Would it be possible to get list of index of components BY SELECTION ORDER in Edit Mode?

bmesh records (or provides access to) the selection history of a mesh.

import bpy
import bmesh

obj = bpy.context.object

if obj.mode == 'EDIT':
    bm = bmesh.from_edit_mesh(obj.data)
elif obj.mode == 'OBJECT':
    bm = bmesh.new()
    bm.from_mesh(obj.data)

for i in bm.select_history:
    print(type(i),i.index)

Notice the use of type() as the history list can contain verts, edges and faces at the same time and in any order.


Local rotation with array and curve modifiers

In Array Modifier Use Empty as Object Offset. Make sure your objects are located in the center of the 3D space (0,0,0)
Turn off Relative Offset and move the Empty along the Z axis.
To rotate the copies simply rotate the Empty around Z axis.


Is it possible to color correct individual video segments in VSE in a video without affecting the other segments?

In the Video Sequence Editor you can add Modifiers to each strip individually, such as Color Balance, Hue Correct, Curves etc.


Blender 2.79 on Mac Os 10.12 import csv data using Python

Use the os.path module

I'm not on a mac.  The code you posted wont work on any os, unless you have a "/Users/dickmeehan/Desktopxyzevents.csv" csv file in your user folder.

import os

dirpath = "/Users/dickmeehan/Desktop"
filename = "xyzevents.csv"

filepath = os.path.join(dirpath, filename)
txt = open(filepath, "r")
quaketxt = txt.read()

txt.close()
print(quaketxt)

Note: If the blend file is saved then the folder it is in is

blenfolder = os.path.dirname(bpy.data.filepath)

Use the filebrowser

To avoid having to hardcode in paths altogether, open Text Editor > Templates > Operator File Import and edit any occurences of ".txt" to ".csv". (approx line 28)

# ImportHelper mixin class uses this
filename_ext = ".csv"

filter_glob = StringProperty(
        default="*.csv",
        options={'HIDDEN'},
        maxlen=255,  # Max internal buffer length, longer would be clamped.
        )

run the script, select the file... and bingo prints the selected csv file to system console.  Edit the read_some_data(..) method to suit.

Use the Text Editor

open the csv file in a text block (or paste into new  and rename)

for line in bpy.data.texts["xyzevents.csv"].lines:
    print(line.body)

Lastly

There is no need to convert to some unwieldy string.

csvtext = '''
number,y,x,z,m
1,0,0.44,8.19,11.21
2,-11.68,8.13,8.31,7.22
3,-1.54,1.42,5.93,2.16
4,-7.1,3.13,6.25,1.42
5,5.17,3.13,8,1.39
'''

print(csvtext)


How do i go from my object displaying mesh to smooth

You can change how you want to display your geometry per object here:


Completing Blender Guru Donut Tutorial: extruded object does not snap to face

Looks like you are doing the right steps.  The only setting I can't really see from your file is in the Snap drop down menu.
In the snap drop down,  "project individual elements" must be checked, or enabled.


When dragging an image from a folder to the 2D-anim workspace, an empty with the image is created. This will never render, and is probably meant as an reference-image.

Use "images as planes" instead. If the menu-items are not there (that was my problem) then disable and re-enable the addon "images as planes"

Open userpreferences->addons
Find "images as planes"
Disable it - enable it
Menu-entries are now under "file->import" and "add->images"


You could try a couple of things:

Increase the "Distance" value under Physics > Cloth Collision
Increase the Structural Stiffness of the Cloth
Increase the Repulsion Force
Increase the Repulsion Distance
Increase the Collision Quality under Physics > Cloth Collision


Procedural leakage shader from roof and others stuff

I think that I have methods for both simple and complex shapes.  To set up our scene I have this model that I've assigned this PBR texture.

For now we want to treat this as a simple shape and generate a leakage map on the top edges.
To do this we need to be looking at Generated Coordinates separated into only the Z axis.

Now, separately, we can generate some noise and scale it on the X and Y axes with a Mapping node and we get the beginnings of some sort of overall leakage map.

If we mix this noise into our coordinate space and look at the Z coordinate now, we have generated a leakage gradient.

Now we can use a Math node set to Subtract to control where this gradient terminates.

Once you have it placed, I would use a Multiply operation (also clamped) to bring the values up.

Now we can go back to our original PBR setup.  What I did to apply this is simply drop a Hue/Saturation node on the base color and use this black and white map as the factor input.

You have all of these sliders to adjust the effect.

And if you need more variation, feel free to mix in as many layers of noise as you want.  You'll be constantly adjusting your termination zone, though.

So this should work for pretty much any simple shape, but you'll notice there's a lot missing from this.  For more complex shapes you could always generate several masks and add them together, but if we want it to automatically account somewhat for corners and especially windows we need to look to the Bevel node.
If we set our bevel radius pretty high and separate out the blue channel, we basically catch every top face and a bunch of the connecting faces.

We can use similar methods to mix this into our noise layers and come up with something like this.

Which I think works pretty well.  I'm not exactly 100% happy here, but considering you can just mask out anything you don't want and can mix and match methods I think I'm satisfied to finally leave the answer here.


What is the order of importance of the pc components to be able to sculpt with really many polygons in blender?

CPU(most important to frequency) and RAM(not that relative).

Yet, Blender is open source application, and it might not be a really good one to do specialize job like sculpting.

The things you referred are not the most important thing in fluidly sculpting. Most of the time, a good algorithm and code structure will make a huge difference. And those good thing is not likely include in Blender since there is too many aspect Blender need to care about, and there is not that much resources Blender Foundation can use to develop it.

If you really need and want to have a good experiences in sculpting, try some specialized application, e.g. ZBrush


Subdivision modifier doesn't work on some edges

Yeah, there are several double vertices. You can check by Alt-leftclicking the questionable edge, and move the now selected edge loop down.

To repair, select all vertices in edit mode, and click Mesh > Clean up > Remove Doubles.


properly UV unwrapping "edge loop" geometry?

First remove doubles (W-->Remove Doubles) and apply transformations (Ctrl+A-->Apply Rotation, Scale). Then hide the non selected part of your mesh with Shift+H. Mark seams (select edges as pictured below and press Ctrl+E-->Mark Seam). Then select it with A and unwrap it U-->Unwrap.

Now straighten the UV islands ( How do I straighten UV maps? ).


No they are not double sided. You can check this by going to the N menu and checking Backface Culling under Shading options.


Checking if a vertex belongs to a vertex group in python

What you basically want is something like this:

import bpy
ob = bpy.data.objects["Cube"]
gi = ob.vertex_groups["Group"].index # get group index
for v in ob.data.vertices:
  for g in v.groups:
    if g.group == gi: # compare with index in VertexGroupElement
      v.co[0] = 5

v.groups is a collection of VertexGroupElements. VertexGroupElement contains group (as index) and weight (as float [0,1]).

find can not find anything, because v.groups does not contain any keys.


Let's start with the very basics.
What you call "transparent" is an Alpha Channel at work.
The image you are creating has tree color channels (RGB) and a separate Alpha channel, that is used as a Mask to determine how the image is combined with others.

This is what the Alpha Channel looks like:

The alpha channel is nothing magic, it is just black and white image where the opacity is set by the white element (a value of $1$) and "transparency" by the black (a value of $0$), any gray elements would be "semi-transparent".
In blender RGB information and Alpha channels are accessed separately, in other words, you must plug the Alpha channel to something to determine what gets the RGB information and what doesn't.
The most basic setup is like this.

The color of the shader is provided by a mix RGB node, that is using the RGB info from the texture (color) and the alpha channel separately, as factor for the mix with a yellow color.
The alpha channel is used to determine what parts of the texture get what color. What is black on the alpha channel will be yellow, what is white in the alpha channel will have the color (RGB) information of the image texture used.
Or you can use the alpha channel to mix different shaders:

UV mapping.
By default blender creates a UV map when you create a cube, so there is a UV map already present in all of the other faces.

The simplest way to deal with would be creating a new material and assign it to that face, but if you want to keep using a single material for the whole thing, you can edit the UV map so that all of the other faces' UV map out is of the picture, and make sure that the extrapolation for the texture used in the material is set to clip, that way anything out of the 0-1 UV space will be ignored.

If the image contains an alpha channel usually blender will pick it up, but in case it doesn't you can enable it manually.


replicate both screenspace and world space valley in eevee material?

I'm not sure if Eevee has capability to get there, since all edge detection nodes (like Bevel, Pointiness, or what ever) is not working in Eevee.

The closest I was able to get is with Cycles and yet with problematic part.
Node tree contains Pointiness feature that is sensitive for vertex distances, so to get there I had to use Subdivision Modifier in a very high level. So whole this example is quite useless.
So just for an idea or someones exploration ...
Workbench

Cycles


Objects being moved with each other inside an area

Available Shortcuts for Proportional Edit tool:

O to enable/disable Regular mode;
AltO to enable/disable Connected mode;
ShiftO to switch among the Falloff types.


update: turns out i just have to scale all of my objects, i don't really know the reasons behind of it but it works after i scale it up


Why the particle does not appear in cycle render mode?

Your hair is not showing because the strands are tiny. You set them to 0.002cm and a scale of 0.01, so they are virtually invisible.
Don't mix a shader with nothing, unless you are going for a stencil effect.
Use a hair shader if you want to render hair. Normal shaders can work, but there's a reason hair shaders exist.

Hope that helps.


Press ctrl+alt+0 to explodes My character

The problem is that you have inadvertently set part of your mesh to act as the active camera. This can be easily done by selecting an object and pressing Ctrl+Numpad0 - and it means that when you are trying to move the “active camera” it is pulling your mesh and rig apart, causing the distortion.

To resolve this simply select your actual camera and press Ctrl+Numpad0 to set that as the current active camera. Ctrl+Alt+Numpad0 should now be back to moving your actual camera rather than the mesh.


