Your normals are inverted (they are going inside the model).
Texture paint paints on front normals. That's why when you think you paint the front, all is going to the back.
To see the normals (edit mode) : go to the "mesh display" part of the right panel of the 3D view.
To inverse the normals, select all the needed vertices, then ctrl+N or ctrl+shift+N.


Bake particle system animation and delete few particles

The only way I know to edit already emitted particle objects would be to Make Duplicates Real Shift-Ctrl-A accessible in Object Menu after that you could select the mesh and invoke Separate by loose parts in Edit Mode P. This wouldn't help on animations.


how do I animate a vesicle fusing to a cell membrane?

Could you add some reference images of the effect you are trying to achieve? It is not clear what you want to do.

Would it be something similar to what's illustrated bellow? You can easily create merging/blending soft shapes with meta geometries.

Just create two meta ball objects withShift+A > Meta Ball, scale them down accordingly, then adjust the properties as desired as the Threshold and Resolution.
Move them around and their geometry should just fuse together naturally.


Object has no color dispite whatever I do

You need to assign your texture to the material. Create the Shading workspace by clicking the plus button next to the other workspaces or change the 3D View to the Shader Editor

Activate Use Nodes then select the material you want to edit and then set up a basic shader with a texture like in the image below.


Why am I getting UV distortion on a flat surface?

To get a nearly undistorted UV, the modeling topology should be made by even quads, with every pole made only of 4 edges (5 and 3 where strictly necessary), which is not your case. Anyway, as the surface is flat, you can set the 3D view in a front ortographic perspective, select all the faces of the flat surface and press U "Project from view" and you will get an undistorted UV. Then you can select all the UV islands in the UV editor and average and pack everything.


Texture-painted images turn black when used?

i had this problem ... you just open a new tab and open the uv/image editor , in your 3d view go into edit mode for the object you want ( which is black ) , and then in the uv/image editor , click the texture panel and select the texture you want .


Here an exact example of what you want

http://www1.cs.columbia.edu/~atroccol/3DPhoto/3D-2D_registration.html

The math broken down step by step

https://dsp.stackexchange.com/questions/1727/3d-position-estimation-using-2d-camera

If you need help with UI code, such as picking 3d or 2d points with a python modaloperator, I am happy to help with that.

EDIT:  I have made a partially working module
code:  https://github.com/patmo141/odc_public/blob/master/image_object_registration.py
blend:  https://www.dropbox.com/s/rqk9rrh9a4rw9ez/image_object_registration.blend?dl=0

https://youtu.be/Edk9uA5Yl5k

-Patrick


Fixing intersecting mesh due to sculpting?

I was able to fix it by applying the smooth brush with a high strength to the intersected area.


Hair particles tighten on a certain point

A commonly used trick to create better looking hair, if you want to have a better look, is to use multiple hair particle systems. If one uses a single hair particle group it becomes difficult to comb it precisely.

With more particle systems you get better control over them by combing only a part. You be able to comb less hair but with more control, and be more precisely without without affecting wrong hairs.

back-upper-left
back-upper-right
back-lower-left
back-lower-right

Those are only 4 hair groups but you might (weight paint) even more hair particle areas, the best Blender hair models you usually see have lots of them.

Adding another tip, to futher improve precision of the "hair artist" :).
It might be helpfull to comb in ortographic view (press 5 on numpad)
So you get real exact positions (Left / right top) to start your combing width. Together with the earlier tip i was able to put a hairgroup trough a needle. Also be sure to have enough segments in your hair.

And a 3th tip, you might as well add a cylinder, select top face press i, inserts the face repeat a few times, then weight paint the inserts for a tail only hair system.

and a 4th tip, since your character doesnt seam to be a realisit person, you might as well consider unrealistic hair; using (optionally softbody) mesh based hair, here's an advanced one with bones :https://www.youtube.com/watch?v=ZHWflWRkYo0

But if you want to go realistic first 2 answers


"ValueError: could not convert string to float: b'0,000000'" when import obj file

Yes, i opened MTL file with Notepad and replaced all the "0,0" expressions with "0.0" and it is working now


Why won't Difference subtract the geometry of this mesh?

Please consider

Adding loop rings to the circular form.
Select the middle faces.  Extrude -  No Movement Accept. Shrink Fatten. You may Shrink Fatten to create a cut out slot.


This is because hair is grown from the origin center of the original mushroom i.e. origin center is in center of the hair object that is mushroom. Try changing the origin center from center to bottom of the mushroom you can do it just by placing 3d cursor at the bottom and then press "Shift + s" and then origin to 3d cursor,
Another way of doing this is Just select the mushroom and go to edit mode and in edit mode press 'A' to ensure All Vertices are selected and then move the mushroom up so that origin point comes to bottom and then just go back to object mode and this will do,

Overall you have to change the centre of the origin of object to it's bottom so that hair is grown from the bottom
i hope you understand


The main reason for that behaviour are non-manifold mesh and unapplied transforms.

Non-manifold mesh used as obstacle.
One of the common options for different fluid objects is Volume Initialization. Only one value, which is Shell, can work regardless whether mesh is opened, i.e. non-manifold, or not. Two others assume that mesh is closed and thus won't initialize volume of obstacle (in this case) as expected.

In your file the sink object, where water is supposed to fall down after flooding the top box, is a plane with a Solidify modifier for adding thickness:

Non-manifold geometry is shown as selected

The object is set up to use Volume Initialization > Both which requires manifold object (you can change it to Shell though and simulation will work).

The mentioned modifier, supposed to make the object as manifold, won't be taken into account as it is placed below Fluid one in the stack of modifiers. However you can't move it above Fluid modifier because the latter requires original data of the object to work. Thus you end up either with applying Solidify or extruding faces in Edit mode.
Unapplied transforms on objects used in simulation

In order modifier to work as expected, transforms (scale, rotating) should be applied to object data. See more in Why is it important to apply transformation to an objects data?.
They aren't applied for all objects used in simulation. It is important at least for object with Solidify modifier for correct adding thickness to the mesh (and I recommend making its faces planar, e.g. with Mesh > Clean-up > Make Planar Faces). Note that leaving other transforms unapplied may lead to unexpected results too (although fluid simulation will work).

With that done, fluid will act as expected:


Material not rendering properly in cycles

Without anything connected to the Vector input of the Image Texture node the image texture will be assuming you want to use UV coordinates. If you have not UV unwrapped your mesh then this will be unable to map the texture around your object and the texture will not be correctly shown. Note that the material preview assumes its own unwrapping (depending on which preview model you have selected) and so is oblivious to your own mesh's unwrapping.

The solution to this depends on your intention and the image resources you are using - ie, whether they are intended to be used with a UV unwrapped mesh or whether different coordinates should be used.

If you should be using a UV Map for your textured then I would recommend still connecting to the Vector socket of the Image Texture to explicitly set those vector coordinates. This can be either the UV output of the Texture Coordinate node or the UV output of the specific UV Map node if you are using multiple UV maps and need to be able to select a specific one.

If, however, your textures are based on a different coordinate system (eg, Generated or Object coordinates) then you should use the relevant output of Texture Coordinate.

Note also that your current material is feeding the Normal Map into the Diffuse shader but not into the Glossy. This will result in a different normal being used for each element of the surface - so your reflections will not match the diffuse surface.

I believe your final material should be something like the following :

Note the extra connection from the Normal Map to the Glossy BSDF - this is so that the same surface normal is used for the Glossy shader as you have set for the Diffuse (otherwise the surface will reflect based on the mesh normal - rather than that from your normal map).

If you are using a different coordinate system then adjust which Texture Coordinate you are using. If you should be using UV mapping then ensure your mesh is UV unwrapped - and I would still recommend actually connecting to the Texture Coordinate UV socket (or a UV Map input node) rather than leaving them unconnected.


Maybe it's outside of the cameras clipping plane. Select the camera, then go to the camera settings in Properties > Object data. There you can see Clipping start and End. You want to increase the End value so the distance to your object falls within it.


Blender shape keys aren't animating properly

In your screenshot you can see that your "stretched" shape key was relative to the "stretched" shape key instead of the Basis shape key.  Since it was relative to itself, it represented no deltas.  If you change "stretched"'s Blend: relative_key from "stretched" to "Basis", then the shape key works.


Blender 2.9 Mantaflow - fluid weird behavior

The "effector" object thickness has to be increased to prevent too fast collission with the fluid.


A bone inside like that is more difficult to select but you can do it two other ways that I know of:

Double click on it. Be fast! Mouse cursor right on it, and it works.
Select larger bone, Shift+G "Direction", "child" ect and it may also help in certain situations, especially when dealing with multiple parent bones and children.


