Object in texture and material view appear black

You have a black image in the UV/Image editor that the object is linked to. For the material view, it is because you have that texture applied in the textures tab of the properties window.

"Solutions" (There isn't actually anything wrong)

In texture paint mode, you can paint onto that texture and change its color.

You can disable that texture to keep it from showing up in the material preview.

You can put a different texture on it. For changing texture mode's display, go to the UV/Image editor and with the object in edit mode (so you can see the UVs), select a different image.


How to create an infinite plane in cycles?

It's not really possible to create a truly infinite plane in blender, but such a plane wouldn't help you isolate an object on a uniform background. Even an infinite plane still has a horizon.

Shadow Catcher

To isolate an object (with its shadow) against an arbitrary background, what you really want is a shadow catcher. This is an object which renders as alpha transparency except where shadows fall on it. With a large plane acting as a shadow catcher, we can easily render transparent images with shadows. Using an alpha-over node in the compositor, any background can then be inserted with ease:

Cycles doesn't quite have this feature yet, but development on it is well underway and a working version (used to produce the above image) should be in development builds soon.

Unless you care to compile blender yourself (it's not as hard as it sounds!), you'll have to wait for a little while yet to use this.

Bent backdrop

If you just want to mitigate the distracting contrast of a hard horizon, perhaps a backdrop with a bent bottom section such those used in studio photography will do:

See What is the fastest way to create a curved plane? for a wealth of techniques to create such a shape.

For your case of a turn-table animation, you could rotate the model itself, or, if you wish to keep the lighting constant relative to the model, you could orbit the camera around in a bowl-like shape:

Perfectly reflective plane

If you create a diffuse ground plane with a color (albedo) of 1, it will reflect all light that hits it. Provided the only source of light near the horizon is the sky, then it will reflect exactly the same amount of light as the sky emits, resulting in a seamless transition:

Compositing tricks

Using a combination of renderlayers, the shadow pass, and general node trickery, you can probably come up with something which works pretty well in your case. See the following questions for some examples:

Using scenes and render layers to composite an object isolated on white background with shadow
Render shadows over a transparent background in cycles
How to create a shadows pass in cycles?
Shadowless render pass
Cycles: Shadeless "Shadow-catcher" Material for Rendering onto Footage


How set an hotkey to run a saved script like ui_menu.py (Blender 2.90)?

If you need to run any script in any context area. You might need to use a new operator to make the shortcut available due to the lack of operator. The one that scripting editor used will poll the context and only work in scripting area.

Code
import bpy

def create_summary(text: str, length: int = 300) -> str:
    return f"Code Preview:\n\n{text[:length]}"

def list_textname_callback(scene, context):
    return [
        (text.name, text.name, create_summary(text.as_string()))
        for text in bpy.data.texts
    ]

class TEXT_OT_run_specified_script(bpy.types.Operator):
    bl_idname = "text.run_specified_script"
    bl_label = "Run specified text script"
    bl_options = {'REGISTER'}

    # fmt: off
    script_name: bpy.props.EnumProperty(
        name="Run script from:",
        description="Run this specified script.",
        items=list_textname_callback
    )
    # fmt: on

    def invoke(self, context, event):
        # Prompt to ask
        return context.window_manager.invoke_props_dialog(self)

    def execute(self, context):
        script = bpy.data.texts.get(self.script_name, None)
        if script != None:
            exec(
                compile(
                    script.as_string(),
                    filename=f"{script.name}",
                    mode='exec',
                ),
            )
        else:
            self.report({'WARNING'}, "No script found.")
        return {'FINISHED'}

def _menu_func(self, context):
    self.layout.operator(
        TEXT_OT_run_specified_script.bl_idname,
        text=TEXT_OT_run_specified_script.bl_label,
    )

# fmt: off
classes = [
    TEXT_OT_run_specified_script,
]
# fmt: on

def register():
    for c in classes:
        bpy.utils.register_class(c)
        bpy.types.TOPBAR_MT_window.append(_menu_func)

def unregister():
    for c in reversed(classes):
        bpy.utils.unregister_class(c)
        bpy.types.TOPBAR_MT_window.remove(_menu_func)

if __name__ == "__main__":
    try:
        unregister()
    except:
        pass
    register()

Details:
The arbitrary script you want to run is loaded and executed by another operator. Operator is a class inherited from bpy.types.Operator and been registered to Blender system.
Most of the button in Blender is an UI to invoke operator. The short-cut keymap need an bl_idname to hook on. But the original text.run_script (The small play button in your text editor) cannot select arbitrary script and run, also it cannot be run outside the text editor due to the poll method block unnecessary context call.
That's why you need another operator doing the same thing but accept changing script and run it in every where.
TL;DR:
This addon is only a play button that can accessed in anywhere and run any text block (doesn't even need to be a python script). This addon provide a bl_idname for short cut to assign to, make it possible to bind to shortcut.
If anyone here and want this to be a valid addon, go for the github page and download it. It will be put under testing addon.


The problem is the adding of the keyframe - what it appears that you are doing is moving the mouse up into the 3D View and pressing I. This is adding a keyframe to the selected object in the scene. What you should actually be doing is hovering the mouse over the rotation value in the Mapping node (the value you just changed) and pressing I - this will set the keyframe on the node value (and make it turn yellow) so that it becomes animated.


It depends on how detailed you want your textures.
Here are a few non accurate and fast methods:

Copy the material

You can try to determine 4-8 types of buildings (skyscrapers, living houses, hospitals, schools etc), make textures for them and just copy-pasted a resulting material to the other buildings, depending on their types.

Select all meshes, the last one set up with a random texture of a skyscraper.
Then go to materials tab in properties, then copy the texture to other selected meshes.
After that, for each mesh: tab to enter edit mode, then U -> Smart UV Project.

One big mesh

You can connect all meshes into one (A to select, Ctrl+J to join them), tab, then U -> Smart UV Project and make one big texture for them. After that, you can tune them after unwrapping to get better result (e.g. scale properly; set up roofs if you have them in your texture, etc). After that, you can separate meshes. In edit mode P -> by loose parts. And you will get several buildings with the same texture.

Can't provide a gif here.
The gif is too big, you can find it here.


Is possible to draw over render image and save it?

Well, I think I have an idea of how to do it:

import bpy
import bgl
import blf
import bpy_extras.image_utils as img_utils

# Get the render image
path = "c:\\tmp\\tmp_render.png"
try:
    result = bpy.data.images['Render Result']
    if result.has_data is False:
        bpy.ops.render.render()
        result = bpy.data.images['Render Result']
except:
    bpy.ops.render.render()
    result = bpy.data.images['Render Result']

# Save and reload
result.save_render(path)
img = img_utils.load_image(path)

viewport_info = bgl.Buffer(bgl.GL_INT, 4)
bgl.glGetIntegerv(bgl.GL_VIEWPORT, viewport_info)

scene = bpy.context.scene
render_scale = scene.render.resolution_percentage / 100

WIDTH  = int(scene.render.resolution_x * render_scale)
HEIGHT = int(scene.render.resolution_y * render_scale)

# Load image on memory
img.gl_load(0, bgl.GL_NEAREST, bgl.GL_NEAREST)
tex = img.bindcode

# Create output image (to apply texture)
out = bpy.data.images.new("output", WIDTH, HEIGHT)
buffer = bgl.Buffer(bgl.GL_FLOAT, WIDTH * HEIGHT * 4)

bgl.glDisable(bgl.GL_SCISSOR_TEST) # if remove this line, get blender screenshot not image
bgl.glViewport(0, 0, WIDTH, HEIGHT)

bgl.glMatrixMode(bgl.GL_PROJECTION)
bgl.glLoadIdentity()
bgl.gluOrtho2D(0, WIDTH, 0, HEIGHT)

# Clear
bgl.glClearColor(0.0, 0.0, 0.0, 0.0)
bgl.glClear(bgl.GL_COLOR_BUFFER_BIT | bgl.GL_DEPTH_BUFFER_BIT)

bgl.glEnable(bgl.GL_TEXTURE_2D)
bgl.glBindTexture(bgl.GL_TEXTURE_2D, tex)

bgl.glBegin(bgl.GL_QUADS)
bgl.glColor3f(1.0, 1.0, 1.0)
bgl.glTexCoord2f(0.0, 0.0)
bgl.glVertex2f(0.0, 0.0)
bgl.glTexCoord2f(1.0, 0.0)
bgl.glVertex2f(WIDTH, 0.0)
bgl.glTexCoord2f(1.0, 1.0)
bgl.glVertex2f(WIDTH, HEIGHT)
bgl.glTexCoord2f(0.0, 1.0)
bgl.glVertex2f(0.0, HEIGHT)
bgl.glEnd()

bgl.glLineWidth(10)
bgl.glBegin(bgl.GL_LINES)
bgl.glColor4f(1.0, 0.0, 0.0, 1.0)
#bgl.glTexCoord2f(0.0, 0.0)
bgl.glVertex2f(0.0, 0.0)
#bgl.glTexCoord2f(1.0, 1.0)
bgl.glVertex2f(WIDTH, HEIGHT)
bgl.glEnd()

# Draw a Text
font_id = 0
bgl.glColor4f(1.0, 1.0, 0.0, 1.0)
blf.size(font_id, 18, 72)
blf.position(font_id, 0.5, 0.5, 0)
blf.draw(font_id, "Hello World")

#
bgl.glFinish()
bgl.glReadPixels(0, 0, WIDTH, HEIGHT , bgl.GL_RGBA, bgl.GL_FLOAT, buffer) # read image data
out.pixels = buffer[:] # Assign image data
img.gl_free() # free opengl image memory

#reset
bgl.glEnable(bgl.GL_SCISSOR_TEST)
# restore opengl defaults
bgl.glLineWidth(1)
bgl.glDisable(bgl.GL_BLEND)
bgl.glColor4f(0.0, 0.0, 0.0, 1.0)

Result:


How to assign a key to "Select All by Trait"? It is not in list

In the preferences, keymaps, navigate to "3D view/Mesh/Mesh (global)".
Use the "Add New" button and set the keymap like so:

Enter "wm.call_menu", set the key you want and assign the menu name "VIEW3D_MT_edit_mesh_select_by_trait".