Is there a way to assign vertex groups to all loose elements via python

Another take on this. Already had code that separated a mesh into vertex groups from seams,

import bpy

def island_verts(mesh):
    import bmesh
    bpy.ops.object.mode_set(mode='EDIT')
    bpy.ops.mesh.select_all(action='DESELECT')

    bm = bmesh.from_edit_mesh(mesh)
    bm.verts.ensure_lookup_table()
    verts = [v.index for v in bm.verts]

    vgs = []
    while len(verts):
        bm.verts[verts[0]].select = True
        #bpy.ops.mesh.select_linked(delimit={'SEAM'})
        bpy.ops.mesh.select_linked()
        sv = [v.index for v in bm.verts if v.select]
        vgs.append(sv)
        for v in sv:
            bm.verts[v].select = False
            verts.remove(v)
    bm.free() # prob not nec.
    bpy.ops.object.mode_set(mode='OBJECT')
    return vgs

# test run
obj = bpy.context.object
mesh = obj.data
vgs = island_verts(mesh)

for vg in vgs:
    group = obj.vertex_groups.new()
    group.name = "Island"
    group.add(vg, 1.0, 'ADD')


Blender crashing during the execution of a script processeing moderatly to large graphs from graph_tool

After much messing around I found I was doing two things wrong.

The first was I should have been importing graph tool with from graph_tool.all import graph_tool as gt instead of import graph_tool as gt.

The second problem I was having was not symlinking correctly. Instead of symlinking the whole site-packages I found that only symlinking what I actually needed worked.

I wrote the following bash script which will do all the necessary sym-linking given the name of the blender installation folder(this is so it will work for different versions of blender). You'll have to change the paths specifying where your conda installation is and what folder your blender installation directory is.

#pass it the blender installation directory. You will have to change $Blender_folder_directory to wherever you installed anaconda.
#Also make sure the anaconda environemnt is called blender
condaInstallation=/home/ben
Blender_folder_directory=/home/ben #which directory your blender installation folder is in.
name=$1
version=${name:8:4}

ln -s $condaInstallation/anaconda3/envs/blender/lib/python3.7/site-packages/graph_tool $Blender_folder_directory/$name/$version/python/lib/python3.7/site-packages
ln -s $condaInstallation/anaconda3/envs/blender/lib/python3.7/site-packages/scipy $Blender_folder_directory/$name/$version/python/lib/python3.7/site-packages
ln -s $condaInstallation/anaconda3/envs/blender/lib/python3.7/site-packages/cairo $Blender_folder_directory/$name/$version/python/lib/python3.7/site-packages
ln -s $condaInstallation/anaconda3/envs/blender/lib/python3.7/site-packages/matplotlib $Blender_folder_directory/$name/$version/python/lib/python3.7/site-packages
ln -s $condaInstallation/anaconda3/envs/blender/lib/python3.7/site-packages/dateutil $Blender_folder_directory/$name/$version/python/lib/python3.7/site-packages
ln -s $condaInstallation/anaconda3/envs/blender/lib/python3.7/site-packages/mpl_toolkits $Blender_folder_directory/$name/$version/python/lib/python3.7/site-packages
ln -s $condaInstallation/anaconda3/envs/blender/lib/python3.7/site-packages/gi $Blender_folder_directory/$name/$version/python/lib/python3.7/site-packages

ln $condaInstallation/anaconda3/envs/blender/lib/python3.7/site-packages/pyparsing.py $Blender_folder_directory/$name/$version/python/lib/python3.7/site-packages
ln -s $condaInstallation/anaconda3/envs/blender/lib/python3.7/site-packages/pyparsing-2.4.7.dist-info $Blender_folder_directory/$name/$version/python/lib/python3.7/site-packages

ln $condaInstallation/anaconda3/envs/blender/lib/python3.7/site-packages/cycler.py $Blender_folder_directory/$name/$version/python/lib/python3.7/site-packages
ln -s $condaInstallation/anaconda3/envs/blender/lib/python3.7/site-packages/cycler-0.10.0.dist-info $Blender_folder_directory/$name/$version/python/lib/python3.7/site-packages

ln $condaInstallation/anaconda3/envs/blender/lib/python3.7/site-packages/six.py $Blender_folder_directory/$name/$version/python/lib/python3.7/site-packages
ln -s $condaInstallation/anaconda3/envs/blender/lib/python3.7/site-packages/six-1.15.0.dist-info $Blender_folder_directory/$name/$version/python/lib/python3.7/site-packages

ln $condaInstallation/anaconda3/envs/blender/lib/python3.7/site-packages/kiwisolver.cpython-37m-x86_64-linux-gnu.so $Blender_folder_directory/$name/$version/python/lib/python3.7/site-packages
ln -s $condaInstallation/anaconda3/envs/blender/lib/python3.7/site-packages/kiwisolver-1.2.0.dist-info $Blender_folder_directory/$name/$version/python/lib/python3.7/site-packages


Creasing edge with "Subdivision surface" modifier on rounded surface

Actually this is not a bug, this is how it works. Creasing just "pulls" edges on subdivided surfaces towards it's original location (without subsurf) so it's natural.

Please watch this video about 3 different methods regarding the subject:

Tips for Creating Sharp Edges While Modeling

Edit: I may have not been clear enough why that artifact occurs. It's because you're not creasing the edge NEAR the creased one (in the middle which you want to be rounded) and so there is a "jump" between a 100% creased edge and a non-creased edge.


I recently made this build, have a look. It has some bench marks from blender:
https://egpu.io/forums/mac-setup/macbook-pro-retina-15-inch-early-2013-akitio-node-1080-ti-external-monitor/#post-14571


Set your HDRi images to light your scene as you'd normally would.
Enable Environment in the light passes section of the Layer Properties.

Enable Film Transparent, so that the background will render as an alpha channel and not as the world backgrund:

In the compositor use the output from the environment and blur it and darken it at will, then combine that result with your scene using an alpha over node.
That way the illumination for the scene will remain intact and the Background can be affected independently:

HDRi by GiantCowFilms
UPDATE: read this link to prevent a darker edge around the objects
(Images for version 2.7x)


How to scale this object (a Tail of an Asteroid), so it is not crooked?

I found something crucial, your models always have to be Applied on Scale and Rotation, specially if they are used in animation. This may be the source of your problem when you scale the geometry down, when you are modelling always remember to Apply Rotation & Scale to your models, it's a good guideline to keep. (CTRL+A+Apply Rotation & Scale in Object Mode)

Now, for the trick you wanted it's really a dirt trick, it's something harmful you can do, but it reproduces the effect you want, plus you can animate it. I selected your root bone of the asteroid.

And scaled it down while locking the Axis Z, (S+Shift Z)

It's a ugly solution and messing with bone's scale it's a bad way of doing things, but, it works. So for your animation, maybe you can animate the X and Y scale of your root bone.


How can I create a circle that contains two existing vertices?

The difficulty here lies in the fact that it no longer seems to be a circular path, it seems to be elliptical and slanted.

Anyway you could probably achieve this easily by basic Extrude/Scale workflow using your already drawn profile as snapping guide.

Just select your last edge loop, press E to extrude, Z to restrict to the Z axis and then snap it to the first vertex of the guide.

To snap activate snapping to vertex in the 3d view header switch to Vertex Snap mode, and then press Ctrl during transform.

Afterwards press S to scale Shift + Z to scale only in XY plane and then snap again to said vertex.

Repeat these steps until the complete shape is done.

In the end you may want to remove doubles to clean up the geometry by selecting all and pressing W > Remove Doubles


Minecraft render animation skin not working

Without the original blend file I can only think that:

The template model is using a custom unwrap texture*.
Your skin is a custom skin*.

*not following the minecraft uv or model uv setup.
Download the original steve skin, replace the templet skin with the steve one, select the model, go to edition mode with the UV editor open on one window, select all the vertex and look if the unwrap is well done.


Blender's undo system works by saving the blend file to memory, and loading it to perform the undo. If your operator doesn't fully undo, you're probably calling other operators from within its code. That's usually a bad idea; modify object properties and call functions instead.

There are no undo/redo functions that you can override.


Blender 2.8 material not applied to separ

I've managed to change the material by selecting faces (Ctrl + L does this more quickly). Click assign after selecting faces and changing material.

I sometimes manage to create a new object from vetexes and then assign a material to it. Sometimes, I can't. I really have no clue as to why.


Why do these weird lines appear in my render?

I am not sure why this is happening, but I have narrowed it down to your light with some basic trouble shooting.
It happens with only a lamp and the floor thus only place the problem can be. Applied the scale to the light and lines gone.
Check scaling on all your lights... and the rest of your items.
;)


Blender 2.8 doesn't recognize my graphics card for GPU

Blender is only capable of doing GPU rendering on CUDA (NVIDIA cards) and openCL (originally develop by Apple & maintained by Khronos group)(1). However Mac dropped support for openCL(2) therefore there is no way to use an AMD GPU for GPU rendering on Blender nor other software that uses only openCL.

The only option, that I haven't tested is to try to use Linux on your machine and download AMDGPU-PRO from AMD's website. No guaranteed to work.

1.- GPU Rendering - Blender Manual

2.- Apple Drops OpenGL and OpenCL


Why is my sculpting brush texture/alpha being clipped?

It looks like this is because of two things.
First is the default falloff settings. Just below the texture heading is a falloff heading, shown below:

The default is a smooth falloff, which has a strength of 0 at the edges, even at full hardness I believe. The solution is to switch to a constant falloff. Just be aware that this can cause hard edges on the brush if the texture suddenly gets cutoff...
Which is the second reason. The sculpt brush is round, and your texture is square, meaning that the "corners" of the square will be clipped. The solution is to increase the texture scaling values under the Texture heading. This will scale down the texture a bit so that the square image fits into the round brush.
An alternative is to make the texture itself have a larger black border, so if scaling doesn't work for some reason, that would be the next best thing I think.


How to make all faces flip to the right/consistent direction?

TL;DR: Select all and press ShiftN to Recalculate Normals (CtrlN in 2.7x and earlier).

I think this is problem you are having: some of the normals are always facing the wrong direction.
If you have the whole mesh selected when you flip normals then you are just toggling between the backwards faces and the correct faces, what faces are backwards. You are flipping the whole mesh, the correct parts will become backwards.
Whilst in Edit Mode, with the whole mesh selected, Recalculate the normals. That should fix the problem.
If recalculating the normals does not fix it, then you will have to go through your mesh and select only the faces that are backwards then flip normals.
I think you want the inside of the scope to point towards the inside. That is a case where Recalculate will probably not work. If the inside cylinder is unconnected from the rest of the mesh, then just hover the mouse over the inner cilinder and press L.


When I use the "Boolean" modifier it doesn´t make new faces

Just found a solution.. Instead of selecting BMesh I selected carve and as operation I chose union. Works fine.


assign a single texture to atlas type uv-map?