Keyframing a UV texture on a mesh isn't working as expected

At least as far back as 2.77, this wasn't directly possible.  At least, not without an addon.
It's possible to do indirectly, by copying UV from a different mesh, but it's more work than you'd probably like:

Duplicate your object.  Make your duplicate non-rendering.  Edit the UV of the duplicate.

Give the original a data transfer modifier, targeting the duplicate.  Set it to copy face-corner data, copying UVs, by topology.

At the frame you want to "keyframe" those UVs, instead keyframe the mix factor of the data transfer modifier (at 1.0 to copy those UVs, at 0.0 to not copy them.)  It will linearly interpolate your UV between your old UV and your duplicate's UV on the basis of the animated mix factor.

If there are multiple different UVs you'd like to keyframe, you need a fresh duplicate and data transfer modifier for each independent sets of UVs.
This is the broadest, most general purpose way of doing this.  A UV Warp modifier can be much simpler if it can do what you want.  Keyframing the values in a mapping node, in your materials, can also be much simpler.
Keymesh, recently released, may provide a different way to approach this-- I'm not sure, I haven't played with that feature much.  In the future, geometry nodes should provide a further way to animate UVs, but even in the 2.93 beta, they're not really there yet.


Why does blender cover the whole cube and not selected areas with materials?

To add a material to a specifc face (you can only assign and see material colors to faces), you first need to add a base material to your object, next enter Edit mode, select the face and then add a new material slot and create a new material or pick an already created one from the list and press Assign.


bpy is the Blender API.

The BGE API is bge.

You can access game properties via dictionary access on the game object

Read

Read and fail when it does not exist

print("property value is ", gameObject["propertyName"])

This is the fastest method, but fails when the property is not present. This is good when the property is mandatory.

Read with fallback value

print("property value is ", gameObject.get("propertyName", "fallbackValue"))

This is pretty fail safe and can be used on optional properties.

Be aware it always creates the fallback value. This costs processing time. Ensure creating the fallback value is fast (or use an existing value).

The property will not be set, when it does not exist.

Read with previous existence check:

if "propertyName" in gameObject:
    print("property value is ", gameObject["propertyName"])
else:
    print("no property set")

Requires more code but is very fail safe. When the property exists the read access is performed twice (once for check existence, once to get the value).

It is good when the property is optional and the fallback situation needs some effort (such as creating larger objects) or leads to complete different behavior. The fallback code will only be executed when the property is not existent. This solution is more efficient when in most of the cases the property is not present (as this results in a single read access).

Read with error handling:

try:
    print("property value is ", gameObject["propertyName"])
except KeyError:
    print("no property set")

More code but fail safe. Pretty efficient as the access will happen just once. The fallback can be complex, it will only be executed when the property is not present.

Write

gameObject["propertyName"] = newValue

It is the exact same code, regardless if you want to add or change a property

Delete

del gameObject["propertyName"]

Example

Initialize Property

try:
    propertyValue = gameObject["propertyName"]
except KeyError:
    propertyValue = "fallbackValue"
    gameObject["propertyName"] = propertyValue

print("property value is ", propertyValue )

[Edit:]

Getting Game Objects

Just in case you do not know how to get or find game objects:

import bge

v1 = bge.logic.getCurrentScene().objects["v1"] # this will fail when there is no object called v1!
farbe = v1.get("farbe")
print("farbe of v1 is", farbe)


With an object selected, go into the Object sub-panel of the Properties Editor. Under the Relations section is a Parent field where you can click an x to get rid of a parent or use the eyedropper to choose a parent.

Select the armature's root bone then go to the Constraints sub-panel to see if there is a constraint that could be causing the problem.

The Constraint sub-panel is (in blender 2.79) in the Properties Editor, 6th icon along. See picture:


How to render an animation starting in the middle?

In the properties panel choose Render settings (the camera). There is an option to choose your starting frame as noted in the picture below:


Game Asset Vertex Count/ Importing in Unity

There are a lot of ways to optimize your model. For example, you can model the single floor, and instance it in the unity. You can use baked normal maps instead of geometry. It's all about the level of details you need in your game. If it's far from the camera you can use a simple textured box. If you walk around but you have no helicopter, you can have detailed first two floors, and less detailed ones above. So it's all up to you. The question is more to do with unity than with blender, so maybe it's better to get some guidelines from the unity gamedevs about you very problem - the best way to build a city in unity.


How can I morph an object into a liquid and back to a different object?

I think the terminology you want is "Fluid Control".  If you google "Blender Fluid Control", you will find some tutorials on YouTube that will make fluid crawl up onto a shape (Suzanne for instance).  Then I think the compositor is your friend.


It depends on your use-case, but in general, no, it's not necessary for meshes to be connected. A good rule of thumb is that if the object is composed of separate parts in real life, it's okay for its model to be made of separate parts.


Why can only one inner region of a plane be subdivided?

The outer faces are now ngons. When you try and subdivide the outer faces they are being subdivided, which you can see when going into vertex mode:

The subdivision can't happen like before because while the faces appear to be rectangles, the topology is no longer quad based.


Objects are not counted in the header and will not export

Only objects which are in visible Scene layers are counted in the info header.

Note the difference between Scene layers and View layers:

View layers are set in 3D view > Header, and are independent between different 3D view editors. Only objects in the the current 3D view's view layers are shown in that 3D view.
Scene layers are set in Properties > Renderlayers > Layer > Scene, and control the visibility of objects for the enter scene. This visibility is used for scene-wide operations such as renders and exports.

By default these two layer sets are locked together so that they are always set to the same layers, however this option is disabled in your file (1).

Either re-enable this option, or set the scene layers to match your view layers in the header of the 3D view (2).


Is Blender 2.81 able to pack Animated Textures?

From the Blender Manual:

Not all external files can be packed
Some typically heavy external files, like video ones from the Sequence Editor or Movie Clips, cannot be packed in a blend-file.

Consider what would happen if you did pack those files in. Every time Blender makes a backup save (which it does by default), it'd have to make a copy of all the data, including the video files. If you're considering uploading your project to a render farm, some allow for video files to be sent in an accompanying zip file.
If you're just transferring the file from computer to computer, consider using Relative Paths and keeping all your files in organized folders.


If you want to keyframe the needles, keyframe the Pos (position) value, if you want to keyframe the color, keyframe the color itself. To keyframe, move your cursor over the value or color and press i:


My mesh is not moving like the motion tracked video

Your solve error is too high:

You should aim for a tracking error of 0.3 (a third of a pixel)

Revisit your tracking marks and make sure they are not sliding. If they are re-track or try a different tracking mode.

Read: How can I get better results when doing camera motion tracking?


Create (Unwrap) a UV Map after Adding Texture to the Image Editor

YouTube is currently having issues (Oct 16th crash) so your video is unavailable.

A wild guess... if you've rescaled your object at any point you need to apply this change. Select the object you're unwrapping, Tab to Object mode, tap Ctrl  + A and choose Scale. Then try the unwrap again and see if this fixes your issue.

Edit: This appears to be a difference in the way UVs are unwrapped between the Internal renderer and the Cycles renderer. Switching to cycles and unwrapping gives the desired result.


When I duplicate multiple objects they are still linked

In Object Mode, either F3 Search > 'Make Single User', or Header > Object Menu > Relations > 'Make Single User' .. will offer you options for the type of data block to unlink, and the span of the operation: Selected, or All.


Try selecting the objects causing problem then hitting ctrl+A then Apply location


It is working for me. I think you have problem with installation.


How to upscale final render (compositing)

I don't know a way to do this without saving out your render as an image first. Basically, you'll render your image at 480 x 270 as normal, and save as an image. Then bring the render into the compositor; use the transform node with the "Nearest" setting from the dropdown menu; and for scale, just scale it enough to match the new resolution (480 x 270 to 1920 x 1080 is a scale value of 4).


keyboard doesn't work with blender (OSX)

It's because OSX keyboards have their own Apple Mac layout, incompatible with Windows PCs Maybe the link below helps

https://support.apple.com/en-us/HT202676


How to edit textures with texture paint in Cycles like GLSL in Blender internal?

You could try the viewport shading to Material, it will display image textures as mixed in the shader node setup:

From the wiki:

  Material: a simplified version of the entire material is drawn using
  GLSL shaders. This uses solid lighting, and also is mostly useful for
  editing, painting and mapping textures, but while seeing how they
  integrate with the material.


How do I add grunge & rusting texture to a pre-made material? [CYCLE]

You mix nodes with Mix SHADERS use "fac" to blend between both influences. And then connect that last node to the Material output.

