Normally such mesh should be retopologized.

But anyway if for whaterever reason you don't want or cannot do a propper retopology, you can just use Blender's automatic unwrapping features.

When you select your mesh in edit mode and press U, it brings up the UV mapping menu with plenty options.

In red I marked the automatic unwrap methods. They each automatically unwrap your selected mesh following different sets of rules and eventually with some options you can have a hand on. They each have some ideal situations they're good at.

The one you might like here is the Smart UV Project. It basically makes seams when adjacent faces form an angle superior to a chosen value (the default is 66).

You can click that and see how it goes. If there are too many cuts, lower the angle limit, vice versa. Try to find the right balance between the number of islands and the obtained distortion. If it's not an important mesh (which I guess it is if you don't retopologize it), you don't have to spend time on that, just make something that looks ok from afar and move on.

Learn more in the manual.


keyframe object in and then out of scene

Object visibility can be animated (keyframes):

Two visibilities: one for viewport and one for rendering. You may need to keyframe twice.

To add a keyframe, place the timeline where you want then change the visibility checking or unchecking the visibility, then:

Either place the mouse cursor on the check box and use I
Or use RMB on the check box and choose 'insert keyframe'

So you can blink an object:


Create and manipulate height-map, save as greyscale texture

You can use Displacement baking.

Create your base grid/plane, create a new blank image and UV unwrap the plane onto it, then duplicated it.

Model/sculpt the plane (if you are using sculpting and not using dyntopo, you may want to use the multires modifier. See below).

Select the sculpted/deformed plane and the duplicate (still just a flat plane), so that the flat plane is the active object.

Enable Selected to active in Render settings > Bake and set the bake mode to Displacement. If your sculpted plane goes more than half a BU above or below the duplicated plane, you may want to enable Normalize.

Press Bake. Note that currently have BI selected as the current render engine to bake textures, however this is will be available for cycles in 2.71.

Result:

Multires
If you are going to use sculpting, you could also use the Multires modifier. See This post.

Add plane, create image, UV unwrap, and add multires modifier in simple mode.

Sculpt details

Set the Preview subdivision level to zero, then bake with Bake from multires enabled:

Cycles baking
Even before 2.71 comes out, it is possible to do this in cycles by rendering your terrain top down (with an orthographic camera) and with the Z position mapped to a gradient.
See this post for details.


Blender for iOS without using sidecar or duet?

Blender is written in C++, mostly.  Apple requires iOS apps to be written in either Objective-C or Swift and doesn't provide runtime support for C++, so there is no way to run Blender without alternative support.  As far as I know, there is no useable C++ runtime for iOS that would support Blender.


Firstly, make sure the 'cars' are separate objects, and make sure the wheel's Object Origin is at the centre of the wheel.

Here, you can see I have a circle, with monkeys (as separate, selectable objects) arranged around the outside:

The Object Origin (the orange dot in the centre) of the wheel means the wheel will rotate around the centre. The Object Origin of the monkeys ('cars') are at their top so they will rotate around this point as if they are 'hanging'.

Now, you want to select all the 'cars' then select the wheel last and press Ctrl+P to parent the cars to the wheel. Rotating the wheel will make all the cars rotate with it, but obviously they will not 'hang' like a real 'car' would.

For this we can add a Constraint to lock the rotation of the 'cars'. Select one of the cars and in the Constraints tab of the Properties editor add a Limit Rotation constraint :

By looking at the axis of the 'car' I can see it is the red x axis that I want to lock the rotation of:

On the constraint you just added tick the Limit X checkbox and also For Transform. By leaving the Min and Max values for the x axis on the constraint at '0' I am making sure the 'cars' can rotate 0 degrees.

Select all the cars and then select the car that you just added a constraint to and go to Object> Constraints> Copy Constraints to Selected Objects in the 3D View header:

This copies the constraint to all the 'cars'. Now if you rotate the wheel the 'cars' will follow but their rotation will be locked:

Now you are free to animate the rotation of the wheel and let the constraints manage the 'cars'.


How can I use one image as a texture for an entire model?

Because these objects are merged into one, you have to UV unwrap the object (the standard projection modes won't work) select the image from the drop down and position the UV's where you want them:


Your mesh is correct except several materials are assigned to it and one is displayed in Solid mode:

If I turn it orange:


I'm guessing they took it out, since its functionality was a bit redundant. You can accomplish the same thing with Shift+H to hide everything not selected. I noticed they also seemed to have removed the box hide functionality, also redundant. It could be part of the larger effort to streamline the UI, probably a good thing.


On the top left of the screen, there is "View", "Select", "Add" and "Object". Select Object, then go down to "rigid body", them "copy from active".


When you download the BlenderTools.zip
extract it, and goto send2ue/addon which will contain folders like dependencies, functions, ui and some files.
select all the files & folders,
zip them & rename the folder to send2ue.
This can be installed as plugin in blender.
I know it's a late reply to this thread, but someone might find it useful. :)
A blessed guy made a tutorial.


Equivalent of the old beauty button for subdivide?

You can select an Edge Ring (sort of the opposite of an Edge Loop) with Ctrl+Alt+Right Click and subdivide that.

Also remember there's Subdivide Smooth as well, which is nice for interpolating the curvature of the model (though it cannot do this on a flat 2D surface like this example).

Unfortunately it won't really help in that Icosphere case though.


How to make Blender open on secondary monitor, including save/open/prefs window?

Try creating a new project, setting the all the windows as you want them to be and save it as your startup file.
This can be achieved by going to File > Defaults > Save Startup File.
I use this so Blender starts in both my monitors, but I see no reason why it woudn't work in your case. Hope it helps.


Extrusion along a curve: position of the profile

Without an image of some sort it's hard to guess, but this is a common enough problem that I think I know what you're facing.

If I understand you correctly, all you need to do is rotate the profile curve in edit mode, (instead of object mode) to align the axes of the profile with the axes of the other object.

The documentation is a little obtuse, but it might be helpful.


Blender Overrides Smoke Cache Files To Original On Startup

You need to Bake the smoke domain cache first. This tells Blender to calculate the smoke and store it in the cache and to effectively mark that cache as 'read only' until yo tell it to 'free' it. This will mean that Blender will not attempt re-run the smoke simulation, leaving your manipulated (reversed) cache as it is.


Scaling only the height of a parallelogram plane

I have a script that I think accomplishes your mission: http://web.purplefrog.com/~thoth/blender/python-cookbook/scale-parallelogram.html

import bpy
from mathutils import *

def share_vertex(e, horiz_edge):
    return e.vertices[0] in horiz_edge.vertices or e.vertices[1] in horiz_edge.vertices

def horiz_score(vector, axis):
    v2 = vector.copy()
    v2[axis]=0
    dz = abs(vector[axis])
    if dz >0:
        return v2.magnitude/ dz
    else:
        return float('inf')

def most_horizontal_edge(obj, axis):

    mesh = obj.data
    global_verts = [ obj.matrix_world*v.co for v in mesh.vertices ]

    score = None
    rval = None
    for e in mesh.edges:
        v1 = global_verts[e.vertices[0]]
        v2 = global_verts[e.vertices[1]]

        s2 = horiz_score(v2-v1, axis)
        if (score is None or s2 > score):
            score = s2
            rval = e

    return rval

def scale_parallelogram(obj, factor, axis):

    mesh = obj.data
    horiz_edge = most_horizontal_edge(obj, axis)

    global_verts = [ obj.matrix_world*v.co for v in mesh.vertices ]

    if True:
        other_verts = set(range(len(global_verts)))
        other_verts.difference_update(horiz_edge.vertices)
    else:
        other_verts = set()
        for e in mesh.edges:
            if share_vertex(e, horiz_edge):
                continue
            other_verts.update(e.vertices)

    #print("%r -vs- %r"%(horiz_edge.vertices[:], other_verts))

    z1 = [ global_verts[i][axis] for i in horiz_edge.vertices]
    z2 = [ global_verts[i][axis] for i in other_verts]

    z_all = [ v[axis] for v in global_verts ]
    delta_z =max(z_all)-min(z_all)
    z_change = 0.5*(1-factor)*delta_z

    delta_v = Vector([0,0,0])
    delta_v[axis] = z_change

    #print(global_verts[0])
    mwi = obj.matrix_world.inverted()
    if (min(z1) < min(z2)):
        delta_v = -delta_v

    for i in horiz_edge.vertices:
        mesh.vertices[i].co = mwi * (global_verts[i] - delta_v)
    for i in other_verts:
        mesh.vertices[i].co = mwi * (global_verts[i] + delta_v)

    #print(mesh.vertices[0].co)

    mesh.update()

#
#

x_axis=0
y_axis=1
z_axis=2

for obj in bpy.context.selected_objects:
    scale_parallelogram(obj, 0.5, z_axis)


UV unwrapping doesn't use full UV Space, but roughly a quarter of it

Blender generally scales the UV relative to the longest (fully self-connected) piece. To make it take the full space, add seams to the longest piece(s), to make it roughly the same "size" as the rest of the islands:
(Note - the places I have marked for seams are only general suggestions of where to put them - you will have to find and mark the edges that make the most sense for your object - just try to keep the islands roughly the same size as your other group of islands)


BGE- Prevent a custom mouse pointer from snapping to the center of the screen when mouse look is used

You need two modes/states

view change mode where you turn the camera with mouse movement. Typically the mouse cursor is not shown in this mode
click mode where you can see and move the mouse cursor. The camera is not turned by the mouse.

You need to define when to switch from one mode/state to the other


How to change the interpolation easing of multiple keyframes at once?

You can use the keyboard shortcut CTRL + E or choose from the menu Key -> Easing Type.

This will affect all selected points. But i don't think it is possible yet to set the easing parameters simultaneously.


How to add transparency/alpha (material) value slider + viewport color

The context contains the current state within blender, eg bpy.context.selected_objects is a list of the selected objects while bpy.context.active_object is the active object.

While you can have an active material selected, every object can have their own active material, so it is an object property not a global context property. So in your example you want to use -

obj = context.object
mesh = obj.data
mat = obj.active_material
cmat = mat.cycles


Be sure to apply (CTRL+a) scaling, before you assign your bonen armature to the mesh. This is a common fault, which people forget todo when they start with rigging.