You need to make another UV map, unwrap leaves individually to a leaf image and then bake it to the atlas texture using the original UV map, like this:

Whole procedure in one gif

Invidividual steps:

Create new image for the atlas texture by going to UV/Image and Alt+N

Create new UV map

Create a material with a leaf texture

Select All A, change image in UV/Image editor to the leaf image and then Unwrap U > Reset - this sets whole UV
space for each leaf so you can apply your leaf texture to all of them individually. Adjust UV to your needs.

Switch back to original UV map and click on the camera icon of the UV map with individual leaves (so we will bake from this UV map)

Navigate to Render > Bake, hit Bake

Your leaves are now baked into the atlas texture


Delete only outer vertices from faces in a faces-and-edges-selection selection

Deleting faces works just fine

Script here:

import bpy

bpy.ops.object.mode_set(mode='EDIT')

bpy.ops.mesh.select_all(action='SELECT')
bpy.ops.mesh.region_to_loop()
bpy.ops.mesh.select_more()
bpy.ops.mesh.select_more()
bpy.ops.mesh.select_more()
bpy.ops.mesh.select_less()
bpy.ops.mesh.select_less()
bpy.ops.mesh.select_less()
bpy.ops.mesh.delete(type='FACE')

bpy.ops.object.mode_set(mode='OBJECT')


How do I set third person controls in bge?

Change your motion actuators to global instead of local

Try clicking on the L on the right. also does your character rotate mid game or just move left, right, forwards, and backwards?
If you set the motion to global, the movement would be always in the same direction even if your character rotates. So as long as your camera doesn't rotate, the movement should be always the same and therefore the same with respect to the camera.

Hope this helps :)


Why is there different shading on the same material

For the flat faces:

Select the flat faces in edit mode and set shading to smooth
Check your auto-smooth settings (under Mesh properties -> Normals)

For the other face, It looks like you have an N-gon (a face with more than 4 edges). N-gons tend to triangulate poorly and so can lead to shading artifacts, particularly when they are not convex like the one you have. You need to break this up into simpler faces.


Is there a "reselect" option in Blender?

"In Blender, in edit and object mode, anyway, the key combination CTRL-Z is "undo"; the key combination CTRL-SHFT-Z is "redo". The undo history is accessed by the key combination CTRL-ALT-Z, listing the number of actions as defined by the user in the user preferences under the "Editing" tab, under the heading "Global Undo".

Additionally, SHFT-R repeats the last action.


Why is it overlapping?
Your polygon is not a traingle, there is very small edge (top corner) which overlaps quite easily with default inset tool, due to its relative shortness to adjacent edges.
How to prevent overlapping?
Either merge overlapped geometry after inseting or use shipped add-on called Inset Straight Skeleton (Blender 2.8x) or Inset Polygon (Blender 2.7x), which insets without overlapping. Actually, add-on automatically merges overlapped geometry on every appearance, creating extra loops.
SE: Inset Straight Skeleton enabling and usage info
Sometimes skeleton inset produces bad geometry (wavy and not even) due to precision issues with merging distance. There is a trick to obtain beter results, it involves scaling:

Scale a polygon in edit mode n times (used n=10 factor for pic example)
Inset with amount * n (inset should be relatively bigger)
Scale 1/n times (everything goes back to initial size)

"Scale trick" pic example: (it is a long polygon, but in perpective view for better visibility)


Please note material drivers can be different than a Scale driver. Sometimes you will need to take this somewhat inconvenient step of adding a driver to datablocks view of the outliner.  Get ready for a surprise.

Your material is not shown above.

Select key from the menu ... note the key on panel below.

Note the note from the tooltip from the Lattice Panel which you have already seen. Keys["Key.002"] in my case. Adjust to your case please.  So the toolip is showing two items which must be noted.  Two Strings.

Tooltip above for reference.

Panel entries.  The two pieces of information from the tooltip are entered above.

In Blender User Preferences verify that scripts are enabled.  You may want to seek fuller explanations of that concept here at BSE.

You may want to see this link about materials.
Driver Expression


You mesh does not appear to be a major time investment thus I suggest

Delete the mesh.  This may delete a one time mistake.
Create a new mesh
Fresh Start
Try to work with the new mesh

Deleting defective work that has a low time investment and creating a new work can save time.  If you have the same defect many times in a row and you report this then we need a different approach.


For whatever reason, there is a mask modifier on the GEO-rain_jeans object, set to only visible render. If you remove the mask modifier or disable it, the jeans will render normally.


Movie clip resolution changes when added to an input node in Compositor

I used a Scale Node > Render Size as suggested by 3pointedit and it worked, still not sure how the problem was caused as I used this same camera before and had no issue. Thanks for the help though everyone!


Blender Cycles - Can't see Glass through Glass

I thank and praise the Lord Jesus Christ for answering prayer and showing me the solution!
The issue was not with the glass encasement material after all. Mixing between glass and transparent shaders based on shadow, diffuse, and glossy outputs from the Light Path node was correct. The problem was actually with the glass bulb and filament materials!
In the original setup for the glass bulb, a transparent shader was being mixed in TWICE (this essentially was the setup for architectural glass, minus the translucent shader with its mix node, as shown on BlenderGuru). However, the way the 2nd transparent shader was being mixed in (via light path node) was conflicting with the material's ability to be seen at full illumination THROUGH the outside beveled glass encasement.
Outside of the glass it looked fine, but inside, it's strength was being clamped. This was the same problem for the filament material, which was mixing in a transparent shader in the same way. The solution for the glass bulb material was to delete the 2nd transparent shader, and for the filament, it was to remove the transparent element completely.
New setups are shown below:

EDIT: I should note that I no longer add the "glossy" ray in the Light path node-- I only add shadow and diffuse together. If you add glossy, your glass object will not reflect in mirrors, which is a highly undesirable effect. :-)


12 would be your lowest choice but it depends on your animation content. If it has some fast movements they will become jerky at 12fps. For animations; a safe area to start from is 16-20 frames per second. An example is Silent movies which were filmed with a frame rate around this range .


Grease pencil stroke disappears instantly after I draw

Not too much to go on but sounds like you nudged the frame number away from the frame the rest of your drawings were on. Check the timeline at the bottom of your workspace, is the green "current" indicator on the same frame as the keys?


Multiple objects following the same path at different rates

With just a follow path constraint, with fixed position set to True, an offset of 0 is start, 1 is end of curve. The offset can be keyframed / driven.

Sample file, 3 cubes, All at 0 offset at frame 1.  Two are keyframed, one traverses path in 50 frames the other 80 with an offset value of 1 at those frames respectively.

The other is driven by the frame number

(frame - 1) / 100

which will be at 0 at frame 1 and 1 offset at frame 101 and above.


Go to Material Properties > Surface > Subsurface and change value to zero.

Subsurface Scattering (SSS) is used for materials like a skin, milk, etc ... where part of light rays go through a surface and scatters in volume.


Just want to set viewport to wireframe from script

Screen is divided into areas.

An areas active space, matches area type.

2nd script will set the 3d view in that space to solid shading, change text editor to 3d view to confirm.

To set 3dviews  in context screen, find them first

spaces3d = [a.spaces.active for a in context.screen.areas if a.type == 'VIEW_3D']
for s in spaces3d:
    s.shading.type = 'SOLID'

If there are more than one view 3d open, you may wish to only set the largest area, can sort the list by area area (a.width * a.height)


Animating object's transparency in NLA editor

I guess you animated with nodes? Go to the animation layout while the animated node is selected, then you should be able to manipulate the keyframes.


How to make one object gradually disappear as it passes through another object

For a basic effect, you could animate the transparency.

Almost all UI properties are animatable, You can keyframe them by right clicking and selecting Insert Keyframe (1 or I), or hovering over the value pressing I.

Also see

How can I animate my Cycles shaders?
Can modifiers such as "Subdivision" and "Array" be "animated"?

You could keyframe the transparency out as your object enters one gate, then keyframe the object location to move it to the other gate (or use a duplicate object) and keyframe the transparency back.

Cycles:

You can do this in Cycles by using a mix node and animating the factor:

Blender Internal:

This can be done in BI by enabling Transparency in Properties > Materials and animating the Alpha:

Other methods:

Another way you could try is using a Boolean modifier to remove parts of the object as it intersects it. You could then have a duplicate of the object moving out of another boolean cube to make it appear the sections are teleporting:


'Blend' in planes to create ocean/lake and also with Flip Fluids surface

I'm not entirely sure what you're trying to achieve here but if it's to blend a flip fluids simulation with a plane with an ocean modifier there's an in depth tutorial on youtube here: https://www.youtube.com/watch?v=8_aPHD9qe74&t=1s


How to loop the particle simulation indefinitely?

A more "clean" way to create a loop using particles:

let's say the render range is 300

Create ParticleSystem

Start: -150 End: 150 Life: 300
Remove randomness
Newtonian physics type
object, force etc..

Create ParticleSystem 2 (same object)

new data block based on ParticleSystem (everything same as the first system)
Start: 150 End: 450 Life: 300

Change numbers according to render range and remove a frame from the beginning or end of the range.

Happy Blendering :)

Heres a demo:
https://www.dropbox.com/s/ipp86jqzoeiqn04/SeamlesParticleLoop.blend?dl=1


Hi, your problem as already pointed out is N-gons, the highlighted area in the image was one crazy huge ngon, all I did was use the knife tool to slice it into 2 polygons (still ngons but better ones).
It is best to use quads if posible, ngons are not always bad, but in this particular case it had too many sides surrounded by small polygons (small detail), so this particular ngons was overpowering them.
search on google for topology and quad modeling.
cgcookie has some good tutorials.
good luck on your projects.

https://drive.google.com/file/d/0B7Is78yvd9nWMXQyTzRiWi1pVjA/view?usp=sharing


python drivers don't work anymore after reloading file

you need to make sure that the Register checkbox is checked to avoid pressing Run Script every time you want your driver to execute.

and as mentioned in the checkbox tool tip, your script name should end with ".py"


It's not the windows dude, maybe just keyboard binding.
If you are trying to animate something would recommend to look if the model has bones (armature(right upper corner list)), if so check if skeleton(armature) is in Rest position,
click on Pose Position. Then just change object mode to pose mode & should be ready to go.
Cheers.