Here´s a 4 minute vid on how to make rust: https://youtu.be/hccqcCIGGUw
When you're done, connect it to the second plug on your mix node (the first one is your glass shader).


Mesh is not affected by Bone rotation, but it's still affected by Weight Painting

You need to make sure that the head is only being affected by the head bone and its child bones, probably there is another bone, like the neck or the chest that is moving the head. Go to the list of bones and check everybone and then make the bone head affect all the area that you want to move (sorry for bad English)


Is it possible to turn a 3d animation into 2d lineart?

The outlining can be done by using "Freestyle" (https://docs.blender.org/manual/en/latest/render/freestyle/introduction.html) in your rendering.
For the black and white look of the buildings, you can either use postprocessing in the compositor (https://docs.blender.org/manual/en/latest/compositing/types/converter/rgb_to_bw.html) or try giving the materials a "toon" shader (https://docs.blender.org/manual/en/latest/render/shader_nodes/shader/toon.html)


I guess too many triangles create some pinching and artefacts. What you could do is delete the joint between the body and the legs, make sure that they have both the same amount of vertices (I had to delete a non essential edge loop to have 11 vertices on each side), then bridge. Now you have quads everywhere and it looks good.


Is it possible to make physics respond to the effective mesh after a displacement material has been applied?

Unfortunately that isn't possible - the 'Bump and Displacement' option (by connecting the 'Displacement' socket on the Material Output node) operates on the rendered result only - simulations cannot access the displaced geometry.

In order for smulations such as Rigid Body physics to be able to take account of displacement you need to use a Displacement modifier and set the rigid body collision settings set to enable 'Deforming' (by setting the 'Mesh' shape Source to 'Final' (All modifiers)).


Weird light around my meshes in Cycles rendering

I'm guessing you are using a texture to make the cookies look dusty with faked normals or bump-mapping (not bad, BTW), and are mapping whatever texture via UV coordinates. I also assume that the orange light you are talking about is the bright orange ridging on the edges of some cookies.
The fact that this is at a corner and seems to be in a straight line makes me think this is a texture mapping problem, and that the normal changing is not happening there, which leaves those parts of the cookies appearing perfectly smooth, and thus brighter.
Check that those edges of the cookies are properly UV mapped and not scrunched into some corner, and if you are using an image texture, check that the image node's mapping setting is set to "repeat" and not "clip."
Separately, one cookie that is sitting flat is penetrating the plate, thus making it look unnaturally bright, because in real life light gets trapped between the edge of the cookie and the plate, making it dark. This is called "Ambient Occlusion," and can be faked in EEVEE, though Cycles should do it by itself.
To help you position the cookie correctly, use Wireframe view and then go into orthographic from the side.


Should I enable both my CPU and GPU in the CUDA preferences?

It depends if you want to use only your GPU for rendering or GPU + CPU. You will have to test what gives you a better rendering performance. Using a fast GPU with a slow CPU may result in longer render times than using the GPU alone, while a combination with fast CPU may improve the performance.

Currently you shouldn't use GPU + CPU rendering if you're rendering a scene with volumetrics in Cycles, because the CPU implementation of Cycles uses equi-angular sampling and the GPU implementation doesn't. This could result in visible tiling in the render with more noise being present in the GPU tiles.

The OpenCL options are only for AMD graphics cards in Blender. This may be a bit confusing since OpenCL isn't only for AMD products, but Cycles uses CUDA for Nvidia graphics cards, hence the separate configuration.


Transformation Constraint with Animation nodes?

Yes, this is possible.
You can read an object's transform values with the Object Transforms Input node and set them on another object with the Object Transforms Output node.

If you'd like to read an object's absolute location in world space as it might be the child of some other object, you could use the Object Matrix Input node.


.fbx and .blend have flipped normals in unity

It looks like .obj and meshes is totally ok, but while importing with my armature it goes wrong. So i checked my armature and scale by X axis was -1, and right after importing good looking .obj was affected by negative scaled armature and normals gone wild. In blender, i applied scale to armature by selecting armature and pressing Ctrl+A a then Scale, same as people said in other threads about messing .obj Shame on me, i need to be more careful


material preview displays objects in black although it has texture

Try recalculating the normals, or inverting them! Or create a new picture, in the UV Editing window, and change the color from black to another!


You can export the UV map

and then overlay it onto the image texture in an image editor


Which Version of IFC Open Shell do I download

Help > Save System Info in Blender and save the file to your desktop. Then open the file in a text editor and around line 15 you'll see: "build linkflags: /MACHINE:X64" (or X32 if 32-bit). However, I don't think the later versions of Blender are available in 32-bit nowadays so it's almost certainly 64-bit anyway.


I see no problem in your scene, it's just that you need to multiply the size of your texture by 100 not by 10, idem for the strength


Try increasing the steps per second, and solver iterations
Or try increasing the weight of some of the links


Dyntopo (adaptive sculpting) is the option to use to add detail without being constrained by the underlying mesh topology. As I can see from your screenshot, you are already using it.

Be aware of the Dyntopo option: "Relative detail". It makes the stroke detail dependent on the zoom level: «Zoom out big details, zoom in small fine details». So... just try zooming in!

There are other possible options, that you might find more suitable for you. For instance, "Brush detail": «You can increase and lower topology by simply resizing the brush itself».

Have a look at the manual for details about all the Adaptive Sculpting options: link to the manual.


convert a .fbx model to threejs with textures

Okay, so thanks to Duarte for the direction. Here's what I ended up doing for anyone having a similar issue.

I started by importing the FBX into blender, then joined all the objects so I had a single large object.

Then I added a decimate modifier, made a copy of the object and removed all materials from the copy, after which I added a new blank material.

To end up with a single texture I made a new blank image in the UV Editor (size 4096x4096) and made a smart UV projection of the texture-less model. Then I baked the textures from the textured model into a single image and assigned it to the blank image used as a texture on the second model.

This video helped a lot.

I'm still working on the export, but I'll post an edit when I have the process pinned down.

EDIT: I ended up exporting to collada. It has an efficient loader in threejs and is easy to work with. Blender has a built in exporter.


Blender 2.82 - Objects are not visible in solid/wireframe shading

I know this is a late answer, but I found it by accident. I had the same problems and suspected it might be something to to with clipping. So I tried this and it worked. In the 3d viewport there are some menues. Click on the view menu ..

Choose "View Regions" and then choose "Clipping Region"
Voila!


Not updating (loading) textures each frame in animation render

Activating "Persistent Images" in Render -> Performance helped. Plus activating some other options in Performace section sped up rendering too. This article http://www.blenderguru.com/articles/4-easy-ways-to-speed-up-cycles could be useful for some. Beside the article itself a lot of comments are helpful too.


How to bake an air brick with all holes inside

It's because your grooves are made of faces that are completely parallel or frontal to the normals of the object that bakes, normal bake save only normals orientations, not depth, you need for example to give a small bevel to the angles or create b&w heights.


How to render this style of geometrical objects

It certainly can. If you want all the details, though, the question might be a bit broad for BSE, because the style involves quite a wide range of Blender's capabilities.

So just a quick rundown:

Objects .. all easily created in Blender. There is support for mathematical surfaces, either directly, through scripting, or via import.
Material for the surfaces. here,  faintly blue, specular, tweaked against the renderer, EEVEE. Backfaces set to a more neutral hue.
Lighting A faintly Blue world color, not in final render, just for providing ambient light, the color in shadows. A spot key-light, white, size and specular intensity set to provide soft highlights.
Black Line: Freestyle: 2 Line sets: One to pick out object external borders and Freestyle-marked edges, One to pick out 'Silouhette', which gives the overlap in the curved outline in the surface at the back.
Black Line: Black Objects:  the dots and the arrow are actual black objects in the scene, as is the text. It would probably be better to render typography in a 2D vector-based application- the sampling in a 3D render doesn't do it any favors.
Rendering: EEVEE, for speed, and because we don't want physically-based photorealism, and all the computation that would take. At the moment, though, for quickly developing Freestyle sets and styles, it could be better to go back to an earlier Blender, so you can use the old Blender Internal renderer to get previews in the viewport. EEVEE doesn't do that yet.
Compositing: the renders are on transparent film, so the result can be laid over any 2D background. The Black objects are rendered in a separate View Layer so they be laid over the surfaces in 2D, and not be occluded by them.

This sounds a lot, but it only has to be set up once. When the components are set and tweaked, your kit is in place to render in this style. All that's left is modelling.

I'm not saying this .blend is exemplary.. you will probably be able to think of better ways to do things. Maybe, though,  playing with it could give you a kick-off, and provoke narrower technical questions.