In Edit mode select the Arm_Top.R.001 (the left top arm) and set the Transform: Roll to 0.


How can I change (theme) the color of my objects in Object Mode?

Object color in solid view is controlled by the lights in User Preferences > System:


It appeared that the problem is easily solvable by creating the edge between two extreme verts by F and then subdividing that edge, so it has the corresponding number of verts. Then simply slide the verts of the edge with double G with enabled snapping to vertex, so every new verts are aligned with the verts that need to be straigtened. Lastly i managed to get perfect straight edge of verts by merging them!

Thanks Mr Zak for the hint!

Also i've found a nice plugin shipped with blender - Loop Tools. It has a tool named "Flatten". It also performs fine in this situation.


making a blender addon (in python) that has a keyboard shortcut and works in edit mode (not object mode as per example)

i found you can use the keymap word "Screen Editing" instead of "Object Mode"

object_mode_keys = wm.keyconfigs.addon.keymaps.new(name='Screen Editing', space_type='EMPTY')


Keying Node

In this particular case I would use the Keying node to mask out the inverted image.

It will allow you to get the area with the key-color you picked.

.

Then you just have to overlay the second layer after running the Chroma key filter as you already did.


How can I select a point without selecting its reflected side

Your question conflicts with the Mirror Modifier purpose. It is used to mirror your model in a given direction to reduce workflow or give symmetry to your model, you cannot select a vertex of the mirrored part.

Simply apply the Mirror Modifier to your model, and then you can edit one side and it will not affect the other, because you applied the modifier and each side it's independent.


When i transform an object, the previous key frame changes as well

Shift your playhead to the keyframe, transform the object, hover your cursor over the 3D viewport, press "i" on your keyboard, and click "Location." To enable automatic keyframing, you can click  in the timeline editor.


OK, so I figured it out!

The poll() function was cutting out my UI, because it was checking if something was selected before allowing my addon to run, and I was deleting my selected object at the end of my execute() function.

Therefore, to fix it I simply selected one of the newly created objects (the original code creates several new objects) and THEN unlinked the original object. So something is always selected, therefore, poll() thinks the context is still correct, therefore letting my UI to continue displaying.


That's because you probably don't have selected your object. Select your object by right-clicking it and then it should appear the awaited tab.

In your case right-click the ground.


Why is the dribbling icing inside of Donut instead of being on the top?

Seeing how you've enabled face snapping, the issue is with how you've extruded the edge. If you took a cross-section of the donut shown below, your icing is cutting into the donut, represented by the highlighted line. Since you've also got a very thin solidify modifier, the icing isn't thick enough to push outside of the donut.

Rather than just extruding once, consider splitting it into multiple segments, so it follows the surface of the donut more closely. Notice how parts of the icing wireframe end up going beneath the donut mesh, but its close enough so that the solidify modifier (which was hidden so you could see the wireframe) could push the icing above the donut's surface.


Cloth sim : collision with external linked group meshes

I just tried something else, which works... (with Blender 2.67b, however)

I created a new empty blend file, and linked both the character AND the scarf into it. I had to re-configure the cloth settings of the scarf because it seems these ones aren't linkable, but worked like a charm. And since it's the final "workflow" we're looking for (i.e. linking both the scarf and the character, into another "scene" .blend file), it's great !

But, it might be a bug of the 2.67 (before "bugfixes" releases)...


Why is 'bpy.context.active_object.pose' of type 'NoneType'?

This is because, the object you have active in the current context, which is typically the 3D viewport , is not an armature. If it were an armature, then the type would be as stated in the documentation.


You can delete the material by right-clicking on it and selecting delete from the pop-up menu. This won't affect them in the other file, it just removes them from the one you are working on.


Creating sharp edge between smooth mesh surfaces

In Edit Mode, select the edges that you want to sharpen, and press V, then right click to exit transform, this will split the edges and create a crease edge. If you want to combine them later, you can simply select the vertices in Edit Mode with Ctrl+V and select (Remove Doubles).


How to add a node tree and a Object Separate Text in Blender 2.79b

Welcome to blender SE. Animation Nodes is an addon that doesn't come with blender by default, so you need to download and install it first. Please check the installation guide.


Glossy shadder work differently on two obejcts

Ok. I found the answer. I had to flip normals.


How would you set 2 "child Of" constraints on the same object?

I was just looking for an answer, and I've actually found a workaround myself.
Create a new armature for the hat, scale the root bone and make it small, then parent the hat to your new armature. You will have 2 armature sets and you can use "Child Of" again. If you changed the influence slider, you may have not the desired influence movements, so what worked for me was to subtract the first armature influence with the new one.


How do you set the start/end handles of a curve?

Select the start and end points of the curve  and press  AltCto make a close loop..

Then delete a segment where you need to open the curve:


The first thing you have to do is enable freestyle and create a new render layer(I called it lines).  Next, you can delete the line set for the default RenderLayer and add one for the lines layer.

You can then enable transparency and(on the lines RenderLayer) disable use Environment, AO, Surfaces, and Hair.

If you render now it will render two RenderLayers, one with your scene and one with only the lines.  You can switch between them at the bottom of the UV/Image Editor(after it renders).  Then, if you then switch to the node editor and enter the compositor and check Use Nodes, you can duplicate the Render Layers node and set the duplicated one to the lines RenderLayer.  You can then connect both of their outputs to two file output nodes and select the output destination(Remember to give them names).  It will then output the lines and rendered image separately.


Is there a way to animate objects as one temporarily without "independent movement"?

To animate a Rubik's cube:

Join all your cube in the same object with a ctrlJ.
Put the origin at the center of the object with a shiftctrlaltC > Origin to Geometry.
In Edit mode, select all and press P to Separate by Loose Parts. Now all the cubes are separate but they all have the same origin point. It will allow you to rotate them with the same rotation centre.
In Object mode, create an Empty at the same origin point, then select all your cubes and parent them to your Empty with a ctrlP > Object.
Put your timeline cursor at frame 0, select all your cubes and press i > LocRotScale. It will create the initial position of your Rubik's cube.
Make sure that your Pivot Point (on the horizontal menu bar on the bottom of the 3D View) is set on Median Point.
Put your timeline cursor at frame 10, select a face of your rubik's cube (i.e. 9 of your cubes) and rotate it on the X axis. Select all the cubes and Press i > LocRotScale.
Go on as many times as you want, it should work.


A way to do this is to use multiple cameras. Create multiple cameras with the views that you want. To switch the views, you have to create "Markers" in the Timeline. In the Timeline, go to the first frame of your animation. With your mouse hovering over the Timeline, press M. The creates a Marker at Frame 1. It looks like a little orange triangle:

Select the camera you want to be active. While keeping your cursor over the Timeline, press Ctrl + B to Bind the camera to the selected marker. Next, go to the frame you want to switch cameras at. Press M to add a second marker. Select your new active camera and your new marker. Press Ctrl + B in the Timeline to bind your second camera. Repeat as necessary.


Try this tree instead. and developt it
https://gist.github.com/4d0867def4fb5a12f7ce5485970302fe


How to make this shader code work propertly?

gl_FragColor = sum / pow((amount + 1) * 2, 2);

This scaling factor isn't correct. Each loop executes amount * 2 + 1 times, not (amount + 1) * 2 times. So it should be:

gl_FragColor = sum / pow(amount * 2 + 1, 2);

Which for amount set to 0 gives a scaling factor of 1.


Red Line at bottom of video sequencer gone in new update

You switch the drawing on in the View menu(Check: Show Cache and Final Images):

You select, what you want it to show here:

And if you want it to prefetch, you check that here:


General Idea

The built-in function mathutils.geometry.box_fit_2d could help you with that.

from left to right: original, without correction, with correction

box_fit_2d is a function that calculates the angle by which two-dimensional coordinates have to be rotated to best fit an axis-aligned rectangle.

For every object you take a list of all vertices and project them to a plane perpendicular to the axis around which you want to rotate. Then you convert these projected vertices' coordinates, which are still three-dimensional, into two-dimensional coordinates so that box_fit_2d accepts them. If you rotate around one of the main axes then this is simply a matter of dropping one of the coordinates. E.g. vertex [x, y, z] becomes [y, z] when you rotate around the x axis.

This two-dimensional vector is passed to the function which returns the angle that you can use to rotate the object.

As far as I'm aware, box_fit_2d doesn't do checks about which side is longer. So, if you want the bars to point in the same direction, you have to do an additional check, e.g. whether the range of y values of the rotated object's vertices is higher than the range of z values, like it's the case for the box in front in the image in the middle. And if that's the case increase the rotation angle by 90 degrees.

Implementation

I generally use the add-on Animation Nodes for this kind of calculation, but this method could be done with a Python script in Blender without any additional tools.

The naïve Animation Nodes node tree that was used to generate the middle image is pictured below. Note that you have to would have to list the module mathutils in the advanced node settings for the expression node, if you want to use the module in an expression.

The correction that would increase the rotational angle by another 90 degrees when the object is horizontally aligned was wired like below:


Rotate HDR picture from background with Blender Render/Internal, not Cycles

You can rotate the HDR background image in Blender Render (Internal render engine) by using the Mapping Size property in the Texture panel.  Use the X axis if you have a normal setup and increment or decrement from the default 1.00 setting.  You range of change is limited to +/- .9 before you will receive distortion.


Can I edit XYZ simultaneously in pose mode?

I'm not sure how to directly fix this problem, but there is a way you can move around this problem and still do it faster.  In Blender you are able to maneuver to the next field by pressing tab.  This does not solve the problem, but it is faster than having to switch over to your mouse and clicking the next field.
Hope that is at least somewhat helpful.


Calculating the correct angle needed to bend a plane into a "cylinder shape"

It is just linear, it seems

If it is for N diamonds in the line above, then the angle is:
360 * (1 + 1 / (2 * N))

as we need to fill one half one diamond plus these N.
Or to say it another way, this is the ratio of the size considering the half diamond by the size without it x the angle.


Completely hide armature influence temporarily

Nevermind, I found the answer to my question. The armature transforms are treated as a "modifier" on the character mesh. All I had to do was deselect the eye icon for that modifier.


