIGHT_TO_LEFT'

Note that it loops through each scene to set these properties globally. (see this)
You can run this from the command line with

blender --background /path/to/my.blend --python /path/to/script.py --render-anim
# or the short version:
blender -b /path/to/my.blend -P /path/to/script.py -a

Borders:

AFAIK, it's not possible to tell blender to only render n amount of tiles, when n is less than the total tiles needed to render the complete image.
(blender does print a new line to stdout for every tile that is rendered, so you might be able to make some hack to stop blender once n tiles have been rendered, but I don't know if you could save output.)

Because of this, you might be better off using the Render Border; this will allow you to exactly define what section of the image to render.
You could then call blender to render repeatedly, using a script to pass different render border dimensions to do your own "tile render".

You can enable border with bpy.data.scenes["Scene"].render.use_border = True

The border region is defined by four values between 0 and 1 corresponding to the locations of the four sides of the render border relative to the camera where 0 is the left or bottom edge of the camera, and 1 is the right or top edge.

You can set the min and max xy values for the camera border with

bpy.data.scenes["Scene"].render.border_max_x
bpy.data.scenes["Scene"].render.border_min_x
bpy.data.scenes["Scene"].render.border_max_y
bpy.data.scenes["Scene"].render.border_min_y

You may also want to enable Crop to border with bpy.data.scenes["Scene"].render.use_crop_to_border = True

So to render half of the image vertically, you could run this:

import bpy

for scene in bpy.data.scenes:

    scene.render.use_border = True
    scene.render.use_crop_to_border = True
    #this sets the render border to the left half of the camera.
    #to render the right half, set max_x to 1 and min_x to .5
    scene.render.border_max_x = .5
    scene.render.border_min_x = 0
    scene.render.border_min_y = 0
    scene.render.border_max_y = 1
    scene.render.tile_x = 32
    scene.render.tile_y = 32
#then render:
bpy.ops.render.render()

Note that to set the viewport border you must use this instead, but you most likely are interested in camera border as viewport border is only relevant for using the realtime rendering feature. (see this post for more info)

Seeds:

This does not answer your question about tiles, but as you mentioned you want to do this for rendering on multiple machines, I thought I would mention this.

You could also combine different Cycles renders by using the Seed value. (See this post for more info)

This also is a good way to remove fireflies.


subdivided/unsubdivided linked split screen

A trick to do that :

Temporary use a mirror (1) with another object as center, here an empty (2).

You can edit the original and see the mirrored mesh with subsurf.

When finished, remove or hide the mirror modifier.

Just remember that the shape is mirrored... so the left becomes the right, etc.

From that you can set two views in order to choose the rendering mode for each:


No "Final" option under Physics Properties > Cache > Type

Okay I think I figured out a work around. So I just need to break it into several steps.

Check checkbox Physics Properties > Fluid > Mesh
Set Physics Properties > Fluid > Cache > Type to Modular and check Is Resumable
In Physics Properties > Fluid > Settings select Bake Data (after this process runs the button then changes to say Free Data
AFTER STEP 4 - In Physics Properties > Fluid > Mesh select Bake Mesh (after this process runs the button then changes to say Free Mesh)


You can try this file (2.93) or try with some new file to eliminate something specific to your issued file.
Left Smoke sim / Right only Volumetric material ... both seems to be working.

Edit
That was real issue hunting ... the main reason is this Question ... for Eevee it is too small step in depth when volumetric is calculated. And I'm not sure there would be solution for you. Here is example with solved issue ...

... but the only one solution I found ... crop the area under Render Properties > Volumetrics > Start/ End and increase Samples up to 256 ... also don't use Distribution around 1, use some low value.

That means very limited range of volumetric effect depend on Camera distance.
Your file has other things that can cause some issues ... like extremely high Viewport Clip End that generates flickering, some of your objects like unicorn's hair use wrong Normals direction, and it is always better to have Applied Scale for all objects if possible ... not the case for volumetric issue, but any time I tried to switch to Eevee all computer crashed that never happened for many years to me.
Here is a file in condition that I expected you will share (hair+horn) that takes only 0.6 MB.

If you are looking for just an effect like glowing horn, you can use new object type Volume with Mesh to Volume modifier instead of Smoke simulation ... or even easier animate emission material for horn with some high value and enable Bloom in Render Properties.


How to keep same texture coordinates on model exported from Blender to glTF?

The glTF format needs an actual UV map, not Blender-generated coordinates.  Blender offers many ways to bake or project different kinds of coordinates into a UV map, many of which are available with the u shortcut when in "Edit Mode."
Blender's glTF exporter also supports UV transformations to a limited extent.  You should avoid complex things like nonuniform-scale rotations of UV coordinates, but a simple transform will work.
Ultimately you'll need to get your coordinates into a UV Map and assign that to the material, before exporting to glTF.


Offset in selecting frames on the timeline

When number of frame which is selected in the Timeline / any of animation editors isn't the same as in the Current Frame value this means they are remapped to other values of Frames Per Second.
The unusual behaviour can be noticed even when clicking on frames in animation editors.

If this is not desired then change it back to default values for both Old mapping value and New mapping value (see manual about these options):

These values are 100 by default, but you can change it to any ones if they are the same.

Can I increase the frame rate of an animation while keeping it the same length?.

How can I modify the frame rate without changing overall animation speed?.


Blender Render Transparent Tiles Until Final Image

I don't have the required reputation to comment, so I'm posting this as a reply

I am sure you've found out the issue since then, but for anyone comming across the same thing today:

Recheck the Render Slot at the bottom of your render window
Uncheck the Save Buffers checkbox under the Performance Tab in Render Properties


Unfortunately, selection tools don't support this directly. However, there are ways to accomplish the same result. For example:

Deselect everything (A)
Select the vertices you want to "intersect" with the previous selection. In your case, the vertices in the green rectangle.
Hide the other geometry (⇧ ShiftH)
Do whatever it is you did to get the initial selection that you want to intersect (e.g. select by material)
Create and assign a vertex group to store the selection
Unhide everything (⎇ AltH) and deselect (A)
Select the vertex group by clicking Select in the vertex groups  panel.

However in most cases like yours the desired selection can easily be obtained with one or two box deselections. To deselect with box select (B), use  MMB or hold ⇧ Shift when defining the box.


Build Modifier Start Delay Driven by Completion of Another Layer's Build Modifier?

You can use the length of the first layer's build modifier to drive the start delay of the second layer's build modifier.
Setup your two modifiers and their layer accordingly.

Right click into the "Frames" field of the first one, choose "Copy as New Driver", right click into the "Start Delay" field of the second one, choose "Paste Driver".
When you scrub along the time line, the second layer should start building right when the first one ends. If you change the length of the first build, the second one will get offset by the same amount.

If you want to add another offset to the second layer's build start, right click into the "Start Delay" field, choose "Edit Driver", change the driver evaluation to "Expression" instead of "Average" and write length + 10 in the field for instance if you want a delay of 10 frames.


Which of this two topology variants looks better to you?

I don't think the topology needs to be overly complicated. I would go for something like this:

I would also consider this being generous with poly count because this is a shape that can be smoothed with surface subdivision so there is probably no real need to have it very dense.

If I buy a model I am certainly not looking for complicated topology as in the examples, but I want to be able to edit it quickly(I don't want to do anything with it ideally, but I like to see the possibility, if I ever need to edit it) meaning I want loop and ring selection and manipulation tools to work. This way I can select edge rings, checker deselect every other one and multi select loops and dissolve them if I want lower resolution, or just to use Subsurf modifier to make it smoother. It's also easier to modify shapes and forms this way and create/recreate some specific UV maps if I happen to need something different than what comes with the model.


Alt Z, or showing the material colors [material view] seem to have stopped working

Since you stated that the only thing exhibiting that behavior is one object, you could try checking the object's Maximum Draw Type and set it to Textured. This setting can be found in Properties panel > Object tab > Display > Maximum Draw Type.

If that doesn't help, you can also upload the .blend file to here and allow the community to take a look at it.


Rendering many overlapping parallel lights

For Cycles volume emitters you need to ensure that the number of bounces in the Light Paths panel is set sufficiently high - otherwise the rays cannot travel through all of the surfaces.

The Transparency Max and Min values determine how many transparent surfaces rays can pass through. Increasing both values will allow rays to pass through more transparent surfaces unaffected.