I strongly recommend you do not use the compositor for this. Instead, set up the hello world image as a world background, and use the Texture Coordinate node -> Window (I think) to make the image always exactly fill the camera view. Finally, change the object’s materials to Glass BSDF.


How to mix raytrace ambient occlusion with indirect lighting

You need to use two scenes for this as far as I know, or two blend files, but I prefer to use scenes.

You have two choices:

The main scene has everything except the Indirect lighting, and the second scene has only the Indirect lighting.
The main scene has everything, including the indirect lighting, but not the AO. Then the second scene has just the AO.

Either way is fine in my experience, but I prefer to add the indirect lighting separately, so here's the first method:

Create a new scene and link all the objects from the current scene. This should keep all your animation, meshes, materials and textures in sync. (Adding a new object may be problematic, and I'd like to hear anyone's solution to that)

Unlink the World settings by clicking the number (in this case '2') next to the datablock name, otherwise when you turn off AO and enable Indirect lighting, it'll do the same to the other scene.

Now in the Render Layers tab of the new scene, uncheck Combined and Z, and check Indirect and Color.

Lastly you just need to join the two scene's renders together. You can do this in the compositor or any 2D/Paint program that supports layers.

In the compositor, simply multiply the Color pass by the Indirect pass (the Indirect stores the light color and intensity, but the Color stores the color of the surfaces which we also need), then Add this to the render of the main scene with ray-traced AO.

Here are the renders and passes in my example:

Main scene (raytraced AO):

Color Pass:

Indirect Pass:

Indirect multiplied by Color:

The final composite:

If you want to crank up the indirect lighting effect, simply increase the Fac on the Add node.

This method can also be used to get the Indirect lighting from Cycles if you want. You can even render a low number of samples in the Cycles scene and then use the Bilateral Blur node to even out the noise.


Using Bilateral blur to reduce noise on already rendered result

The Sequencer overrides all

Your main problem here is that you have the rendered image sequence in the Sequencer.

The Sequencer overrides the Compositor, and the Compositor overrides the 3D scene. So, if you have a camera into the 3D scene, it won't render if you haven't a Render Layer in the Compositor. Likewise, if you haven't a Scene strip in your Sequencer, it won't render the 3D scene, neither the composition nodes you have.

In this case you only have the image sequence, so Blender is going to just render that strip, overriding the Compositor.

How to proceed

If you want to apply a Bilateral Blur on your rendered sequence, you only need the Compositor. So delete the elements in your Sequencer Editor.

Your composition is OK, just added the rendered sequence and applied the Bilateral Blur to it with the Z-Depth and Normal outputs as Determinator.

If you press F12 you'll see that the Bilateral Blur is working now.

Speeding up the process

When reducing noise after rendering, you can low your render settings, as you only need the Z-Depth and Normal passes.

To do this, you can decrease the render samples. Also I recommend deleting all the lights and disabling Use Environment checkbox under Render Layers tab. If you have emitter materials, put a simple grey diffuse as material override.

Doing this, you are rendering without lights, so Cycles works much faster.

Note that if you low the samples too much the contour of the objects in the Normal pass can be a little aliased. So keep the render at a minimum of 100 samples.

For this reason and for speeding up the render you can render in Blender Internal.

Concerns about Bilateral Blur after rendering

There is a last thing to have in mind, if you use the Bilateral Blur after rendering, you are going to blur the textures too. As you could see in the tutorials about noise removing, the Bilateral Blur is applied before Diffuse Color and Glossy Color passes which have textures on them.


Can I use Cycles materials with Blender Internal?

You can do something like what your asking with multiple scenes. Bear in mind, you will have a lot of extra work/tweaking/headaches when you have to adjust two scenes, but if it's necessary it's worth the trouble. Just link objects that shouldn't change between scenes (i.e. camera/lights)

Scene Setup

Create a new scene
Move your cycles object (the windows) to "Scene.001" (CtrlL > Objects to Scene > Scene.001 and and delete the object from "Scene")
Select "Scene.001" and go to the world settings:

Add a new world
Set your render engine to Cycles
Switch back to "scene". You should notice that the render engine will change between the two scenes.
Link your camera and lights to "Scene.001" (but don't delete them from "scene"). You can now move your camera and lights around and they will have the same location/rotation/scale in both of the scenes.

Render both scenes with transparent skies.

Compositing

Go to the compositor.
Enable Compositing Nodes
Add a new Render Layers node and select "Scene.001" from the drop down.
Add an alpha over node and plug them in so that one scene is on top of the other.

You will now have a Cycles object rendered in a Blender Internal scene.


grey shape dissapearing and unable to get back?

This may be because you've inadvertantly enabled x-ray mode. Either click the icon shown below or use ALT-Z to toggle its state.


You can check, the normals, and also what kind of polygons are better with ue4, quads or triangles.As for the a key, I don't know.Do you use any version under development.The official is 2.78c


You can use Glossy Pass both in Compositing and Shading

Compositing

Shading

You can apply a Light Path Node to the Sphere Material:


How to create see-through-walls shader, similar to shaders in games when a character stands behind a wall

Additionally to what you're doing you need to go to the shader editor, press N, go to options in the material you want this effect in, and find "Options > Settings > Back Face culling" uncheck.


Is there a way to export the uv layout png without aliased black lines?

In the UV exporter window you can choose svg format instead of png in the left side panel.


Objects behind glass shader appear black

You are using a glass shader for the cornea.
Unfortunately that shader does not behave as expected when it comes to letting light through it...

You need to add some transparency to it in a node setup like this:

For a more detailed explanation read: How to illuminate the darkness inside glass objects in Cycles?


Deform Mesh Subtly, randomly across many Objects

A few side comments.

You don't need very high subdivisions for such a simple shape.
You don't need to apply the subdivision
You don't need to Transform > To Sphere, you can use a Cast modifier.

To address you main question, if you want to add subtle variations to your objects your answer lies in a Displace modifier.
Now if you just add one to your M&Ms and duplicate them they will all have the same deformation and remain identical.
The trick here is to change the Texture Coordinates for your displace texture to Global so the texture is mapped using scenes world coordinate space, giving the impression of randomness across several objects.
Have in mind that this method is unsuited if you want to animate the objects, since the shape would wiggle around as you move them. You also cannot link as group/collection libraries since the coordinate considered for displacement is always read from the same static point in space the original was defined, not where each individual instance is placed at.


How do i do to invert object tracking orientation

Try to get a Solve Error of 0.6 or lower
They don't provide any camera information and especially the Focal Length is missing, so you'll need trying out what works.
1. Find as much points as possible in the face to track

2. Tracking Settings
Have a look in the Tracking Settings to figure out what works best.
In this case the Fast Motion preset works really fine:

You can also change the Tracking Speed in the Extra Settings to switch from Fastest to Realtime:

This helps during the tracking process to see when a tracker looses the point.
3. Refine and Cleap up
I figuered out that refining leads to an incorrect lens distortion in this case. Also there is no need to refine K1 and K2.
Find Tracks with a high Average Error and remove bad tracks for a solid solution:

At the end this should lead in a robust solution.
I was able to get a Solve Error of 0.57 and all the tracker are well positioned in 3D space:
Result:

Good read: How can I get better results when doing camera motion tracking?


The idea of the Compositor is editing some kind of Input. Either the rendered result via Render Layer Node or an arbitrary image from your hard drive via Image Node.

At the moment it's only possible to set up an empty plate in the compositor via Mask Node.

256x256px 'canvas' - automatic animation via Time Node

Note: It's not necessary to use a Time Node (in your case), because it's also possible to animate the Fac value of the Mix Node, related: Is it possible Animate the Compositor node parameters?

256x256px 'canvas' - Fac value animation


Oh man, I've been through this pain myself in the last week. I was able to get Flamenco up and running but I'm afraid I have zero help when it comes to the issues you're having with permissions.