Thanks to @scurest for answers in comments. Here is my working code now:
import bpy
import numpy

active_obj = bpy.context.active_object

active_obj.data.attributes.new(name='myAttribute', type='FLOAT_VECTOR', domain='POINT')

# set (you could also use numpy.empty)
test = numpy.zeros(len(active_obj.data.vertices) * 3, dtype=numpy.float32)
active_obj.data.attributes['myAttribute'].data.foreach_set('vector', test)

# get (you could also use numpy.empty)
test2 = numpy.zeros(len(active_obj.data.vertices) * 3, dtype=numpy.float32)
active_obj.data.attributes['myAttribute'].data.foreach_get('vector', test2)

Tested in Blender 2.92


You can also create multiple timelines (if needed) or create a new one by sliding the scene left or right from one of the bottom corners. This will create a new view of a editor. Where the triangle lines are.


Connecting vertices in different objects

As you correctly suspected, you can only create faces with vertices of the same object. Join the objects first, by selecting them in Object Mode and pressing CtrlJ. Then create the face by selecting the vertices and pressing F.


How to select a face closest to a point in space?

Try this (requires you to have one selected and active mesh object):

import bpy

cur = bpy.context.scene.cursor_location
o   = bpy.context.object

bpy.ops.object.mode_set( mode = 'OBJECT' )
faceIdx = o.closest_point_on_mesh( cur )[-1]

if faceIdx != -1:
    o.data.polygons[ faceIdx ].select = True

bpy.ops.object.mode_set( mode = 'EDIT' )


The following assumes that you are using 'Particle System-> Render-> Object -> Dupli Object'.

Option 1) You can press the Convert button for the Particles Modifier.

Option 2) If you would like to keep the particle Emitter intact, you can use the 'Make Duplicates Real' Tool Shift+Ctrl+a.
This will create object particles at every particle position just as if you applied the Modifier but the particle emitter and its particle system will still be intact in case you would like to make further changes.


Blender UI panel custom property doesn't show up

Setter / Getter on property

Something like this can be done with an update, or setter and getter on a blender property.  The operator has been ditched altogether.

Because the compositor is being used, the Scene type is a natural choice. For shader nodes choose  Material.

The getter returns how many math nodes are in the node tree.

The setter adds more if greater.

Haven't wired in removing the nodes. Would consider removing nodes to match input number as long as they have no links.

import bpy
from bpy.props import IntProperty

class NODES_PT_math_nodes(bpy.types.Panel):
    bl_label = "Too many Nodes"
    bl_idname = "NODES_PT_math_nodes"
    bl_space_type = 'NODE_EDITOR'
    bl_region_type = 'UI'

    def draw(self, context):
        layout = self.layout
        scene = context.scene
        col = layout.column()
        col.prop(scene, 'math_nodes')

def get_math_nodes(self):
    node_tree = self.node_tree
    return len([n for n in node_tree.nodes if n.type == "MATH"])

def set_math_nodes(self, value):
    node_tree = self.node_tree
    nodes = node_tree.nodes
    m = get_math_nodes(self)
    delta = value - m
    if delta > 0:
        for i in range(delta):
            n = nodes.new(type="CompositorNodeMath")
            n.location.x += (m) * (n.width + 20)

def register():
    bpy.utils.register_class(NODES_PT_math_nodes)
    bpy.types.Scene.math_nodes = IntProperty(
            min=0,
            soft_max=10,
            get=get_math_nodes,
            set=set_math_nodes)

register()


Which gives better performance in render/viewport: mask modifier or assinging a transparent material?

A transparent material still costs vertex transformation, BVH calculation, and fill rate, so a mask modified mesh will have better performance.  The difference between the two will probably not be large enough to notice.
Viewport vs. render doesn't matter-- a viewport is a render-- although you'll have slightly different costs depending on rendering engine (and a solid view is workbench, a mat view, Eevee, and a rendered preview, whatever you have set.)  For example, only Cycles does BVH calculation, and fill rate is really a rasterizer (workbench or eevee) characteristic (as far as I understand it, I'm not a raytracing guru.)


Is it possible to tetrahedral a mesh in Blender?

In your code, you should replace:

faces = [bm.faces] by faces = bm.faces[:] because you want an array of face, not an array with one array of faces.

geom = f by geom = [f] in consequence

Though, using bmesh.ops too many times will lead to poor performance.
You can extrude all in one operation and loop over the result for just shifting the coordinates:
import bpy
import bmesh
from mathutils import Vector
from bmesh.types import BMVert

# The mesh and its related object
obj = bpy.context.active_object
me = obj.data

# Access to BMesh data and ensure lookup tables
bm = bmesh.new()
bm.from_mesh(me)

# Geometry to extrude
bm.faces.ensure_lookup_table()
faces = bm.faces[:]

# Extrude once
result = bmesh.ops.extrude_discrete_faces(bm, faces = faces)

for face in result["faces"]:
    up = face.normal
    #Shift the vertices without bmesh.ops
    for v in face.verts:
        v.co += up

bm.to_mesh(me)
me.update()

Which gives:


Can "Toggle Quad view" remember the viewpoint?

When toggling off by pressing button, it will switch to the Front ortho view by default. But you can hover the mouse cursor over one of the four views, then use shortcut CtrlAltQ to toggle off while switching to that particular view.


How to rotate an object in my setting postion along z-axis in python?

sorry that I have worked it out. The code can be:

def animationImages(path, num):

    model = bpy.data.objects[0]
    print(model)
    model.rotation_mode = 'XYZ'
    images_path = path

    x_radi = bpy.context.object.rotation_euler[0]
    y_radi = bpy.context.object.rotation_euler[1]

    image_index = 1
    for radi in np.linspace(0, 2*math.pi, num, endpoint = False):
        model.rotation_euler = (x_radi, y_radi, radi)
        image_save_path = "{}/{}.png".format(images_path, image_index)

        bpy.context.scene.render.filepath = image_save_path
        bpy.ops.render.render(write_still=True, use_viewport=True)

        image_index += 1
    return

images_path = r'M:\RenderedModels\images'
num_images = 99

animationImages(images_path, num_images)


OSL: Can I use a closure as an input to an OSL script?

When OSL is enabled in Blender all shaders are compiled using OSL.
Therefore the Add Shader and Mix Shader are very good examples of what you are looking for.

The next script is the implementation of the Mix Shader node used in Blender 1.

shader node_mix_closure(
    float Fac = 0.5,
    closure color Closure1 = 0,
    closure color Closure2 = 0,
    output closure color Closure = 0)
{
    float t = clamp(Fac, 0.0, 1.0);
    Closure = (1.0 - t) * Closure1 + t * Closure2;
}

BTW I don't see it as abuse of the render system but still be aware that OSL will not allow you to do many operations on a closure

  At present, the only type of closure supported by Open Shading
  Language is the closure color, and the only allowed operations are
  those that let you form a linear combination of closure color’s.
  Additional closure types and operations are reserved for future use.

- closure color:  unary negation
color * closure color: component-wise scaling
closure color * color: component-wise scaling
float * closure color: scaling
closure color * float: scaling
closure color + closure color: component-wise addition

Other operations are not supported. and that said there is just a little room left of things to do, what cannot be done by a set of Add Shader and Mix Shader


Blender IK armature rotation issue importing animation to Unity

I think you should apply your rotation and scale, by pressing ctrl A.


How can I make objects behave as if they were solid?

You can turn your objects into rigid bodies.

If two rigid bodies are on the same place they will push away form each other.

In this example a cube and a sphere are on the same place. This is what happens when you hit AltA to start a simulation: The cube gets pushed away... (a plane is there to catch them as a rigid body, but passive type)


What is the fastest way to create 28 x 28 x 28 individual cubes with its own material in python? Writing 3 forloops is too slow


Setting field of view in Blender 2.8 from half angles of horizontal and vertical field of view of camera

I found what I was looking for from https://blender.stackexchange.com/a/40835/99643 .
The following equations were helpful from that answer:
sensor_width_in_mm = $K[1,1]*K[0,2] / (K[0,0]*K[1,2])$
$s_u$ = resolution_$x$_in_px / sensor_width_in_mm
focal_length_in_mm = $K$[$0,0$] / $s_u$


The issue was having multiple textures for the UV Map. It was loading the checkered texture for some sections when I subdivided which was weird. I simply selected all faces, changes the image to the checkered texture and then back again and it seemed to fix the issue.


Export Blender Particle System Hair To Three.Js

You could convert the hair particles to a mesh in the modifier tab in the properties panel.

This would only create and object with only edges and vertices:

If you need meshes with faces you could emit low poly cylinders from the hair particles before converting them to a mesh.


How to Get That Triangulated Low-Poly Look?

You're looking for the decimate modifer.

Change the shading to Flat, check Triangulate and reduce the ratio to the desired result.


There is another way to quickly do the shading without the need of retopology and UV unwraping if are not going to animate the model. You can use the texture cordinate node to change the cordination from UV to project or other ways... then using some procedural or seemles textures and mix them together with a balck and white mask as a factor instead of texture painting. Highly recommend to watch the "Materials Made Easy - Non Destructive Shading in Blender" by Zacarist Reinhardt in Blender's YouTube channel from Blender Con 2018. (Sorry having internet problem I couldn't get you a link)


How To Animate A Superhero Zap Into His Super Suit In Blender

I imagine something akin to this might be what you're after. Much more in the way the sparkles are formed and travel, plus more mesh building, e.g. to form a pair of large boots from the ground up, could be added to enhance the overall effect.

Combining this with @Wossname's answer would enhance things also.

The main objective of this answer however, that of re-clothing your character from the feet up, is to demonstrate another relatively simple method of achieving this in Blender.

The exercise is performed in Blender's 3D Window, (stage) using a 3D  model.  You can use the same technique just as well with flat 2D drawings instead. (textured 2D planes)

The model (or drawing) of the character in normal clothing is in layer one. The zap-dressed model/drawing in layer two.

The secret is to have both models/drawings with EXACTLY the same dimensions so no change apart from the clothing would be noticable.

Blender will do this by duplicating layer 1's model, and moving the copy to layer 2.

The duplicate would then be allotted it's own exclusive material slots which would be textured this time with the hero's costume. Additional mesh for the boots & gloves would be added in this layer also.

In the case of 2D drawings, the first drawing plane would be duplicated in layer 2, so you'd need to retexture that with a modified drawing showing our hero with new clothing.

To keep both drawn characters at exactly the same dimensions, both would probably need to be produced in the same application that drew it in the first place.

i.e. Create a second drawing layer by duplicating the first, then repainting the clothing onto the copied drawing.

You would have two drawings, one in each layer.

Export both as separate image files with which to texture the two 2D planes in Blender.

Now for the zap!

-=============-

Both layers would be included in the final render but layer 2's model or drawing wouldn't be visible initially.

An 'inviso' mask is used to do this in the second layer.