How can i measure projected area of any object in blender ? (Ex. shadow from top view)

The easiest way I know :

in orthographic top view, project the UVs from view with U > Project from View :

in the UV/Image editor, export the UV layout as a vector image by going in UVs > Export UV Layout and selecting Scalable Vector Graphic (.svg) :

in Inkscape or Illustrator or any vector program, select everything and disable the stroke to keep only the fill :

still with everything selected, do a union boolean to get a single path :

save the svg file
back in Blender, go in File > Import > Scalable Vector Graphics
with the path imported and selected, do Object > Convert to > Mesh from Curve
do Object > Transform > Origin to Geometry and Alt+G to center the object
still in orthographic top view, scale the object roughly :

in Edit mode, enable snap to vertices, select everything and snap a  vertex to its corresponding vertex on the original mesh, even if the others don't align :

select that vertex and snap the 3D cursor to it with Shift+S > Cursor to selected
select everything and make a vertex on an opposite side of the mesh active with Shift+Right Click twice :

enable Pivot to 3D Cursor and Snap to Active :

scale only horizontally with S+Shift+Z and point your mouse to the vertex corresponding to your active vertex to make it snap :

now that the mesh is perfectly aligned and scaled, go in the User Prefs and enable the MeasureIt add-on :

with everything selected in Edit Mode, go in the Tool Shelf > Display Tab, then click on Area and Show :

the area is displayed as the green circle above shows.


Weird behaviour: A simple material renders fine on one mesh but not the other

There are Custom Split Normals on your triangle, set to (0,0,-1), by something. (An applied Edit Normal modifier?)
If there are shading anomalies, it's often worth checking what the renderer thinks the normals are, by displaying vertex-per-face normals in the Edit Mode 'Show Overlays' menu:

If you go to the triangle's Data tab > Geometry Data panel, you can clear those.


IK-constrained bones change position in the pose mode

When I have this problem I go to Pose Mode, select the bone concerned, shift it to where it's supposed to be, Press CTL-A and select -
'At Rest '.

Check it in Edit and Object modes to see it doesn't move back again.
Do this for each bone that's out of place.

In your example I'd be rotating the bones above the yellow ones, which I think you might have tried already(?)


how does one add accessories to a sculpted mesh?

This process will work for parts that are attached permanently to the creature only. You only see gear/armor swapping in game design, because it is streamlined to be that way. If you want to be able to switch out gear quickly, you're working with the wrong program.

But you can change the materials and look of the parts easily, as I will show you here.

Make sure you are in Cycles and have created a UV for your model. In your node creation create three materials, one for the creature, one for the armor, and one for the wings. Put all the node groups into one material, link them together via a mix shader governed by a black and white texture. Make sure the texture is high resolution to avoid ambiguity in the border between the materials.

You can later come back and tweak the materials without having done any destructive editing.

Note: if you will share the .blend I can give you more specific instructions.


Can't get my texture to show up in 3D view

In hopes this can help not just you but also people finding this thread in future, here's some things to check to better understand the problem:

disconnect the image texture from the shader and manually set the base color to see if it's a texture issue at all (in OP's case it isn't)
change the background color (World Properties tab ) to see if the issue is black color of the model or transparency:

As for the solutions:

in viewport shading settings try deselecting Scene World or selecting Scene Lights:

in Material Properties tab make sure Blending Mode is Opaque:

in Shader Editor make sure the Material Output is set to All:


Solved! I just forgot to apply the modifier.


Here is what I came up with:

Adding a glow without affecting close parts of the handle:

The handle mesh is on scene layer 6
The  blade and other objects are on scene layer 1

Create a material for the blade:

Enable Transparent in Render settings > Film:

Create two renderlayers, one for the handle and one for the blade:

By setting the handle layer to be masked by the blade, we get the glow to be added behind the nearer parts of the handle.
Enable the Object index pass for the blade renderlayer, and set the Pass index of the blade to 1 in Properties > Object > Relations.
Composite nodes: (click for full size)

Result:

Reflections and refractions:

Technique one:

Without and with reflections and refractions blurred: (click for full size)

Limitations:

Reflections of reflections of the blade will not have glow applied. (likewise for refractions)
The glow on reflections and refractions will be applied on top of reflections/refractions of the handle.

Here is a Blendfile for you to inspect.

Technique two:

All objects except for the handle and the blade are visible on layer one
Refractive or reflective objects are visible on layer 7 as well as layer 1
Objects that are not refractive or reflective are visible on layer 3 as well as layer 1
The blade is on layer 2
The handle is on layer 6

Enable Transparent in Render settings > Film:

Create four renderlayers: (click for full size)

Composite nodes: (click for full size)

Here is a blend for technique two

Advantages:

Applies glow to inter reflections/refractions

Limitations:

Materials that are both reflective/refractive and something else (e.g. diffuse) will be blurred. The only way to really solve this with compositing is to put each partially diffuse/reflective object on its own renderlayer.

You could fix this particular example by adding separate materials for the glossy/diffuse aspects of the shader and separating with the Material index pass.
The glow on reflections and refractions will be applied on top of reflections/refractions of the handle.

You could fix this by adding another renderlayer, but this will use up more render time and it may not be worth it for such a small detail.


How can I set a Shape Key value to be a driver's variable?

If you use an object in the Prop field, the path to the shape key is like this:

data.shape_keys.key_blocks["Key 1"].value

If you use a mesh, you don't have to put data there, so:

shape_keys.key_blocks["Key 1"].value

And if you use the Key Prop field with your key block there, then you can just use:

key_blocks["Key 1"].value


That can be done using shader driven by the current frame.

The node settings:

The generated texture coordinates is between 0 and 1.
Value nodes: one is driven by the current frame, the other is the amount of frames (here 100).
We then test if the model part is between frame and frame + 1 / number of frames.
If yes, emission surface and emission volume. If not transparent.
The driver is based on the scene and its current frame:

All is done with Cycles.
Depending on the camera settings, that can be perspective or orthographique (so constant size).


Exporting 3d object from blender cycle into unreal engine (or other engine)

You cannot simply export Cycles materials to fbx (or any game related model formats) materials. The reason for this is that Cycles uses a completely different approach to handle materials.

Cycles material setups were designed with the idea of being able to use procedural materials with a strong focus on photorealistic rendering and animation. You can still work with textures, but the main setup can be still considered as procedural, especially when using emission, glossy, transparency and translucency.

Game engines still use textures and uv-maps to project those textures on the models. Specific material setups like emission often need to be done in the Game Engine's material editor.

The procedure to go from a cycles material to a material that is (halfway) ready to be used in a game engine involves unwrapping your model and its submeshes and then baking the different texture maps for your material. This would be at least the diffuse map (pure color, no shadows, no light values). Additional texture maps could be normal maps, specularity maps and ambient occlusion maps.


Transparent alpha channel not working on imported .tif files

I opened an example material that has working transparency, it seems to only work in cycles.


Noob Question: Inverse Kinematics Not Working

In order for the IK constraint to know that the knee is supposed to bend (even with a pole target), it needs to start slightly bent. In edit mode, move the kneecap slightly forward.

Once you've done this, the knee should bend correctly.
Note that if the IK target FootIK is further away from the hip than the ankle is, the leg will be fully extended and the knee will still not bend. Bring the target bone closer to the leg (touching the ankle) to make it bend.


How to setup a shortcut for UV Editor's selection modes?

Your in the wrong area. 2DView is general navigation for flat area types.

The UV/Image editor shortcuts are under Image -> UV Editor

Also for the value you will need to make it a string by using quotes.


Blender Script to Recalculate then set from face per object

I figured out how to do this using the following script.

import bpy

if bpy.context.selected_objects != []:
for obj in bpy.context.selected_objects: #loop through all the selected objects
    if obj.type == 'MESH':
        bpy.context.scene.objects.active = obj
        bpy.ops.object.editmode_toggle() #enter edit mode
        bpy.ops.mesh.select_all(action='SELECT') #select all objects elements
        bpy.ops.mesh.normals_make_consistent(inside=False) #recalc normals
        bpy.ops.mesh.set_normals_from_faces() #set from faces
        bpy.ops.object.editmode_toggle() #exit edit mode


Can I cut a hole in a mesh using only a subsurf modifier?

What you see in the manual example is currently (2.75) still achievable (and probably will be for long time..).