The first thing is - everything is Python 3. Everything. I configured mine on CentOS 7. This script gets me pretty close to having everything working:

The basic gist is:

Install a LOT of pre-requisites, a lot of which you won't find out until you actually go to compile something. In the case of CentOS/RedHat:

git2u unzip gcc npm openssl openssl-devel libffi-devel python36u python36u-pip python36u-devel libffi-devel python-pip

Install docker and run docker images for Mongo, RabbitMQ and Redis
Check out ALL the components (pillar sdk, piller, blender-cloud, flamenco, a bunch of other things)
From within the blender-cloud repo:

Create a virtualenv for Python that points to a Python 3 runtime
Run the pip install
Run ./gulp (you need to have NPM installed, which is one of the prerequisites)

The documentation on https://pillarframework.org/development/install/ is out of date. You do not need to do the steps for urler

My CentOS script for doing this is below (do not invoke the script as sudo, it will elevate itself when required):

sudo yum install -y https://centos7.iuscommunity.org/ius-release.rpm
sudo yum install -y epel-release
sudo yum install -y open-vm-tools yum-utils net-tools nano git2u unzip gcc npm screen openssl openssl-devel libffi-devel python36u python36u-pip python36u-devel libffi-devel python-pip

sudo yum-config-manager --add-repo https://download.docker.com/linux/centos/docker-ce.repo
sudo yum install -y docker-ce

sudo systemctl enable docker
sudo systemctl start docker

sudo systemctl stop firewalld
sudo systemctl disable firewalld

sudo docker run -d -v /data/db:/data/db -p 27017:27017 --name mongo mongo
sudo docker run -d -p 6379:6379 --name redis redis
sudo docker run -d -p 5672:5672 --name rabbit rabbitmq

sudo mkdir /data/storage
sudo chown -R markness:markness /data

mkdir ~/data
cd ~/data

git clone http://git.blender.org/pillar-python-sdk.git
git clone http://git.blender.org/pillar.git
git clone http://git.blender.org/attract.git
git clone http://git.blender.org/flamenco.git
git clone http://git.blender.org/pillar-svnman.git
git clone http://git.blender.org/blender-cloud.git

sudo pip install --upgrade pip
sudo pip install virtualenvwrapper

sudo pip3.6 install --upgrade pip

echo "export WORKON_HOME=$HOME/.virtualenvs" >> ~/.bashrc
echo "export PROJECT_HOME=$HOME/Devel" >> ~/.bashrc
echo "source /usr/bin/virtualenvwrapper.sh" >> ~/.bashrc

source ~/.bashrc

cd ~/data/blender-cloud
mkvirtualenv blender-cloud -p python3.6

pip install -r requirements-dev.txt
./gulp all

It probably won't get you completely on track, but I hope it helps.


32-bit Floating point representation offers approximately 7.2 decimal digits of precision (7.2 = 7 + 1/5), https://en.wikipedia.org/wiki/Floating_point

Blender limits that to 7 digits. Absolutely safe is to have your number's fraction and integral parts not exceeding 7 digits in total.

If your numbers exceed these limits, the rounding error may be seen, for example, if you set scale X for the default cube to 123456789, it will turn to 123456792.

There is no good way to observe floating point values in the UI, maybe you can print them with Python, as that will avoid Blender's UI conversions.

You can experiment with floating point rounding effects using my online C++ test http://cpp.sh/9pv2l


How to setup reasonable ragdoll constraints between body parts?

FWIW, the simple answer for my question is that the constraints between objects are fine as they are.
There is some physics force or bug (yet to be determined) that causes this to happen. Why? Because if I move the whole ragdoll to somewhere else, this doesn't happen.
Added a followup question trying to identify what's that mysterious force, but the ragdoll "wiring" seems fine.


As suggested in answer to this question that 'stacker' pointed me to below, I did indeed manage to fix this by ensuring the curve and target geometry shared the same origin.


Please can anyone tell me how i can model the areas in the red box

You can use your image as Reference, extrude vertices along the shape:

Fill the faces:

Extrude upwards:

Extrude downwards to dig the sculpture, etc:


difference between scultping and modeling

Both are ways of adding and pushing/pulling vertices and faces to create a shape. It is possible to get the exact same results via either method, but like all tools, each one is better for certain jobs.

Your second sentence is generally correct, but do keep in mind that each one is usually better, not always better. It's also up to preference.

You do not HAVE to sculpt your characters, although it may be the best way to get the results you want. Other objects can be sculpted as well. It's all about the best way to get the end result.

In regards to the process you mentioned, that is a very common way of creating things like characters. The reason for doing it this way is because sculpting usually results in objects with high amounts of faces and terrible topology. Blender's Dyntopo  (Dynamic Topology) system is often used to sculpt, but it created a mesh entirely made of triangles. Triangles are generally avoided if possible, as they can cause deformation issues when animating (usually when combined with subdividing). A dense triangle mesh is going to animate a whole lot worse than a mesh that has nice topology and is composed entirely of quads. That is why the retopology process is used. You take a detailed model that is the final shape, but that wouldn't deform and animate well, and recreate it by placing the faces where you want them so that your model will deform well (there are a number of ways and tools to do this, but they all involve ways of 'sticking' the new faces on the sculpted model so that you simply have to restructure your model, not recreate it).

You can still sculpt on a mesh that has been modeled, and that is a common way of adding detail to a mesh while still having clean topology, as at that stage the multiresulution modifier would be used instead of Dyntopo, and the modifier keeps the topology by subdividing the mesh and allowing you to sculpt the subdivisions.


Achieve blur-like glow effect in an specific object

Apply an Emission shader to an object, move it on another render layer and in the compositor add a Glare node and set it to "Fog Glow".


Should I join a character and its accessories into one object for an animation?

Welcome to Blender Stack Exchange!

There's no real right or wrong answer here. If your character is really low poly, and all the accessories are permanently attached, then joining the objects is fine. However, keeping the separate also works well.

The advantage to keeping things separate is it allows you to edit any object at any point. It also makes assigning materials easier, and can even make rigging a bit easier. The reason for this is you can parent an object directly to a bone. This is really useful for objects like a scuba tank or mask that won't have to deform.

At the end of the day, I'd just pick one and give it a shot. You can always separate or combine objects if you think another way would work better. We're always here for any specific questions you may have along the way too.


How to keep flat faces flat when using smooth shading

If I got your question right, I think you should use a "subdivision surface" modifier, and smooth shading, to get what you want. Just add some edge on the cylinder top face and side surface, quite near the loop that divides them...

See below images:

or, for the cube version:


How to slow down animation playback without messing with fps setting so that i can animate in realtime with auto-keyframe on and also sync audio?

Without coding, I think the simplest way is to temporarily set to half (or a quarter) the Frame rate, and set to 0.5 (or 0.25) the "Pitch" property of the sound.
With the pitch sound property trick, you can also scale the timing of your animation, to mantain the frame rate unaltered and so mantain the "time resolution" of the animation.


Dynamic Paint Brush not working on canvas

I needed to add a subsurface modifier with at least 5 divisions to get my desired result

There was only 1 face, so the brush was working but I was unable to see it due to the size being so small at .01 on one face without the subsurface modifer


About shrinkwrap - Any way to apply it to a vertex group and move the rest the proportional distance?

Instead of a subdivided plane, use a subdivided edge like so :

Add your shrinkwrap :

Now add a Screw Modifier set to Z axis, angle 0°, with 1 step and tweak the screw value:

Moving the source object along the X Axis :

You can add a solidify modifier after all this to add thickness to your wall :


I don't know it is your case, but I think you have a Render Border.

Go to View Clear Render Border.

See the image below.


Texture Coordinates

That's because you are using Object's Texture Coordinates, which determine how an image is placed upon the faces, while you need Object's Cartesian Coordinates.

Texture Coordinates usually vary from one point to the other. Referring to the picture below we can see how the gradient is assigning to each point at the same Z the same value. Every little step has it's own value.

The distance of an object to another involves instead Cartesian Coordinates, which is a single triplet of values (the coordinates of the object origin) that are the same for all object's point.

Ideally you should base your distance calculation upon the Cartesian Coordinates and use the resulting vector to tweak the Texture Coordinates, but as the Texture Coordinates (option Object) is already consiedering the position of the Object, I would just reference the plane.

When the distance between the two origins increases the Object is coloured with the highest value of the color ramp.

Subtracting the position of the Cube object would allow instead to use the plane as an "absolute" controller of the gradient. Moving the cube alone would not change the gradinent mapping upon its faces.


How to make an "old glass" material in cycles?

for this kind of things you will want to use either a normal map (using the normal map node under Add node>vector>normal map) or a bump map (using the bump node found under Add node>vector>bump) and feed the normal output into the normal input of your refraction or glass shader

Here is an example setup:

And the results this gives:

If you make a proper texture to acomodate for the distortion you are looking for then you should be able to get identical results to the images you provided.

If you decide to use normal maps then you will need to use this fix: www.youtube.com/watch?v=jlOtXtQSxd0


How can I smooth the top side of this ring?

I guess you have these 2 solutions:

Smooth your object in the Tools panel, and in the Properties panel > Data > Normals, enable Auto-Smooth, set the value under which the angles smooth.

Create a bevel all along the angles, thin enough to keep them sharp, it may need a bit of knife work if you have triangles or ngons. After that, smooth your object in the Tools panel, and give it a Subdivision Surface modifier. If you're supposed to 3D print the object, I guess you just need to apply the Subsurf.