When the mask is slid upwards in the z axis, it would progressively unmask (reveal) the new clothing.

The original drawing would be masked in reverse.  i.e. another 'Inviso' mask in layer 1 would rise from the ground up and progressively hide the original drawing or 3D model.

Both masks rise together and at the same speed to -

a) From the feet up, progressively render as invisible, the normally dressed character.

b) From the feet up, progressively reveal the zap dressed character.

Once the first model is hidden it can be instantly disposed of.

Animating limbs during this process is no problem because when duplicating, the copy inherits the original's keyframes.  Synchronization is automatic -

Layer one's mask is positioned so it's top edge just overlaps Layer 2's mask lower edge so there would be no gap.

Sparkles (particles) could be added where the two planes meet.  This one is parented to the Layer 2's Inviso.  As it rises the view alignment changes so keyframed adjustments to the sparkle emitter's Z axis "location" will be necessary to correct this.

Alpha layering the final clip is also handy for making promos/demos. Inviso masks work just as well with this process.

Note how once alpha layered, our char can be sparkling into his uniform whilst placed 'physically' within this jpeg image, using (again) inviso masks, one for the chair, the other for the table to mask the shadow.

-==========-

Inviso Masks - (Edited - New link 22/March 2019)

For details on how to create these, click here - How to put a mask into 3d space

NOTE:  Inviso's will only work when rendering using "OpenGL". (Top left of window under "Render") PLUS everything must be deselected.  i.e. Press 'A' before viewing or rendering.  Also select "Only Render" in the 3D windows properties panel-->Display. (Press N)

-==========-

A Blend file for this answer isn't possible in it's present form for reasons of copyright, (The 3D model)

The char has been replaced with a cube etc.  To view it properly switch to the CAMERA VIEW.   You can download the modified Blend file here -


you disabled your whole collection for rendering. Enable it again and all will be fine.


Objects move when initial pearenting is done

After add Child Of constrain to your bone, Make sure you press Clear Inverse then press Set Inverse button.


Using the Parallel Render add-on will allow you to render, from the Blender Render panel, using all cores, which will give you a speed-up: https://github.com/elmopl/ktba/blob/master/scripts/addons/parallel_render.py

Another thing which may speed up export is to change the colorspace from Filmic to Standard.


In Blender transparent areas are not rendered as checkers... if you converted a jpeg that had checkered background to png, that does not make checkered areas transparent!! Your png has no transparency, I feel, this is why the checkers are always there...

You should either download that image again, but directly in a format that supports transparency (like png) or convert the checkered part of the png to a true transparent area...

In Blender if an image has supposedly transparent areas completely black or white, you can tell it to use those absolute colors to get transparency  (that is the purpose of "calculate" and "invert" options in the image texture  "image sampling" panel). "calculate" uses blacks in image to represent transparency, "invert" makes "calculate" use whites.

This assumes your material and texture are set to be transparent, and the texture has some influence (>0) on material transparency.


If you're attempting to recreate the reference image, look at Metaballs. They're mathematically based geometry that have pseudo-surface tension.


The best way to go from here is to find some images of swords that you can refer to. From what I know, most swords would be kept well polished and mostly scratch free. If you're going a bit more stylized like you would find in a game, then some scratches on the edge from cutting things would be one of the first things to add.

Before you continue texturing though, I would recommend working on your lighting. One of the reasons the second image "pops" a bit more is due to the colored lights. The main light appears to be a warm off-white, and the second light is coming in from the left and adds a bit of blue to certain surfaces. I would suggest looking at some lighting videos or tips online to help you get started there. Lighting can often be what makes or breaks an image.

The final thing to do would be to add variations in the roughness, spectacular, and normal of your material. Once you have your final diffuse texture you can either use the compositor to convert the image to be able to control each aspect, or some other program to generate the maps from the diffuse texture.


Working with VRML 1.0 files in the current version of Blender

Blender doesn't support VRML1.0, Your best option would be to find a program that supports it and re-save as a different format that Blender does support (VRML2.0 or X3D)

If you search for VRML 1 to 2 there are many hits and links that look useful.

The successor to VRML1 was released in 1997, over 15 years old. Support for formats that are long out of use is limited, at some point its probably best to use file format converting applications.


The best way to work is having a good topology (here's why why we need topology).
In low poly or other situations you can probably ignore a not perfect topology.

In particolar good looping are super userful if you need to control thge curvature of your mesh.


How can I shift or move an entire animation to a different location?

To shift/move an animated object's origin point to any world location -

Blend file included which is set up  ready to play with.

There are two ways to move the object.  The first (for Newbies) won't adjust it's origin point but will allow you to move the object around and keep it's animations.

Make sure the timeline cursor is at frame 1.  ( CTL-SH-Down arrow)

Set the object's origin point to geometry or center of mass. (press T)

Set the cursor to that. (SH-S--> cursor to selected)

Add an Empty.  It should appear at the same point in your object.

Parent the object to the Empty.

Drag the object around by that empty. (use it as a handle)
It will animate from that new location.

-==================-

The 2nd method which does adjust the Location slots independantly of the keyframes -

This is done one axis at a time, X, Y, or Z.

Select the object.

Get into the Graph editor and organise a 3D window, e.g. at top right.  You'll need this to see what you're doing.

In the header strips at extreme left only your object should be seen.  Either way make sure to lock out (padlock) all other objects or active sections that are showing.  Leave the one to adjust unlocked.

It's also a good idea to only have your desired section/object highlited in the headers at left.
There are also 'eye' switches in the headers which will rid yourself of unwanted clutter.

Lock out (padlock) all but the axis you're about to adjust.
Note it's colour in the header.  This will also be the colour of it's graph line in the editor in the center window.

Press A to select all.  (only that object and axis keyframes will be highlited)

Press GY to grab the graph line and move it with the mouse (no buttons) to slide the line up/down.
You'll see the object also moving in the 3D view.  Take it to the center in that axis only.
Zooming up close both in the 3D view and graph editor will make it easier for fine adjustments.

When positioned, press a mouse button or keyboard key.  Watch it - there's a lot of hotkeys!

Do the same for the remaining axis (plural) that are involved with the animations.

The model will be sitting at your desired world location with animations intact and now orientated from that
location.  (0,0,0?)

Whether this works for export to external applications is a matter of experimentation.  I'm unable to investigate this but at least the export should have it's location set at 0,0,0 or close to it.


How do I remap the 'Edit Mode' / 'Object Mode' key (tab) to a new key in Blender 2.8?

Go into Preferences > Keymap and in search type "mode"

Go down to Object Non-modal

Turn off Mode by clicking the tick

Then go to Set Object Mode

Click on tab and then press your chosen override key - 5

Make sure edit mode is selected in mode and toggle is ticked)


How do I get the Screw modifier to generate a face at the end?

Perhaps add a solidify modifier and get it that way?


How to make the highlight of the illuminating object penetrate another object?

The Translucent shader behaves similarly to the Subsurface Scattering shader in that it 'scatters' light through the surface - but does not take account of the direction of the incident light and so does not allow the light source to 'show through' as would happen with thin paper.

In order to produce such an effect you can use a Refraction shader with high roughness to allow a blurred projection of the inner lamp to show through.

For example, here's an example of a translucent surface made up of a Diffuse with added Translucency :

Note the cube inside the mesh producing the illumination (the cube is set to an emission material with a strength of 30).

By mixing in a Refraction shader we can allow a distorted image of the emissive cube to show through :

[

The Mix shader can be adjusted to vary the strength of the 'show through'. Note also that the IOR of the Refraction shader can be adjusted to vary the 'blur' through the surface.

Note that I've omitted the Emission shader, relying instead on the emission from the light source within.


How do I fix the 'Texface Conversion Problem' message when importing Yo-Frankie files into 2.72

In short, the game material system between Blender 2.49 and 2.6 has changed a lot: http://code.blender.org/index.php/2011/09/bge-material-texface-changes/

This requires a automated conversion process, which sometimes fails for complex projects like Yo Frankie. You should check the console to see exactly what the problem is.


As of Blender 2.8x there is a new feature called Multi-Object Editing, means that entering edit mode now takes all selected objects into account making operations such as UV unwrapping or recalculating normals possible without manually entering edit mode on each or writing scripts.

Select all mesh objects to unwrap.
Switch into edit mode (Tab) and then unwrap (U).

Release Notes: https://wiki.blender.org/wiki/Reference/Release_Notes/2.80/Modeling

In Blender 2.7x only the active object can be edited in edit mode. If you have multiple objects you want to unwrap you can either:

Join them into one object, then unwrap. Select them in object mode and press ⎈ CtrlJ, then unwrap in edit mode (U).

Batch unwrap them as separate objects. In object mode, select the objects you want to project onto the same UV map, then press Space and search for one of the scripted projections (Smart UV project, Lightmap pack).
Note that you wont see the UV maps which are created without going into edit mode, and even then you will only see the UV map for the active object.


Car topology problem: front quarter panel

This looks like just the camera angle. Move your camera and check if the problem still exists. If it does check your face normals.


Multiple small glitches when beveling complex meshes

The glitches are caused by overlapping vertices. The only solution is proper topology, supporting the bevel.

If we examine the effect of the bevel modifier on your topology, we can see the vertices are badly positioned and the bevel quickly creates overlapping faces.

Position your edges parallel to each other and assert that the edges have a minimum length.
(In your file I had to apply previous modifiers.)

When you enable the Clamp option in the bevel modifier, the bevel modifier will determine how much it can bevel before vertices/edges overlap. However, if there are dense parts in your mesh this value will be very small and result in a tiny amount of bevel. This question shows that a solution would be to split the mesh into different parts, or use bevel weights in that case.

If you model geometry, especially using n-gons, be wary of the spacing of the edges and the topology. If you add a support loop (simply inset and scale), the first bevel modifier will work fine.


How can I specify an area to render based on mask image in Cycles?

Yes, a Holdout shader is what you're looking for. I frequently use this technique when I want to re-render part of a scene and composite it into a previous version.

Your second idea of a mesh in front of the camera is exactly what I do. You can put a plane in front of the camera and make a hole in it whatever shape you need. Give the plane a Holdout shader, and everything behind it will be totally ignored. It'll only render what you can see though the hole. The hole can be any shape you want.


Snapping Vertices to One Vertex on a UV Map

Try using G instead.
By clicking with  RMB, you are deselecting everything but the vertex under the cursor, which will then be translated.