If your test has not the same result, maybe you should check the mesh. Notice in the image below how the presence of an additional vertex near the cursor led to a non-rounded edge (as like a loopcut would do) while in the other side the edge is rounded.

You may want to remove doubles, look for hidden vertices/edge/faces, check topology in general...


How can I unapply a subdivision surface modifier?

You can discover the global history. If you can find the operat，then you can back to there by click.

following the link：
http://www.blender.org/manual/getting_started/basics/undo_and_redo.html?highlight=history


Why has my solid view shading gone really dark?


Camera casting weird shadow depending only on it's position

I think this should solve your problem: Unless there is some special reason you're using "object", "generated" is usually the best texture coordinate to use for procedural textures. Secondly, if you're using a B&W value as a normal map, it should be run through the height input of a bump node first. See below:


Hair is not visible in Object mode (Cycles and Eevee) - Blender 2.82b

Managed to fix it by switching to Eevee and selecting Strand instead of Strip, and switching back to Cycles


Because of the rgb curves the mesh is collapsing on itself. The solution I found was to shift the curves left and right with respectively an add and a subtract node.


There is no built in exporter for the .egg format, you need to install a third-party add-on. It seems that for 2.5x - 2.7x you can use YABEE which is recommended in the Panda3D manual. For newer versions of Blender it seems that glTF is another option, although it seems that a plug-in for Panda3D's is needed to import the format according to this post on Panda3D's discourse.


Vertex paint not working after sculpting with dyntopo on

Blender is a complex application. I don't know exactly what I did, but at the point when I wrote my question, for some reason I had changed the Draw mode to Add instead of Mix. Once I put it back to Mix, it worked as expected and I was able to keep working in this project.


Remove/dissolve the edge shared, or the one in the middle, and retry Bridge Edge Loops. Blender has problems with cases such as yours as a loop has to be a loop, i.e. is not supposed to be split. And the same number of vertices in both loops does result in better topology


Image on Plane disappears at specific position

Hi was having a similar problem. I resolved my issue by: material properties > settings > blend mode then changing the blend mode to alpha clip
Hope this helps!


Increments for moving objects gets messed up?

You've accidentally enabled Snapping during transform (the little magnet icon) with Increment setting. So it's automatically trying to snap to the "grid" of the world when you move it around.
It's a super handy feature when modeling.

You can read more here Transform Snapping

Hope this clears it up. I highly recommend reading up on this feature and playing around with it, it's SUPER useful when polymodeling and moving things around.


While I haven't looked in detail at your cloth configuration, I notice that your model is less than 1 cubic unit in size.  I have found (much to my chagrin) that trying to run cloth physics on anything that small has the unfortunate result that the cloth jiggles around and eventually gets sucked up into whatever model it is supposed to be colliding with.

Try scaling the model(s) up by 100x and apply. Then set the scene units to centimeters (If you want units to display realistically).


Weight paining is actually just assigning weights to vertices.  So you will need to add more geometry to your mesh.  I would recommend going into edit mode on your mesh, selecting all with A, and hitting W > subdivide or subdivide smooth.


Motion Tracking. What is the actual scale for "Set Scale"?

The default scale is blender units...(1m per blender unit), but if you are using different units for the scene then the units will be whatever you want.
The purpose of that option is for you to match known measurements. If you are tracking objects or markers and you know the distance between them, you can use that measurement (along with the lens and sensor size) to make the 3D reconstruction more accurate and closer to the original scene you are tracking.
Read also:
Motion track while knowing distance between points
Does scale of camera have an effect on camera tracking a scene?
Camera tracking reference scene to match different shots in a common space


Try math.cos(math.radians(45)). Trigonometric functions need their arguments in radians, Blender also uses radians internally.


I presume, that in the place, where you're clicking there are 2 meshes, one with material applied and one without. When you click on the one with material it is being shown.


Apple and Windows require pre-compiled libs at:

I found the cause for this problem myself: In the guide, it seems to me as if the lib folder is supposed to be inside the blender source folder (it doesn't say to leave the blender folder before running the svn command and at other places it refers to C:/BlenderDEV/lib/...)

Moving the lib folder into the same folder that the blender source folder is in gets rid of the error message. When the Cache is deleted cmake also finds all of the library locations on its own.

I always interpreted the C:/00/blender/../lib/win64_vc12 as being .../blender/none_or_more_subfolders/lib/win64_vc12, though I should have known better. :p

edit: just to be clear, I only found the answer after I had already asked the question.


Is there a way to boost my performance manually?

You can check to make sure the Nvidia GPU is enabled when you run Blender by looking at Activities Monitor. Graphics Card should say 'High Perf.'

If you don't see the Graphics Card line (as the case with most non-laptops), your system is already using the fastest GPU available.


How can I fill a "spinned/screwed curve"?

I found one possible solution by simply using three linked curves, one for the solid and two for the caps. This can be further improved for flexibility by adding drivers.
See attached blender file and the included README:

In it, you can change the cross-section angle by changing the X rotation angle of "BezierCurveDriver".
Changing the material or editing the bezier curve will affect the extruded solid and the two caps.
How to do it:

Add curve

Make it 2D, cyclic and filled:

Properties->object data properties->Shape->2D
Properties->object data properties->Shape->Fill Mode->Both
Properties->object data properties->Active spline->Cyclic: check box

Optional: Now you may want to make your curve flat along the planned rotation axis (X for instance), by setting the some or all of the handle types to "free" and aligning some of the control points on that axis:

Go into edit mode (press tab with the curve selected with the mouse in the 3D viewport)
Select desired nodes
3D Viewport->Control points->Set handle type->Free (or press V and select "free")
Position control points along X axis as desired (snapping, scale YZ zero, enter Local/Global coordinates, etc...)

Make sure you are in Object mode, then duplicate the curve twice with linked data by pressing Alt-D (or 3D viewport->Object->Duplicate Linked):

One will form the solid by using a screw modifier: "BezierCurveWithModifier"
One will form the bottom cap: "BezierCurveBottomCap"
One will form the top cap and drive the angle of the screw modifier: "BezierCurveDriver"

Add a screw modifier to one of them ("BezierCurveWithModifier" in this example):

Properties->Modifier properties->Add modifier->Screw

Right-click on the Angle property of the modifier and select "Add driver". This will open up a driver editor window.

In the driver editor window:

Choose "BezierCurveDriver" as the Object.
Choose "X rotation" as the type.
Set the expression to "var".

Now you should be able to "extrude" the curve nicely to any angle by changing the X rotation angle of "BezierCurveDriver":

Properties->Object Properties->Transform->Rotation X

Changing the material or editing the shape of any of the three linked curves will affect the extruded solid and the two caps.


Why does my object increase and deform when i first select the object, then the armature and afterwards go to Set Parent With Automatic Weights?

Before parenting, apply the scale (Ctrl+A) to both your rig and your character.


Your expectations may be too high for a 4k image.
Your benchmark of 1 minute for the BMW is very good. Note, however, that the image is rendered with only 35 samples and at 50% size. If you increase the size to 100% the render time will quadruple! Increase the size to 400% and it will be multiplied by 16 again. That's 64 times longer for 400% than if the size was 50%. This turns one minute render time into one hour!
On the other hand, your scene is an indoor scene. Such interior scenes need much more samples to get rid of the noise. That's because the light only comes through the window or door and bounces in the room. More samples increase the render time. Light portals can help a bit (What does Light Portal mean?).
For preview in high-res you can render only a part of the image with a box selection, press Ctrl+B. (To remove the box press Ctrl+Alt+B)
Last but not least you can render nice interior scenes with Eevee, too. Have a look here: (youtube) How to make Realtime Archviz with Blender and Eevee (Part 1 of 3)
18 Ways to Speed Up Blender Cycles Rendering (It's from 2017 but gives you an idea about render times and how to save time)


Presumably they were in Render Preview mode in the 3D View (Shift+Z) and moved the lamp from there by simply selecting the lamp in the outliner (since you can’t see it in render preview mode) or by some ither means and pressing G in the 3D View as usual to grab it and move it.


How to: set the "world" environment colour to white

Click the "Use nodes" just above the color input. It will replace that simple color input to some nodes, giving you access to the color and strength of the environment. Make sure the color is pure white, and the strength at least at 1.