How to extrude from hexagon but keep edge lines straight

you can use cursor for this
1-put it in center of hexagon (select 2 points and shift+S cursor to selected) and change transform pivot point to cursor
2-hit E to extrude then press S scale in towards the center(extrusion does transformation too so by pressing s or clicking, it just make the edge without moving it)
3-again use cursor and rotate 180 degrees along y axis that face you just made
4-GG to edge slide and adjust how far you want to go along red line you mentioned


This is not a bug, it's simply the current limit because the underlying data type is short. You can retrieve the upper and lower limit for the property through

bpy.context.scene.node_tree.nodes["Time"].bl_rna.properties["frame_end"].hard_max

and

bpy.context.scene.node_tree.nodes["Time"].bl_rna.properties["frame_end"].hard_min

which are 32767 and -32768 respectively.

The reason for this is because Blender uses two variables custom1 and custom2 of type short declared in DNA_node_types.h for various node properties. This includes the start and end frame of the Time node as can be seen in static void def_time(StructRNA *srna) from rna_nodetree.c.


Relax some of the pinching in uv texture grid?

The only thing i could really think of is projecting from view but I don't think that would be good for the model you're trying to texture.


You can add thickness to parts of your mesh using the below steps:

Switch to edit mode then select the vertices you want to add thickness to
Create a vertex group by pressing the + button on the right of Vertex groups.
Click the Assign button to assign the selected vertices to the newly created group.

Add solidify modifier to your mesh and select the specific vertex group as shown below:

Change the thickness value

This modifier will affect only the vertices that are part of that newly created vertex group.


You only have one material assigned to your object.  To assign multiple materials to different parts of a mesh you must have multiple materials assigned to the object.

At the top of the Material properties tab there is a selection box which shows all materials currently available to the object.  This does not mean that all these materials are used on the object, it means they are available to be assigned to parts of the object.  By default, the entire mesh uses the first material in this list.

On your object, there was only one material ("Transparent") in this list.  To add a material to this list, click the + button to the right of the material, you can then select a portion of the mesh and hit the Assign button to assign the selected material to that portion of the mesh.

Under the Settings rollout there are options to change the material's color in the viewport.  It is often useful to change this for some material[s] when there are multiple materials on an object so you can see which ones are on which parts.


How to add a curve name from bevel_object to the name of the output image render?

If I got what you mean, you need to edit this property,

https://docs.blender.org/api/blender_python_api_current/bpy.types.NodeOutputFileSlotFile.html

this string will be the prefix for output to image from that node, as you see below:

Of course you need to know the name of the object, as you say, but I guess this is quite easy...


Normal map bake result for humanoid mesh projects arms on torso

Bias in Baking settings means how far away (in blender units) from the surface the geometry will be captured onto the baked texture.

If the value is too high that may cause capturing additional information that is perpendicular to the surface within the set Bias.

To fix that problem you can zoom into the model and use the grid to estimate the distance to avoid capturing unwanted detais.


How to render daz character hair in cycles?

I found the answer from a guy name javiermichael here is the nodes setting!


How to add sound to sequencer using python

import bpy
from bpy import context

scene = context.scene

if not scene.sequence_editor:
    scene.sequence_editor_create()

#Sequences.new_sound(name, filepath, channel, frame_start)
soundstrip = scene.sequence_editor.sequences.new_sound("toad", "~/toad_sound.mp3", 3, 1)


For visual purposes it is sufficient to approximate the surface with a mesh / wire and use smooth shading afterwards to make the surface appear smooth.

Same mesh using flat shading(top) and smooth shading(below)

To create curved surfaces the common approach in blender is using catmull-clark subdivision.

Catmull-Clark subdivision using crease edges(pink)


Select your object, press Tab to enter Edit mode.
Press A to select everything.
If there's any image opened in UV / Image Editor, click "X" button in the menu header. This will unlink image from UV / Image Editor (the image still will be present in the file).

If the model was unwrapped, the UV map should now show up.


Will it be possible to render out the Workbench viewports in Blender 2.8?

In Blender 2.80 the workbench engine can be used as an interactive viewport renderer, viewport rendering (to image or animation) or final render (image or animation.

Interactive Viewport

Workbench is used when the viewport is in Solid mode.

Viewport Rendering

In the view menu there are two operations. One for Viewport Render Image and one for Viewport Render Animation it will use the same settings as your current viewport.

Workbench as render engine

In the Properties panel it is possible to set the render engine to Workbench. Now when you do a final rendering it will use the workbench engine.


You can't install the latest version as that requires macOS 10.12 +.

You can install Blender 2.79:

  Blender 2.79 runs on all systems that support OpenGL 2.1 and above, with recent graphics drivers. For macOS, version 10.9 and later are supported.

(Source)


Why is the '3D Objects' folder not in the Blender file browser quick access menu panel?

My personal work around was to add it to my Favorites section by going to
C:\Users\[username]\3D Objects
Then entering the folder, and then in the Favorites section, either clicking on the + button, or right clicking in the Favorites window and choosing Add Bookmark from the menu Ctrl + B.


Why do I get a solve error above 100+ in MovieClipEditor while following the MatchTrackBlend DVD tutorial?

Most errors will be fixed by inproving the trackers' accuracy.
There are a few tools you can use:

On the tracking window's dopesheet sort your trackers by average error.
This will show you which trackers are not tracking correctly.

On the graph window look for places where the graphs are clearly different than the rest.

To fix those issues Retrack, reposition, resize, affine, use a different kind of motion model algorithm  or tracking preset or do whatever you can to improve the accuracy of those trackers to to bring down the error average..


The Delay Time node can be used to make the animation starts at a certain frame while the Duration input in the Animate Euler node can be used to define the end frame such that the end frame is equal to the start frame plus the duration.


In your example you have connected a shader to both the Surface and the Volume sockets of the Material Output. This gives the mesh both a volume and a surface. For purely volumetric objects you should not have a shader attached to 'Surface'.


Configuring an object to ignore one light source

After some reading through documentation, which is currently not entirely precise on this particular topic, I have found out and proved in practice that the way to solve my problem is indeed using two view layers. My scene now includes two collections - one contains the first set of objects and their light source, the other one includes the object that is not to be receiving light from the first collection's light sources. The view layers then control the visibility of each collection and its contents. This means that during render, each view layer/collection is rendered separately, and both rendered outputs are then combined together in compositing.


Using morph targets with multiple meshes

You can 'join as shapes' two meshes, as long as they have equal number of vertices.

Select first the model with the morph and then the base model (shift+click); in the Shapes Keys panel click the arrow (triangle) and select 'Join as Shapes'.

This will create a Basis key, if the model doesn't have one already, and a key named as the source model (by default is set to 0, I set it to 1 in the image to show the result).


Blender uses solid bones with a head an tail separated by a body.  What you have here is many very small bones placed at the joint locations.  I am not very familiar with Maya but I think this is done in a Maya style where joints are king.  Basically when you are rotating a "joint" in your blend you are spinning a very small bone around a central axis.  You need the head of the shin bone for instance to be in the knee and the tail of the shin bone to be in the ankle.  Then when you select the bone in pose mode put the 3d cursor on its origin and make rotation pivot the 3d cursor.  When you rotate now you will see a stick bone rotating at the knee (like a real shin bone) and the mesh will move like you expect.  You may need to re-weight it but with doing one bone fast it seemed like it would be ok if I got everything straightened out.


BGE: Getting keyboard entries on screen, entered characters are black

Text objects are supported in the latest versions of blender (have been for a while now).

Example .blend (start game and type): http://www.pasteall.org/blend/32301

By default, "BFont" is used, but you can set other TTF fonts, as you would normally for blender, and those should also work.


It's hard to tell the exact problem here without a blendfile but it seems like you used ngon's for the mesh (polygons with more then 4 vertices). For hard surface modeling this is usually fine but it can lead to artifacts because cycles converts them to multiple triangles. here this might mess up your topology when many triangles (that are generated because of the holes for the buttons in the mesh). One simple thing you could try is to make sure your plane is completely flat. just select the whole plane and press S+Y(or X- depends on how you rotated it earlyer).+0

editmode and what cycles does with it


You absolutely nailed it; they are a load of codswallop and rubbish.

The bottom line is that all colour transforms are based on a chain of assumptions. The moment a single assumption is wrong, or a single transform is out of order, the whole stack becomes invalid.

TL;DR is you can trust the transforms if you know they are the correct ones and they are / were applied properly. However, I would be at least as skeptical with purchased LUTs as one should be with HDRIs; prepare to be underwhelmed at best, and outright scammed at worst.