If after you still have such a problem, it might be caused by the weight paint of the bone, the more easy way to solve that might be (depending on mesh) to add some helper bones to keep things in place how you want it.


In the Edit mode delete the top and bottom faces. As we do not need extra faces here.

With the edge selected. Select the top and bottom and any center edge with shift select

With the edge selected press Ctrl+E and select Mark Seam

Now Press A to select all Faces. Press U and select Unwrap

Drag and make a new window -> UV Editor

Click on the new button and navigate the image.

Now in the material tab -> New and select the image from drop down

Note : Before you process the above steps. Press Ctrl+A select Rotation and Scale

Click on the small dot -> image texture

Then click the drop down here (find the same texture you have used in UV editor)


How can I model ultra-viscous, dripping wet objects?

You can sculpt the drips well, then in materials, set glossy along with Fresnel effect. You also want to use a nice HDR environment texture.
The key to obtaining such an effect is mainly Fresnel.


How do i copy material from one .blend file to another?

You append Materials like everything else in Blender:

In your new blend file, go to append:
Select the blend file with the original material, and click "Append" to browse its contents.
In it, go to the folder called "Material" (or "Mesh" or "Object" or "Texture" or something else depending on what you want to append)
Select the materials (meshes, objects, textures, ...) you want to import and hit "append from library".


Is there a way to exclude other particle systems from the effects of a Wind effect?

If you want to make a wind only for a particle system and another wind for a second particle system, you need to put the particles and the Winds inside different Collections and then, go to each Particle System > Field Weights > Effector Collection
In the collection box add the collection of each particle system to make it work.


In the additive RGB color model you create different colors by adding different intensities of the primary colors red, green and blue together.

If you maintain some ratio of red, green and blue but change their values you'll generally end up with darker and lighter shades of the same “color”. The ratio R:G:B = 1:1:1 – i.e. the same value for red, green and blue – is noteworthy as it creates shades of grey.

However, if you also change the ratio of the primary colors then you will end up with different hues.

Let's say you want to create an LED which blinks by cycling from black to some bright orange tone and back to black. For the color orange let's use the RGB ratio of 2:1:0 [1]. This means you need no blue and twice as much red as you have green. If you use sine wave modifiers you have to set amplitude and value offset accordingly.

When the ratio of the primary colors is changed, e.g. by using a different phase offset for each primary color, you'll receive a LED which cycles between different hues.

Edit:
In situations in which you're only interested in single color LEDs, LEDs which cycle between two colors or LEDs which cycle in a set of predefined colors it's worth to consider animating the Emission Strength, the Mix Factor of a MixRGB node and/or the Factor of a ColorRamp node instead of working with three modifiers for the RGB components. This will minimize the work should you later decide to change the color of your LED.

[1] Color values, except for colors entered in the Hex field, are not gamma corrected. Entering an RGB value of 1, 0.5, 0 in Blender will not result in RGB values of 1, 0.5, 0 (or 255, 128, 0) in the final image.


How can I move a PoseBone to a specific world space position?

Use Object.convert_space

There is a handy method on the object to do this for you.  Example below, adds an empty at each pose bone (to test pose to world) and then uses this to convert back to pose and checks against bones matrix.

import bpy
context = bpy.context
ob = context.object
scene = context.scene

for pb in ob.pose.bones:
    # convert from pose to world
    mw = ob.convert_space(pose_bone=pb,
            matrix=pb.matrix,
            from_space='POSE',
            to_space='WORLD')
    mt = bpy.data.objects.new(pb.name, None)
    mt.name = pb.name
    mt.matrix_world = mw
    scene.objects.link(mt)
    # now back from world to pose
    mp = ob.convert_space(pose_bone=pb,
            matrix=mw,
            from_space = 'WORLD',
            to_space = 'POSE')

    print("Pose bone matrix", pb.matrix)
    print("Matrix World to pb.matrix", mp)
    print((mp - pb.matrix)) # zero matrix if all is good

To move a bone to the cursor

pb = ob.pose.bones.get("root")
mw = ob.convert_space(pose_bone=pb,
        matrix=pb.matrix,
        from_space='POSE',
        to_space='WORLD')
mw.translation = scene.cursor_location
pb.matrix = ob.convert_space(pose_bone=pb,
        matrix=mw,
        from_space='WORLD',
        to_space='POSE')

Note: If the pose bone has a joined parent bone this may not work as expected as it wont break that bond.

Links

How can I manually calculate bpy.types.PoseBone.matrix using Blender's Python API?


You won't be able to scale the bumps with the material settings, as the bumps that we see are real bumps, not procedural bumps. If you want more bumps you need to duplicate x4 your mesh in Edit mode and stick each part (there are several ways to do it but you could simply duplicate and merge the vertice by distance so that the vertices stick, or symmetrize it, etc). You could also bake the real bumps and use the result in a Displace modifier, or in a Displacement node if you want to make it procedural.
A quick way to fake bumps: Plug a Noise Texture into a Bump node. In that case your object can be low-poly (here, one face) as the bump effect doesn't need any geometry.


How to make the 3d manipulator act parallel to a plane

Select (a face in) the plane
Create a Custom Orientation (CtrlAltSpace)
(Check 'Use after creation' and possibly 'Overwrite previous' in the tool region,if you don't want to bother to name the orientation, and/or don't need it later)
Any translation you now make with G-ShiftZ-ShiftZ will be parallel to the plane you selected.


Slow edit when using subdivision modifier

Why do you need 5 subdivision levels while you are editing an object?
With each level, your geometry is getting subdivided, creating more vertices: out of every quad at least 4 virtual quads will be created per level of subdivision. A single quad, subdivided to level 5, will result in 1089 vertices, 2112 edges and 1024 faces.
Blender will of course be slow when you have that many vertices, but you shouldn't need that big of a subdivision surface. First of all, if the object has Shade Smooth on, you probably won't even see a difference between 4 and 5 subdivision levels.
Also, you will notice that there is both a View and a Render number of subdivisions:

So, as in the image above, I have only 2 subdivision levels while I am working one the model, so it is fast, but when I render the image with my model, it changes to be 5 subdivision levels so it looks good but isn't slow while I am working.
So, the solution is that you don't need to make your machine faster, you can just use less subdivision levels while working.


This is possible using the Straight Skeleton Inset function.
It's basically a 'smarter' inset tool.

Enable it in Preferences > Addons > Inset Straight Skeleton
Select your faces and go Face > Inset Straight Skeleton
Done.

You can see the vertices are merging, instead of overlapping.


Why does the lighting on this object not work properly? Imported obj

It's a split normals problem that happens with some imported objects, go into the Properties panel > Object Data > Geometry Data > Clear Custom Split Normals Data


How do I export a .dae so that textures are included when I import it?

Check the texture coordinates for your object(s) and make sure they're using "UV" and not some other coordinate system (e.g. "generated," "object," etc). (Also: If you haven't already UV unwrapped and mapped your object(s), you'll need to.)  :)


How to emit only one hair particle from each vertex?

You absolutely can.
Make particles come from verts, uncheck "random order" and input on the "number" the exact number of vertexes you object has.
8 in the case of a cube.
Crazy shape? No problem!

Just match verts and number of hairs.
Wanna use a collection of objects? No problem!
Just make sure the origins are all consistent.


can I animate colors on materials the way falloffs are animated?

Press "I" while your mouse is over the color in your material settings. It will add a keyframe. Then go into the Graph Editor to edit the curve:


I'm presuming that reload_xref is meant to be reload_lib.

In your Reloadlib class you can create a StringProperty to pass the name of the library into:

class Reloadlib(bpy.types.Operator):
    """Reloads the current Library"""
    bl_idname = "my.reload_lib"
    bl_label = "Reload"

    #2.8
    library_name : bpy.props.StringProperty()
    #2.79
    #library_name = bpy.props.StringProperty()

Then in execute you can access this local property with self.library_name:

    def execute(self, context):
        libs[self.library_name].reload()
        self.report({'INFO'}, 'Reloading ' + libs[self.library_name].name)
        return {'FINISHED'}

Then, when you display the operator you can pass in the name:

for i in libs:
    layout.label(text= i.name.replace(".blend",""))
    row = layout.row()
    sub = row.row()
    operator = sub.operator("my.reload_xref", icon = "FILE_REFRESH")
    operator.library_name = i.name

(To be clear, I haven't tested the specific functionality of reloading libraries, but  this is how you pass data generally.)

Full code:

import bpy

libs = bpy.data.libraries

class Reloadlib(bpy.types.Operator):
    """Reloads the current Library"""
    bl_idname = "my.reload_lib"
    bl_label = "Reload"

    #2.8
    library_name : bpy.props.StringProperty()
    #2.79
    #library_name = bpy.props.StringProperty()

    def execute(self, context):
        libs[self.library_name].reload()
        self.report({'INFO'}, 'Reloading ' + libs[self.library_name].name)
        return {'FINISHED'}

class LibPanel(bpy.types.Panel):
    """Creates a Panel in the scene context of the properties editor"""
    bl_label = "Scene Libraries"
    bl_idname = "SCENE_PT_layout"
    bl_space_type = 'PROPERTIES'
    bl_region_type = 'WINDOW'
    bl_context = "scene"

    def draw(self, context):
        layout = self.layout
        scene = context.scene
        layout.label(text="Libraries:")

        for i in libs:
            layout.label(text= i.name.replace(".blend",""))
            row = layout.row()
            sub = row.row()
            operator = sub.operator("my.reload_lib", icon = "FILE_REFRESH")
            operator.library_name = i.name

def register():
    bpy.utils.register_class(Reloadlib)
    bpy.utils.register_class(LibPanel)

def unregister():
    bpy.utils.unregister_class(Reloadlib)
    bpy.utils.unregister_class(LibPanel)

if __name__ == "__main__":
    register()


How do I make every vertex to be associated with the same number of bones?

There is an operator called Limit Number of Weights per Vertex:

  Limit deform weights associated with a vertex to a specified number by removing lowest weights

Operator call in Python:

bpy.ops.object.vertex_group_limit_total(group_select_mode='ALL', limit=4)

You can find it while in Edit Mode of the parented mesh,
in the 3D View T-toolshelf > Tools > Weight Tools > Limit Total.