Translating/grabbing with the mouse is sort of intended as a convenience thing to quickly be able to tweak individual vertices without pressing G.

The reason why it can't work for translating a selection of multiple elements is because  RMB is already used primarily for selecting. So clicking will first select the vertex under the cursor, then after moving the cursor 10px with the mouse button held, the grab/translate operator is called. This 10px threshold is configurable in ⎈ Ctrl⎇ AltU> User preferences > Input > Tweak Threshold:

In most places and most of the time you'll want to use G for translating/grabbing.


Is it possible to mimic nuts and bolts in blender using Normal maps?

This video shows how to sort out normal maps to paint "bump".  If you use a an alpha brush/stencil you could paint "bump" bolts etc using texture paint, adding an extra "bump layer" (video etc). If you can find the free IK-brush kit for blender that's free online somewhere, it has bolts/screws heads etc in the brushes.  It may be wise to look up "normal map painting with alpha brushes" also.

https://youtu.be/svzKoq3vew0


How do I add extra bones to rigify armature?

You can add new bones without modifying the script.

Just create new bones or duplicate existing bones in the MetaRig, before generating the rig, orient and parent to the bone you want them to follow, then, in Pose mode, set the rig_type in the bone options.

The rig type determines how rigify handles the new bones. Wether it will create controls, etc.

Video demo from DanPro


Creating a batch version of a script that renames Vertex Groups

Using API methods
In main in the following, saves the current mode, sets mode  to 'OBJECT', iterates through all mesh objects in context.selected_objects either uses existing vertex grouped named after object, or creates a new one and assigns all vertices to it with a weight of 1. Then returns context.object back to its original mode.
import bpy
def main(context):
    mode = context.object.mode
    bpy.ops.object.mode_set(mode='OBJECT')
    meshobs = [o for o in context.selected_objects
            if o.type == 'MESH']
    for mo in meshobs:
        me = mo.data
        vg = (mo.vertex_groups.get(mo.name)
                or mo.vertex_groups.new(mo.name))
        # add all verts
        vg.add(range(len(me.vertices)), 1, 'REPLACE')
    bpy.ops.object.mode_set(mode=mode)

main(bpy.context)


Anyone know how detect what vertex are in the edges of a mesh?

The Blender Compositor can

Identify, Blur or Dilate, a Pixel Selection to produce a silhouette.
The Pixel Selection can be a Rendered Object

Freestyle can outline objects as well

The above was done with Freestyle


Changing rotation_mode from `YXZ` to `XYZ` without changing orientation?

You can use matrices, or quaternions. Unlike euler rotations, matrices or quaternions are comprised values which are order-independent.

There is no need to apply the "wrong" YXZ rotation to the object. You can store it in an mathutils.Euler object, the convert it to a mathutils.Matrix object and finally convert it back using a different rotation order.

import bpy
import mathutils

ob = bpy.context.active_object

x, y, z = 1, 2, 3

rot_YXZ = mathutils.Euler((x, y, z), 'YXZ')
rot_mat = rot_YXZ.to_matrix()
rot_XYZ = rot_mat.to_euler('XYZ')

ob.rotation_mode = 'XYZ'
ob.rotation_euler = rot_XYZ

The mathutils.Matrix.to_euler method takes the desired rotation order as the first argument.


The Smoke Domain has a weird material.

Also, all texture types that are not color should have Non-Color Color Space.

Some objects probably are missing smooth shading.

After the changes.


Why is my mirror only reflecting things that are close to it?

Eevee has its limitations, thankfully there is an easy solution:

Shift + A -> Light Probe -> Reflection Plane
Move and scale the Reflection Plane to fit the mirrored surface
Center the Reflection Plane on the mirror, then nudge it forward slightly

That's it. Enjoy!


Is there a way I can randomize the sample seed?

Let's put it into an  add-on that one can install once and forget about it:

bl_info = {
    "name": "Random Render Seed",
    "author": "Martynas Ziemys",
    "version": (1, 0),
    "blender": (2, 80, 0),
    "location": "CyclesRenderSettings",
    "description": "Random Render seed EVERY TIME before rendering",
    "warning": " ",
    "wiki_url": " "
                "",
    "category": "Render",
}
import bpy, random
from bpy.app.handlers import persistent

@persistent
def RandomSeedHandler(scene):
    bpy.context.scene.cycles.seed = random.randint(10, 1000000000)

def register():
    bpy.app.handlers.render_pre.append(RandomSeedHandler)

def unregister():
    bpy.app.handlers.render_pre.remove(RandomSeedHandler)

if __name__ == "__main__":
    register()

If this is copied to a new text block and saved with .py extension it can be installed as an add-on.


Change active selection from one object to another, with Python

I found the answer here.

The way you make an object active is through the overwrite of:

bpy.context.scene.objects.active

so if you have a Cube named 'Cube', and you want to make it active, you will do:

cube = bpy.data.objects['Cube']
bpy.context.scene.objects.active = cube


Delete pickle file with python within Blender

The standard filesystem functions available in python can be used within blender.

import os
os.remove(path) # a single file
os.rmdir(path) # an empty folder

The python docs include more info.


How to achieve "spherical" mapping in procedural materials?

If you just want the longitudes, the answers linked by @moonboots will suffice.. if you want to map a 2D procedural texture to a sphere, this sort of setup will do the Y dimension (latitudes) as well..


"Clip Cube" Image Texture extrapolation with default colour?

Assuming I'm getting you correctly, it's not "clip cube"-- it's just, "clip".  What this does is return 0,0,0,0 RGBA for any vectors that are out of bounds: any vectors with any components that are outside the 0,1 range.
If you want to use a specific color for anything outside of this range, almost like clip border mode does with 0 RGBA, one way to do it is to just check whether the vector is out of bounds:

That's just how I figured to do it with the fewest nodes (no separation nodes): we compare the length of our original vector to the length of our vector clamped to the 0,1 range, and if the original vector is longer, we're out of bounds.  In this case, that means mixing with hot pink.
I said "almost like clip border mode," because there's one thing clip border mode is doing (or at least should be doing, there used to be an Eevee bug related to this) is texture filtering properly between lookup color and clip color, and doing it this way will not do any kind of texture filtering at the border: you will have a hard-edged border, no matter how little screen space the texels occupy.
Also, because "clip" border mode doesn't actually care about the Z component, only the XY component.  Sending a Z = 1.2 won't clip an image texture lookup, but it will clip the nodes I show above.  If this is important, it's easily fixable-- just scale vector.Z by 0 with a mapping node.


To install a plugin in Blender:

1) Open Blender.
2) Select File > User Preferences or CTRLALTU.
3) Go to the addon tab, and select install from file at the bottom of the panel.
4) Then simply find and select your .py file, and press OK.
5) Activate the addon you want, then select Save user settings.


I think what you need is proportional editing. If it is activated, Moving the central vertex down will pull surrounding vertices also, while using the chosen proportional editing falloff setting.

More Complicated ideas:

In the offchance that you actually want to generate a mathematically precise surface, you should look at the Extra Objects addon and Add a Mesh-> Math function.
There are also many many other alternative Solutions that might be useful for different applications, such as the Displacement modifier or maybe even a Force field acting on a soft body by physics animation....


A wind force field makes a steady, laminar stream of wind. This is not desirable because that way all the hair moves in the same direction. In order to fix this, add a turbulence force field in front of the wind.

The turbulence force field will disrupt airflow. However, this disruption is still constant meaning that the hairs will shift a little, but will remain in the position. However, if you press G to move the turbulence, it will change the appearance of the hairs.

In order to make the turbulence dynamic, select the force field and keyframe animate its rotation. Please note that only animating X and Y rotation will work, and not Z.

I hope this helps!


Simply set the output format to OpenEXR MultiLayer and save the render, it will store all render passes. Create another project for the compositing where you load the image(s) through an Image node. All render passes will be available as sockets, if you set the Layer in the Image node to (one of) the View Layer(s) you've rendered.

Example of multi-layer OpenEXR opened through an Image node and usage of the stored Cryptomatte:

There are three relevant options for the multi-layer OpenEXR file format in the context of compositing:

Color (Channels)
Color Depth
Codec

The color channels should always be set to RGBA in order to store associated alpha.

The color depth can either be set to Float (Half) (16 bit per channel) or Float (Full) (32 bit per channel). The latter is advisable in order to have the same floating point precision as the original render passes.

There are several options for codecs. They can be divided into two categories, lossy and lossless. The lossy codecs produce a smaller file size, but you're losing information through the compression. This should often be imperceptible, but may be undesirable for some compositing tasks, e.g. Cryptomatte. Unless you're constrained by limited storage space, I'd recommend using a lossless codec. In my tests it seemed that the PIZ codec is good trade-off between file size and encoding speed among the lossless codecs.

If you want to use the multi-layer OpenEXR files in other applications of your production pipeline, check if they support the codec you're intending to use before you start rendering.


Getting the 0,0,0 point in the middle of the cameras view

Although the Track To constraint will always put the origin in the middle of the camera view, they will change the rotation of the camera, as it will stay fixed in place.

To keep the rotation we have to find a new location for the camera, presumably only moving within the camera's xy-plane, where it's viewing direction (the camera's z-axis) goes through the origin. This is a simple line-plane intersection problem:
Where is the intersection of the line l that goes through point l_0 (0,0,0) and the current xy camera plane, defined by normal vector n and point p_0?
l and n are the camera's z-vector, and p_0 is the camera's location.

import bpy
from mathutils import Vector

# get camera object
camera = bpy.context.blend_data.objects["Camera"]
# get camera viewing vector, which is also the normal vector of the
# camera's xy plane
cmat = camera.matrix_world
camera_z = Vector([cmat[i][2] for i in range(3)])

# this is the new center of the camera view
l_0 = Vector((0,0,0))
l = camera_z
n = camera_z
p_0 = camera.location

new_loc = (p_0 - l_0).dot(n)/l.dot(n) * l + l_0

camera.location = new_loc


Another way is to use combination of modifiers:

Create a plane, offset its origin;
Hook the whole plane to a new empty object (CtrlH);
Add a Screw modifier, set step to 4, rotate the two objects 45° along global Z;
Add a Lattice, which is used to tweak the shape;
Add a Wireframe modifier;
Animate by rotating along local X (or Y, Z) of that empty object.

Example File


First of all, blender group is not reliable as objects order.

Otherwise, you need a fixed location of objects as a reference for sorting by location.
Given that they are moving around you have to consider only the final position (landed) for sorting.