Fantastic question and welcome to the forum.

;)


It there a way to do edge detection on plane?

I believe this isn't possible at present without adding additional geometry to indicate the "edgeiness". However, this can be achieved (in a slightly "hacky" way) if you have a single face by way of the 'inset face' operation.
For example, consider the following mesh :

In edit mode, select the face and press I to start the inset operation then move the cursor to size the inset. If you need to inset further than the geometry allows (concave faces can result in overlapping edges) then you can Scale or manually manipulate the vertices to get the desired shape - the 'fade' will be along the extent of the inset face :

Then all that is required is to allocate the gradient by either using Vertex Colors or UV coordinates. For example, in the UV editor you can select all the 'Inner' vertices and move those to the top edge of the UV map, then select all the 'Outer' vertices and move those to the bottom edge of the UV map and then use the Y element of the UV map to give your edge gradient :

Then you can simply use the UV 'V' coordinate ('Y' from the Separate XYZ) to represent the distance from the edge :


Adding Edge Loops to Meshes created with Skin

You are missing a step from the previous page. The first line reads -

  Once we have applied the Skin and Armature modifiers, we are left with an almost ready-to-use base mesh

You don't have the real mesh to add a loop cut because you haven't applied the skin and armature modifiers. Click the apply button on each modifier to get the mesh you can edit further.


What is the difference between the trackball and turntable style view modes?

I'm surprised at the analogy used in the wiki concerning Turntable. This is a turntable for scultping with clay. This lets you rotate around the vertical axis so you can see all sides and judge their proportions accordingly. This is why the mode is called turntable.

(reference, Denise Ferragamo)

Trackball lets you rotate freely around a point in 3D space, this is like picking up the object with your hands and rotating it around until the point of interest is visible.


Just go to File menu in blender > Defaults > Load Factory Settings
This Can Work For You But if This Does Not Works then I have Another Idea for you if you are having windows operating system
you should uninstall blender first then before reinstalling it you should go to your c drive or the drive where your operating system is installed then let us suppose it is in C drive so try searching for blender in your file explorer in the c drive
now delete all the file relating to blender except your project files
also you should go to c drive > program files > Blender Foundation

  Delete this folder (Blender Fondation)
  now there should not any system file related to blender and then you should re-install it again
  hope this will work !


Where to report and discuss UI "bugs" and inconstancies?

If you have a full proposal (detailed design docs), it should be ok to open a task on http://developer.blender.org/ and discuss there (staff only!)

You can discuss with the community at http://blenderartists.org/ to generate ideas, exchange mockups and find to a practical proposal. Then it's time to write it down on a wiki page for example.

Implement the ideas or find someone who does, then submit something working (a patch/diff) to the tracker. If there's no one to actually code it, it will likely be considered a feature request and not gain much attention there are just too many and not everyone will agree on a certain solution...


The "manipulate center point" setting is only useful when you have more than 1 object selected.

If you have (eg) 2 cubes selected then without "manipulate center point" (lighter icon background), the two cubes rotate together as a group, as a whole single object.

Enabling "manipulate center point" (darker icon background), the two cubes rotate individually around their group (ideal) center.

So, if you wish to rotate only 1 object, deselect that setting and try again.


You can use the Solid View for texture painting with some success if you are looking to really examine your painting in context of what you are changing in the specific texture. I set it to Flat and turn off shadows.

You can also use the Material View with blurred background, or turn on full background HDRI and lights from scene if you want to get a better idea of what your painting is doing in its interaction with your shading tree.

I think switching to Cycles render view is better for previewing the effect you have built up and to check your shaders, and not for the actual act of painting. The Material view has a very good result in comparison, and can be used as a preview of what it might look like before switching workflow to the shader tree for tweaking.


To add it it to the toolbar, simply have your class inherit from bpy.types.Panel, and call the class functions, the key one being draw(). You choose a space_type, a region_type and the context in which the panel should be shown.

You can also reference the example below the one you are using. BlenderCookie also has a tutorial that covers this.

See the modified code

import bpy

class SimplePanel(bpy.types.Panel):
    bl_id_name = "object.simple_operator"
    bl_space_type = "VIEW_3D"
    bl_region_type = "TOOLS"
    bl_context = "objectmode"
    bl_label = "Simple Panel"

    def draw(self, context):
        layout = self.layout
        col = layout.column(align=True)

        col.label(text="Objects in the scene:")

        col2 = layout.column(align=True)
        for ob in context.scene.objects:
            col2.label(text=str(ob.name))

def register():
    bpy.utils.register_class(SimplePanel)

def unregister():
    bpy.utils.unregister_class(SimplePanel)

if __name__ == "__main__":
    register()


When using python in the game engine you can use a script or a module. While a script will be run from start to end, a module is a collection of functions that can be called indiviually, the "global" code in a module is run once when the module is first activated, which makes it a good place for a one off initialisation that you are looking for.

import bge

GameScore = 50
print('init once here')

def ChangeScore(cont):
    global GameScore
    ksens = cont.sensors["Keyboard"]
    sce = bge.logic.getCurrentScene()
    scoreDisplay = sce.objects['ScoreDisplay']

    for key,status in ksens.events:
        if status == bge.logic.KX_INPUT_JUST_ACTIVATED:
            if key == bge.events.UPARROWKEY:
                GameScore += 5
            if key == bge.events.DOWNARROWKEY:
                GameScore -= 5

            scoreDisplay['Text'] = str(GameScore)

Paste this into a textblock and end the blocks name with .py you then use a python controller, set to module and enter the textblock name without the py extension followed by the function name like sample.ChangeScore. You will see the "init once here" will only get printed once when the module is first run.


Particle system removes my particles when I render

Just quick side note, I'm a huge fan of this style of art. You've done a really good job on this, and I've enjoyed looking around your .blend and learning a little bit about how you did it :)

You can tell something is immediately not right if you jiggle the Display percentage, under particle settings, a little. It will cause a lot of trees to disappear like when you perform a render.

Blender seems to be a little confused, and this might be a bug.

Anyway, the underlying issue is that you're using a texture to change the density. If this is your emitter:

This is your mask texture:

Then when applied, it simply deletes the trees outside the mask:

And that's how texture density masks work. You can prove this by setting the particle count to a small number like 10. If you count up all the trees you see, it will definitely be less than 10, if there are any at all.

But what you want is for it to constrain all the trees to your mask. The way to do that is with vertex groups.

Step 1: Remove the texture mask.

Under particle settings, click here:

Scroll down, set Density to 0 and uncheck it:

At this point, you should see all 40,000 trees. You may want to go ahead and lessen the emitter amount, because your computer will probably be running slow. Also, be sure to check Use Modifier Stack.

Step 2: Create the vertex group

Now one way to create the vertex group would be to use weight painting, but that can be a pain, and you already have a texture you want to use, so we'll convert that texture into a vertex group.

First, create a new vertex group, and call it something you'll be able to remember.

Go to your particle settings, and assign the new vertex group to density.

Nothing should happen just yet. Almost there. Add a new Vertex Weight Edit modifier:

Use these magic settings:

And Voila!

Click for full size

Note: I turned down the emitter count to about 3,000 in the photo to decrease render times.


Export FBX while keeping Collections Hierarchy

I'd love to understand if transforming parenting informations into collections should lead to possibility to batch export with Blender Function for FBX.
While I'm not skilled with coding into blender, I'd love to resolve this issue to correctly export Groups and parents/children into Unreal Engine:
My idea:
My case example:
Object01
Object02
…
Need to Create Collection automatically and set the relative object inside:
Collection01\Object01_grp (and inherited objects)
Collection02\Object02_grp (and inherited objects)
…
Hope it could be possible…


How to create physically accurate boat moving through water

Well for the animation and the simulation you are looking for, I don't think blender is capable of doing it alone. I am not saying you can't do it in blender, you can but with the help of an add-on. You technically have 2 options. You can go with Flip fluids add-on but I won't say it is good for a project like this. It is good for water simulations, but for foam-like effects, not so much. I would say go with the advanced ocean modifier. It was created for these kinds of projects. It is the master at simulating foam and wave-like effects in water. Even though it is developed by just a handful of developers, it will defeat any other water simulation add-on for projects like these. Nevertheless, It is your choice but I would recommend Advanced Ocean Modifier, and it is nearly half the price of flip fluids add-on. Here's the link to both sites:
Advanced Ocean Modifier:
https://blendermarket.com/products/advanced-ocean-modifier?ref=247
Flip fluids Add-on:
https://blendermarket.com/products/flipfluids?ref=247
Hope it helps.


Very large count values lead to odd distribution of particles

You can check the checkbox „Pick random“ to solve the problem.