If not enough, then it might be some other issue(s). The two I can think of right now:

Ray visibility: in the World's settings there is a Ray Visibility panel, make sure everything's checked:

Color Management: Go to the Scene tab, Color management panel, make sure you have nothing fancy:

If it doesn't solve your issue, then a deeper digging may be required, and you should provide your .blend file.


Are the Toolshelf icons accessible anywhere?

As stated at developer.blender.org task toolbar icons are generated from a icon_geom.blend blend file and stored as actual 3D meshes. These are then rasterized into binary .dat icon files at compilation time and presented by the UI.

They are not part of the vector SVG icons created by jendrzych.

Duplicate icons are probably for use at different places in the UI. Either they were different before recent UI redesign and unified, or we might at some point in the future want to use different icons in different situations.


I've tried your blend file, but it's too heavy to work with. I've made an example file exclusively to answer your question. Download it here.

What you need to create a minimap is understand the concept of a viewport and make both minimap and game map the same size, so the dot position will work as expected.

How It Works

The basic concept of a minimap is:

Create a Minimap scene, and the minimap object must be the same size as the game map. In this example, both have 200 meters on each side (delimited by the black borders).

Add the Minimap as overlay scene.

Set the viewport from Minimap scene's camera. Everything is detailed on the script minimap.py.

# Enable viewport use on map camera
camera.useViewport = True

# Pre process the viewport pixel coordinates
left = getWindowWidth() // 2
bottom = getWindowHeight() // 2
right = getWindowWidth()
top = getWindowHeight()

# Set viewport coordinates
camera.setViewport(left, bottom, right, top)

Store the player's position and rotation on globalDict.

# Store player position and rotation on globalDict
globalDict['position'] = list(own.worldPosition)
globalDict['rotation'] = list(own.localOrientation.to_euler())

Update the arrow representation from minimap based on values from globalDict.

# Check if values are present in globalDict
if 'position' in globalDict.keys() and 'rotation' in globalDict.keys():

    # Update arrow's position and rotation
    own.worldPosition = globalDict['position']
    own.localOrientation = globalDict['rotation']

Additional Notes

Every object from Game scene is a group instance from scene _LibScenery.
The Minimap is added as overlay scene automatically at game start on object PlayerCollision from scene _LibScenery.


In Blender 2.91.0 I see the so called Material Preview mode which allows what you're looking for.

There I have the option to use the built in HDRI's or installing my own one by conveniently using the little gear icon on that pop-up window.


Recreate to_track_quat with two vectors using python

Based on this tutorial I wrote this function

def look_at(camera_position, target_position):
    """Returns model-view matrix from camera position to target.

    # Arguments
        camera_position: Numpy-array of length 3. Camera position.
        target_position: Numpy-array of length 3. Target position.
    """
    camera_direction = camera_position - target_position
    camera_direction = camera_direction / np.linalg.norm(camera_direction)
    camera_right = np.cross(np.array([0.0, 0.0, 1.0]), camera_direction)
    camera_right = camera_right / np.linalg.norm(camera_right)
    camera_up = np.cross(camera_direction, camera_right)
    camera_up = camera_up / np.linalg.norm(camera_up)
    rotation_transform = np.zeros((4, 4))
    rotation_transform[0, :3] = camera_right
    rotation_transform[1, :3] = camera_up
    rotation_transform[2, :3] = camera_direction
    rotation_transform[-1, -1] = 1
    translation_transform = np.eye(4)
    translation_transform[:3, -1] = - camera_position
    look_at_transform = np.matmul(rotation_transform, translation_transform)
    return look_at_transform


Vertex Color not showing up in Cycles Render

Update: This is due to the naming of the vertex color set. Naming it something else than "color" fixes the issue.


How to directly render Compositing ONLY - without 3D scene?

Are you sure it does really render the empty scene (maybe add some meshes and lights to test this)?

If you only have file output nodes and no composite output blender will show an empty render image when finished with the compositing since it got nothing to show from your node pipeline. So just add a composite node as output to your node setup like John Roper said ...


Painting with combined textures - select texture section to use

Your UV unwrapping needs to coincide with the image texture you are using. I would select the faces that need to be using a square of the image texture and Unwrap and then Reset, so that they are overlapped squares and with those selected in the UV Image Editor, scale and rotate to place them over the desired image portion - repeating the process until the unwrap is using the image the way you intend.


Rig a zbrush model in blender and send it back to zbrush with GOB?

Hmm. Try importing the obj you exported from blender back into blender. My guess is that it will be in the same pose that you exported from Zbrush, but all triangles because your pose was not applied to the mesh before export.

I haven't used GOB in a while, but it should work so long as you didn't change the topology and iirc it should work even if you did change the topology. You need to actually apply the armature pose to your model in blender so that the armature modifier no longer exists. There should be an OBJ option to apply all modifiers on export.

Also, I would just recommend using in Zbrush, and the masking tool. That would be way less complex, and if you didn't know how to do those things, increase your skills in Zbrush. It's also better because you can use layers for per-bodyparty-poses or entire poses. Right?

Edit: Yeah, I haven't done this in years, but I still remember. Just change your high poly Ztool to low poly, press the GoZ button to export to blender (blender needs to have the import button active), modify the mesh, export the mesh as a Wavefront OBJ from Blender. Import the obj to Zbrush, it will apply your changes instantly.


As far as I know, if you rotate the camera, the background image will always rotate with it. However, similarly to this question, you can display the image inside of an empty instead of as a background image, and then you can roll your active camera, and the empty displaying the image won't move.

I realize that this isn't a perfect solution since using the empty isn't nearly as easy as just using the background image feature, but it's the best I can come up with.


How to avoid bone roll on "Rotation Constrained" IK bone?

The bones in question were in not in "perfect alignment" with the view axis.
On aligning them to view and setting roll with ARMARTURE - BONE ROLL - RECALCULATE ROLL - VIEW AXIS , the bone roll was resolved.


Python to show one of objects by choosing

If you show some object (a torus) by user action it seems like a [game] description.  You may want to search Blenders game engine or some other game engine.
The
hide_render and hide Python attributes, the eye and the camera icon in the outliner window
can be set to True or False to assist you in your goal.  Or you may insert keyframes or individual as scripts opposed to frame change handlers.

BSE Link Show and Hide child objects along with Parent
Your code in your question may benefit by placing all the items in a (group) which can source of an iteration in Python (for loop) and used with other ideas later in this proposed answer.  A small number of copy/paste actions can be done manually with regard to your patience.
If you want to an animation with no user control I suggest you see the topic of [particles].  Particles have location and render visibility which may interest you or allow you to think about your task differently.  You may employ 1 or more Particle Modifiers.
If you do not want to use particles then with a script I suggest you use a frame change handler.
Please search
frame_change_post and
frame_change_pre

and modify the render visibility to True or False.

This proposed answer are high level remarks to guide you in the correct direction and (not) a tutorial.


Subdivision Surface doesn't affect some parts of the mesh

I found that if I click on smooth shading again, this bug goes away.


Rigging Error "Bone Heat Weighting: Failed to find solution for one or more bones"

removee doubles

recalculate

remove all modifier

place the root bone to the center of the model

apply the subsurface modifier and parent them

apply the decimate planar modifier
Posible this will help?


Possible to use different shortcut commands for mouse vs drawing tablet?

This is possible - go to your keymap settings, and under 3DView > 3DView(Global) pick the action you want to map to. Open it up, and copy the value that is in the "action command" box.

Now, navigate to the bottom of the (3DViewGlobal) list and find the button that says "Add New". Click on the button.

Expand the new item that is added, and paste the action you copied earlier into the new "action command" box. From here, you can assign a new key input for the action (be mindful of conflicts however, search the "key bindings" box at the top if you're unsure if a key is in use)

Alternatively, another thing you could do, is save your tablet key-map settings as it's own preset - so you have one for keyboard and mouse, and one for the tablet. From there, you can toggle between them easily from the drop-down menu without "overriding" either of their settings.


Is the a way to project surface cuts through the entire object?

Use the Knife Project tool: https://docs.blender.org/manual/en/latest/modeling/meshes/editing/subdividing/knife.html#knife-project Make sure you turn on Cut Through option

.. Or the Knife Tool and hit Z key to make sure to turn on Cut through:


If you keep watching the tutorial, Andrew did mention that it is included in newer Blender and no need for the addon.
And also in the video description:

The Filmic addon is no longer required and will actually potentially cause some compatibility issues with other addons.
Filmic is now included with Blender by default and can be configured via the color management panel.