This goes 2 ways:

you use instancer to copy same object. Here you need to sort the vectors positions (vector list) that give the location of objects (instances), and not the objects
if have a list/group of objects that are different, you have to use id key node (object submenu) to get the initial rot/loc . But first, make sure you set initial transforms (in 3d view, AN panel) for all objects.
This is slightly different and I'll not detail here.

I will detail the first case

For the examples below I use the template Grid Arrange.

Just use the grid order
This goes naturally if u use the respective template or similar.

Use a distance to object to sort
In comparison to above, use a vector/ vector distance node to compare each position to an empty (or something else)

U can further use some expressions
U can do the same by sorting the vector (landed positions) first
as distance to or as direction as shown in the pics with formula:

distance to:

sorted(list, key = lambda item: (item - point).length_squared, reverse = reversed)

direction:

sorted(list, key = lambda item: item.dot(direction), reverse = reversed)

where the inputs are: a vector list, a vector, a boolean

Please note that in all these case I basically sort the vectors, not the objects.
For the other case, you would sort the objects based on the list of (id key ) initial locations.


You should ask this question in computer graphic exchange.

Hiring some 3D artist for these job is a good option, seriously. If you find out the solution, Please submit your work to SIGGRAPH or any top-level conference. That's not an easy job for now but, yes, doable. And I don't think Blender can do anything for you except opening a finished 3D model or showing the result or provide a playground for 3D tweaking.

Answer for the question:

1. Normalize color among the set

A lot of work, just go searching "normalized color python".

2. Turn the set of real photos into a color texture.

Are the photo always take as the same angle? The animal type? If the photo has no obvious description point. It will be very hard to tell computer to recognize them. It's called feature mapping.

Also you will need to reconstruct the 3D model.

3. Extract the size parameters from the set

This is the most easiest part among these step. If you got Step.2 done correctly, you can directly know those 3-dimension coordinate of parts. Just calculate them using Euclidean distance.


Go to File > User Preferences > Input, then expand the 3D View section and the "3D View (Global)" Section. It will look like this:

Scroll to the bottom and you'll see an "Add New" Button. Click that and expand the new shortcut. It will look like this:

Type in the command that Blender will need to complete when you enter your shortcut. In your case, that's: mesh.select_mode. Then Change the Action to "Enable" and set the keyboard shortcut that you want. In this case, I'll use Alt+Shift+V:

Repeat these steps for the other 3 selection modes. You can also make a shortcut to toggle sculptmode by using the command: sculpt.sculptmode_toggle You can see what these commands are by lowering the info window after you have set the mode to sculpt:


Object mode mesh different from Edit mode

You have hidden polygons
Press ALT + H to unhide ande then, delete all.

Good Luck


Can someone fix this problem with cloth physics?

The problem is probably that you did not set the second cube to "Collision". You can do this by going to the Physics tab and selecting Collision. You can continue by playing with the collision settings and seeing what works for you.


How to recreate a "point cloud sandbox" effect in blender?

Rather than use a particle system you can use the vertices of a Soft Body as the source of the point cloud. This has the advantage of each 'point' having a natural 'at rest' location which it will try and move to, to effectively re-construct the original object once the distorting force has 'moved on'.

To set this up, create your mesh and add Soft Body. Disable gravity (by sliding the Gravity property in the Soft Body Field Weights to zero) and optionally disable Soft Body Edges (if you don't want the points to act as if they're 'linked' - otherwise, consider reducing the spring strengths so as to weaken their effect). Add any number of forces to the scene and animate them to generate the required distortion - in my case I added a Wind force and a Vortex field and had them 'fall' through the soft body). Adjust the Soft Body friction and Goal settings to get the desired effect. For example :

Note the Friction and Damping settings to dampen down the motion somewhat.

Add a mesh (eg, a cube) to act as a domain for the point cloud and add a material to render the points, sourced from the vertices of the soft body mesh :

Note how the Point Density is set to Object Vertices. Adjust the other settings to get the desired effect (eg, Radius, Resolution). I used a mix between Emission and Absorption and adjusted the Multiply nodes to fine tune the effect.

This produces the following result :

Note that this is using a relatively small number of vertices for simplicity and demonstration purposes - for quality similar to your sample images you would require many more points in your mesh. To render it you would need to drastically increase the Resolution of your point cloud (requiring more memory and computation time) and significantly reduce the Step Size in the Volumetric rendering settings (which will slow down the render considerably).

Blend file included

Here's a more refined example with higher resolution, with a material that shows each 'point' as being better defined along with good edge highlighting. Also, used a Remesh modifier to get a more even vertex distribution (the default Suzanne has a much higher vertex density on the face than on the top and back of the head).


How to make a 3 position switch return to the center position when keypress is released?

Play the "switching" animations with the action actuator in Flipper Mode.

The animation will be played forward when the actuator is activated (e.g. when pressing and holding the keyboard button). When reaching the end frame the last pose will remain.

When the actuator gets deactivated (e.g. via releasing the keyboard button) the animation will be player revers till the start frame.

Be aware this does not deal with the situation when you press the second button while the first one is still pressed.


I fixed it. This change works nicely!

def draw_multiple_circles_animated(gp_layer):
    gp_frame = gp_layer.frames.new(0)
    for frame in range(60):
        gp_layer.frames.copy(gp_frame)
        radius = sin(frame/30)
        draw_circle(gp_frame, (0, sin(frame/3 ), frame/3), radius, 80)


Actually, it's possible to use Bangla characters but, alas, not all of them. If you don't need যুক্ত বর্ণ। you add text go to edit mode and delete. Then you copy the text you want to use and paste it into the blender and, at the fonts tab, add a custom Bangla font. You will see it is working. You will see what you want to see...


Assuming you want rectangular windows and doors:

1) Create a cube and adjust it to the required size of the window.

2) Move the cube so that it goes through the wall where you want the window to be.

3) With the cube still selected, use Ctrl-A, Rotation and Scale.

4) Select the wall object.

5) Go to the Modifiers tab (the one with the wrench on it).

6) Add a Boolean modifier.

7) In the modifer properties, change Operation to Difference.

8) Click the Object field and choose the cube.

9) Click Apply.

10) Move the cube and the wall should now have a hole in it.


"Correct" way to export a cloth simulation as an .mdd file?

this happens when you import the MDD data and apply to a mesh that is not the same topologically speaking as the one you exported, meaning same number of polygons and topology.


How to lessen geometry of an object during animation

You can use the Slice List node to reduce the number of spline points. To do so, disable the Start and End options of the node and enable the Step option. The higher the step is, the less spline points you will get.


Strange residues after separation of mesh

OK, I think you were in face selection mode, and you have unconnected edges. That is what you are seeing now. Because the edges were not part of a face they will stay unselected when using face select mode.

PS You also have a LOT of duplicate vertices, 83,559 to be exact, Not related to this, but probably not going to help you.

To delete the unconnected edges, switch to edge select mode, and select one of the loose edges.
Then from the 3D view header Select > Select Similar > Amount of Faces Around an Edge, or just simply ShiftG then A. Now delete all the selected vertices with X > Vertices, or Delete > Vertices.


Is there a way to set an absolute value when weight painting for an armature in 2.81a

Set the Weight to the desired value, the Blend Mode to Mix and the Strength to 1. That will erase everything above your brush and set it to the desired weight.

Alternatively, you can go in Edit mode and select the vertices you want to "flatten" to a value. Then go to the Object Data Properties panel ; under Vertex group, select the desired group, set the desired weight, then hit Assign.


Convert from Blender rotations to Right Handed Y-Up rotations (Maya, Houdini, ...)

Finally got it! There were a few problems with my earlier attempts. The one that was throwing me off the most was incorrect position (because the rotations never looked consistently right with a wrong position)

It turns out I had the position wrong because the +Y in Blender is actually -Z in a Y-Up RH coordinate system. Or in other words when converting the code is:

posX = lightObj.matrix_world[0][3]
posY = lightObj.matrix_world[2][3]
posZ = -lightObj.matrix_world[1][3] # note the negative

(swizzle YZ and negate Z)

Another problem I encountered... It turns out there is a special case when exporting lights, which I didn't realize earlier. In Blender, the cone of a spotlight with zero rotations aims straight down, where in Maya, Houdini, and my game engine, spotlights face down the -Z. (If blender were to match this it would aim down the +Y)

So with these in mind, I came to this for rotations:

# for objects
obj = bpy.data.objects['objName']
mm = bpy_extras.io_utils.axis_conversion(from_forward='Y', from_up='Z', to_forward='-Z', to_up='Y')
om = obj.matrix_world.to_3x3()
t = mm * om
v = t.to_euler('XYZ')
print('pos:(%s, %s, %s)' % (obj.matrix_world.translation.x, obj.matrix_world.translation.z, -obj.matrix_world.translation.y))
print('rot:(%s, %s, %s)' % (degrees(v.x) + 90.0, degrees(v.y), degrees(v.z)))
# not totally sure why we need the +90 in X, but assume it has something to do with compensating for the axis_conversion

# for spot lights (they face straight down in Blender)
obj = bpy.data.objects['spotLightName']
mm = bpy_extras.io_utils.axis_conversion(from_forward='Y', from_up='Z', to_forward='-Z', to_up='Y')
om = obj.matrix_world.to_3x3()
t = mm * om
v = t.to_euler('XZY') # not sure why this needs to be XZY for spot lights and XYZ for objects
print('pos:(%s, %s, %s)' % (obj.matrix_world.translation.x, obj.matrix_world.translation.z, -obj.matrix_world.translation.y))
print('rot:(%s, %s, %s)' % (degrees(v.x), degrees(v.y), degrees(v.z)))
# note: there is no need for the axis_conversion rotation compensation due to the spotlight facing down already

As you can see in the comments, there are still things I am not clear on and not sure I am doing right, so please feel free to comment/correct me where wrong.

I have a feeling something might be off with my rotation order stuff, but I don't know what it should be. All I know intuitively is that it makes sense to use XZY since that is what I am swizzling to, that should match the post-swizzled rotation order so it is XYZ in both systems right?


You can do a preview render using the OpenGL renderer. This will pretty much be as quick as in the viewport.

More info in the Blender documentation:
https://docs.blender.org/manual/en/latest/render/opengl.html


How to model glass with octogonal base and cylindrical top?