Or you go to Weight Paint mode > Weights menu > Limit Total.


There's probably one or more other vertex groups applying influence to the shoes and laces, go through all the vertex groups in weight paint mode and see if anything other than the feet bones are painting the feet.


It was not necessary to change the parenting at all, or use python.
Your main problem was that you had not checked the check box labeled Ghost

It is also important you change the settings for the collision group and the collision masks.

Basically the head and torso are on collision group 2 and are masked so that they can collide with Every Other collision group except for the first. This is because the ground is on the first.

The main collision group is set so that it can collide with everything Except for collision group 2, because the bullets are on that group.

Notice that ghost is Not checked on bounds. This is because it needs to be able to collide with the ground. It is masked so it can collide with everything except for collision group 2, because the bullets are in that group.

The last important change you need to make is on the bullets themselves.

This is on the same collision group as the torso and head, so they can collide with everything and not cause a problem. because the collision bounds object is on collision group 1, and because it is masked so that it can not detect collisions with the bullets, the bullets will pass through them harmlessly. However, the ground is also on collision group 1,

Using these methods, the end result is that the bullets can collide with the head and torso, the head and torso detect collisions with the bullets, and can decrease health/armor accordingly. The main physics object (bounds) can only collide with the ground. the bullets can also collide with the ground.


In your .blend, you have a non-uniformly scaled object being arrayed and deformed down a non-uniformly scaled curve. This creates quite a tangle. It's better to start off in an orderly way, than to make adjustments, and then adjustments of adjustments,and so on....
If you're stealing the curve from a part of the another object, (here, the suitcase,) apply the scale of that object before doing it.
In general, to array and curve in a way that's easier to get your head round:

CtrlA > Apply the scale of all the objects involved. This is true of modelling in general. Modifiers and other effects are generally calculated in Object Space, which is measured in the dimensions before they are transformed by the object-level scale. So, while modelling, always scale the mesh in Edit Mode, or, if you must give the object a scale-transform in Object Mode, apply it as soon as possible.
Place the origin of the curve at its first vertex
Place the origin of the object to be deformed at the location in its mesh you would like to lie on the curve.
Place the object to be deformed at the curve's origin. (Not necessary, but perhaps makes the whole setup easier to understand)
Again, for convenience, align the orientation of the curve and the object. (The most convenient way to do this is apply the rotations of both, so they're both aligned to the world.)

Having done all that, you should get a result like the blue example below:

As you can see, there is still some wedge-deformation of the teeth as they go round the corner, but unless you're in extreme close-up, that should be good enough?
If you want to avoid all deformation of the teeth, you could use the method from this answer, (or numerous others on tank-tracks), and array a simple plane (which deforms), instead of the teeth, Then instance the teeth onto the plane-array's faces. The teeth won't deform. That's the green example.
However, you've modelled the teeth as a pair, and in the green example,that leaves a slightly odd gap between one pair and the next. So, you could instead model the teeth separately, and use the instancing method twice, (2 arrays), to get the red example.


Using the face edit mode as a texture in bge

I have arrived at an imperfect approximation. It will create the effect, but has some flaws:

Edge lines will be inconsistently thick.
Center point may not be exactly centered.

However, the result is definitely passable:

To create this, you need a few steps:

UV unwrap it. You U>UV unwrap
Reset the UV's U>Reset
Add an image texture, I used this image:

Set the UV map

TADA! You have your result!

See the .blend for any confusing details:


Append Not Working - Copy and Paste between files not reliable

I discovered what the problem was - it's very simple and is just a result of a slightly confusing UI.
On choosing the file to append, the blue append entry field remains blue while it loads up the file...but to me it looks like nothing is happening. That's because it takes a while to load up the file - sometimes 15 to 20 seconds. I am hitting the append sign because I am not being given any feedback that Blender is working, and it is trying to append when I have not made a selection.
It was bound to be something simple.


One of the great thing about blender is that when something is not documented you can just look at the source. :)

Here are the ones I've found (untested):

GIZMO_GT_arrow_2d

GIZMO_GT_arrow_3d

props:

offset

draw_style:

NORMAL | CROSS | BOX| CONE

transform:

INVERT| CONSTRAIN

GIZMO_GT_blank_3d

GIZMO_GT_button_2d

props:

icon | shape| show_drag

draw_style:

OUTLINE | BACKDROP| HELPLINE

GIZMO_GT_cage_2d

props:

dimensions

draw_style:

BOX | CIRCLE

GIZMO_GT_cage_3d

GIZMO_GT_dial_3d

GIZMO_GT_move_3d

GIZMO_GT_primitive_3d

GIZMO_GT_value_2d

props:

offset

VIEW3D_GT_navigate_rotate

GIZMO_GT_mesh_preselect_elem_3d

props:

object_index | vert_index| edge_index | face_index

GIZMO_GT_mesh_preselect_edgering_3d

VIEW3D_GT_ruler_item

I'm actually working on custom gizmos so I'll update this answer to document my findings.


compositng: when I use an alpha over node only one layer shows up

Your image renders properly when you select "Transparent' within the Cycles 'Film' section.... In the Blender file available for download, it is unchecked...

When checked, this is the result I get... and nice sparks!

Sorry... was not sure if it was in or out....  Is this as you intended? See Gears6 blend file... if this is correct, the issue was in the node tree.... but, if not, I misunderstood. :)


It appears that you may be using an international font, while not having enabled them beforehand. Go to this question for more details.


Particles not spreading evenly over surface, they are clustered at two points (Donut tutorial)

Oh gosh I think I solved it I ticked "Pick Random" under the Collection setting in Particle properties!  Looking at Andrew's tutorial he hasn't got it ticked and you can kinda tell he has the same issue it just isn't very noticeable on his donut.


How can I create a profile and rotate it to create a mesh using Blender 2.72?

You can use a Screw Modifier. Being in Object Mode select your profile and enable the modifier.

You have now a bunch of extra options. Set the desired axis you want your profile to screw along. Set the Angle to 360 degrees to have the whole form (or 180 if you want to have a half of the form). You may also increase the number of the Steps, so if you apply the modifier later you'll have more geometry. Please see this documentation for more details:
http://wiki.blender.org/index.php/Doc:2.6/Manual/Modifiers/Generate/Screw

You may notice the strange behaviour of the normals after applying the modifier. Recalculate them using a Tool Shelf button or use the Ctrl+N shortcut, while in Edit Mode.

UPDATE: Placing the origin point to make the Screw Modifier work properly (according to Randy's situation).

I started with placing the inner vertices of the profile perfectly on the one axis.
Then I gave the mesh the same rotation and the origin point the same location like on your printscreens.

I entered the Edit Mode and selected two vertices as pictured below. Then snapped the cursor to selection using shortcut: Shift+S-->Cursor to Selected.
I entered the Object Mode and snapped the origin point to 3D cursor using Tool Shelf button (you may also use the shortcut: Alt+Ctrl+Shift+C-->Origin to 3D cursor).
With the origin point set I enabled the Screw Modifier.


blend files open in 2.79 version instead of 2.83 when double clicked

Seems like you encounter the dumbest design the windows registry system can potentially have. If the executable name is the same one (.blend here), it will cause some bug and not updating the table correctly.
You can make your blender 2.79 executable named as blend279.exe. This will let the register miss the original 2.79 exe and update the new value after choosing new blend file.
example below to make it "forget" 2.83 blender:


Nothing showing up in rendered view (2.79)

You have inadvertently 'paused' the render:

Click the button in the 3D View header toolbar again to un-pause.


you could do this by putting a simple condition in your driver's code block:
zrot / 2 if zrot < 0 else zrot * 5

which gives this:

⚠ Note that you can just map the range(-180,180) to something else. it means that if you rotate counterclockwise when zRotation is currently greater than zero this doesn't work. if that's what you really need you can animate your reference bones and using f-curves you can do the rest.


I downloaded a font from an online website, how do I apply it to my text

This is a common way to select font from your directory.

To get directly to specific directory you store fonts, you can set path in User Preferences.

If you don't see your font listed, file format of your font is not probably supported, but in your case I can see it (TTF or OTF is OK file format).


EDITED: Rotate on X 90 degrees and apply rotation. 2D is truncating the Z axis.


How to make an animation / armature remember poses?

You need to set keyframes after posing the character. With the posed object selected hit I and set the appropriate keyframe, e.g LocRot (for location and rotation). You need to do this before you move onto the next frame.

Frames that have keyframes on them are highlighted with an orange line in the timeline. If you don't see the keyframe before moving on, your changes will be lost for that frame and you will have to redo it.

You may want to enable Auto Keyframing (Docs) to automatically insert keyframes as you pose your armature:


Rendering without fire when executed from command prompt

Smoke simulations need to be calculated in order to have something to display on render.
When using Blender, the calculations are being made as soon as you playback from the start frame or when you start a render.

But! When using command line rendering, the render command only does the rendering, not the smoke calculations.
So before doing some command line rendering, you need to bake the smoke simulations, meaning you have to ask Blender to calculate the actual simulations and store the result into files, which will be later read when rendering. It's the way to go even with UI rendering anyway, as it's overall faster to bake then render instead of rendering and calculating the simulations on the fly, especially if you render it several times. And if gives more reliable results to have baked sims.

So basically, you just have to watch in your domain's parameters, in the Bake panel. Set the right Start and End frames, hit Bake All Dynamics, wait for it to bale everything (it might take a while) and save your file.

More information in the manual.


Adding Initial Velocity in the Game Engine

You can add a force to the object by activating an motion actuator.

Ensure the actuator deactivates after applying the initial force (or velocity).

When you are working with dynamically added objects it is even simpler. You can set up an initial velocity of the added object.


Rendering vertex colours from imported WRL object

Don’t panic. This will be easy.
First off, that “row of icons” is the tabs of the Properties Editor, and is now on the side of that same editor. Things work generally the same way, except Blender Internal Render has been scrapped, so things in the Textures tab generally do not affect things in the Materials tab: You use shader texture nodes instead. The textures made in the Texture tab of the Properties Editor are for other purposes like compositing.
Secondly, you can input color into your material with the Vertex Color Node. If you do not know how to use material shader nodes, it’s time to learn. They are very intuitive, and both Cycles render and the new EEVEE render use them.
Refer to the blender manual at docs.blender.org under:

Editors -> Properties
Rendering -> Shader Nodes
...for more information.