How to seperate clothing from the rest of the model

There are two fundamental principles to 3D modeling. One is "don't model what can't be seen"; the other is "any part which needs to move independently of any other part needs to be a separate object  from every other part to which it moves in relation". Following these principles, your character will consist of multiple objects: a head, a separate jaw, likely separate eyes, a cap, a pair of hands, a pair of arms, a pair of feet, a pair of legs, and two or more objects  which, combined, make up the torso.

In fact, you will likely have multiple feet: perhaps a pair of combat boots, a pair of parade dress, and a pair of ghillie boots. You won't usually have bot bare feet and shod feet, because you can't usually see the feet through the shoes.


If you turn diffuse bounces to 0 (disabling indirect light), the source of the mystery reveals itself.

Here's 100 samples with no portal, and no diffuse bounces:

And the same, but with the portal:

So why is the full scene noisier when we turn on diffuse indirect light? The portal INCREASES the amount of light on each sample, thus increasing the number of diffuse bounces that return something instead of nothing. So you get more noise there. The combination of the small window and white walls mean the scene is almost entirely indirectly lit.

There's a few things you can do to speed this up. First of all, the portal is much bigger than the window. Shrink it to exactly the size of the window. And while we're at it, throw a solidify modifier on your room cube, that way you don't get the weird light leaks at corners. That's imperfect though, so you'll need to fake a lot more than that. Time to stop world indirect light entirely. Go to the world panel, and change bounces to 0:
The portal will still throw sunlight on the wall, but it won't keep bounceing around and making a ton of noise.

Finally, replace the missing lighting by making a copy of the portal (leave it in the exact same place), disable the portal option so it's a regular area light, and give it a sky color. Adjust power to taste. That gets the indirect lighting clean enough that the denoiser can take care of the rest. You can disable desnoising on all passes except diffuse indirect if you like:

And the result of all that, same 100 samples:

You don't have to use ALL these techniques of course, you use just some to get more realism at the cost of render time. For example, you could set world bounces to 1 instead of 0. Play around to get the performance/quality balance that works for your shot.


2.8 : Trouble with materials when joining two meshes

By default, the texture node uses the first UV map in the list. When you join the two objects the two materials find two different UV maps in the new object, but both are using the first one, which is good for one material but bad for the other. So simply tell the second material to use the correct UV map, using an input UV node.

Don't forget to apply (Ctrl A) rotation and scale to both meshes in object mode, before joining.


I feel a little silly answering my own question so quickly, but this was easy to miss so it is best to make sure it is documented.

The shin didn't symmetrize because the name was ever so slightly off. I had "shin.L**.**" instead of "shin.L". That extra dot on the end was enough to confuse Blender into not working properly.

Keep a sharp eye on your bone's names.


How are vertex normals being calculated regarding object origin?

To workaround this extrude faces of that surface to form a volume; faces will be extruded along their normals which have roughly the same orientation as vertex normals in this case (except for the corners where vector differs because of one additional orientation):

Then vectors are suitable for such tasks like scaling along normals as they roughly got desired orientation.
This is more a workaround as extrusion might not be convenient, but it's always possible to hide faces around mentioned and work only with those needed.


bge.logic.getCurrentController not available in 2.71?

My understanding is that you must run your python script from a controller brick. The import will not work from the TEXT view. For example, the following simple script prints hello in the system console (Window->Toggle System Console) when the h key is pressed.

Clicking on the 'Run Script' button in the TEXT view will not work.


How assign different material to strokes in grease pencil mode

You can do this by selecting the stroke(s) you want to change in edit mode. After that, select your material "face" in the "Material" tab then click on assign just below.
Or go to the stroke menu -> assign Material.


Why do rigidbodies snap back when keying "animated"?

The only way I can get  the effect you describe is when the objects are following the path directly.

When the physics is switched on by unticking the Animated box, we'd have two functions wrestling to control the same object and clearly they don't get along.
The usual way around this is to use an empty to follow the path and parent the object to that.  The physics will then be free of interference when the Animated box is keyframed off.

If I've misunderstood your query, leave a comment and I'll delete it.


How to duplicate an object without duplicating animation data?

I don't know how to do such duplication without involving Python scripting. If you're concerned about removing action from a large amount of objects quickly, though, you could use this:

Select all objects you want to remove action from, ending with any other object without any action attached as the active/last selected object. Then execute Object > Make Links (Ctrl-L), and select Animation Data. It will copy the action from active object, which is None, to every other selected objects, effectively removing their animation data.

Not exactly what you're looking for, but worth considering as an alternative solution.


Texture Painting on image is not showing up in Blender 2.8

The reason that the colour is not showing up is because your image is being obscured by the UV mesh of your model which is crazy high resolution. In order to disable it go to View and uncheck "Display Texture Paint UVs":

The reason your whites are showing up as grays is because of how light works, your model gets shaded and will only display at full brightness under very strong light (which won't show in deafult Viewport Shading mode). It's normal.
In order to see the true colours on your mesh you can select flat shading for your viewport:

Also I would highly advise disabling your subsurf modifier for your texture painting, my God that donut mesh lags out my pretty decant laptop. I don't know what kind of PC you have but I'm almost sure you'll get a better expirience without the subsurf on.


This ,and more, is on the Topology Guides site:

  E-poles are the most common pole type and consist of five edges intersecting at a single vertex. E-poles are most notorious for appearing when extruding faces on a mesh and for forming unwanted flat “corners” within the topology when edge loops meet or turn.  E-poles are also what form concave corners in hard surface models.

and

  N-poles are vertices that consist of three intersecting edges. This type of pole is far less common, but often appearing around poles or inset parts of a mesh. In organic modeling, this pole is often known as the “nose” pole, since N-poles are often necessary for modeling the base of the nose. N-poles are also what form the corner of a cube or most other convex corners.


How can i bake a lightmap and use it in Blender Game engine

UV Mapping

Unfold your meshes that will generate your first UV Channel, it will be used for your texture and normal map. Make sure that the seams aren't facing the player too much. You can see your UV Map in the Data tab in the property menu represented by a face with three vertices.

You will need to create a second UV Channel that contains the UVs of every meshes for the lighting information but be careful make sure to apply any mirror modifiers.

To create the second UV Channel enable the Addon called "Texture Atlas", select every assets, in the Render tab scroll to the bottom you will see Texture Atlas, click on the "+" icon and name it this will be the name of the second UV Channel. The resolution option isn't needed you will set it with the image you will create.
Then choose the type of Unfold between Smart_UV and Lightmap:

_ The Smart_UV splits the UV based of their angle of orientation.

_ The Lightmap split every faces for the highest texel density (cover as much space/pixel as possible) but could create visible seams.

Then click on Auto Unwrap, at the right you can set the margin (space between UVs) by default 0.01 is too low, the seams will be visible, use 0.1 instead.

If you select an asset and hasn't renamed anything you will see in two UV map, the first called UVMap and the second TextureAtlas.

Baking

Use Blender Cycles, prepare your lighting, apply a material, use Ctrl + L to link it to all your asset. Do not use a texture use the default white diffuse with RGB at 0.8 each. A tip is to use a create several diffuse called for example: wood, stone, grass, etc. with the same color, change the color to see them then reapply the 0.8 color. This will allow later to directly import your textures on them and have the materials split. You can use some emissive material if you want to create area lights in your scene.

You will need to create an image to bake your lightmap, open the UV/Image Editor, create a new image, name it for example "lightmap" and set your image with a 2048 or 4096 image, if you want to work with Filmic color management you will need a 32 bit Float image, see this post: How can i use Filmic with Blender Cycles bake

In the node editor add an image texture node with the image you have just created and do not connected it to anything to use the image for baking. Use the same image for your emissive materials.

With all your assets selected go in Samples and adjust the render value, an higher value reduce the noise but increases the speed. You can set a low value like 10 to test if the baking works correctly.

Then go in the bake menu, for the bake type use Diffuse and enable Direct and Indirect you don't need color (to make the baking slightly faster). Adjust the margin, to know what value to use divide the resolution by 256, for example for 4096 we need 16 px.

Click on bake, to see the result switch in texture mode in the 3d view and in the "n" menu use Shadeless in Shading and Only Render in Display. Don't forget to save your lightmap.