How do I make an array of objects light up sequentially?

since the array is an exact copy of the first object, I don't think there is a way to do what I understand you wanna do. What I suggest is copying the object with array (to keep it in case), then apply the array.

Without separating your object and materials, you can animate the light changes with a texture that, depending of the UV, will either light up or not your objects only by keyframing the texture coordinate. So UV unwrap all your cylinders from the front:

Then you have to make a texture that looks like that:

Finally in your material, set it up a bit like that and move the X value of the mapping node to align the white part of the texture over the cylinder you want to light up:

OR you can always have multiple objects with different material that are animated independently (probably more time consuming).


Select the object in the outliner and click the white arrow

Note that they can still be selected from the outliner, but view-port operations will ignore them.


How can I make a part of a texture glow?

You have 3 options to create the glow:

Define the glow with a texture and use that as Emission shader added to your model. The glow haze has to be "baked" into such texture. Limitation: There is no glow outside of object's silhouette.

This is our starting point:

We need to define the glow with a glow texture - it should look like this:

define the color of the glow (you can have different color glows in one texture)
size of glow haze with amount of blurring
and amount of glow with brightness

Here we made both eyes glow. The emission is added to your previous shader:

Keep the emission strength between 0 and 1.

Advanced:

You don't have to necessarily make a glow texture, it is possible to extract it from your color texture with nodes inside Cycles to make a procedural glow:

Let's make a basic Color Key node based off color difference:

Next we can key out multiple (or single) colors into a mask and use it on the original color texture to extract areas to glow (example with eyes and teeth):

Now only the glow haze is missing, which is easy to do. Get the ImageBlur node from B°wide node pack or make it yourself:

It is noising the image mapping vectors, so use like this:

Now we just need to combine (add together) the un-blurred and blurred to get our glow (only kept the eyes and deleted the teeth - was just too many nodes to show):

Use with your shader as before - this is the procedural result(s):

2. Render a mask (with render layers for example) and add the glow in compositor with Glare node set to Fog Glow. There will be glow outside of object's silhouette but the result won't be physically correct.

It is very similar as with the cycles procedural nodes, you also don't have to render some glow mask but instead key it out from colors (which might not be accurate though because lighting can affect the model colors).

3. Add a volumetric fog environment into your scene to get physically correct glow. Your eyes have to have emissive material also but the glow haze is not painted in.


On the far right of the part of the screen you circled you will see a little plus sign. Click that and you will restore your view.

Somehow you pulled down the menu to hide it. The plus sign in the interface lets you know you have some of the interface in that view hidden.


Why can't I create edge loops inside of my mesh

Here's the problem:

Loop cut only works on quads, but inner wall face has some extra verts. I assume you have a window or something on the other side.
You could fix your topology by having those loops continue all the way around. You usually want most of the mesh to be quads, exectly to not encounter problems such as this.


Time shift between tracked camera motion and original movie

I think the problem was with the video settings not matching the render settings. The video was recorded with a cellphone camera, and came out as 24.856 frames per second. Strange indeed.
If I repeat the process on a list of PNGs, or a video shot with a decent camera that produces a decent frame rate, this works fine.

Thanks for all the helpful comments.


Cycles masking object (blocking partial rendering of object)

Your link is broken so I can't see the method you're using.

You can continue like you are and render two images: one of the spheres with transparency on, one of just the background, and then composite them with the Compositor.  I don't believe you can use Render Layers here because the Tranparent option is not render-layer specific.

Or you can do what I did and use a cube to act as the building corner with the Boolean Modifier enabled:

Just make the corner cube invisible and set the following options:


Increase your tile size.

Your CPU is like Usain Bolt, and your GPU is a lot of turtles. Enough turtles will cover more total distance travelled than Usain Bolt going at full speed within the same time.

Likewise, your GPU will process more pixels at the same time, although slower, so increase the tile size.

You will need to experiment, though, with various values. You will need to find that sweet spot for your GPU and scene. If your values are too high, your GPU might not have enough cores to process an entire tile in one shot, so you might get that lag.

UPDATE

Your GPU has 96 cores running at 700 MHz. This explains why you may not be getting a very big GPU benefit no matter how you tweak the tile size.

In comparison, today's latest budget NVidia GPU is the GTX 950, which has 768 cores, running at a slightly higher 1024 MHz.

I advise you to upgrade your GPU.


How to properly set domain for fluid simulation?

I am not sure I understand your exact question, so let me rephrase it in my answer to be sure we are talking about the same thing.

If your problem is that it is the domain itself which 'turns into' fluid when playing/applying the simulation, then it's normal.
From what I know looking at the inner workings of another fluid simulation algorithm, The way the fluid is simulated is by creating a grid (65*65*65, in your case), and each cell of this grid 'knows' if it contains fluid, the speed and pressure of said fluid, and sometimes its density, or 'how much' there is.
The goal of the other (blender) objects is to act in a certain way at every frame. Roughly speaking, an inflow 'fills' some cells with fluid with a given speed at each frame, while an obstacle makes sure there is no fluid inside itself, and tweaks the speed of the fluid around itself so it doesn't go inside.
However, from your screenshots, the fluid doesn't seem to be created in the right place. This also happened when I tried to run this simulation, but differently.
After messing around a little, I found out that (at least in this file), an inflow with the "volume" setting needs to have the "Export Animated Mesh" option too to behave correctly.

A similar caveat I found years ago (but might not exist anymore) is that an inflow object half-inside half-outside the domain might cause the simulation to ask for an unreasonable amount of ram (untill the PC I used was unusable, in my case)


This result can be obtained by keyframing the texture's offset in the texture's Mapping panel. Rigging is done with bones and applies to meshes that are 3D whereas textures are images.


What's the difference between the Undistortion node and the "Render undistorted"option in the camera background settings?

The camera background image in the viewport, with Render Undistorted option enabled,

should look the same as the result of the "undistort node" in the compositor,

and same as when you check the "render undistorted" in the Clip Display options in the Movie Clip editor.

In the undistorted image, straight lines should look straight, not curved. If they don't, then the Radial distortion coefficients k1, k2 (and k3) are not set correctly, or the optical center of the image might be incorrect as well.
To determine the distortion coefficients photograph a chart (or anything that has straight lines), open the image in the movie clip editor and use the annotation tool to trace thosestraight lines and distort them to match the image as shown in the following link:
How to determine lens undistortion values for motion tracking?


I just figured this out myself.  In object mode you have to press ctrl + a and apply your rotation so the global rotation turns to zero.  Or just rotate your mesh in edit mode, and it will keep the same global co-ordinates.


The big deal with geometry nodes is that we're effectively getting the functionality of geometry shaders now. That's kind of a blunt way of putting it, but if you look that up in the context of GLSL you'll find that they stand between vertex shaders and post processing, and govern full primitives; that is, they can create meshes in the graphics pipeline itself, without having to copy data over for every single instance.
GLSL geometry shaders are largely superseded by compute shaders now, but it's still a common practice to use them for extremely primitive-populated models and the concept is the same. In the past we did indeed use particle systems for this, but a particle is much more simplistic and restricted than geometry nodes, particularly if you aren't trying to work in real-time. They are much more flexible and easier to work procedurally with. (Think Cinema 4D, if you've used it; it's had this advantage for a while now.)
If you attempt to model the same scene with both geometry nodes and particle systems, you'll already notice, as I did, that geometry nodes are substantially easier on your hardware. On top of this, we are opened to node programming for geometry nodes, while particle systems require what I consider to be a much clunkier interface.
Now, if you have something you've already implemented as a particle system, and it works, that's fine; they aren't going anywhere and you shouldn't feel like you have to replace it just yet. Technically they are two different systems that involve instancing; but for geometry nodes it's a core concern whereas with particles it was always more of a tacked-on option.


Is there a way to Inset in the opposite direction (not Outset)?

This can be done using the addon "Offset edges".


How to import MakeHuman character in blender2.9 to activate pose mode

Did you make sure to add a skeleton/armature to the mesh in Makehuman?  Here's a couple of things that slowed me down:

In Makehuman, if you add clothes or other things, you are actually importing more than one mesh.  For instance, in the attached image, you'll notice that only the clothing is highlighted by clicking on the human.  I don't know if you can see it in the side panel or not, but "Exports:Male_casualsuit" is chosen, not Exports or Exports:body.  You need to make sure you know what you are choosing -- though I'm not sure that even that will get you to pose mode if you choose the mesh rather than the armature -- see point 2.

If you choose the mesh and not the armature, then pose mode is not available. Note in the above image that the mesh is chosen, but not the armature.  In order to go into pose mode, it seems you need to actually select the skeleton itself:

If I choose the skeleton I can then go into pose mode:

But, at the most basic level, you didn't indicate that you actually exported a skeleton at all, so there may not be any rigging done to start with.


wHow do i make the the sun lamp light pass throught this window?

Simply rotate the sun lamp until it's at the correct angle, so the light will come through. If you are using a spot lamp, make sure the lamp is outside of the window.


2.9- How do you keyframe an object's render visibility?

I've seen the answer to this question in this tutorial Blender 2.83 : Grab & Release Weapons (In 60 Seconds!!!) by Royal Skies LLC a while ago.
You can keyframe the object's visibility in the Object Properties, section Visibility. There are 2 checkboxes to control it: Show in Renders and ... Viewports.


Glass BSDF gets totally grey/white in cycles

In cycles, for a glass material you need to set the roughness to 0 and the IOR to 1.450 on a glass BSDF. For the viewport shading, it is not possible to make the glass transparent unless you switch to eevee rendering engine and adjust the materials (You'll have to learn about screen space reflections).
Edit: For more transparency:
With only glass shader:
With transparent and glass shader:


How to drive object's local transform by another object, while relative to third object?

You can do this with drivers and parenting.

Use Rightclick > Copy New Driver and then RMB > Paste Driver
Drive all location and rotation fields from Camera A to Camera B  (so they match perfectly)
Select Camera B and go Object Properties > Relations > Parent and target Object B

2. RMB > Copy Driver > Paste Driver from Camera A to Camera B. Do this for each location/rotation field.

3. In Object Properties of Camera B, target Object B.
Camera B will now inherit Object B rotation/location, but will also keep the driven position and rotation on top of that.