How to add more vertices on my object (picture examples)

Apply the subdivision surface modifier. Press Ctrl + A (or use the arrow on the top right) to make the modifier permanent.

Read:
https://blender.stackexchange.com/a/205166/92768
and
How to apply a modifier in V2.9+
But if your "tutorial" doesn't explain those concepts, consider looking at one that explains better. Not all videos are "tutorials". Some are just not worth your time.


How to move an object along given normal after applying rotation

You can create your own axis selecting at least 3 vertices, then ctrl alt space, and in the bottom horizontal menu bar you'll see this new axis appears as one of the Transformation Orientation axis. You can manage these new axis in the 3D view properties panel (enabled with N) > Transform Orientations.


Displacement modifier with custom height map problem

Youn need to plug the "UV" output from the texture coordinate node, into the image texture node, instead of the "Object" output. If you are using a default sphere, it should already be UV unwrapped.


The texture only appeared after I added another Image Texture node (which is not realated to anything). Muting this node if enough to make the texture disappear.

The topic is also discussed on an older BA-Thread

You could use Input/UV-Map node to get the UV-coordinates:

Wiring the UV makes them accessible for getattributes


Are cloth simulations affected by scene units?

Yes - size will significantly affect all of the physics simulations. Of particular interest will be the acceleration due to gravity; by having a 10x too large scene you are effectively applying only 1/10th of the force of gravity (which could explain the tissue-paper behaviour of your cloth).
Quick solution would be to adjust the scene gravity by a suitable factor to account for your increased scale (eg, change from -9.8m/s to -98m/s for a 10x change in scale). However, you might still get it behaving a bit oddly since any stiffness and weight will be similarly affected by the scale.


Inverse Kinematics - saving, loading file and showing animation in BGE

Properties like

  L_Hand L_Arm -0.015 0.20 -0.18 (Start_of_Chain(dynamic) End_of_Chain(static) X Y Z)

could be easily described by XML or JSON. These data could be then dynamically read and applied to "channels". For correct use see current Blender API.


It appears you're stretching the limit a bit with the accuracy of the Boolean modifier here. Your two objects have identical height and positions, which confuses the modifier as to which part is in and which is outside the intersection area.

If absolute mathematical accuracy isn't all too important to you, you can easily solve this by moving the box object a tiny bit on the Z axis - as you already discovered.


Can't change the size of particles in particle physics settings

Size is only for particle physic.

The tip value should in most cases be at zero and can cause a weird look if it is to high.


How can I round up a single edge of a plane?

This can be accomplished with the Edge Fillet Plus utility in the Edit Tools 2 addon. First, enable this addon in user preferences.

Then use the W menu in Edit Mode with the two edges selected:

This process converts the face to an N-Gon. To fill this shape, Alt + Right Click the line to loop select as shown above and hit F to fill the area.


Best workflow to mix several takes in VSE

Decide on your output framerate first (24, 25, 30, etc). Set that in the render panel and don't ever touch that value again or it will mess up the av sync.
In the timeline window, make sure AV-Sync is turn on. This will help you during preview playback.
Lay down the audio track first, and then lock that layer down with Shift+L.
Turn on the Draw Waveform for the audio track so you can see where the beats are.
Lay down all the video tracks you have, one on each 'layer', and make sure they are in sync with the audio from beginning to end.
Use the Multicam selector to switch between the video tracks.
If the video is in a compressed format with lots of P-frames, you won't be able to scrub through the video smoothly. Consider using the Proxy feature in Blender to generate a smaller, scrubbable version.

Below is a sample of how the setup might look. From the bottom, you see a locked audio track, 3 video-only track, and multicam selectors on the top.

Source: I've edited down 20GBs of footage down to a 4 minutes trailer with VSE before.


Just select all your bones in Edit Mode then Right Click > Symetrize.


What you want to do is simple, just create a button that will "set scene" to return to your desired scene.

For your fixed button GUI instead of Add Overlay or Background Scene,

Select the object goto Object > Make links > Object to Scene, select the scene you want to link to, and it will appear there automatically.

To change the function of the "linked objects" , make a Single User


Intersection of more than 2 mesh objects

There is a way to do this. It is not ideal, but it works and is also non-destructive. Select one of the meshes that is part of the intersection. Add a Boolean modifier to it, choose one of the other objects as the Object in the Boolean modifier. Copy that modifier and chose the other mesh as the Union Object this time. After yo do this there will be a vertex at the intersection

Select one of the meshes, any will do (A)
Add a Boolean modifier to it:

Operation: Union
Object: one of the other ones (B)

Copy the Boolean modifier

Object: the other one (C)

Optional: If you would like to use the intersection in edit mode to move around mesh components. If all you want to do is to get the intersection just add the empty

add an empty, plain axis will do fine
snap the empty to the intersection: Set the snapping type to vertex. The empty acts as a vertex in this case
in edit mode snap the geometry to the empty if you want to.

Note: You can delete the modifiers when you no longer need them.


Assigned Materials Show Up in Render Preview but Not Final Render

It look more that your material isn't doing what you want it to do, as opposed to being improperly assigned. Look on your render properties tab, and see how you're telling blender to handle transparency. You might need one or more of the following:

--More transmission bounces. This lets the ray bounce around a few more times (in this case, through a few more surfaces) before giving a result back to the render engine. If it's set pretty low, you can end up with fairly opaque materials, because you have to bounce it through its surfaces (front AND back) and return through the same way to the camera. I'd recommend at least four more bounces than your minimum bounce number, but twice as many as your highest bounce is ideal. If you're trying to make less-noisy glass (my heart goes out to you friend) try increasing clamp indirect, instead, or play with the Light Path node in your material.

--More render samples. This is in the same vein as above, but it's important to note the maximum value should be your highest bounce number, and your minimum value should be your lowest bounce number. If your preview bounces are higher, this could be exactly your problem. Preview is what you see in render view in the viewport and Final is what you see when you hit the Render button. They don't have any bearing on each other, and can be totally different. Your Final value should be at least as high as your highest bounce for best results, but you actually can get away with less in most cases; you'll have to play around with it to see what works for your scene.

--Enable or adjust transparency. Sometimes, for some reason, this isn't checked. I assume for performance reasons, as it can be computationally expensive in many cases. If you can't find it, look for a collapsed menu that says 'shading'. You'll want Ratrace selected, and your alpha slider anything greater than zero. I'm not sure if this specifically was only a Blender Internal option. You might not have all of those settings, but transparency should still have it's own section or subsection. The main point is to make sure you're not using the world material for your transparency mixing.

Alternate things to look into:

--Check your material settings. Make sure your material is doing what you want it to do. It could be that it's a little too reflective, and all the light is bouncing off instead of passing through. You can adjust this by mixing in a Transparent node, with Layer Weight as a mix factor (you'll want the transparency plugged into the top slot, and I find while Fresnel gives more accurate results, Facing is more visually appealing).

--Adjust your lighting. I'd say easily eight times out of ten, if your render isn't looking right, it's because your lighting is off. From the look of your render, the light is shining directly onto the lightbulb. Because of the way Blender calculates Fresnel, which is automatically included in the Glass node, anywhere light shines directly onto something is going to be less transparent. Simply changing the position so it's on a different angle than the camera could very well improve your results. This includes the light coming from the filament. The filament should be brighter than any other lightsource, if you want it to be on.

--Thicken your glass. Instead of making it a single solid shape, make it a shell. That is, with visible thickness. This will make the glass the thin shell you're trying to tell Blender to render, instead of the thick solid mass it thinks you want. I don't remember when the thickness modifier showed up, but this is perfect for this task, and it'll save you a few vertices. If you don't have the thickness modifier, or just don't want to use it, copy your glass vertices, shrink them slightly (ALT + S is best for this kind of object) until it's the thickness you want, then flip the normals via the tool panel. There should be an option on the tool shelf, but if there's not, searching 'flip normals' will bring it right up for you.

--Adjust your environment. Give your lights more places to bounce off. As it stands, you have the lightbulb and your plane. This isn't enough for the resutls you want to achieve. Make a cube or sphere around your scene just big enough for your camera, lighting, and objects. Make sure the normals are pointed inwards. If you want it invisible, don't make it transparent, the rays will just go right on through. Either use a Holdout node, which will make it like a hole to see the world background, or mix in a Transparent node with your original texture and plug Camera Ray (on the Light Path input node) into the mix factor. This will make it invisible to the direct camera rays, but allow light to bounce off for things like reflections and indirect lighting. Your nontransparent material for this can be anything opaque, but rougher object will bounce softer light than smooth objects, and brighter colors will bounce more light than darker ones.

I hope this helps! Happy Blending!


Green screen transparent layer questions video editing

Try exporting with ffmpeg, using RGBA(A for alpha), Container: Quicktime and Codec: PNG.


It seems like the fluid simulation objects were scaled in Object mode instead of Edit mode, and the scales haven't been applied using [Ctrl] + [a]
Also for a large domain you should probably start out with a resolution of at least 100.

Here's a blend file with the applied scales:


Rotation of character affects eye movement wierdly

I am a little new to Blender, but I think I have an idea for something you could try. Perhaps switching the local space on the copy rotation modifier to local with parent will help work`things out. Just set both fields to local with parent. If you don't set them both to that mode will look glitchy and move out of place. I sure hope that helps!


Blender 2.80 Show Seams, Sharp Edges etc. on 3d viewport

You will find them all in the Overlays drop down menu :


The Knife Project tool is an alternative to the boolean. You must constrain the 3D View to an orthographic camera angle in order to get it to work. Think of it as using a light beam which is aligned to your current viewing angle, which then casts a shadow of one object onto another object, to create cuts at all the points of intersection between the two objects. You could use an open-ended cylinder (must be open-ended, or else the projection will be blocked) to create a series of edges defining the button hole. Then you could simply select the all the faces contained within the newly created edges -- as they now form a circle on the surface of the camera -- and extrude them, delete them, or otherwise edit them as needed.
Steps:
Start by making sure you're in Object Mode. Select the cylinder first, then Shift + select the camera body to include it in the selection.