Note: if you get a weird baking that mean that the bug haven't been fixed yet, you will need to duplicate and join all your assets to bake the lighting because the bakes overlaps each other.

Using the lightmap

Duplicate and move your assets to another layer, the duplicated assets will use Blender Render materials.

Switch to Blender Render or Blender Game mode. In the "n" menu of the viewport use GLSL and the Textured mode.
For each material uncheck the button Use Node (the icon represent two node attached) near the name an check Shadless in the settings.
In the texture tab import the lightmap in the second slot and use the second UV channel in the Mapping menu.

Here is what my scene looks like:

For the blend type use Overlay.

Then import your texture in the first slot and use the first UV channel, you can adjust the position and size by scaling and rotating the UVs of the first UV Channel.

To use multiple textures create a new material, select faces in edit mode and click Assign, use another texture and your lightmap for the second UV Channel.

Note: all your textures must use a middle value to have consistent lighting, you can fix that in GIMP by moving the Color > Curve to an high point in the histogram in the middle line:

Here i have applied multiple materials:

For your emissive shader just use a shadeless shader with a color, pick the color used in Cycles and apply it for the Blender Render/Game material, you wont need any texture.

You can bake a skybox switch to Blender Cycles, in the World tab in the property panel click on "Use Nodes", click on the dot on the right of Color and select Sky Texture then orient the sky. Create a sphere, invert his normal with w > Flip Normals in Edit Mode, use a Lightmap UV Unfold to cover the maximum UV space, apply a material and texture and bake in Environment bake type. You will need to bake your assets each time you change the environment to match the sky.


HELP! I made a mistake when sculpting and when trying to fix it, it lead to a bigger problem

There seems to be an easy fix for your particular mesh problem: (because it is a nice flat internal surface)

Go into front view and turn off perspective (press 1 and then 5 on Numpad, ... or tick emulate numpad in the preferences menu if you don't have one, in that case also 1, 5)
Its always very important to see what is going wrong without all the rest blocking the view, so then use Alt+B to box-restrict the visible mesh around the center:
Then select one of the internal faces and select "linked flat faces" (shortcut: shift+ctrl+alt+F)
then delete those with ->delete->Faces and check if this solved the problem. As you can see in the right picture in your particular case the mesh is already clean after this.

Now you can use Alt+B again to return to the normal unrestricted view.

That should have done it! Happy blending! :)


How to import 3D buildings from OpenStreetMap to Blender

Here are some updates to the script https://github.com/vvoovv/blender-geo/blob/master/io_import_scene_osm.py

Extruded buildings based on building:levels using a level_height setting in import. Also added a scale setting.

https://gist.github.com/batFINGER/87ad90900be589281eeeaa83697d541f

Result So far.

Haven't done much with roofs yet.

Till I add it into code proper this adds some materials / object color to buildings

import bpy
from bpy import context

# CoDEmanX from BA.org
def hex_to_rgb(color_str):
    # supports '123456', '#123456' and '0x123456'
    (r,g,b), a = map(lambda component: component / 255, bytes.fromhex(color_str[-6:])), 1.0
    return (r,g,b,a)

scene = context.scene
# buildings with material

bm = [b for b in scene.objects if "building:colour" in b.keys()]
materials = {}
for b in bm:
    matname = b.get("building:material")
    if matname is None:
        matname = "building:material"
    mat = bpy.data.materials.get(matname)
    if mat is None:
        mat = bpy.data.materials.new(matname)
    mat.use_object_color = True
    if matname not in b.data.materials:
        b.data.materials.append(mat)
    if b.get("building:colour"):
        b.color = hex_to_rgb(b.get("building:colour"))

Might also pay to have a look at osm2x3d to convert to x3d and import from that format.  (Haven't tried)


How can i exclude rendering an enviroment texture in cycles but keeping all the other settings?

Finally what it worked was:

Unchecking the 'Transparent' option before anything
Checking 'Use Enviroment' at the Scene Tab
Most importantly, in the World Tab, uncheck 'Camera'

So with those options the objects will be affected with the background but the background itself will not appear as part of the render.


Can freestyle render edges with no face?

Unfortunately this isn't supported (yet):

  Known Limitations and issues

  FreeStyle is only available for the Blender Internal renderer.
  Highly memory demanding: All mesh objects in a render layer are loaded at once.
  Only faced mesh objects are supported. The following kinds of meshes are ignored.

  Mesh faces with wire materials.
  Mesh faces with completely transparent materials.

  Transparent faces are treated as opaque faces.
  No edges at face intersections are detected yet.
  Layer masks do not work with Freestyle.
  Freestyle rendering results do not have any Z depth information.
  Does not work with a panoramic camera.

Emphasis mine. Note that Freestyle is available in the latest development builds and will be in 2.72.

Perhaps it will be supported someday, but for now you'll have to try something else. See How can I render an edge only mesh as solid lines? for alternatives.


How to stop blender game engine using Python upon reaching a condition in the script?

It's very simple, you just have to connect a Game Actuator to your script Controller and set it to "Quit Game".

Add this actuator to your script by doing this:

gameactu = cont.actuators['Game']

if posdiff < 0.0001: # You can also try 0.0002
    cont.activate(gameactu) # I just try it works.

Here a picture:

You can do this without the Actuator, see the manual.


Need help with texture bake and consolidating meshes for UNITY engine

Go to Bake Section in Properties Panel and choose "Diffuse Color", So that way your Baked Texture will not be affected by the lights and shadows.


How would you make an edge circle around a cone?

I'm sure it must be difficult to be unable to do traditional art after having done it for so long. :-/ Great that you're learning 3D though!

Edge looping cones is a bit tricky. The easiest method that I know of is to do this:

Select the bottom edge
Ctrl + B to bevel the bottom edge
Select the higher of the two bottom edges, and hit G twice to enter edge slide mode. Slide into place.

Here's an image to help.

Honestly, I would recommend sliding your first edge loop all the way to the top, then deleting everything above it--so that the very top of your cone is actually a tiny edge ring. You can then use F to fill it to cap it off. This'll make it so that you can use the regular edge loop tool to create edge loops in the future.

Best of luck!


You could use 3 ways:

model this geometry as contents of one mesh (i.e. subdividing or inset and bevel etc);
create it as it's created in real world - tiles as one object, cement as another.
or just find image of tiles somewhere and apply it as a texture (while it would mean completely another way of adding details, you'll still be able to bake a normal map from that image in order to create a vision of details).

First way is faster, while the second one is better, more flexible and correct.

Since first way was already described, I add details only about second. This technique is described in tutorial Creating a Grungy Brick Wall in Blender.

Model tiles as separate objects (so Array modifier fits perfectly). Leave gaps between them which will be closed afterwards.

Add another object, make it very thin, a bit thiner than tiles and a bit shorter than they are. Add some geometry only to avoid Multiresolution modifier turning object into a ball.
Subdivide added mesh enough to sculpt in the gaps between tiles. Sculpt with both objects visible in order to see how much of effect should be added (i.e. in the beginning of the sculpting you won't really see the object you sculpt on except for the gaps. Keep in mind that cement shouldn't be visible very much and it shouldn't cover tiles with itself).

You could create one more mesh (e.g by duplicating the mesh which represents the cement and deleting Multires from it), bake these 2 meshes into the third one in order to get normal map which you can apply to the third object. See How do I bake a texture using Cycles bake about baking in Cycles. See Baking Normal maps in Cycles for more info about baking normal maps.

This is not needed in order to render scene. This will be needed to lower amount of time to render result and computer resources involved for it to work.
Setup lighting which is desired. Create adjacent materials for objects which represent cement and tiles and render.

Possible result of tiles:

Advantages of this way:

You can model tiles in any way you'd like to; it's lot simpler to bevel cubes when they are separate objects and you don't need to track topology of the whole model, at the same time modeling it to get mesh looking as desired. After modeling you're left only to spread it over the scene with Array modifier.
It's a lot easier to setup materials (no vertex colors, at least for this task; this doesn't mean you won't need to fake dirt).
It's easier to fake inaccuracies of cement surface (which isn't flat).


How to make toon shader more realistic and clean crooked shadow in models?

One thing that might help is to bump up the subdivision modifier (assuming you have it on), though that might increase render times.

Another thing you might try is custom normals. This way, you can have more control over how the shading looks but it adds several steps to your workflow.