How to export selected objects using three.js exporter

To export multiple objects please check the answer made by @poor found here very helpful and useful and you can edit the script to fit your needs.


avoiding a tiled looking ocean simulation

If you aren't going to see the ocean very close up, I wouldn't use the ocean modifier for this at all.

Instead you can probably get a reasonable result using a simple plane and some bump-mapping:

See How can I create a convincing sea material in Cycles without using the ocean modifier? for more details.

That said, if you still want to use the ocean modifier, you could try adding multiple displace ocean modifiers with different settings after the initial modifier.

Try varying settings like the time  and spatial size between modifiers.

Here's an example with three displace ocean modifiers after a generate ocean modifier, each with different a time and spatial size:


How to detect with python a strip in VSE being selected?

This script will print to console the name of the new strip being selected in the sequencer:

import bpy

oldStrip = bpy.context.scene.sequence_editor.active_strip

def sequencer_update(scene):
    global oldStrip
    activeStrip = scene.sequence_editor.active_strip
    if activeStrip:
        if oldStrip.name != activeStrip.name:
            print("New strip selected: "+activeStrip.name)
            oldStrip = activeStrip

def register():

    handlers = bpy.app.handlers.scene_update_pre
    for handler in handlers:
        if ("sequencer_update" in str(handler)):
            handlers.remove(handler)
    handlers.append(sequencer_update)

def unregister():
    handlers = bpy.app.handlers.scene_update_pre
    for handler in handlers:
        if ("sequencer_update" in str(handler)):
            handlers.remove(handler)

    bpy.utils.unregister_module(__name__)

if __name__ == "__main__":
    register()

#unregister()

Related: how-to-detect-updates-in-sequencer-by-comparing-to-a-global-variable


Passing data from one running instance of script to the next

Based on the comment Omar posted I found that I could simply use the python statements setattr() to save my list and getattr() to retrieve it. In this case I stored the list as an attribute in animation_nodes as shown in Omar's example however I assume I could have stored it in any object in my scene. This allowed me to have data persist between running instances of my python script,


Drive/animate smoke size according to particle lifetime?

It is possible to change the size of a particle over its lifetime refer to the image and set parameters as described.
 1. use a blend texture
 2. set its mapping to particle/strand
 3. drive the size parameter in the texture properties

I used the Blender Internal Engine to set up the texture then switched to Cycles to render.


How to make eyelids that close with a shape key?

If you made a second shape key to "fix" it, you can use a Blend Key without the need to manipulate multiple keys.

In the shapekey dropdown, next to the min/max setting, deselect "Base" and select the key you want to blend with the current key.

Imagine it like parenting key1 to key2, it will blend the two shapes when you use Key2.

The problem in your case seems to be that the eyelid has very little geometry compared to the eye, so the shape key interpolates it linearly along the edges which intersect the eye.

A fix would be to increase geometry to adjust it to the eye and it should work fine if it has more steps in-between.


Python. How to find a point on the timeline where Fcurve reaches a certain value without changing current subframe?

Using FCurve.evaluate(frame) and numpy
In this related answer have found the minimum of an fcurve based on 0.01 subframe increments, instead here will find the first point where the fcurve is greater than a given value.
Test script, loops over all actions and prints the frame (and value) where it first exceeds value.
import bpy
import numpy as np

value = 10

frames = np.arange(1, 250, 0.01)

for action in bpy.data.actions:
    print(f"{action.name}")

    for fc in action.fcurves:
        print(f"{fc.data_path}[{fc.array_index}]")
        points = np.vectorize(fc.evaluate)(frames)

        hit = np.where(points > value)[0]
        if hit.size:
            f = hit[0]

            print(f"{frames[f]} : value {points[f]}")


on this picture there are two nodes with UV parameters


BGE: How to display random list of text in game with python?

ah this is a simple python problem.

if I understand correctly all you have to do is

import random
print(random.randint(0,len(tips)-1))

or

import random
random.choice(tips)

of course actually displaying them in the game itself is possible, just slightly more complicated.

also next time please post a python question in a python thread.

since this is technically a duplicate:
https://stackoverflow.com/questions/306400/how-to-randomly-select-an-item-from-a-list


You need to use the DISPLACE modifier on the plane you want the SHAPE of the image.
You'll mesh will need a lot of geometry to be able to show the shape of your image.

For a detailed explanation on the setup read:
Displace Modifier on an object


Set transparency depending on angle to light source

You can get good results by adjusting the Fresnel Value.
It specifies at which angle the surface becomes transparent for incoming light.


Lock some directions (X,Y,Z) of transformation (scale, rotation, location) in edit mode?

While in edit mode, with elements (faces, edges or vertices) selected, you can cycle through various translate/scaling/rotation restrictions by hitting the X,Y or Z buttons. While moving (hit 'g') a vertex (for example) with your mouse, hit 'X' once. The vertex will be restricted to moving along the world coordinate x-axis from its original location. Hit 'X' again, and it is restricted to the local coordinate x-axis. Hit 'X' once again, and the restriction is removed.

You may also use Shift with X,Y or Z. This would place restrictions on ONLY the selected axis. For example, 'X' allows ONLY changes along the x axis, while 'Shift-X' allows changes on the y and z axis but NOT the x axis.

Again, this applies equally to Moving (g), Rotating (r) and Scaling (s).


How to weld two objects along a common seam?

The Bridge tool is probably your best bet. The connection is going to have issues if there are a different number of vertices on each edge. Either, the number has to be the same, or there will be lots of triangles. These issues might not actually be problems, for what you want to do, but it's something to be aware of.


You have Rigid Body Physics added to your objects.
If you do not want rigid body properties in your scene, you may remove the Rigid Body World from the scene properties.


I just started learning blender as well. The one tutorial that really inspired me was making billiard balls and animating them. Here are the links :
1. this one was the one I used to get me started, (https://www.youtube.com/watch?v=RGh8tTHAL4o&t=2127s)

This is a link to my animation, (https://www.youtube.com/watch?v=tMIC0SE1rmY)

Hope you enjoy it as much as I did when I first started like 6 weeks ago.


How to get vertex coordinates after modifier in python?

As far as I know you can not do it that way. You can make a temporary mesh and find the transformed coordinates, seen as a wave modifier doesn't scramble the Vertex indices. Using obj.to_mesh is a reasonable way to do it and it's fast.

A commented example of Obj.to_mesh

import bpy

def get_verts_edges(obj, use_modifiers=True, settings='PREVIEW'):
    scene = bpy.context.scene
    obj_data = obj.to_mesh(scene, use_modifiers, settings)

    verts = [v.co for v in obj_data.vertices]

    # or..use a copy to avoid dereferencing due to the .remove()
    # verts = [v.co.copy() for v in obj_data.vertices]

    edges = obj_data.edge_keys
    bpy.data.meshes.remove(obj_data)

    return verts, edges

obj = bpy.data.objects['NameOfObject']
verts, edges = get_verts_edges(obj)

print(verts, edges)

If you aren't looking for faces, or edges you could drop the edges return value. The indices of obj.to_mesh will match the indices of the original object (if it's just a wave modifier..).

Here the image draws a blue line between initial position and output of the obj.to_mesh function

responding to some of your questions

i've never used bpy.types.MeshVertex.undeformed_co , and can't for certain say what it's used for or how. But i suspect it's not used for getting the vertex coordinate "post modifier"
Stick a subsurf modifier on a cube, and then do len(obj.data.vertices), it will say 8 (the original 8 and vertex locations). I understand where you're coming from, but that isn't the case
until you apply modifiers, the data returned by obj.data.vertices will reflect the object pre-modifiers. so doing an undeformed_co can't mean what you think it does, then it would be deformed_co surely? -- And i would expect that only to produce useful corresponding coordinates if the total number of coordinates didn't change due to the modifier stack..

Q Why does a Displacement modifier's post-modifier vertex index not correspond with pre-modifier?
A Without peaking at the code I can't say for certain, but the reality of algorithm design is that sometimes algorithms that break this vertex order perform much faster than if extra bookkeeping has to be done to retain expected indices. Because most operations and usecases don't even need this consistent index, only very few people (such as yourself) consider it a problem.


I see that the pattern looks like an UV unwrap painted image, so look to see if you have also loaded your unwrapped texture as your texture brush - because if you do, you will see this pattern continue to tile across your painted object. Simple method is to look under your brush for the Texture panel and press the X to disconnect any texture from the brush.


Yes schustudrai said it you must link your image with the button here:


The simplest way to zoom with a tablet, in my opinion, is to use Emulate 3 Button Mouse from File > User Preferences > Input.

This allows you to zoom in and out with Alt+Ctrl+LMB  drag.

Then you can also orbit with Alt+LMB  drag. And you can pan with Shift+Alt+LMB  drag.


Bone/armature mirror option isn't working

I found an alternate solution to mirror bones :)

Select the bones you want to duplicate.
Duplicate the bones(shift D).
Press S for scale.
Press X for axis.
Type -1 to flip it.
Press Enter and violá! Mirrored armature/bones :)


How to make a race track join to terrain

You can do this using the shrinkwrap modifier. Add a Shrinkwrap modifier to your road, set it to Project mode, limiting the axis to Z and checking Negative under Direction. You will need some offset to keep the road from overlapping with the terrain. There will be a gap that can be filled by extruding the entire road downward on the Z axis or using the Solidify modifier if you want to do it non-destructively.

While doing this I noticed that with any kind of steep terrain the road looks weird because it's ungraded, following the terrain too closely. If this is a problem you can shrinkwrap the road to a smoothed copy before solidifying it. Create a copy of the terrain, add a Smooth modifier, limit it to the Z axis, set the intensity to about .5 and the iterations to around 20. Play with these settings until you get something that looks right in your case.

My example graded road has to stick out the ground to avoid overlapping with the terrain and it's a little taller than I'd like. To get it any closer the underlying terrain has to be smoothed where the road will be. To do this, manually select the vertices under the road using circle select, assign them to a vertex group, add a smooth modifier to the actual terrain and set it's vertex group to one you created. You can use similar settings to the ones above. Now the graded road can be moved further down. In some cases we won't need a second terrain and can just shrinkwrap to the partially smoothed terrain, but by using both we get fine control over how the road and terrain meet each other.