Then, with both selected, Tab into Edit Mode (both objects will remain selected in Edit Mode, which is important). Press whichever numpad key corresponds to the viewing angle that would be perpendicular to your camera's main surface (this is likely to be the Front view, which is accessed by Numpad 1, though Front may actually not be the correct view in your case. You'll have to check). Once the correct view is attained, look to the top of the 3D View for the Mesh Menu. Under it, you'll find Knife Project.

Once this option is chosen, you're done, but it won't look like anything happened. Go back to Object Mode to hide or delete the cylinder. It still won't look like anything happened. Go into Edit Mode, and you will see the new edges made by the cylinder on the surface of the camera body. Edit as needed.


Cycles Shader to assigns a color based on how many light sources hit the surface

This is possible using the Toon shader which can be set to produce completely 'flat' shading that is only dependent on the incident lamps. By also setting the lamps to 'Constant' shading the effect of each lamp can effectively be clamped to a constant contribution for each visible lamp.

Start by setting your lamps to 'Constant' illumination :

Adjust the Light Falloff node to adjust the Strength of the lamp. This will result in each lamp contributing the same illumination to a surface regardless of distance.

For the mesh material, use the Toon shader with the Size and Smooth values set to 1.0 to give completely 'flat' shading. Also, set the Render properties Light Paths for 'Bounces' to zero as we don't want to take account of any bounced rays :

This can produce the following result :

Blend file included

Note that you may also want to reduce the lamp size from the default size so as to ensure sharp shadow edges.


Grey Spots Cover Visibility of Vertices, Edges, Faces

The problem ist the subdiv modifier. The cage and the shrinked mesh are intersecting each other.
You could either shrink the cage or toggle x-ray as shown in my screenshots:

Greetings


You can always tell what it jacking up a game by turning on FrameRate/Profile, an option under the "Game" tab.

In realtime, it will dynamically calculate how much time blender is spending on each part of the game, and you can see what is causing problems, and what could be beefed up without issues.

I'm going to go ahead and take a wild guess that your scene is slowed down by "Rasterizer" or the rendering process. Why is this? You used basic meshes, simple graphics, and easy shading. So what is causing this kink?

It's the lights! if each one of you trees has it's own separate light, thats a whole different set of the same graphics that blender has to calculate.

You were right, fortunately, that this can be fixed quite easily with texture baking.
First of all, you will need to pick a target image that you want to bake your texture to. Then, under the render tab, hit bake. Once the bake is done, save it and apply it as a shadeless texture. All of the light will be on the ground, just like it was being actively rendered, but blender will be muuuuch happier. And we all know, when blenders happy, so are you.

How do I bake a texture using Cycles bake?


Is there a good workflow for creating 'swappable' linked characters?

We managed to solve our own problem. It turns out that all we needed to do was turn the mesh object into a proxy, as well as the armature (which we were previously leaving as linked). Doing so allowed us to specify (for example) that Instance A should be parented to Armature A, and so on.

From there we duplicated the characters and their armatures ‘as linked’ within the main scene, to make multiple versions of each character, this gives lots of different characters that we can pose individually, all of which are instances of a single original character so that when we make changes it propagates to them all.

Swapping a character out once we’ve started animating is easy too, all we have to do is create a new instance of the character we want to switch to and set it to use the desired armature in the armature modifier.


modifying the default python environment

The console is a "start-up" script.

This doesn't seem to be possible with an add-on or a startup script,
but maybe I am doing something wrong.

Yes indeed, Maybe you are,... hard to tell, have some suggestions, won't go there.
Look at the source code.
Just as with most spaces in the blender UI the code is available. In the case of the python console  the UI in bl_ui/space_console.py and the  nuts and bolts of the python console in scripts/modules/console_python.py
A code snippet from which, where the convenience imports and variables are added.
    namespace["__builtins__"] = sys.modules["builtins"]
    namespace["bpy"] = bpy

    # weak! - but highly convenient
    namespace["C"] = bpy.context
    namespace["D"] = bpy.data

    replace_help(namespace)

    console = InteractiveConsole(locals=namespace,
                                 filename="<blender_console>")

    console.push("from mathutils import *")
    console.push("from math import *")

An option (but a bad slippery-slope don't do it option) is to edit this to suit, however
a lesser evil could be to copy, rename and  put in our user scripts/modules folder.
>>> bpy.utils.script_path_user()
'/home/batfinger/.config/blender/2.91/scripts'

For example sake have called it console_batpython.py
Purpose of the languages selector in the Python Console

and have one or a number of different options available via the menu.  Which does involve  having to select the language (... in this case python with different imports...) at least once per console
Add locals to a console.
Will find a number of run script in console addons, a couple of rippers that come to mind are by @CodemanX and @pinkvertex (the links escape me atm).
The main gist is using the module in conjunction with code as displayed in the script stub template. To run a script from the text editor and have it print to and available to inspect in the console.
Here is a script which when run adds locals to consoles in same screen.
import bpy
import bmesh
import console_python

for area in bpy.context.screen.areas:
    if area.type == 'CONSOLE':
        region = area.regions[-1]
        id = hash(region)
        con, stdout, stderr = console_python.get_console(id)
        # add to locals
        con.locals['bmesh'] = bmesh
        # update with locals from this script
        con.locals.update(locals())
        # push in some locals
        con.push("import itertools")
        con.push("foo = 3")

and in any console on the same screen as the text editor.
>>> itertools
<module 'itertools' (built-in)>

>>> bmesh
<module 'bmesh' (built-in)>

>>> foo
3

Text Editor
The concept of the text editor is to import all requirements as if it were any other module on disk. We can however write an operator based on the Text Editor > Templates > Python > External Script Stub
exec(compile(file.read(), filepath, 'exec'), global_namespace)

and replace file.read() with text_block.as_string() and add other members to global_namespace dictionary.


You are trying to solidify a fairly complex shape that requires you to change the Mode from Simple to Complex in the modifier's panel.
Cheers!


How to transform a strip in the vse in a non-uniform way?

Unfortunately there is no way to do this within the VSE.

The way you can deform an image (or video) is by tracking four points and making a plane track. Then in the compositor use the Plane Track Deform Node and add the image over your background.

Now step by step.

Open up the Movie Clip Editor either by changing one if the windows, or switching the layout to Motion Tracking.
After importing your background (I'll assume from now on that it is an image) set the start and end frame to 1. That will make it so that when you put out the trackers, it doesn't have to track anything.

CtrlLMB  to add the markers you will need four of them to make a plane track. (because we aren't really tracking it does not matter where they are.)

Select all the trackers with AA then go to the Solve tab and under the Plane Track heading press the Create Plane Track button. Then just drag the corners in to place.

With the plane track in place head over to the compositor, and set up your nodes like this.
Three important things to note:

The Plane Track Deform Node, that is where all the data from the tracker gets in to the compositor. Make sure you fill out the Camera and  Plane Track fields, there should only be one of each, unless you made more then one plane track.
The image to be overlayed through the plane track goes in the bottom socket of the Alpha Over node.
You should not have a Render Layers node, if you do blender will try to render your 3D scene, and not just work with two images.

Make sure your render resolution, over in the render tab of the properties window, matches the dimensions of your background image. Now just press render, or push F 12 you will get something like this.

I do know about the corner pin node, and what I described above is pretty much exactly what that node is used for. Except it is a pain to use, this method is much easier to position.


corner radius or bevel on a complicated triangulated mesh

I have similar problems and I really miss nondestructive booleans, but your's is kinda easy to fix.
Let's say you have this ugly topology here:

If you still have the original scanned mesh in place, you don't need to do this: Select all the tris, duplicate them and separate them into their own object. Then extrude and scale both rims to have more surface area.

Go back to your original mesh. Make a cut with the knife tool and get rid of the bad topology.

Select both edgelines and bridge the edgeloops. Now is a good time to assign the top verts to a vertex group. Depending on your mesh, the 'Limit' value of the modifier might suffice and a vertex group will not be necessary.

Give your mesh a shrinkwrap modifier set to project, let it only affect your vertex group and play with the settings until you get this trainwreck.

Turns out the Shrinkwrap doesn't like to project on edgelines that fit perfectly. Move it a tiny bit, any amount will do.

And this is the result. A clean topology, ready to be bevelled.

Sometimes a Shrinkwrap is much better than a Boolean Modifier since it doesn't destroy the topology.
These settings worked for me:

Wait, did I mention that there's another way of doing this? No?
Well, there's another way of doing this.
Ugly mesh again. New one since I forgot to copy the first one.

Select all the top verts and hit X 'only Edges and Faces'. That kills all connecting edges up there. It isolates all of the rogue topology from the edges that rise from the bottom of the mesh.

Hover over the base, hit L to select the important part of the mesh and hide it with H

Select the rest of the verts and utterly delete them. Reveal your mesh with ALTH.

Select the base and hide it again. Switch to top view.

Select all the inner verts, turn them into an ngon with F and delete the ngon with F 'only faces'.

Do the same for the outer verts, select both rings and bridge them with SPACE 'Bridge Edge Loops'.

Select the whole mesh, hit F to fill all the holes and CTRL-N to recalculate normals.

That one helped: Fastest way to turn a ring of unconnected vertices into an edgeloop?


How to animate small water surfaces in structures?

Final:

You can fake it pretty easily with creative UV Mapping and animating Texture location. I've used Noise Texture for it as a Bump for Principled BSDF.

Let's break it down.

Mesh:

It's simple Plane with one edge Beveled. Nothing to add here.

Material:

We need to add material first, it will be easier during UV Mapping.

Again, nothing to fancy here.

Animating.

X value in Mapping node will be animated - in this example keyframes are on frame 1 with value 0 and on frame 60 with value 1. In your case axis could be different, also bigger difference between values will give faster animation.

After adding keyframes you should go to Dope Sheet editor, select both frames from X axis and choose Key > Interpolation Mode > Linear.

UV Mapping:

Go to Edit Mode, Select All and U > Unwrap.