I'm not completely sure about the transition between the sharp faces and the circular part but basically you can try it this way:
Create a 8 vertex circle, subdivide it 7 times:

Keep only 1/8, array it around an empty:

Extrude up:

Create the mid-edge, apply the Array, round the top edge with LoopTools > Circle:

Create another edge, round it with LoopTools > Circle:

Begin to scale the edge loops, add some new ones:

Here is what it gives:


I would suggest disabling color-management all together to see if that solves the issue.
This can be done by going to Render Properties > Color Management > Display Device -> None


Use offset factor of follow path constraint.

Use the offset factor of follow curve constraint.

Test script, select the curve in object mode and run script.

import bpy
context = bpy.context
scene = context.scene
curve_obj = context.object
spline = curve_obj.data.splines[0]
bpy.ops.mesh.primitive_ico_sphere_add(size=0.05, location=(0, 0, 0))
sphere = context.object
fp = sphere.constraints.new(type='FOLLOW_PATH')
fp.target = curve_obj
fp.use_fixed_location = True

res = len(spline.bezier_points)

spheres = [sphere]
o = 0 if spline.use_cyclic_u else 1
r = spline.resolution_u + 1
pts = (res + o) * r
for i in range(1, pts + o):
    s = sphere.copy()
    sc = s.constraints[0]
    sc.offset_factor = i / pts
    scene.objects.link(s)
    spheres.append(s)

To remove the constraints, and keep their constraint location

# remove constraints
scene.update()
for s in spheres:
    sc = s.constraints[0]
    s.location = s.matrix_world.translation
    s.constraints.remove(sc)


You've probably baked your cloth simulation, so whatever you do with your empty, nothing happens. We couldn't see it with the shared file probably because it doesn't have access to the cache files. So simply Delete Bake:

Also I wonder if hooking is the good solution, it looks buggy, maybe simply parent to the empty?


logical keyboard sensor brick specificity

Requirements

The issues is that you have an ambiguous description at the first place. The sensors do not (and should not) know of each other. They measure a specific event.

This means when you let a sensor measure for A it will measure exactly that regardless what other keys are pressed (as keys are independent from each other).

The keyboard sensor allows to sense the press of several keys at the same time. All of that keys needs to be pressed. This is - as in your situation - not in all situations what you want.

Controllers

To get a more complex setup the controllers will help you.

You can combine sensor input in a logical way to get an activation or deactivation signal to the actuator.

if A+left Shift then activate X.
if A+not left Shift then activate Y.
if not A then activate Z.

Typically the "not" is more complicated.

The following examples assume A requests "move" while left Shift+A requests to "move turbo".

Inverted Sensor

You use a second sensor that inverts the output (keyboard sensor on  left Shift  with [invert] enabled).

This allows to use a simple controller e.g. AND

Drawback:

you have to configure the sensing twice (one inverted and one not inverted).

Expression controller

This allows you much more complex logic expressions.

Drawbacks:

You need to type rather than click.
Renaming the sensor will break the expression.

You need two sensors measuring each key.

Requesting "move":

The Expression controller measures turn and not turbo. This combines the two sensors (by name).

Requesting "move turbo":

You could use an Expression controller as well with turn and turbo, but the AND controller already does that. So it is cheaper with an AND controller.

Python Controller

You can use a Python controller to do the logical combination. But this is like buying a car factory just to get a car. It is possible, but for this purposes not worth.

State Machine

A complete different concept is the use of a state machine. Luckily there is one already build in.

You can define "move" and "move turbo" as two states plus one without moving: "waiting". You transit between the states via (sensors).

The advantage is that you do not need to worry the keys of the other states. You can even reuse keys (e.g. A means different things in different states).

But I think this does not really fit into your situation. So I will not explain it in more detail.


Game Engine: Cube won't move on negative x

Since you are moving the Object in the negative direction ( -X ) you need to set the minimum limit instead of the maximum and it should be negative as the force applied on the object will be negative :


Used mirror modifier to create an object but don't want the texture to be mirrored

Here I have an image with a red squiggle on one side and blue on the other. I have a plane that is mirrored and I have enabled 'U' texture mirroring on the modifier to allow the other half of the texture to appear on the mirrored side.

Depending on your mirror axis you may want to enable 'V' mapping instead.


Pose Mode - Clear Transform - All still creates jumbled skeleton

So following this tutorial below fixed my problem -
https://www.youtube.com/watch?v=S-2v_CKmVE8
its a double loop, and to fix it, I had to create a duplicate of the hand.


Need Help With Settings for Hair Particle System \w dynamics enabled

So working through this some, I found out that a lot of the changes I wasn't seeing may have been because it seems to only update changes when i'm positioned at frame one in the timeline. With that solved, I found ways to shape and animate the hair using keyframes that will work for the first layer of motion. Next, i made a more simple blend and played with the hair, a simple object, and various fields. It seems the charge field doesn't work, or I can't get to the bottom of how it should yet, but I can mimic a similar effect with other fields. Also found out how to associate the hair with a vertex group for placement =)


There are two changes necessary to add your custom menu entry.

menu_func has to be modified to add OBJECT_MT_effector_submenu to the menu
Don't call bpy.ops.wm.call_menu in register

The fixed menu_func looks like this:

def menu_func(self, context):
    self.layout.menu("OBJECT_MT_effector_submenu", text="Effector")


Selecting faces on object from UV editor window

There's a button you can check to sync edit mode mesh selection with the uv editor:

Enable it, then select a UV face in UV editor and see it selected in View3D!

It doesn't work however for UV islands, and as you enable it, the selection in the View3D takes precedence over the UV selection. That's for sure something to be improved.

For Blender 2.8

The button to toggle 'sync' is as shown below:


Is your light hided because this looks exactly an issue like that if not try restarting blender and maybe its because you have no light at all
EDIT:I am seeing that there is a sun so my bad :( is this the donut tutorial lol


You need more vertices in the original plane.

The number of subdivisions in the mesh will be directly proportional with the level of detail for your displacement.


Blender 2.8 select and drag with a single click

Using Left click selection you can do this only with a basic selection tool:


Fireflies. Where are the options for clamping in 2.8?

You have to be in cycles.
Then you will have the option in the Light paths section.

Most fireflies can be dealt with by clamping indirect light.

Be careful not to use very small values, as they will make the scene much darker.

Reaed: Cycles: Emission Shader does not bring enough light

Read also: What is Clamp Direct/Indirect?

and:

How to reduce fireflies in Cycles?

What is the Reason Cycles Creates Incorrectly Colored/Firefly Artifact Pixels?

Managing/Reducing noise in a night scene


How can I get the bottle glossy W/O the label too?

There is nothing wrong with your setup other than the lights and the surroundings of the bottle... Remember, glossy materials reflect the environment. So make the environment something worth reflecting...

Instead of adding a bunch of point lights, create large light sources...

Since you are so invested in creating bottles, take some time and study how most images of glass and alcohol and beverages are lit. You'll find out soon enough that when dealing with glass most photographers have big light sources and interesting patterns to be reflected on the shiny surfaces.

One more thing to try in your setup is to use the yellow letters as a mask for  the glossy shader, so that the purple part of the label can be diffuse and only the writing has a reflective surface


How to reset stencil rotation in texture paint mode?

Set Angle to 0.

You can also use this value to precisely rotate your stencil.


Getting location of the object with "follow path" and "track to" constraints -- using Python

scene.objects['Cube'].matrix_world[0][3]

scene.objects['Cube'].matrix_world[1][3]

scene.objects['Cube'].matrix_world[2][3]

bpy.context.active_object.matrix_world[0][3]

bpy.context.active_object.matrix_world[1][3]

bpy.context.active_object.matrix_world[2][3]


Is that little magnet icon on your tool bar near the bottom (default area) selected? If yes then make sure it is not selected. It's that simple.


How do i make Blender 2.8's viewport look like Blender 2.79's viewport while keeping materials as they are?

download this file https://file.io/big2JKySVup4 then install it from preferences lights.
to make blender more like 2.7 go to preferences ->viewport ->viewport anti-aliasing change it to no anti-aliasing and uncheck overlay,edit mode .


As has already been mentioned, the same techniques as used in Zoom Windows Magnification can be used here - but this is very dependent on getting the vector maths correct, which is also critically dependent on getting the geometry and orientation correct, so I'll try and explain the set up in an as easy to replicate method as possible.

For the geometry, we need to have two parallel faces with specific orientations so that we can use the coordinates to generate the correct normal for the 'lens' at the front of the 'scope' - this allows the image to be zoomed to the correct magnification. The simplest start point is for a cube. Note that the orientation of the faces is significant (since the X/Y coordinates will be used for the lens - therefore, if you later rotate the cube do not 'Apply Scale' as this will upset the coordinates.

Create your cube. The uppermost face will become the 'screen' of the scope, the bottom face will become the 'lens'. In Edit mode (Tab) select the uppermost face and assign a new material ('Scope.Screen'), select the bottom face and assign a new material ('Scope.Lens'). You can optionally assign a material to the rest of the mesh for the body ('Scope.Body').

The direction of the Normal is also significant. Select the uppermost face ('Scope.Screen') and the bottom face ('Scope.Lens') and select Mesh/Normals/Flip Normals. This should result in the following :

Note the flipped normals. Different materials assigned to the 'body', 'screen' (top face) and 'lens' (bottom face).

For the 'Screen', setup the material as follows :

Note the IOR of zero - this, combined with the flipped normal, results in all rays being directed along the normal (ie, directly towards the opposite (lens) face).

For the 'Lens', setup the material as follows :

This material uses the Refraction shader with a Normal generated based on the X and Y coordinates (it's critical that the mesh is orientated so that the bottom face is flat to the X and Y planes). The X and Y is combined into a vector along with a fixed 'Z' and this is converted to a Normal via the Vector Transform node (to convert from Object to World space). Adjust the Z length and IOR to adjust the focal length (strength) of the lens.

Once the mesh and materials are configured you can rotate and scale the mesh as desired - but ensure you do not 'apply rotation' (as this will upset the X/Y coordinates used to generate the lens) and only scale along the object's local axes (otherwise it will skew the opposing faces and result in the screen no longer being aligned to the lens). If you do 'apply scale' then this will affect the focal length (as the Z value will be relative to the new scale) which may need to be re-adjusted.

Here's the final result :

Blend file included

Just for completeness, here's a very rough animation of this in action :

And here animating the IOR in order to dynamically 'zoom' :


Can't find keyframes anywhere, but I can see their effect

This seems to be a problem just with you. I downloaded the file and the keyframes were still visible. Don't know what it could be; maybe close the .blend file and reopen it.

Hope this helps!