Rigid body objects not interacting with animated deforming mesh

For Fridge (Passive) enable Animated. If Groceries didn't stay inside on Fridge move it can be because Fridge moves too fast, and some subsets would be needed for simulation - Scene Properties > Riggid Body World > Steps Per Second - increase  value.

Note: Second gif looks like you have a hidden Cube with Passive Riggid Body in a Scene.


Sculpting brush alpha/texture resolution?

Yes, it can. However, that isn't your issue. In order for texture resolution to be a factor, you would need the edges created by the Dyntopo system to be shorter than the pixels of your texture. That way, there is enough detail in your mesh to create 'steps' between pixels. But as I said, that isn't your issue. From some testing I just did, it appears that using the anchored stroke type doesn't generate new detail. I'm not sure if that is intentional or not, but it seems that is the reason the detail isn't changing.


Two possibilities (at least).

W then subdivide, once the edges are selected: you have to be in edge select mode to do that.

Knife tool (activated by K) then hold the Ctrl key to cut at the middle of the wanted parts (you have to click at each cut you want to position and to validate with Enter at the end)

This last way is certainly more easy. For instance :


Blender 2.8 Evee - weird Shadow/Outline?

You chose a wrong method to make sharp edges with the subdivision surface modifier. Don't make new edge loops near the geometry edge, use the edge creasing to earn it.
Increase the "Mean Crease" on the outer edges then dissolve the inner ones. Select them then hit "x" and select dissolve edges.


If you are talking about just the "normal" lamp types (Point, Sun, Spot, Hemi, and Area), then no. The Sun Lamp and Spot Lamp are the only two that cast real shadows in the BGE. (FYI the sun lamp has only been able to cast shadows since 2.64).

You can use lighting tricks, like a fake shadow texture on a plane. Or transparent planes with the light cast pattern and beams.
You could even bake the lighting to textures and then use all shadeless materials in game.


Is there more than one way to unwrap in Blender?

According to the manual:

Basic: Cube, Sphere, Cylinder, Project from View

Advanced: Unwrap, Smart UV Project, Lightmap Pack, Follow Active Quads


How do I get crisp edges on Image Editor? (Get rid of fall off of stroke)

In the brush properties, go into the falloff menu. The curve you see is the intensity of the brush starting from the center and traveling outwards. Right now the curve is sloping downwards to the right, meaning that the intensity of the brush will be very intense in the middle, then will gradually decrease based on the curve. It will make more sense once you play with the curve a bit.
To change this, just change the graph so all the control points are on max height. Or, click the preset on the bottom which looks like a bracket. (It does the same thing)

(Something I drew)


Not sure how to use multiple UV layers on one character

Not sure if you are asking this, but why didn't you connect the respective UV maps to the image textures? Just like its shown in the below image, create a UV Map node for each image texture and connect the respective UV map to the texture.


Project multiple textures during a DynoTopo sculpt?

If you will be using those images as guides to where to sculpt ,use multiple cameras and set up multiple 3d views.
with this setup you could sculpt-draw on a 3d view with the background image and see the changes on another 3d view.

use multiple cameras , each camera should load an image ,use a low opacity value and set it to display in front of everything.

you can also keyframe cameras to quickly switch between multiple angles, so that frame 1 is camera 1 and uses an image, frame 2 is another angle from another camera etc..

I don't think you can use more than one image at a time with this though.


what is the default code for the operator.modal method?

Well I managed to make something work with the ExportHelper.invoke source...
This is coming from not knowing about the invoke method because the example doesn't provide it let alone explain where to look for more info.

what I did to access the data was simply to use the invoke method and integrate and modify the code from ExportHelper into my class rather than inherit from it.

to supply the needed data, all I did was create a dedicated PropertyGroup initialized in the scene context, and when invoke was called, clear and update the CollectionProperty items with their associated index IntProperty items in the group.

there may be a better method than this, but it works for me:

I did the dialog with this at the end of invoke before returning {'RUNNING_MODAL'}:

context.window_manager.invoke_props_dialog( this, width=900 )

Would be nice if blender's api was documented as well as they claim it to be...


Cut/mask multiple planes along a circle at once

Make sure all your objects's origins are in the center of the world. Go into Object mode, SHIFT + C to center the 3D cursor, then A to select all, Right Click > Set Origin > To 3D cursor.

Also, apply the scale transform with CTRL + A > Scale or go to Object > Apply > Scale

Give this material to all your objects (only the alpha part is important):

The "Length" node is obtained by using a "Vector Math" node and set the operation accordingly. Similarly for the "Greater than" node, you must first add a "Math" node and change the operation.

To give this material to all your objects, give it to one of them, then select them all with A and SHIFT click on the object with the material. Then go to Object > Make Links > Materials or SHIFT + C > Materials

If you use Eevee, make sure to set the alpha blend mode to clip :

Tweak the Math node threshold :

You can then add a driver to use your bezier circle as a visual guide, and mask the bars under it when you scale it :


hello
I could bend mesh along hair with particle instancer,
duplicate a mesh which is used as hair object, and add modifier "particle instancer"
and choose the object which has particle system as Object. It worked like the picture.


I think the best way to achieve what you want will be to use the boolean modifier actually. There are just a few settings we will have to change and a couple extra steps to do.

Let's start with the shape. For this to work, you will need your shape to be a mesh. You can convert your curve to a mesh using the shortcut Alt+C. Now, just to be safe, select everything and remove doubles with W. In my case there were 8 doubles.

Here's the shape I'm using in edit mode. Something to keep in mind is fewer faces is better. Mine is actually a bit too high res really and if you have too many faces it could cause problems. In areas where there is very little change in the curve of the surface you may want to remove some edge loops.

Now we can place this mesh where you want to cut the cube. Make sure that the object completely intersects the cube. If you scale anything in object mode, make sure you apply the scale before proceeding.

Once you have everything set up, duplicate the cube. You can hide one of the cubes, we'll just need it later. Add a boolean modifier to the remaining cube, and set the Operation to Difference. At this point, if you go into wireframe view, it should look pretty good (by pretty good I mean it should look like a wireframe cube intersected by a wireframe version of your original object). If it looks good, apply the modifier. In one of my tests, changing the solver to Carve helped. This will remove one half, but we'll have to do that anyways.

Here's the cube with the Boolean Modifier before it was applied.

If you used Carve, you will have one half left, if not, delete the top or bottom four vertices from the cube so you have just a half left.

Half the shape after applying the modifier and deleting the top 4 vertices. Some nasty shading issues around the edges, but we'll deal with those later.

Now we need to make the other half, so select faces of the cube that will need to be duplicated and duplicate them and then separate them to a new object with P. Now we can unhide the second cube as well.

Faces being duplicated.

Select the new object (which should only be the faces where the two objects will meet) and select the four corner vertices. Set the snapping to face and extrude these vertices along the appropriate axis. Hold Ctrl and hover your mouse over the face of the second cube that these vertices will need to match up to (were just recreating the cube shape here for the second half). The vertices should snap to the corners of the cube. Click to confirm, and create a face with F. Now you just have to fill in the 4 sides on the new object and you're done.

Snapping the corners

Go ahead and delete or move the second cube and the original shape as they are no longer necessary. If you notice any shading issues an edge split modifier on each object will sharpen up the edges nicely (I used this in my file).

Final result are these two shapes which fit perfectly together. If you compare the third image to this one you can see the effect of the edge split on the shading.


Rendering faster the transparent areas in Cycles

Branched path tracing is significantly faster on empty background areas since it limits initial samples and instead gathers multiple subsamples: What is branched path tracing and how is it useful?

Some effects such as depth of field or motion blur may need a lot of initial samples anyway though, so branched path may not always be faster. Additionally, it consumes quite a lot of extra memory when running on GPU, so it can easily put a scene over the edge of fitting in VRAM or not.


Environment looks fine in rendered preview mode, but completely black in final render?

Enable Environment in your render layers:

set film to transparent:

Composite over the background using alpha over:


Actually, Cole, they may not have to be triangles, only have to look like triangles. What I would do (I think), is to recast the triangles as quads where two of the vertices of the quad exactly co-incide, giving four vertices, and four edges, even though one of the edges has a length of zero.

Though not in this exact circumstance, this is a trick I have used in the past to good effect, though I've not tested it exhaustively, and it may not work, or may work with unanticipated side effects, in some cases.


Since you already have the screen you just need to add a texture to it.

Select the face(s) that make the computer screen and press ShiftD to make a duplicate. separate as a new object (Press P ->separate selection).

On the new object enter edit mode
UV unwrap it.
Create an emitter material that uses the video as texture an uses UV coordinates for the mapping.

Move the object to a new layer and create new render layer that contains only the layer with the screen object.

On the compositor import the image sequence you pre-rendered and use an alpha over node to superimpose the render layers that contain the screen and the .PNG sequence as background.

Other option (not necesarily easier or as precise) would be to track the 4 edges of the screen on the videoclip editor and create a plane track

see: https://blender.stackexchange.com/a/38332/1853  and Unable to "Create Plane Track"


You can lower the strength from here:

and you can reduce size by clicking F and dragging mouse.
And according to the video you have selected the wrong brush.

It should be the top Red Brush.

Hope this helps.


Rigged character : Curves hairs (converted to a mesh) mades Pose mode laggy

I've partly figured it out.

Please be aware that I'm a beginner, so I would be glad to receive advices from a more advanced user.

1. First : the idea to join the hairs to the body is not necesseraly what I (or you) want.

My hairs are split in 6 parts. Some of them needs physics, other don't, but every parts needs to follow the rig (and so, the body) movements.
More, for performances convenience, it is better to animate the character displaying the less amount of vertices.

Then I parented every hair parts to the rig and the body without joining them :

Select the hair parts, select the rig, Ctrl-P to parent with empty groups.
Select the body (or the object the hairs needs to stick on), select the hairs, go to weight paint mode and transfer weights (Source : by name, applied to All Layers).

Then you hairs will follow the rig & body movements, but you can animate you character while muting the hairs in the outliner.

If you want to add physics to any parented parts (the hairs here), just follow the traditionnal steps.