Now changing X axis value in Mapping node should give as something like this (I'm using Node Wrangler to be able to see Color Ramp node output):

Go back to UV Image Editor, select faces where water should be flowing faster, enable Proportional Editing and scale them down along X axis as much as you want.

Final thoughts:

This is basic overview for the water flow. You should also add some Particle system for the splashing water and maybe some foam texture. I think those should be another questions otherwise this one could become to big/tutorial like answer. Or just search trough the web, there are plenty tutorials about this.


need help property window way zoomed out on ui

Hover your mouse over the panel for which you want to change the size of the UI (in your case the properties panel), hold Ctrl and press down Middle Mouse Button. Move the mouse up and down to resize the content.
If you want to set the panel back to default size, hover mouse over it and press Home


How to animate a chain unwrapping and sliding along a chest

I would create a curve; animate it along the wanted path, using hooks or the "AnimAll" addon; model two elements of the chain and repeat them with an array modifier; add a curve modifier to the mesh, pointing to the animated curve, then move along the X axis the mesh to have it follow the animated path.


You have toggled the 'current' space (whichever part of the interface the cursor was in) to be full screen (Ctrl+↑).

Press Ctrl+↓ or the Back to previous button that has appeared in the top toolbar (next to Render, Window, Help etc) to restore the space to it's previous size.


Eevee transparent glass on transparent background?

The Transparent Glass option only exists in Cycles. Eevee doesn't have this feature.


Armature: Align and rotate bones at the same time around center point

The transformation constraint can be used to do what you want. This constraint allows you to proportionally move a bone based on another bone, the advantage is that the movement doesn't have to match the bone being moved.

To setup, add two new bones, one as a control for the upper movement, the other for the lower. In the attached sample I also added a limit location constraint so that these can only be moved within the range of motion that works for this.

Next align the roll of each bone (in edit mode) so that the x-axis is aligned to the direction you want the bone to rotate, this allows a single axis rotation to be used and lets us copy the same settings to each bone.

Next setup one upper bone.

Add a transformation constraint.
Select the armature and bone that will control it.
Set the source Y location range.
Set the destination mapping so that the source Y controls the destination Z.
Set the destination Z location range to suit.
Set the space options to local space, this makes it use the bones axes, not world axes.

Now setup one lower bone.

Add a transformation constraint.
Select the armature and bone that will control it.
Set the source Y location range.
Set the destination mapping so that the source Y controls the destination X.
Set the destination X rotation range to suit.
Set the space options to local space.

Add a second constraint to the lower bone, set this one to use the second control bone and set the rotation as the negative of the previous one.

Once you have one leg that moves correctly when you move a control bone, copy the same constraints to the other bones. To make this easier, enable the copy attributes addon, this is included with blender. Select all the upper bones with the finished bone being the last selected, now press ⎈ CtrlC->Copy Bone Constraints. Repeat with the lower bones.

Note that armatures have their own layer system, you can move all the arm bones to another armature layer so they can be hidden, leaving just the two control bones as visible while animating.


you are not unparenting the camera after rotation correctly , you have to set the mode to 2 and activate the actuator to take effect :

if not wh_pressed.positive:
    par_to_player.mode = 2
    cont.activate(par_to_player)

also you may need to kill the rotation after unparenting ( the camera gets thrown away after rotation )


What context should be passed to screen.area_move() to make it work?

Timer threads have little sense of context.

As outlined here

Context is incorrect when calling from a timer

need to pass some context to the timer.  In this case I've passed a copy of the text editor context when hitting the button.  Pretty sure just the screen is required context, or at most the window and screen.

Note found that calling the resize operator with no delta and moving the mouse worked from within a timer, however it is STICKY and a mouse click (or other events) are needed to unstick the mouse from moving the area.  Not sure how to release.  It is actually quite a handy way to resize the panels.. but still not quite right

import time, bpy, functools
from bpy import context

def snooper(c, w, a, x, y, delta, poll_retries=500):
    #bpy.ops.wm.redraw_timer(c, time_limit=0, iterations=10)

    while not bpy.ops.screen.area_move.poll(c, 'INVOKE_REGION_WIN'):
        poll_retries -= 1
        if not poll_retries:
            return None # out of retries

    # should poll now
    bpy.ops.screen.area_move(c,'INVOKE_REGION_WIN', x=x, y=y)

    y += delta
    w.cursor_warp(x, y)
    return None

if __name__ == '__main__':

    context = bpy.context
    a = context.area
    w = context.window
    x = a.x + (a.width >> 1)
    y = a.y + a.height

    w.cursor_warp(x, y)
    bpy.app.timers.register(functools.partial(snooper, context.copy(), w, a, x, y, delta=100), first_interval=0.2)

Scissor sets

Looked into the screen areas a while back re overriding context.  Recommend matching areas by the midpoints of edges and if both edge lengths also match they can be "pseudo joined"  into a new area until we have one full window area with instructions on how to split back.  Not unlike a binary tree.

Doing something similar here would be the go, giving the option of 1 to 4 possible resizes..  by looking for any "pseudo joined" areas in tree that have context.area and another area from the screen areas collection.


Merging objects with flush faces, using Boolean union modifier?

I am new in Blender and I was facing the same problem a few days ago, so here is what I did:
One way that solved the "intersection's anomaly" was the Bool Tool addon. After you add this, you can use the shortcut Shift + Ctrl + B  and the Bool Tool options will pop up.
The Bool Tool did not create any issue for me after the union.
Using the Boolean Modifier:
When the union is done, even though you get the anomaly, apply the modifier. Then, in your Collection list you can see that the mesh you tried to merge to your other mesh, is still there. Delete that mesh. The Boolean modifier managed to merge the two meshes, but the mesh that was merged still exists as an individual object and it's overlapping the final merged mesh you just created, causing the problem.


I think there're many ways to model it (e.g. creating one lower segment, arraying it along a curve and using a bridge tool to connect it with circle). I'll show you my solution though :).

Add a cylinder with 12 vertices (change its number in a tool shelf- T). Add a loopcut (Ctrl+R) and place it near the bottom of the cylinder. Then scale the bottom edge a bit. Next select all the horizontal edge loops and subdivide them twice (W-->Subdivide). Select every fourth vertex of the middle edgeloop and place them lower (G,Z). Now select the middle edge loop and press Alt+Shift+S,1. Do the same with the upper one. Finally add the additional edge loops to make the subsurf modifier crease the edges nicely.

Add a subsurf modifier to the cylinder and smooth it. Add two vertical edge loops at the corner of the cylinder, next merge some vertices (Alt+M) and dissolve some edges (X-->Dissolve) as pictured below.

Do it for the other 3 corners. Delete other part of the cylinder and use a mirror modifier to create 3 halfs with the edge loops created.


Change:

bpy.ops.clip.filter_tracks(override['area'], track_threshold=5)

To:

bpy.ops.clip.filter_tracks(track_threshold=5)

And see if that works.

I'm not that familiar with what you are doing, however the reason I believe that you need to take out the extra argument is because of inspecting the auto-complete of the function when I enter it in directly at the console (it just seems like there is a problem with passing more than the threshold value - See Below):

After looking into this a little further, try just commenting this line out.

From the Manual it is meant to smooth out spikes in the track, the problem with this (this context) is: you just deleted the "spike" in your previous line of code, so there is no track to even deal with.

Or

Maybe you just need to check and see if the previous statement deleted the track. Then set a variable to indicate if the track was deleted, then you can make a decision to filter it or not based on that.


So Im sorry it took a while to get back to this question, I solved it by adding a ton of subdivisions which for whatever reason stopped the jittering.


This can be a solution in GUI:

Step one: make sure the ojects that you want to join are of the same type, i.e. all are meshes.

Step two: select the first object.

Step three: select the second object.

Step four: click 'Join' button shown in the screenshot here (yellow arrow)


One option could be to go to sculpting mode and use Flatten  tool.

A little silly to not suggest the smooth  tool first:


Rock PBR Texture Creation within Blender (Procedural) for export in game engines

I worked ten minute or so and get these. I used two Voronoi for displacement, Clouds and Marble noise for surface diffuse and normal map. I doesn't look really good but you can create these blocky rockey surface like this using Volonoi as displacement map. But I really don't think it worth the effort...maybe you can do "Substance Designer" kind of things in blender, but blender is not specialized for these purpose. Unless you write custom plug-in for those kind of works, It's like digging your grave with a spoon.


Blender 2.79. Rendered image show only color and not UV mapped texture

In cycles you need shaders, they determine how the light rays bounce on (or go trhough) the surfaces of an object.

You can't apply textures directly on the material output. (if you notice there are different colors on the sockets. Green can only be connected to green, yellow goes with yellow, purple with purple, and so on). The material output should be connected to shader information only.

In your case you need to connect the color of the image texture to the color input of the diffuse shader, so that the image gets mapped on the faces of the object.

Read: What is the meaning of the color of the node sockets in the node editor?


Looking for a Team (A Question about Blender Community)

If you go to the user community page on the Blender website, you will find a number of sites on line where there are blender users participating in forums, including a facebook page, where you might recruit members for your development team.

Good luck. A 30 minute animation is quite an undertaking.


Why is proportional editing only effecting one side of my mesh?

You probably have to disable the X Mirror option in the Tools Options panel


Render a Bezier curve in the game engine

Curves are a unique object type, they won't render without depth in the default renderer and even with depth, they won't render in the BGE as these and paths aren't supported.

To render these, you have to convert to a mesh, use AltC > Mesh from Curve/Meta/.... You can always duplicate and move the original to another layer before converting so you have a backup and in most cases, if the converted mesh is simple enough, you can convert it back to a curve via the same menu.


I might try adjusting your object's scale, position, and origin.

The transform properties panel is your friend. If you don't have it active toggle it on by pressing T. At the top, you can view and change the position, rotation, scale, and bounding dimensions of your object. Using the Dimensions section of the panel, you can tell if your object is really big or really small. By setting one of the dimensions (let's say the X dimension) to 1.0 to 8
.0 or so, the object should be able to fit into your scene well. Then you can copy the X scale value into the Y scale and Z scale boxes to proportionally resize your object.