How would I create a model of a single piece of hair?

I think you are on the right track.

I would use a cylinder for the hair strand itself (with loop cuts along the length so that it can be bent). You can create a tip by simply scaling down the loops towards the end of the strand.

Of course, a cylinder will be perfectly straight. You have a few options for giving the strand a curve. Personally, I would use the (curve modifier. I would warn that the curve modifier can be a little tricky if you are new to Blender (or I think so anyway), so check out Youtube for a good tutorial - this is quite good. The aim would be to give your cylinder a subtle kink so it looks like part of a strand of hair. For a simpler option, you might want to avoid the curve modifier, and simply drag the loops of the cylinder around to make it less uniform. It depends on the look you are going for.

Finally, you are probably best creating the cracks on the hair using a texture. There are many texture sites, so head over to something like Textures.com and find something that approximates the surface you see in your reference images. Searching "cracks" or similar will get some results.

To use the texture, you will first need to UV unwrap the mesh. See this Stack Exchange answer for an overview of the concept. UV unwrapping essentially tells Blender how to apply a 2D image to a 3D object.

Once you have UV unwrapped your mesh, you will need to create a material with your texture, and use it as a bump map (which is really a way of making a flat surface appear to the eye like it is raised and dipped).

As you will appreciate, I can't give you a fully detailed answer as this would basically amount to "how to use Blender", but I hope the above are enough to point you in the right direction for each of the steps.


Accidentaly didnt set output for animation

To render an animation, you need to click the 'Animation' button shown below. And to see the location of those renders click on the folder icon marked with red box in the below image. Once you click that icon, it will show you the exact path in the top portion of the screen.


Problems like this might happen when using different devices to render one frame. That's why render farms have always one type of GPU and/or CPU letting render one frame. If its an animation, lets say frame 1-100, just open Blender 2 times, let one instance of Blender render with one GPU the first half (frame 1-49) and the other instance with the other GPU the other half (frame 50-100).

I never used 2 GPUs though, i dont know if this will work perfectly. But i think so.


How to export the unfolded image I'm seeing in the UV Image Editor as an SVG?

You can export the UV-Layout as .svg file. In the UV-Editor, go to UV > Export UV Layout. Then select the file format as .svg.


Why do textures stick around in the editor?

To get rid of unused textures, you have to save and then reload your file.

Either use "File - Open Recent - " or hit Shift+Ctrl+O and then hit Enter, since your latest save is usually in the first place of the list.

If you want to get rid of a texture despite having it assigned, press Shift and hit the X button beside the texture's name in the UV/image editor Texture dropdown.

Besides that, textures are kept around on purpose. This comes in handy when you are optimizing your workflow. And you are certainly able to unwrap a model without any texture at all.


Why is the Displace modifier moving my mesh instead of moving the geometry?

Go to your textures tab, select the drop down called "Image Texture" and select under Modifiers "Displace"

In the new tab select the button called "Open" under image and select your desired image.

There, should be fine now.


How to distribute animated meshes with a particle system

I got it to duplicate the animated mesh. I did not have to instance the armatures with the mesh. At first, it wasn't working for me either. It only duplicates the animated mesh if the original animated meshes are visible in the scene. I presume you have them in a separate layer. Try making that layer visible.

This seems like a workaround though. It would be nice to have the original objects invisible. Maybe you should file a bug report for this?


Way to get vertex index to use in new vertex group from selected faces

You are on the way

Let's talk about the vertex list line first

You can use v.index for list: vertex = [v.index for v in bm.verts if (v.select==True and not v.hide)], so the vertex will be a list contains your vertices indices.

Next, vertex_group.add() method:

It need 3 arguments (index, weight, type):

index: should be a list contain indices
weight: should be a float value in 0.0~1.0
type: should be a string in {'REPLACE', 'ADD', 'SUBTRACT'}

So you can use ver_grp.add(vertex,1.0,'REPLACE') for it

Sum up your code:

ob = bpy.context.object
me = ob.data
bpy.ops.object.mode_set(mode='EDIT') #You need to enter edit mode for bmesh
bm = bmesh.from_edit_mesh(me)

# not a good practice to use vertex for vertices indices list
v_indices = [v.index for v in bm.verts if (v.select==True and not v.hide)]
ver_grp = ob.vertex_groups.new(name = "My vertex group")

bpy.ops.object.mode_set(mode='OBJECT') #You need to enter object mode for add()
# Add . in float number help people know it is a float instead of int
ver_grp.add(v_indices, 1.0, 'REPLACE') # most of the blender string enums use upper case


Is it possible to change the emission rate of particles over time?

In short, there's no ready solution. Lukas Tönne was responsible for a feature known as "Paged Buffers for Particles" but at some point he stopped working on it and the feature never made it to trunk. Here's a timeline of what happened:

March 11 2011: This video shows that variable particle emission was working.
March 17 2011: Paged Buffers for Particles research was published on Blender's developer blog.
July 22 2011: A crowd-funding campaign launched through Lukas's blog.
Dec 6 2011: Lukas spoke about his progress at the 2011 Blender Conference.
May 4 2012: Last blog post on the subject.
August 4 2013: Lukas was hired to do general bug fixing with the Blender Foundation. His work would be "especially for nodes and [the] compositor. When time allows, he then can also pick up work on new particle system."
August 26 2013: In episode 26 of the Blender Podcast, Lukas stated "I started working on the particles, but there are a few basic issues that need to be fixed on a more general level before I can go into the details of node-ifying particles and things like that."
2014–Present: His tweets about node development continue to mention relevant subject matter including duplis which will eventually feed into particle nodes.
Nov 1, 2015: B2.8 project developer kickoff meeting notes mentions that "The particle system and constraints may need a complete overhaul."


What does highpoly mesh shrinkwrapped to lowpoly mesh aimed for?

A subdivided Low Poly creates a smooth curve, the more control points you have, the more they have to be manually trimmed.
Probably he wanted to adjust and smooth a curve overriding errors of maual adjustements.
In my example both meshes are the same, with 6 vertices only, one subdivided and one straight. The subdivided one creates a smooth curve.


What is the importance of low poly vs high poly?

Highpoly is important to achieve superb surface detail. The problem is how you control such enormous amount of vertices:

with brushes (sculpting)
through control low-poly cages (subdivision surfaces)
through curve or nurbs surfaces
generated by some simulation, 3D scanning, etc.

Lowpoly is important for:

game-engines
subdivision modelling
low-polygon proxy geometries of high-poly ones - for rigging and animating
low-poly style and such..

Problem with low-poly is topology, which has to follow some rules, so the shading looks righ, the subdivision surfaces are right or the sculpts will be right. That's why you see so much about low-poly - with knowledge about low-poly topology the high-poly comes along.

You convert low-poly to high-poly through sculpting, or catmull-clark subdivision
You convert high-poly to low-poly through retopology, or decimation. The details from high-poly can be baked into texture maps.

What is considered low-poly and high-poly changes with time and computer power, it's safe to say that low-poly is everything that can be displayed on target hardware in real-time. That means that for mobile phone this is different than for workstation.

Appropriate level of detail depends on how small the object will be on screen - basically how much pixels it will cover on screen:

for textures on lowpoly you want them 2x larger than a texture that has same size pixels on a model as a pixels on screen. This is because texture filtering. Or how the target hardware GPU memory lets you use.

For game models this is usually from 1024x1024 to 4096x4096 or more for next-gen.
For mobile-phones aroung 256x256 to 512x512.

for lowpoly polycounts:

around 10k for character or more for next-gen. Depends on the object size, hardware, if it is in background or not etc.

for highpoly you want the polygons small enough that the surface detail will be well defined, this is usually smaller than screen pixel size or even smaller than that. Polycounts in millions.


Copy and paste a pose onto a different character

Assuming the bones have the same names :

Select the first armature. In Pose mode, select all bones. In the Dope Sheet, select all the keys, Ctrl+C.

Select the second armature, pose mode, select all bones. Add a keyframe on the same channels used in the first pose (like LocRot or LocRotScale). In the Dope sheet, Ctrl+V.


Can the sequencer strip view follow the scrubbing/playback bar?

A feature very similar to this was added quite recently (about an hour ago
at the time of writing).

  Animation play: Follow feature. Enabled from playback menu in the
  timeline.

  When enabled, ipo, dopesheet, NLA, timeline, clip and sequence editors
  will follow the current frame during animation. When the cursor
  reaches the end of the screen, then the next range of frames of the
  same width is displayed.

To use it you'll have to grab a recent development build. This feature should be in 2.74.
This feature is now available in timeline panel -> playback (next to the start frame field) -> follow.