Secondly, I managed to reduce the number of polygons of my hairs parts.

They currently have less than 100k polygons. It is enough  for me :
Pushing the decimate modifier further, and always use the Clean Up tools after (merge by distance, delete loose, degenerate dissolve) and finally normal recalculation to avoid glitchy behaviors.

I don't like this method as my topology got completely f*cked. I don't encounter issues from that but, if someone read that, please feel free to give me some advices.

PS : Please let me know if my english is not understandable.


How to change the Decimal point in Node Editor

Hold down Shift key while grabbing the input value with the mouse cursor. So you can edit up to three decimal numbers.


Your dope sheet window scrolled down too far.  Press Home button to refresh the view


If you want the cube to fall to bits on the plane then the plane needs to be a 'passive' object in the rigid body world so that it interacts with other objects.

If you want the cube to shatter in all directions you can turn gravity off but will still find pieces will pass through the plane if the plane is not part of the rigid body world.

Once everything is included in the rigid body world, you will then have to adjust parameters like collision margin and solver steps/iterations to make the pieces fall naturally on the plane and not penetrate it.


MeasureIt addon also gives the total sum of values.
It's displayed under the measurements list.

Select all the edges you want to measure
Select a "measure group" like 'A' (or it won't work)
Click the Segment button to calculate


How can I set sliders to values outside the limits allowed by their slider?

The values you can enter in with the mouse are clamped to (soft limits),
if type your value in specifically with the keyboard you can get an increased range (hard limits):

Note that once you type in a value higher than the initial soft limit, you will be able to slide the value to the next highest soft limit.

e.g. for subdivide, if you type in 11 (the initial soft limit is 10), you can slide the value to 20, if you type 21, you can slide it to 30, etc.

This applies to many such limits, not just subsurf.


How do I rotate object around a point without spinning the object itself?

You can parent the cabins (here Suzanne) to the circle and give them a Limit Rotation constraint
Or you can parent empties to the circle and give each cabin a Copy Location constraint with the empties as Target:


How to Flip Rotation from Positive to Negative?

You have a few options. For all methods, orientate the bones as such, that the most important rotation is mirrored by default. In my case I made the X rotation control the in-out-movement.

1. Don't change anything

Blender features a mirrored copy-paste functionality. Select the left bone and press ⎈ CtrlC, then press ⎈ Ctrl⇧ ShiftV. The copied pose will be pasted mirrored. These functions are also available as small buttons on the right of the header in pose mode.

When creating good/solid shapes for animation, a  symmetrical pose is seldom desired anyway. The animator will have to manipulate both brows anyways.

2. Add a parent control bone

Add an additional bone in the center, with which the animator can manipulate both brows at once. If he wants to manipulate either bone individually, this is also possible by selecting them directly.

This has no drawbacks from the first method, since both brows are transformable individually. To set this up, add a parent bone to each brow and a Brows bone in the center. (Hide the parent bones at the end.) Then add Constraints, transfering the transformation of the centered Brows bone to parent bones. I used a copy rotation constraint for one Axis (Z) and a Transformation constraint for the other axes, transfering the translation to rotation.

The transfer has to be inversed (mirrored) for two axes.

3. Scale the parent bone

This method achieves mirrored behaviour of two axes. Add a parent bone to both brows and a child bone. The child bone will be the deforming bone for this method. Since the X axis already mirrores, we can now add a second axis to be mirrored; I choose Z. To mirror Z, scale the Parent and the new Child (Deform) bone to -1 on Z.

X and Z will be mirrored. Add a driver to the scaled bones and hide them, just to make sure the inverse scale is never cleared.

4. Use inversed constraints for the deforming bones.

Add a deforming bone to each side, which is located at the same location and orientation as the brow. For one side, transfer the rotation from Brow control bone to deform bone with a copy rotation constraint. On the other side, do the same, but inverse the desired axes (in my case Y and Z). For the inversing side, select the Brow control bone and set its Custom Shape to display At the deforming bone.

Manipulating this bone will now display the Widget in a mirrored rotation, it may feel unnatural though.

Methods 2 - 4 are distributed on the first layers of this blend.


Your problem here is likely viewport clipping. Its values can be adjusted in the n panel, view tab:

You also need to make sure the unit scale is the same in the DXF files as in your Blender scene. Default Blender unit scale is 1 so in metric unit system 1 unit matches 1 meter. This means that when you export to DXF from another software you must ensure units are set to meters in order to import them to Blender at correct scale later, or you can adjust the unit scale while importing:

So if the DXF file is saved with units set to millimeters and you are working in 2.80 with Unit System set to Metric, Unit Scale set to 1.0(1 meter), and Length set to Millimeter like this:

you would need to set unit scale to 0.001 while importing because a millimeter is 0.001 of a meter.

Blender 2.80 and 2.79 work significantly differently when it comes to units. In 2.79 the units define the unit scale as well, while in 2.80 the unit scale can be adjusted separately.

Why does unit scale matter? Blender stores values in 32bit floats so if you work with very small values on a very large object for example you may run into precision issues. There are also other issues like for example there is a limit to how much you can zoom in depending on your unit scale. It usually does not make much sense to work with meters if you actually work with objects of a millimeter scale. In architecture the objects you work with are not usually a few millimeters in size, they can be several meters in size, so in Blender 2.79 it is better to work with meters instead of millimeters even though they are the standard in architecture. This will help you avoid precision issues and will work smoother in 2.79. 2.80 is improved a lot in this area, and you should be able to work with millimeters fine because you can do that even if your unit scale is set so 1 Blender unit matches 1 meter.


You can use a property to hold the selected circle index, then switch between them each time the mouse-wheel rotate.

the easiest way was the script, the script is attached to the first circle as follows :

the first circle has two properties selected "the index of the selected circle"  and open  "indicates whether the menu is open or not"

here is the script used in the file :

def switch_selected():
    #get this controller
    cont = bge.logic.getCurrentController()
    # the object running the script "1st cicle selected"
    owner = cont.owner
    # get this scene and a list of its objects
    scene = bge.logic.getCurrentScene()
    objects = scene.objects

    #hide all circles  to clear the previous selection ( also in case the menu is closed no circle is selected)
    objects['1st cicle selected'].visible = False
    objects['2nd Circle Selected'].visible = False
    objects['3d cicle Selected'].visible = False
    objects['4th Circle Selected'].visible = False
    objects['5th cicle Selected'].visible = False

    #check if menu is open
    if owner['open'] :
        #get the mouse wheel sensors
        mouse_up = cont.sensors["up"]
        mouse_down = cont.sensors["down"]

        #if mouse up increment index
        if mouse_down.positive :
            owner['selected'] += 1
            if owner['selected'] > 4 :
                owner['selected'] = 0
        #if mouse down decrement index
        if mouse_up.positive :
            owner['selected'] -= 1
            if owner['selected'] < 0 :
                owner['selected'] = 4

        # read the index and set the selected to be visible
        selected = owner['selected']
        if selected == 0 :
            objects['1st cicle selected'].visible = True
        elif selected == 1 :
            objects['2nd Circle Selected'].visible = True
        elif selected == 2 :
            objects['3d cicle Selected'].visible = True
        elif selected == 3 :
            objects['4th Circle Selected'].visible = True
        elif selected == 4 :
            objects['5th cicle Selected'].visible = True

switch_selected() #a call for the above function at each tick

Here is the file


I think your best bet would be to create a group of mesh hair objects, and then use a particle system in Blender to place and arrange them as needed.

Then before importing into Unreal Engine, you'll have to apply the particle modifier and convert the hairs into mesh objects.


In Edit Mode unwrap the mesh (select the whole mesh with A, then press U-->Project From View).

Add a new material and go to Texture header. Add a new texture, set its Type to Blend. In Blend panel click the Vertical button. You may also change the Progression type to Easing for smoother colors transition.


Subtract Only Overlapping Portions of Meshes

I'll let DrRiisTab answer the double boolean method, however I will demonstrate how to do this from the Knife Project method, as it will ultimately get you there, and you will be able to fall back to it, if for some reason the boolean operations don't quite work out for you. As time allows, I will circle back and edit this answer to give you the textual step by steps. Until then you should be able to follow the Screencast Keys with success.

Note: right at the transition, you will have a open mesh, that you may want to close up. I would recommend W >> E(Bridge Edge Loops), see related link if you need help with the nature of Bridge Edgeloops


How do I make a cut parallel to an edge?

To get a precise value, you can use Bevel

Bevel the selected edge with 2 segments, Profile = 1
Adjust the thickness in milimeters
Delete > Dissolve the unnecessary edge


there are 3 things you can do manually, both in properties panel :

Remove the armature modifier (click the 'X')

remove the parent manually in object properties (click the 'X')

remove the armature related vertex group in object data tab (select a group and click the '-' button)


Rigid Body Physics Rolling Ball Won't Come to a Stop

Physics engines can be something of a pain, even in commercial packages.

In your example I tried using two ground-planes, one sloped, the other flat, and it seems no matter what the settings are on the flat plane, the ball appears to all but ignore those that are not extreme. That would make them unusable anyway.

There are two ways to circumvent this.  Substitute the ball with a duplicate which is stripped of physics and animation, or  bake the ball's action from where you want to accelerate it's slowdown.

In both cases, this would occur from one of the bounces after it hits the flat plane.

For expedience I chose to bake the entire action in the gif shown here, but the result would be the same so long as the physics didn't decide to change it's mind at some future date.

When the entire sequence is baked, there's no way the physics engine or changes to it in future Blender versions are going to muck up the project.

Once baked, purge the ball of it's physics and animation. This would probably have to be checked in the Dopesheet also as physics strips have a habit of staying put.  Clear the animation strip in the Outliner.

Once switched to baked keyframes, those beyond the nominated switchover to an accelerated slowdown, can be deleted and substituted with just one other - where it's to stop.

The Graph Editor's handles can then be adjusted to maintain it's speed initially and also accelerate the slowdown.  You are able to determine exactly where it will stop by dragging the ball there and at the frame where it's to come to a halt. (keyframe it)


Blender animations how keep bone transform for current frame

If you give your rig inverse kinematics this would be a lot easier. Set it up on the wrist and foot bones here is a good tutorial.
tutorial link


I Can't Open Blender 2.75 or Higher When Installed, Console Flashes and Closes Instead

Original Poster here, I figured out how to fix the problem.