Quick Fix:
First try resetting position with Alt+G. If you still don't see your object, but you see its origin, it may be really small (in which case you can play with the scale) or the origin may not be the center of your object. To reposition the origin of your object, in object mode, choose Object > Transform > Origin to Geometry, then reset the position again.

Once you are satisfied with the size of your object, press Alt+S to apply your scale changes.

Another approach is to work in edit mode, selecting all your vertices by toggling A (you can see how many verticies you have selected at the top of the viewport) and pressing Alt+S > Selection to Cursor to move all your geometry to the 3D cursor position, then scale appropriately.


Operator's, How to detect `MOUSEMOVE` inside of `LEFTMOUSE` event

If event.type is LEFTMOUSE, how could it be MOUSEMOVE at the same time?
(exclude quantum mechanics)

The modal() method is called for every event, so you need to "remember" the left mouse state for the subsequent calls on MOUSEMOVE events:

import bpy
from bpy.props import IntProperty, FloatProperty

class ModalOperator(bpy.types.Operator):
    """Move an object with the mouse, example"""
    bl_idname = "object.modal_operator"
    bl_label = "Simple Modal Operator"

    first_mouse_x = IntProperty()
    first_value = FloatProperty()

    def modal(self, context, event):
        if event.type == 'MOUSEMOVE':
            if self.lmb:
                delta = self.first_mouse_x - event.mouse_x
                context.object.location.x = self.first_value + delta * 0.01

        elif event.type == 'LEFTMOUSE':
            # we could handle PRESS and RELEASE individually if necessary
            self.lmb = event.value == 'PRESS'

        elif event.type in {'RIGHTMOUSE', 'ESC'}:
            context.object.location.x = self.first_value
            return {'CANCELLED'}

        return {'RUNNING_MODAL'}

    def invoke(self, context, event):
        # variable to remember left mouse button state
        self.lmb = False

        if context.object:
            self.first_mouse_x = event.mouse_x
            self.first_value = context.object.location.x

            context.window_manager.modal_handler_add(self)
            return {'RUNNING_MODAL'}
        else:
            self.report({'WARNING'}, "No active object, could not finish")
            return {'CANCELLED'}

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

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

if __name__ == "__main__":
    register()

    # test call
    bpy.ops.object.modal_operator('INVOKE_DEFAULT')


My Character’s Armature keeps flying off the screen

This is probably happening because your character has a static physics type..

Just select the character (mesh) and set its physics to "No Collision"

A better setup would be as follow :

Main character mesh - Physics : No Collision.
Armature - Physics : No Collision.
Add a mesh representing the character collision box - Physics : Character or whatever you like!
Parent the armature to the collision box and that's it!

The armature would control the animations (actions) and the collision box would control everything else


How do you make perfect sinoids in a curve?

Here is the script that would do this (you can set the value of startX, endX and cycles' while calling drawSineWave based on frequency and increase the resolution to take it closer to the perfect sine wave.)

import bpy
import bmesh
import math

def drawSineWave(resolution, startX, endX, cycles, amplitude):

    bm = bmesh.new()
    step = (endX - startX) / (resolution)
    cycleSteps = resolution/cycles

    x = startX
    prevVert = None
    for i in range(0, resolution+1):
        magnitude = 2 * math.pi * (i % cycleSteps) / cycleSteps
        y = amplitude * math.sin(magnitude)

        vert = bm.verts.new([x, y, 0])
        if(prevVert != None):
            bm.edges.new([prevVert, vert])
        x += step
        prevVert = vert

    mesh = bpy.data.meshes.new('sine')
    obj = bpy.data.objects.new('sineObj', mesh)
    bpy.context.scene.objects.link(obj)
    bm.to_mesh(mesh)
    obj.select = True
    bpy.context.scene.objects.active = obj
    bpy.ops.object.convert(target='CURVE')

drawSineWave(resolution = 100, startX = 0, endX = 4, cycles = 4, amplitude = 1)


Why does my Mantaflow waterwheel not work?

Bi-directional fluid-structure interaction is quite an advanced topic.
(Bi-directional meaning that the fluid reacts to forces applied by the structural domain and vice versa)

There is of course specialized software which can perform these simulations. However, most current simulation packages focus on simulating either the fluid or the rigid (or deformable) bodies accurately and model the other as simply as possible.

That's why in almost all those nice 3D visualisations of fluid-structure-interaction (at least outside the scientific or engineering world) the motion of the rigid (or soft) bodies will most certainly be faked with non-simulated animation.

Further reading e.g: research.manchester.ac.uk/portal/files/70404430/FULL_TEXT.PDF


From what I saw, you had a Subsurface in the material of your sprinkles. When I lowered it to 0, I seemed to get the color you were trying to get.
Hope this helps you!


Pine tree leaves using Sapling; giving stylized look

You can easily do it without addon, you need to create some flat branches, like that (I copied but of course do your own):

Rotate, mirror:

Duplicate, rotate, etc:


Is it possible to export animations/actions separately from Blender to Unity

If you're exporting to FBX manually from Blender, the checkbox Baked Animation will save the animation to the file. Keep in mind that you do have to select the Armature object type to export (and exclude everything else). The animations reference the armature for keyframes.
Alternatively, you can do this via Python script with the command:
bpy.ops.export_scene.fbx(... use_anim=True, ....)
I actually just published a blog post about exporting multiple FBX files for the purposes of importing into Unity. It's only Part 1, but I should have Part 2 written up sometime soon!
http://undertheweathersoftware.com/building-character-customization-part-1


How to add a normal map texture and a diffuse texture on a model in cycles?

I think you want something like this:

Result:


Some of the faces are flipped and the Bevel tool doesn't like it :).

You can recalculate them through Mesh > Normals > Recalculate Outside.
Or flip them manually through Mesh > Normals > Flip.


Bevelling edge at the center doesn't take the shape of the object

I used ctrl+B to bevel the edge. use the percent setting to make the beveling follow the profile.


How to make hair dynamics work with surface deform modifier and cloth simulation to make a blanket with tassles?

For anyone struggling with this problem, I successfully modeled the blanket with tassels by instancing the braided tassels onto the hair particle system using the particle instance modifier with the settings outlined here: Getting instanced particles to follow paths of hairs in particle system with hair dynamics
Edit: For the sake of completeness, it is worth noting that the issue here in this question is about the fact that the blanket has normals that point in the wrong direction. To flip them press Alt+N in Edit mode. After that, the tassel object needs to be rotated by 180° (X-axis: -90° → 90°) so that it sticks out and not in the blanket. To make the tassel bent along the hair particle a Particle Instance modifier is needed (see linked question above).


Vertices that have a shared face in Python

You can use bmesh to do that. BMesh offers facilities to navigate through verts/edges/faces.

So for instance:

import bpy
import bmesh

obj = bpy.context.object

bm = bmesh.new()
bm.from_mesh( obj.data )

bm.verts.ensure_lookup_table()

v1 = bm.verts[0]
v2 = bm.verts[1]
v3 = bm.verts[3]

inter = set( v1.link_faces ) & set( v2.link_faces ) & set( v3.link_faces )

print( inter )

ensure_lookup_table tells bmesh to prepare the data (you may want to use it too on bm.edges and bm.faces)

For more information, have a look to this documentation.


You can do this in 3 stages, that do involve the cursor but in a different manner:

Select the outer border vertices of your door and snap you cursor to this selection (ShiftS > Cursor to Selected). This will move the cursor to the center of your door object.

Now, select the geometry delimiting your hole.
Open the Properties Panel (N), and copy the XYZ values from the 3D Cursor location to the Median (which represents the center location of your selection). This will move your selection to the cursor, while maintaining the shape of the hole.

EDIT: Or instead of copying values, you can use the snap tool to move the selection to the cursor (ShiftS > Snap Selection To Cursor (Offset). The offset option makes sure the selection moves while maintaining its shape (thanks @Mr Zak!).

Result:


How to Mix Face Textures Across UV Edges

Here is an example to illustrate how you can use Empties to control some aspect of your material - in your case textures. This is how it is done in Cycles, so hopefully you are able to carry this concept over into your game code.

Just a basic black and white spherical gradient appearing on a simple landscape object. The placement and size of the gradient are determined by the Empty (it's located where the 3D Cursor is in the screen shot). The Color Ramp is for controlling the falloff.

And here is an example of what this technique can produce when you have multiple Empties and they are actually controlling textures instead of just a color result. In the screen shot below two Empties are used against a base grass texture.


How can I make it so materials are linked to objects instead of data, with Python?

If you hover your mouse over a button, it will often tell you the python binding that can be used to invoke similar actions to the button. In this case:

So first you assign it a material, and then go and, from the object, change the data link.

To set all materials to 'object' for a single material:

obj = an_object
for mat_slot in obj.material_slots:
    mat = mat_slot.material
    mat_slot.link = 'OBJECT'
    mat_slot.material = mat

I am not sure why re-assigning the material is necessary, but hey, it works!

To set a single material slot (untested):

obj = an_object
mat = a_material
mat_slot = [m for m in obj.material_slots if material_slot.material == mat][0]
mat = mat_slot.material
mat_slot.link = 'OBJECT'
mat_slot.material = mat

To assign a material, something like this could be written (untested):

def applyMaterial(obj, mat, mat_slot=0):
    obj.material_slots[mat_slot].link = 'OBJECT'
    obj.material_slots[mat_slot].material = mat


Image Texture does not appear (correctly)

The image texture is not a shader, so it shouldn't be plugged to a mix shader node.

Use the image on the color part of the diffuse node.


How to repostion/reset the selector closer to the object with mirror modifier still active?

I Just figured it out:

Place 3d cursor where you want it.
Unselect Clipping on the Mirror Modifier.
In tools, Set origin select Origin to 3D cursor.
On the Mirror Modifier, re-select Clipping.
Adjust the Merge limit to place the two sides back together.

That looks like it worked.


how to build a carriage that reacts to an uneven ground

I don't know if it will help, but here is a way to make wheels following the ground:

Create a cube (the vehicle), a wheel, and a small plane.
Parent the wheel and the plane to the cube.
Put the plane under your wheel, subdivide it a bit, assign a vertex group to the whole mesh.
Give it a Shrinkwrap modifier, choose the ground as the Target
Give your wheel a Copy Location constraint, choose the plane as Target, select the plane's vertex group in Vertex Group, deactivate the X and Y axis so that it only moves on the Z axis, activate Offset and place the wheel at its right position, on the ground and above the small plane.
Move the cube to test the animation, the wheel should follow the ground.
Copy paste x 4 the wheel + its plane.