I would also suggest this video. Its long and has nothing to do with blender, but it is very informative.


spray/foam/bubbles not showing in Mantaflow fluid simulation

Your domain will now have several particle systems where you can define instance objects to be used as foam, bubbles, and spray.


Cycles. Masking objects with shaders (no compositor)

Using Cycles, you can achieve this by combining transparent depth of the light path node and backfacing of the geometry node.
We want to be transparent what has a depth modulo 2 equal to 1, as we want to be visible what is behind the transparent object (all are considered manifold).
But back faces have an additional transparency depth because they can be behind its own transparent front face.
So we add the two (backface + transparency depth) and set transparent what is modulo 2 = 1.
Here is an example:

Note that in the provided blend file, if the two transparent cubes overlap (intersect), the blue one will reappear. But the two transparent cubes together are no more manifold when overlapping.


It's basically a camouflaged checkbox (boolean property) with changing icon:

import bpy

class HelloWorldPanel(bpy.types.Panel):
    """Creates a Panel in the Object properties window"""
    bl_label = "Hello World Panel"
    bl_idname = "OBJECT_PT_hello"
    bl_space_type = 'PROPERTIES'
    bl_region_type = 'WINDOW'
    bl_context = "object"

    def draw(self, context):
        layout = self.layout
        obj = context.object

        box = layout.box()

        row = box.row()
        row.prop(obj, "expanded",
            icon="TRIA_DOWN" if obj.expanded else "TRIA_RIGHT",
            icon_only=True, emboss=False
        )
        row.label(text="Active object is: " + obj.name)

        if obj.expanded:
            row = box.row()
            row.prop(obj, "name")

            row = box.row()
            row.label(text="Hello world!", icon='WORLD_DATA')

            row = box.row()
            row.operator("mesh.primitive_cube_add")

def register():
    bpy.utils.register_class(HelloWorldPanel)
    bpy.types.Object.expanded = bpy.props.BoolProperty(default=True)

def unregister():
    bpy.utils.unregister_class(HelloWorldPanel)
    del bpy.types.Object.expanded

if __name__ == "__main__":
    register()


How do I make a giant clock made of many small clocks?

Here is the simple scene that I made using animation nodes:

I made 2 arrows, and duplicated it 5*8 times:

Each arrow is sent to the node program, which determines the position in the space and the rotation:

First, I divided the index by 5 and took the remainder of the division to get the coordinates (x and y index) of the arrow:

Next, I just multiplied it to get the correct scale of the arrow's matrix (x and y coordinates):

How to get the rotation? First, I wrote a map, which determines the rotation of each arrow. I made it using a list of "box symbols" ("┌","─","┐", etc..):

┌───┐
│┌──┘
││
│└──┐
│┌─┐│
││ ││
│└─┘│
└───┘

Then I wrote the script, which converts a correct symbol into 2 angles:

out=[0,0]
if(letter=="┌"):
    out=[-90,180]
if(letter=="─"):
    out=[-90,90]
if(letter=="│"):
    out=[0,180]
if(letter=="┐"):
    out=[180,90]
if(letter=="┘"):
    out=[0,90]
if(letter=="└"):
    out=[0,-90]

rot=out[arrow]

So when I put the correct letter and arrow index (0 or 1 - first or second arrow) it outputs the correct angle:

This script block gets the letter from the text "map":

and finally I used the animate float node to make a transition between a random angle and that angle:

As you see, you need to know a little about Animation nodes and scripting. This is the file (NOTE: it will not work without Animation Nodes!):


Why am I getting artifacts around the edge of a mesh I'm texture baking?

I found a solution to my problem. I set the Margin to 0 px. Blender generates additional pixels for seamless bakes which I didn't need.


When I create a Cycles material I make this process:

1) I take real references. When I make a material I pretend it to be realistic, since Cycles is a physically based render engine. In this case I took these references:

Tutankhamun mask (Egypt Gold?)
Yotoco pectoral (Colombia Gold?)
Some gold ingots
An ancient coin

You can notice that there are many types of gold materials.

2) I try to find the correct mix of diffuse-glossy-SSS-transparent-etc shaders, making several tests. This was the second material I published in Blend Swap, so I had little experience in Cycles. So I made more than 100 tests. It is very important that you use a good test scene (Tuqueque's Blender Ball or others)

3) Finally I tune or adjust some details, for example colors or textures. In my first attempt I use a color picker. A color picker is a tool which catches the RGB components of a pixel in my reference image. You can use any photo edition software. I use Firefox and its Rainbow addon. Then I make more tests. Depending on my results I pick other pixels or use the blender color wheel to adjust the colors.

Here I show you the Rainbow addon catching a RGB color pointed by the mouse cursor:

TIP: A real material,like gold, has many hues. You can not make it mixing only a diffuse color and a glossy color. I recommend you use several colors and use Fresnel or Facing factors to mix them properly in a physically correct way.

NOTE: I am very proud of this set of gold materials. I used the same nodes to create the copper material. I only changed the colors. It is available in Blend Swap.


Orange marks everything that is selected. You can press Alt + A (Blender 2.8) or A (Blender 2.79) to deselect everything and then click on whatever edge or face you want to select. Keybindings have changed between these two Blender versions, which can cause some confusion.

Fully selected torus, press Alt + A to deselect
Select faces by left clicking (Blender 2.8) or right click (Blender 2.79)


How do I make a delay between when a sensor is activated and when the controller activates?

This is not possible. An event already happened. What you do is to describe the operations on the event.

But you can lift it to an higher abstraction level. Split the logic into two parts:

on collision start a timer
on timeout switch the scene

Reference:

How do you add a cool down timer?


What you are doing should be pretty easy, you should be using the fspy blender plugin BLAM.  Blenderguru did a video using a similar plugin to model a hallway:  https://www.youtube.com/watch?v=nb6rSMAooDs&t=160s

Hopefully you just need to tweak your workflow a bit.


If i understood the question vertex is not join.

Select the edge and subdivide once to get a single vertex

Select the verts and press G twice so that it slide on the edge.

Activate snap transform (shift+tab) and snap both the verts and remove doubles.


This is fairly straight-forward, there are two things you need to do:

Make the cube subtract from the sphere, and
Make the cube invisible to the camera so it doesn't render

First, select the sphere and add a Boolean Modifier to it, setting it to difference and making sure the "Object" option is set to the cube.

Now go ahead and set the maximum draw type for the cube to Wire in the object settings.

You should get a result like this:

Scroll down a little farther and under Cycles Settings un-check all the check-boxes.

When you render you should have a result like this:


You need to retopologize your mesh in Blender, that is the only option, the smooth brush is unable to deal with this.

These artifacts are caused by triangle fans, usually left from dynamic topology, and are impossible to smooth perfectly, because the smooth brush in Blender is not actually a smooth brush but averaging brush. If you can import this into Zbrush, there you will be able to comfortably smooth this without retopology with the alternative smoothing mode, but not in Blender.

For retopology you can use the Remesh modifier on a copy mesh, that you Shrinkwrap to the original, subdivide evenly, smooth and you continue sculpting.


How do you create matcap shading yourself?

If you want to use the Matcaps that come with blender in your renders, you can add them as an HDRI. Go to your shader tab, select "World" on the left side (blocked by the file manager window in my image - switch it from "Object"), and add an Environment Texture. Click the choose image button, and navigate to \2.90\datafiles\studiolights\matcap\ (or whatever version you're using). The files (.exr) are all in that folder. Choose the one you like.

This will provide the lighting and reflections from the image, but will also make it display as a background as well. If you don't want the background image component, just mis it with a regular background, using the Is Camera Ray output of a Light Path node as a mix factor.


For anyone having the same issue, it's as simple as using prop_search() instead of prop() in the draw code.

Example:

row.prop_search(bpy.context.scene, "your_string_prop", bpy.data, "armatures")

to create a filtered field for the armatures in your current scene.


How to adjust SubSurf Modifier For Render

What you want to do is impossible, because the mesh was already established when you applied it,  if you want to control how much detail you are using to model or sculpt a mesh, you must use the multires modifier, whit the simple division method, so you can have multiple versions of the same mesh, in orden to accomplish whatever you are looking for.

good luck and happy blending.


Make an object only visible from a certain angle?