The first thing I did was check exactly what the error was. I found this out by running Blender with the Command Prompt ('cmd' in Windows search, 'cd' into the directory with blender, then ran it) and got the same error, 'EXCEPTION_ACCESS_VIOLATION'

I plugged the error I got into Google, worded as "blender exception access violation" and ran into a different question asked by a user of this site, linked here, and found my solution.

It was the my display driver that needed to be updated. The thing is, I didn't realize this because neither of my driver updating services told me it needed to be updated until today. I use DriverEasy and Intel Driver & Support Assistance. Driver Easy, which I had used to update so many outdated drivers, said that I was completely up to date on my drivers. Intel didn't even say anything was wrong when I first ran the test, so the fact that it decided to tell me things needed to be updated now was something of a mystery, but it doesn't really matter now.

So I both downloaded the installer and the .zip file, and they both work!

So to everyone who was struggling with the same thing I was, and you know your computer should be able to normally run it, check your drivers. Preferably through multiple certified and trusted driver-updating services. Some of them will catch updates that others won't recognize, and some check more drivers than others.

So now my problem has been solved!


I think the simplest solution here is to use your ocean depth map as a transmission input on a principled shader node. Apply it also to Subsurface Strength. Then you can change the subsurface color to that pretty cyan shade. For additional depth, duplicate the node with the depth map only applied to transmission on the second one, and play with the strength slider and base color until you get that really dark blue you're after. Then mix the two together using the depth map again to drive the mix shader.

Alternately, if you don't have a separate depth map, you can come close enough for your purposes by making a black-and-white image based on the satellite information you have. You can always adjust the strength with a color ramp in Blender.


I think he has made a small mistake. Neither of these two settings will give the desired result, on the left Median Point (will place the center of the scale at the center of all the selections), on the right Individual Origins (each selection will have its own center of scale):

Actually as you can see when he scales, he constrains the scale on the Z axis (X axis and Y axis are visible, not Z axis), that's why it works as expected.


Rendering Error when I press F12 in Blender

In the compositor editor type (enabling "Use Node") you should see two nodes one attached to the other. A Render layer node attached to a composite node. The message you are talking about is shown when the composite node is missing.

If it is missing press Shift + A -> output -> composite. Plug the render layer image output into the composite image input.


I actually discovered a way to fix this: moving the origin point of the sphere to the bottom. Now it moves up and down on the origin point.


Looks like a weight-painting issue.  Keep one of those selected bones in the screenshot selected, select the mesh and get into Weight Painting Mode.  You'll probably see a ring of green, yellow around the mouth/gums.


Extruding vertices, edges or faces can only be done with meshes.
SVGs are by default Curves not mesh objects, a different kind of object, with different properties.

For 2d curves use the Geometry->Extrude options.

For further transformations you might need to convert the object to mesh. On the "Object" menu choose "Convert to" -> Mesh From Curve/Meta/Surf/Text.


UV Editor - It's selecting multiple vertices

May be you have accidentally turned on Sticky selection mode. Turn off UV Sync selection and change it as follows:


As mentioned by Carlo, looks like the mesh and the curve don't share the same exact origin coordinates in the scene.

Make sure the have the same origin, and that the origin of the mesh object is sanely placed relative to it's geometry.

With the mesh object selected Shift + Ctrl + Alt + C > Origin to Geometry, or manually place it where you want it using your 3D cursor and then Shift + Ctrl + Alt + C > Origin to 3D cursor

After that make sure your object is aligned with the curve by selecting the bezier, Shift + S > Cursor to Selected, then select your mesh Shift + S > Selection to Cursor.

Optionally if you want a simple circular section consider using the bevel option directly on your track curve, or for more complex shapes perhaps a 2D bezier curve in the shape of the section of your road/track.

EDIT Upon further inspection to your file there seems to be something wrong with that bezier curve object, not quite sure what it is exactly, but whatever it is it's messing up the curve modifier.

Anyway to solve whatever problems you are encountering follow all the above steps, make sure your track curve has its origin at the scene center (world coordinate 0,0,0) by pressing Shift + C to center the cursor, then Shift + Ctrl + Alt + C > Origin to 3D cursor

Now clear all the transforms on or "section" mesh with Alt + G and then clear scale with  Ctrl + A > Scale. Make sure it is centered in the scene origin just like the track's origin.

To "fix" your bezier curve track, whatever is messed up about it, just add a new spline object, Shift + A > Curve > Bezier and join the original to this new one (not the other way around) by selecting the track spline, then the new one and pressing Ctrl + J.

Then enter edit mode and delete the new small unwanted segment. If you now rebuild your modifier stack in the mesh now it should work ok.


How to animate Ardoni death? (Songs of War (Minecraft Animation))

Oops lol. The answer was so easy. I wasn't in rendered mode when I was turning down the emission textures, so it didn't show.


How to assign material to selected faces?

Just create your materials, then go into edit mode, you will see in the material properties panel that the assign button is now showing. Choose which faces that you want the material on. Choose the desired materials in the material properties panel and then click assign. If you are weight painting around materials for particle systems, it is more convenient to separate the selection and apply the material separately and then you can rejoin them if need be. Which you can do by right clicking on the faces selected and then go down to separate and click separate by selection. Then if you need to join them go to the object scroll down in object mode and you will find the join option there.


You have actually selected the Warp modifier instead of the Wave modifier.

For the Warpmodifier to work, you need to select two objects in the "from" and "to" dropdown menus.

If you have trouble with the Wave modifier, try adding more geometry like Samir Rahamtalla suggested (subdivision modifier before the wave modifier or manual subdivision in edit mode).

Further information (Blender Docs)


How to make sqare/sharp lines with Grease pencil?

If I understand the question, you want tapered straight lines?
When I tried this with default settings I got faded ends. But I found that this can be fixed if you:

Turn Off Strength Pressure (which should be all you need to do)
Adjust the Thickness Profile to move the outer Left & Right control points slightly up from the bottom of the graph (which is least thickness)


Adding an image to a video, but the video isn't playing after addition

Replace the "replace"-blend mode to "alpha over" or whatever your default is there in items like here:

Also you can resize your image/video in the settings and place them via x,y.
Just tap on your video, then go to effect-strip -> transform like this:

Here you can set x/y and the size...and don't forget to change blend to alpha over again.


Exporting Animation without IK targets, poles bones and other controls

In pose mode you can select all bones you need and bake the animation into a new action, removing the constraints. The movements will be the same as if the constraints were still acting.


Trying to render multiple hair particle systems shows only the first one

Your 2nd and 3rd hair particles are controlled by vertex groups "Group.001" and "Group.002" which don't have any weight applied. Just weight paint them where you want the grass to spread.

Also you should invert the normals of the plane (now they are facing downwards, select all then Shift N in edit mode, choose "inside" option), and put the origin of the grass objects at the bottom of the meshes, so that the leaves grow from their base and not from the middle.


position is messed up when I save quit my project

It sounds as though you have accidentally added some keyframes to your object's location (done by pressing I).  If this is correct the Timeline view should look something like this, with little yellow bars at the keyframes:

Because the object's location is keyframed, its position is defined by the animation curve between the keyframes.  If you move the object (without setting a new keyframe for that location) and then change frames or play the animation, Blender will automatically snap the object back to its proper position in the animation.

Pressing the < or > arrow keys will advance the animation by one frame left or right, the ^ or v keys will advance to the next or previous keyframes.

There are two ways to remove keyframes.  You can go to each individual frame with a keyframe and press Alt+I > Delete Keyframe.  Or you can go to the Graph Editor or Dope Sheet, select all the keyframes with A, and press Del or X > Delete Keyframes.


It is probably because you have x-ray mode enabled. When x-ray mode is on you have to click the dot in the middle of the face to select it. If x-ray is disabled you can click anywhere on the face and it will be selected.


In the 'Scene' buttons, there is an Audio Panel. It has a Format: label, under which you can adjust the Channel count and Rate.

Then you can render Audio from the render panel (also known as Mixdown).


Add prefix to filename on "Save Blender File"

Saving the blend file is performed by the bpy.ops.wm.save_mainfile() operator. This operator accepts a filepath which makes it easy to save the current blend file using a new filename. A simple operator can be created that calculates the new filename and then passes that to the standard file save.

While there is no easy way to alter the file menu without altering blender's bundled scripts, we can add an item to the file menu and disable the existing shortcuts so that the custom save operator will be used.

Edit: I thought this would be more complete if the user can specify a python string that calculates the prefix instead of having to alter the script. I have also included a helper function to easily include a formatted timestamp with timestamp().strftime()

bl_info = {
    "name": "Save File Prefix",
    "author": "sambler",
    "version": (1,0),
    "blender": (2, 71, 0),
    "location": "File->Save Prefixed Blendfile",
    "description": "Add a prefix to the filename before saving.",
    "warning": "Runs user specified python code",
    "wiki_url": "https://github.com/sambler/addonsByMe/blob/master/file_prefix.py",
    "tracker_url": "https://github.com/sambler/addonsByMe/issues",
    "category": "System",
}

import bpy
import os
import time, datetime

class PrefixSavePreferences(bpy.types.AddonPreferences):
    bl_idname = __name__

    prefix = bpy.props.StringProperty(name="Prefix calculation",
                    description="Python string that calculates the file prefix.",
                    default="timestamp().strftime('%Y_%m_%d_%H_%M_%S') + '_'")

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

        row = col.row()
        row.prop(self,"prefix")

def timestamp():
    # convienience function that is available to the user in their calculations
    return datetime.datetime.fromtimestamp(time.time())

def fn_prefix(context):
    user_preferences = context.user_preferences
    addon_prefs = user_preferences.addons[__name__].preferences
    return eval(addon_prefs.prefix)

class PrefixFileSave(bpy.types.Operator):
    """Set a filename prefix before saving the file"""
    bl_idname = "wm.save_prefix"
    bl_label = "Save Prefixed Blendfile"

    def execute(self, context):
        outname = fn_prefix(context) + bpy.path.basename(bpy.data.filepath)
        outpath = os.path.dirname(bpy.path.abspath(bpy.data.filepath))
        print(os.path.join(outpath, outname))
        return bpy.ops.wm.save_mainfile(filepath=os.path.join(outpath, outname),
                    check_existing=True)

def menu_save_prefix(self, context):
    self.layout.operator(PrefixFileSave.bl_idname, text=PrefixFileSave.bl_label,
                icon="FILE_TICK")

def register():
    bpy.utils.register_module(__name__)