Parenting the camera to a path gives you very little control on the camera motion. Use a follow path constraint instead, and animate the offset value.


I would do 2 arrays and where they meet there is obviously already a cut. Then just animate the curve seperating.

If you want the ends of the curve being connected you can give the ends vertices a hook and place the 2 hooks on the same spot. Then you can set one as a parent and if you now move the parent hook it will seem like they are connected.

Hopefully I could help you.


Blender is exporting the wrong UV coordinates

Two things to check:

Make super sure that you are indeed exporting the UV's when you export the obj.

Make sure that your game engine is consuming the UV information properly.


3D view with a touchscreen in Windows 10 (Surface pro 4), how to zoom, rotate, pan

At the moment the surfacepro needs it's key board for functionality:

Alt pen/touch to orbit
ShiftAlt pen/touch to translate
CtrlAlt pen/touch to zoom

Note: I have Emulate 3 Button mouse enabled.

Touch functionality is something that will be worked on in the [Google Summer of Code][1].

Scroll down to Trackpads, smooth scrolling, and multitouch support

"Benefits: Blender should get cross-platform support for modern input devices. Linux and Windows (Surface Pro) are falling behind."

"[1]: https://wiki.blender.org/index.php/Dev:Ref/GoogleSummerOfCode/2017/Ideas


Trying to extrude bottom wall layout to build a house?

Alright, first things first. Let's identify your problems, which I did after a couple minutes.

Problems

You can Remove Doubles to remove 4,332 vertices.
Your bottom area has a tiny amount of thickness, which is preventing Extrude from working correctly.
Normals are all over the place.
Some faces are missing.

Solution

Beginning from your uploaded .blend file.

Begin by keying A twice to select everything and key W > Remove Doubles.
Enter Front Orthographic View by keying Numpad 1 and Numpad 5. This will allow us to remove the top and few walls that extruded correctly.
Key Ctrl + Tab, 3 to enter Face Mesh Select Mode and Z to enter Wireframe View. Key A to deselect everything. Face select mode allows us to select the correctly extruded middle faces. Wireframe allows us to select vertices that are obscured by other parts of the mesh, rather than just the faces we can see.
Use Box Select to select these faces:

Key X and select Faces to delete these faces. If you zoom in very close on the bottom, you can see its thickness:

Key Z to exit Wireframe View and return to Solid View. Key Numpad 7 to enter Top View.
Box Select the entire grid. Because you are in Orthographic Solid View, only the top faces will be selected.
Key X and select Vertices to delete all top vertices. This will remove the mesh interference.
However, if you try to extrude now, you may get weird glitches. You must select everything with A and use Ctrl + N to Recalculate Normals.
You may want to Fill in some faces now.

You can now use E to Extrude up on the Z-Axis.
Select everything with A one last time and use Ctrl + N once again to finish touching up Normals.

Finished Product:


Would this spiky hair be doable using particles system?

Particles seem like a good start point.
I'd probably turn off random rotations if you want a more tame or regular look to the hair spikes to match the picture though.

If you are not satisfied with the result you can always convert or apply the particle system afterwards and adjust it manually.

You can adjust each hair strand/spike as an instance, as an individual object or even join them all into a single object.


GPU compute not working in Mac Book Pro with NVIDIA GeForce GT 750M 2048 MB

It sounds to me like you're trying to use OpenCl as opposed to CUDA. Change your render option to CUDA in Blender Preferences. If that doesn't work, try updating blender to 2.77a.


You want to be in Weight Paint Mode.  From there, goto Weights >> Clean.  The settings for which threshold you want (if its other than zero) can be found on the tool shelf, on the Clean Vertex group Properties.


There is something wrong with the parenting: I solved the problem selecting the L eye, shift selecting the L eye rig, and pressing Ctrl P choosing "Armature deform" option (This option doesn't affect the weights you've already set). Do the same with R eye.

Then, personally, I would prefere to merge all rigs into one (Ctrl J, but you will have to rename some bones, to prevent name conflicts).


Obtained with:

For the sun:

Shadow clip end set to 300m.

For the glass:

Blend mode to alpha blend.

Shadow mode to none (or alpha clip, but with a threshold of 1... so).


Can I disable alpha when baking textures?

Turn off transparency in the Render properties. In cycles it can be found under film and in blender render it can be found under shader. Or you could just add a plain as a background.


How can I go back to a prior screen layout?

You can easily save your screen layout which allows you to quickly change between the original and your custom layout - see this answer here:

Save Custom Layout in Blender 2.67b?


Blender 2.81, Why are my Light and other settings GONE?

That happens when you have hidden "layers" in an old version of Blender and open it with 2.8x. To show the items click the tv and camera-icons to make everything visible again.

See the second image, click the tv-screen and everything is visible again.


This won't be an instantly workable answer, because this is an issue that I'm having trouble with, too.

But, it seems like you could maybe unregister the operators, then reregister them with your modifications. Checking out the Python API, I found: https://docs.blender.org/api/current/bpy.ops.mesh.html

eg:

unregister()

    bpy.ops.mesh.primitive_cube_add(size=2.0, calc_uvs=True, enter_editmode=False, align='WORLD', location=(0.0, 0.0, 0.0), rotation=(0.0, 0.0, 0.0))

register()

    bpy.ops.mesh.primitive_cube_add(size=20.0, calc_uvs=True, enter_editmode=False, align='WORLD', location=(0.0, 0.0, 0.0), rotation=(0.0, 0.0, 0.0))

or something like that in an __init__ file?

I hope you get an answer, as I'd like to do the same for meshes, but also clip distance for cameras!


New to texturing, my leather texture is see-through

You didn't pack your textures, we cant troubleshoot material problems without all the relevant textures.

Anyway this doesn't look like a texture problem, not even material related.

You have lots of duplicated geometry and overlapping vertex in your mesh, there are double faces everywhere in your seat, and your.

Enter Edit Mode in each of your meshes, select everything then press W > Remove Doubles.

Be sure to recalculate normals afterwards by selecting everything and pressing Ctrl+N


A gloss map is a map of specular power, the inverse of a roughness map.  Read it as non-color, then subtract it from 1 (but see below) via a math node and plug it into the roughness value of any/all shaders.

There is no single, standardized format for gloss/roughness/specular power-- there are instead a lot of different ways to map from color to gloss, depending on engine.  So in order to use a gloss map correctly, you have to know the engine for which it was made, and then you have to know how that engine interprets gloss.

Or you could just wing it.  Start with the simple inversion I mentioned above.


Changing primitive properties retrospectively - options not visible below the tool panel

Creation is special.  Some options you are see are valid at creation time only.  That is standard Blender behavior. The options panel will disappear as you move on to the next mode or task.  If you created a with sphere 32 rings and then in [edit mode] removed many faces ... it is difficult to understand what it would mean to change the rings to 7.

It is difficult to get a creation panel behavior that is acceptable to a large consensus after some object has been potentially modified.


Here's a first shot using drivers, with a set-up to keep the expressions as simple as possible to begin with.

The X location of an Empty('End'), marks the length of the array. Moving 'End' in X changes a collection of driven values, and stretches the array. Everything is parented to another Empty at the origin, ('Start') so the rig works in Start's space, and can be moved about.

The arrayed object is a rectangle with 2 shape keys. The Basis key is set to width 0. The 'Width' key is set to width 1 at relative value 1, so the Value directly encodes the width.

The Count of the array is driven as follows:

The shape key of the rectangle is driven by the 'End' Empty, too:

... and the rectangle is rounded top and bottom by a driven Bevel modifier:

..with this result, so far:

I don't know whether this satisfies your requirements directly, but I'm sure it could be adjusted?


Depending on which mouse button you use to select things in Blender, either press W or RMB (right-click) in object mode with the object selected to open the Object Context Menu.
Then choose Geometry to Origin as shown:

This will move the object's geometry to the objects location based on the average vertex position.
To perform this type of operation more quickly, after accessing the menu, you can press OG (using the underlined letters) or 31 to choose the third element followed by the first element of the submenu.
The Object Context Menu can also be accessed by pressing ☰ aka the menu key.
If the object is still not in the center of the scene after the operation, press AltG to reset the location.


How to create many properties at the same time using list/arrays

Use the python built in method setattr

  The function assigns the value to the attribute, provided the object allows it. For example, setattr(x, 'foobar', 123) is equivalent to x.foobar = 123.

import bpy
from bpy.props import IntProperty
from bpy.types import Scene

prop_name = ["prop%d" % (i+1) for i in range(10)]

for i, name in enumerate(prop_name):
    setattr(Scene, name, IntProperty(name="prop %d" % (i+1)))

On your code, you are setting the name property of Scene class ten times to an IntProperty.

for i, name in enumerate(prop_name):
    bpy.types.Scene.name = bpy.props.IntProperty(name="prop %d"%(i+1))

is equivalent to

bpy.types.Scene.name = IntProperty(name="prop 1")
bpy.types.Scene.name = IntProperty(name="prop 2")
...
bpy.types.Scene.name = IntProperty(name="prop 10")

This is a double whammy, as Scene already has a StringProperty name.  (eg bpy.data.scenes["NAME"] has "NAME" for a name)  The ID class is a base class for all blender objects in the subclass list. Another clue this is BAD is the blank scene name in UI after running question code.  Click on scene name and it will most likely crash blender.


some vertices don't follow bone chain with Spline IK

I found the problem, thanks to this answer. It turns out the vertices in question were also controlled by a bone at the very end of the chain.

What I did:

select the mesh, go into edit mode;
select one vertex inside the problematic part of the mesh and bring up the properties bar by pressing N;
under Vertex Weights, check the names of the bones controlling this vertex, there should be one/several too many;
in Pose Mode, select the bone that should not be on that list;
in Weight Paint mode, choose "Subtract" as mode for the Weight Brush and paint over the red areas that should not be controlled by this bone.