The answer is using a Light Path node, just like Todd just said, but I'm using a different approach and a different node factor, since according to attached images, this has to happen while both mouths would be visible from a 3/4 angle:
1- Create a plane to go directly in the center of your character, The cube in the image here represents your character's head, the two spheres represent the mouth.
2- Assign a simple transparent material to the plane.
3- Mix a transparent shader to the material of the mouths (the spheres in this example), add a Light Path node, Add node>Input>Light Path, use the Transparent depth as a factor. This will make the object that this material assigned to, disappears when it falls behind an object with a transparent material, which is the plane here. Check the image below.
That's it check the animated GIF below to see how this will work, no need to say that from a front view, both of the mouths will show, so you can extrude the far edge of the transparent plane to the left or right to solve that issue.


Blender 2.7 render view badly pixelated but all other views are good/fine/ok

Don't worry - Blender's working just fine :)

The Render View algorithm is set at a low quality value for performance reasons, so you can manipulate the view of the model in real time with approximate ray-trace lighting conditions including reflections, transmissions, transparency, etc. It's not meant to give you an excellent result, just a guide result. If you want an excellent result, F12 :)

Material view only takes into account diffusion and light - no reflections, transmissions - so it's even quicker to calculate. There are no calculations done to approximate reflections or caustics, which is what's 'fogging up' your Render View.

Blender Render (otherwise known as 'Blender Internal' or 'BI') is supported, but no longer developed. Everyone's moving to the Cycles render engine (or other third party alternatives). Among many other features Cycles includes flexibility in setting both Preview and Final render settings independently. This means you can increase your Render View quality quite a bit... at the expense of view-handling performance.

As an aside... for a tiled pattern that's one helluva huge bmp you're using :) Think about using a smaller tile that just captures one iteration of the pattern: then in the Texture > Image Mapping panel, set it to Repeat and increase the X and Y values until you're happy.


Volume scatter without rendering the volume object

Sorry if I'm not picking up on your situation exactly, but is your atmosphere scatter mesh using a volumetric shaded material?  Is it only shaded by volume, or is there also a surface component?

If it is helpful, and if your volume scatter mesh is volume only, I can tell you how to add a gradient to the volume density.  That means you can make the edges of the volume scatter effect fade out, rather than be abrupt.

Here is a two-sphere setup where the volume scatter sphere does not have the gradient:

Here is the same with the gradient enabled:

Hope this helps!


Cannot find Background Images feature in Blender 2.8 - follow up

The options are still there.

Navigate to Top/Front view + add the image and check ✓ Only Axis Aligned
To limit visibility to orthographic view > uncheck ✓ Perspective


It doesn't need to be quads.

HOWEVER: many deformation-algorythms and generative modifiers (Subdivision Surfaces) will produce cleaner results if you feed them only quads.

Most gameengines wont work with ngons, as they can be troublesome to deform correctly, so you should use either quads, or triangles.

Also, calculations for quads and triangles are very fast compared to higher polygons or ngons.

About the shape of a quad: a quad is a planar convex 4point-poligon. That means it's flat and no corner is dented in.


To edit Edges and Faces you need to be editing a mesh, and you will get the buttons as shown below:

Please note that these buttons will not be available for Curves, Nurbs, Text, Lamps, camera, Metaballs, Armatures, Lattices, Empties or any kind of object not consisiting of vertices, edges or faces.


Blender 2.8 slow render under mesa-18.3.2 and xvfb

As was said by @Ignatiamus blender 2.80 heavily depends on GPU.
So after putting blender onto machine with GPU it starts working fast even inside docker.


How to move multiple vertices like subdivide?

To move vertices precisely along edge normals, you can use an addon called Offset edges.
Installation
Once you download the addon, go to user preferences, install addon from file, and select the downloaded file. Then make sure to tick the chckemark button to enable the addon, and save user preferences.

Usage
Once you have it loaded, in edit mode, in the left-hand toolbar, there is a new sub-tab called offset edges. There are three commands - offset, extrude, and move. In your case, you would select the move command, after which you can specify the width.

A sidenote - it's best to model in quads whenever you can in order to be able to subdivide your geometry efficiently with loop cuts.


Selecting those 2 split vertices hit AltM then merge either at first/last selected or center


Thanks to Christopher Bennet,

Go to Render Properties

Go to Color Management

Change View Transform tab from "Filmic" to "Standard".

Beware this alters the color scheme of the whole render; it's like changing a filter on a picture in instagram. So if you are a designer or someone who is super color sensitive, gl


When you have a hole like this, don't press F to fill, otherwise you'll have one unique face and then you'll need to use J (join) or K (knife) to recreate 4 different faces and they won't even be correct, you 'll need to pull the central vertex to get the right curve:

What you should do instead is selecting 3 vertices on each side:

Then CtrlF (Face) > Grid Fill to fill, and tweak the parameters in the Operator box (bottom left of your 3D view) if necessary:


Rather than doing this in the VSE you can create this effect using a feedback technique similar to How to do this type of trailing effects where the previous frame is held over to include in the current frame. The only real difference is in masking out the current frame so as to overwrite all but the background each time.
The setup of the scene is the same (ie, a camera pointing at the plane) with the following material on the plane :

Here the feedback is handled by the bottom branch - with the Image Texture pointing at the location of the render result, offset by 1 frame to pickup the previous frame. The top branch injects the video (filed infront of a black background) with the Subtract used to darken the image (this was used as a crude way to remove background artifacts since my video background wasn't perfect) with the Less Than used to detect the 'foreground' so that the feedback can be cut out wherever the new image is above a certain threshold. The images are combined and the Emission with a value less than 1 effects the fade out as the trail ages.
This produces the following result :


Animated visibility of an object in render mode is different on rendered image

From your images it appears that you have keyframed the visibility of the writing - shown by the green around the ‘eye’ icons in the Outliner at the top-right of your images. However, that only controls the visibility in the 3D View window. In order to make the same effect on the rendered result you need to do the same on the rederability of each mesh - the camera icons in the Outliner window at the top-right (the rightmost icons).


Make a uv sphere inside the crystal , use emission shader , increase the strength of emission and render using evee.


This works, you can even name the file during the save:

fp = "/home/username/SomeFolder/doubles.blend"  # or whatever you use.
bpy.ops.wm.save_as_mainfile(filepath=fp)


Try lowering the clip start and increasing the clip end in the view panel?


I see cross section number 8 like this :

The "turret" is seen in one side view and not in the other views but is there in cross-section 8.
I would use Google to find out what it is then you can decide if you need to have it in your modelor not.


Started having the same problem just after a Radeon update[I think 20.11.1]  (AMD RX580 8gb),
GPU viewport rendering is broken(was using portable Blender folder, tried installing updated Blender and still no fix).
After some googling found some people were having similar problems and decided to leave it for a couple of weeks in case of a fix-patch.
No update patch yet but I tried switching to "High Quality Normals" and it totally worked for me!
TEMPORARY FIX: Render Properties > Performance > High Quality
Hope this can help others too.


Its not good to stack a lot of un-applied modifiers when you are using booleans - they are temperamental and it is better to apply the mods at every step. I have applied all of your mods in the order they appear up to the boolean operation and the phone case has 1104 zero faces and 48 zero edges created in the steps you have taken. You can remove these by selecting all in edit then using mesh/cleanup/degenerate dissolve and then your booleans will work better. Any work involving booleans benefits massively from enabling the in-built 3D printing add on in preferences.


Short answer: No.

XML is per definition too broad to cover all the specific user cases one could imagine.

OBJ and its material format MTL on the other hand are highly defined in their purpose.

Even if there would be a OBJ/MTL to XML exporter, it's highly unlikely that it would meet all of your requirements.

The long answer: Since OBJ and MTL are well documented, it might be easier to program a converter instead of an exporter.


You were on the right track with subdivision :).

One way would be to use the Subdivision Modifier
Then just add some loopcuts, to get the shape you want.

Add the Subdivision Modifier.

Add some loopcuts, to get the shape you want.

And you're done.
That is one weird piglet


To resize a texture you need to increase/decrease its scale in the mapping node. Repeat works when scale is greater than 1.0


Will there be a browser version of Blender?

No. For questions about the future of blender, check the roadmap here: https://code.blender.org/2013/06/blender-roadmap-2-7-2-8-and-beyond/

There are no current plans for browser integration.


How would I make the unpainted part of a texture paint image not affect object color when mixing?

Use a math node set to "Less than" with a very low threshold, and use that in the factor input of the mix RGB.

Illustration :