    # add the menuitem to the top of the file menu
    bpy.types.INFO_MT_file.prepend(menu_save_prefix)

    wm = bpy.context.window_manager
    win_keymaps = wm.keyconfigs.user.keymaps.get('Window')
    if win_keymaps:
        # disable standard save file keymaps
        for kmi in win_keymaps.keymap_items:
            if kmi.idname == 'wm.save_mainfile':
                kmi.active = False

        # add a keymap for our save operator
        kmi = win_keymaps.keymap_items.new(PrefixFileSave.bl_idname, 'S',
                    'PRESS', ctrl=True)

def unregister():

    wm = bpy.context.window_manager
    win_keymaps = wm.keyconfigs.user.keymaps.get('Window')
    if win_keymaps:
        for kmi in win_keymaps.keymap_items:
            # re-enable standard save file
            if kmi.idname == 'wm.save_mainfile':
                kmi.active = True
            if kmi.idname == PrefixFileSave.bl_idname:
                win_keymaps.keymap_items.remove(kmi)

    bpy.types.INFO_MT_file.remove(menu_save_prefix)

    bpy.utils.unregister_module(__name__)

if __name__ == "__main__":
    register()


Is there any way to randomize the keyframes position for multiple objects?

Yes, there is a way to do this! I'm not confident that it can be done easily through the interface, but if you would like to do it with a script, I've written a sample that can get you going in the right direction. It moves the animation curves one way or the other depending on a random number (randomized per object).

    import bpy, random

    for object in bpy.data.objects:
        rand = random.randrange(-15,stop=15,step=1)
        #only effect objects which include "___" in the name
        if "___" not in object.name:
            continue
        #Go through all the animation curves
        for curve in object.animation_data.action.fcurves:
            #only effect if it's a x location curve (x array_index is 0, y is 1, z is 2...)
            if curve.data_path == 'location' and curve.array_index == 0:
                for point in curve.keyframe_points:
                    #add the random value to the x value (which is the frame #) of the keyframe point and it's handles
                    point.co.x += rand
                    point.handle_left.x += rand
                    point.handle_right.x += rand

This is just a little bit to get you going. You could change the data_path to affect a different type of animation curve, or change the array index to affect a different parameter of that type of curve.


How to make particle instances the same size as the dupli object?

I completely forgot that there are actually two separate values which affect the size of the particles.  There is the hair length (found at the top of the settings), but there is also a size spinner under the physics rollout.

It turns out that the actual size of the particles is the product of these two values.  I.e. actual_size = length * size.  So if both these values are set to 1 the particles will be the same size as the dupli object.

The size defaults to 0.05, while length defaults to 4, so the actual size of the particles by default is 0.05 * 4 = 0.2, which is one fifth the dupli object's size.

I have no idea why there are two separate values which control particle size, or why one of them is under the physics rollout, or why they have such strange default values.  If someone could explain this I would greatly appreciate it!


Keep Vert Order needs to be on when using mmd in Blender to avoid warped geometry.

Workflow:

File >> Import >> .obj, on right options, turn on Keep Vert Order

Select imported object
File >> Import .mmd


Your inflow may be too small compared to your domain Resolution.
Also, you should always 'Apply Scale' and also ensure your normals are pointing in the correct direction after re-sizing your meshes (negative scaling can result in Normals pointing in the wrong direction).
Check normals and try making your Inflow larger and don't forget to Apply Scale. Then free and re-bake the simulation.


Faces don't look the same after deleted and filled with F.How to fix deleted faces issue?

probably there are multiple stray vertices there?


How does one obtain the file path of the current .blend in the bge?

You can determine this with bge.logic.expandPath("//"). It will give you the directory that the current blend-file is in excluding the filename.


Drawing a text - error with argument in function "write"

As commented, adding write() as a callback in post_draw means it cannot have a parameter.

One solution would be to use your script as a python module. Code at the top of the script will be run once at game start, allowing you to initialise your module variables, then functions in the module can be used as needed. To be a module, the name of the text block must end in .py. For your first code example, you don't need to call write() at the bottom of your script, just naming it with .py should be all you have to do for it to work.

You can then use it in a python controller, set as a module, and call one of the functions based on the attached sensor. In this example I read a game property when the sensor runs the update(cont) function to update the modules chain property, the controller calling the function is passed in this case.

Text block "drawtext.py" -

# import game engine modules
from bge import render, logic
# import stand alone modules
import bgl, blf

# create a new font object, use external ttf file
font_path = logic.expandPath('//bmonofont-i18n.ttf')
# store the font indice - to use later
font_id = blf.load(font_path)
chain = 'this is the message'

def write():
    """write on screen"""
    width = render.getWindowWidth()
    height = render.getWindowHeight()
    # OpenGL setup
    bgl.glMatrixMode(bgl.GL_PROJECTION)
    bgl.glLoadIdentity()
    bgl.gluOrtho2D(0, width, 0, height)
    bgl.glMatrixMode(bgl.GL_MODELVIEW)
    bgl.glLoadIdentity()

    # BLF drawing routine
    blf.position(font_id, (width * 0.2), (height * 0.3), 0)
    blf.size(font_id, 50, 72)
    bgl.glColor4f(1.0, 0.0, 0.0, 1.0)
    blf.draw(font_id,chain)

def update(cont):
    own = cont.owner
    chain = own['msg']

# set the font drawing routine to run every frame
scene = logic.getCurrentScene()
scene.post_draw = [write]

You might use a property actuator to change the objects msg property, or a property sensor to run the update when the property changes. You can also import the module in another script and adjust the module property and call other functions.

import drawtext
drawtext.chain = 'New message'
drawtext.anotherfunc()


select all objects and run the script :

import bpy

for obj in bpy.context.selected_objects :
    for uvmap in  obj.data.uv_layers :
        uvmap.name = 'UVMap'


CTRL+Z No longer undoing, switching between Solid and Textured display modes

You might have changed your keyboard layout to another language. German to English would result in such a behaviour, since it switches the Z and Y key.


Well it doesn't exactly exist as a tool but you can achieve this with a vertex group and the shrinkwrap modifier.

So you first take your selection and assign it to a vertex group, then apply a shrinkwrap modifier with the target being the plane below and the shrinkwrap mode being "Project". Then you just need to select the axis you want to project along and the direction on that axis.

After you've done all that you should have your result. You can now apply the modifier and delete the vertex group.


step by step description on how to connect two objects with a hinge constraint

As it is written in the Blender reference manual's page about Rigid Body Joint Constraint this kind of constraint..

  ... it is used by the physical part of the Blender Game Engine to simulate a joint between its owner and its target.

So the first step is to make sure you are using the Blender Game engine. You can always save the result of the animation by recording it in order to use outside the BGE.

Now, focusing on a simple scene composed by two cubes like the following:

assign to the cube that will not move a Rigid Body Joint constraint and choose Hinge as pivot type. At this point you have to consider the cube (mainly it's origin) as the "pivot", while the target field must be filled with the name of the object that will be affected by the constraint: in this case the blue cube, named "Cube_Moving".

You should think about the object that brings the constrint as the pivot controller, by default it is placed in its origin, but you can tweak the relative position of the hinge with the options in the right panel.

Going on, you'll have to remember that...

  ...the owner and target can only rotate around the X axis of the pivot (joint point).

So it'll be better to move the blue cube away from the X axis, or we'll not see the result of the constraint.

At this point we have to set up some physic for testing the constraint. As it is said by a note in the manual:

  In order for this constraint to work properly, both objects (so the owner and the target object) need to have Collision Bounds enabled.

Go to the physic tab, as shown in the pic above and enable the option for the grey cube, and then for the blue. We-ll also change the Physic Type from Static to Rigid Body for this object (we could also have can set it for both, it's just an example):

To sum up:

Blender Game
Assign constraint to the pivot controller and make it pointing to the Target
Collision Bounds enabled

Final result:


Blender's network renderer allows you to link to other PCs -- Apple, Windows, Linux -- and distribute your render job to many computers... speeding up the job overall... It is a job management tool to make rendering many frames faster, by spreading the work across multiple platforms.

Here's a good video on using network render and in setting up a render farm  in your office:
https://cgcookie.com/archive/setting-up-a-render-farm/


Splitting disconnected vertices in different objects

In edit mode select all (A), press P to separate and select "by loose parts".

Unconnected geometry will be separated into new objects.


Right click on "Blender.app" and select "Show Package Contents". From there, navigate to the "Contents/Resources" folder and that is $BLENDER_HOME.

[EDIT] Actually, what jtheninja said in the comments is probably the more correct way to address the problem. Install in the "~/Library/Application Support/Blender" folder.


Creating a transparency mask using a texture and blending with shaders

I think I can point you in the right direction.

You need to define a wave texture and apply it along a gradient, so we'll need a wave texture node, and if you use a separate XYZ node you should be able to find a direction that gives you the gradient you need.  For this object it's the Z axis.

I'm going to use a Color Ramp to invert the Z gradient and give us a little more control if we choose to exercise it, a Math node to bump up the value, and then subtract out the wave texture.  I've clamped the last operation, but maybe it's not necessary.

If we use this map as the factor of a mix shader between the blue emission and a transparent BSDF, we can assemble the rest of your shader behind it and we get very close to your desired effect.

From here I think you can find something you like.  The way I chose to do this was to animate a 4d noise texture mixed into the coordinate space, and then move the minkowski voronoi texture along the Z axis.


In the  "Material Preview" viewport shading blender shows you the object and uses an internal environment map to light the scene.
In the Shading dropdown menu

you can choose which environment map to use

or you can choose to use the scene World

but in this last case you'll need to set the world properly in the node editor (or in the proporties panel).
You also need to have something around and behind the object to reflect/transmit it.