How to animate Action Clip time in 2.75?

I think what you are looking for is the animated setting for these properties. In the NLA Editor you will find an Evaluation panel in the properties sidebar N where you can enable animated for the time and influence of the strip and add keyframes.

On my first quick look at this it does appear incomplete. When you enable these two animated settings, it appears to be keyframed but there is no f-curve, but it does then allow you to add keyframes to the values which does create an f-curve that you can then adjust in the graph editor.


texture turns purple when image sequence offset changes

turns out the textures i used had to be numerically named for blender to get it right


By default Blender will symmetrize on the armature's X axis, your armature is currently oriented along the Y axis, so you can either rotate it in Edit mode on the Z axis so that it's correctly oriented along the X axis, or, once you've symmetrized, choose another axis on the Operator box.


blender 2.8 obj or x3d import texture usage

This is easily done with a material node setup by adding an attribute input node and setting the Name value to Col and plug that into the shader of your choice.  I've used a diffuse BSDF shader here, but you can pipe the color to any node color input you so desire.

You could also this by baking the vertex colors out to a texture.

Please refer to the following question for a how to guide.

Bake vertex colors to texture from mesh


Here is a quick example adding a copy rotation constraint to the active pose bone (in your case selected_bone), and giving it as a target the pose bone "Bone" from armature object "Armature.001" (target_bone).  Notice you use the bone's name for a subtarget.

import bpy
#context & scene for testing
context = bpy.context
scene = context.scene

#active pose bone as example
bone = context.active_pose_bone
bone2 = None
# other armature other bone
arm2 = scene.objects.get("Armature.001")
if arm2 is not None:
    bone2 = arm2.pose.bones.get("Bone")
# give it a copy rotation constraint
if bone is not None:
    crc = bone.constraints.new('COPY_ROTATION')
    #give it a target bone
    crc.target = arm2
    # note subtarget uses name not object.
    crc.subtarget = bone2.name


How to prevent accidentally dragging vertex on selection?

Sounds like you are using the select mode "tweak" which has that behavior that you are describing, where you can click and drag the mesh, but you really want something that is more akin to the "box select" where you are just selecting, and not moving. You can click individual vertices in box select mode as well. The top left of the 3d viewport shows your select mode, and W cycles through them.
"tweak" select mode

"box" select mode

https://docs.blender.org/manual/en/latest/interface/selecting.html#tool-select-box


We've find explanation about this strange effect.
If we open the file in an old blender version (before 2.77), export it using "old makeclothes" into "old makehuman" (1.0); everything's OK.
If we update Makeclothe we have strange triangles at neck level and if we update makeclothes, we loose texture (file not found).

In order to solve that:
1) update everything (Blender, Makeclothes and MakeHuman)
2) open a new project in Blender
3) Append the clothes in Blender (so don't "Open" but "Append")
4) Export using Makeclothes
5) Open in MakeHuman 1.1.0
And everything's OK!


Unity model is distorting when animation is running

Weight painting defines how much a mesh follows each bone. With a weight of 1.0 the mesh follows the bone exactly, with a value of 0.5 the mesh will move half as much as the bone.

To me it looks like the hand has a weight of 1.0 but the sleeve has a weight of maybe 0.8 so it doesn't move with the bone the same amount as the hand.

With the shoulders this is a similar problem, due to having a disconnected mesh this tears the pieces apart. The edges of the two meshes that meet at the shoulder need to have matching weights so that they move the same amount. But then you shouldn't need to have a disconnected mesh in the middle of an asset that should be considered one object.

In blender, you can view the weights for selected vertices in the properties region (press N) while the models list of vertex groups is available in the mesh data properties.


Boolean Operations - Why the fuzzy result after union of 2 objects?

You need to hide object used in Boolean Union operation.
As for now you have "two" objects in one place.

Remember to hide it also for render, or apply Boolean and remove it completely.


This is a very common problem that happens when you export from blender and import to unity. The solution is simple. Open the .blend file and clear the scale by pressing Alt+S. This does most of the stuff but you could face some minor issues. So I recommend also clearing the location and rotation by pressing Alt+G (clear location) and Alt+R (clear rotation), after doing this, export as .fbx and import it in unity. I hope it helps.
Aster17
P.S If you want a step-by-step video tutorial, Below is the link:
https://www.youtube.com/watch?v=ysl0qYq5p9w
P.S.S This link is for versions 2.8 and above but should mostly work for versions 2.7 and above too. I am also providing the link to a QnA similar to your question if you prefer stuff in written format:
Exporting a rigged object to Unity (as FBX) produces massively distorted mesh, affecting normals


Immediately after typing E (extrude), type Z twice: first to override the default direction (along the faces' normal), then to constrain the extrusion along the Z axis.

    (E, Z, Z, move, Enter. Note "along global Z" on the bottom bar)

To add on this: you can constrain to an axis - X, Y or Z - also the other familiar operations G (move), R (rotate) and S (scale).

Similarly, Shift+Z constrains the transformation to all axes except Z.

Finally, selecting an axis twice means that the axis local to the object's internal coordinates is used, rather than the global one.


Why can't I see my texture in prevew and render view?

You have Subsurface scattering set to 1.00 This is a lot, the green color will overwrite the texture. Try a lower value of Subsurface (0.2 or 0.3 would be my guess)


How can I simulate powder with a particle system?

Particles:

You could use Newtonian or Fluid type Particles to simulate the powder, with the gears and funnel as Collision objects.

For example:

Add a plane (ShiftA> Mesh > Plane) and add a particle system to it.
Set the Lifetime to a number greater than the scene End frame
Set the Physics to Fluid in Particles > Physics
Add an Icosphere (ShiftA> Mesh > Icosphere). You may want to set the Subdivisions to 1 in the Redo panel or the F6 menu for situations with many small particles.
Set the particle Dupli Object to the icosphere in Particles > Render > Dupli Object
Set the size in Physics as desired, I used .001
Enable Simple in Particles > Children and set the Radius and Uniform Roughness as desired.

The Radius defines how far child particles are allowed from the real particle
Uniform roughness gives some randomness to the locations of child particles

Set the Cache Step in Particles > Cache to 1, this will record the location of each particle every frame. The default of 10 often gives strange results.
For object you want to collide with the powder:

Add a Collision physics modifier in Properties > Physics
Increase the Particle Damping factor. By default particles will bounce very high, this setting controls how much velocity the particle loses on collision with this object.

Bake


Use center of entire object as pivot point in edit mode (2.8)

I don't think the mesh has any knowledge of its object's pivot point in Edit Mode.. so to put the transform pivot at the object origin, that would be, (with 'Pivot' set to 'Cursor'),

Tab to Object Mode
ShiftS > 'Cursor to Selected'
Tab  back again.

I find it's pretty unusual, though, that I don't want my pivot at the center of some edge, face, loop, or somesuch.. in which case that can be selected, and the Cursor sent to Selected in Edit Mode.


Get π in python scripted expression for a driver?


Is there any way to avoid viewing inside mesh when zooming in close

What you are experiencing sounds like near clipping. In the viewport, press N, go to view, and adjust your start clip distance. If you are experiencing the issue while viewing through a camera, go to the camera's options and adjust its near and far clipping distances. These distances determine the closes and farthest geometry visible through the view/camera.


You have Proportional editing mode enabled !

In this particular case you probably don't want that when scaling.

Just to add: the keyboard short key for toggling Proportional editing on and off is the O key.


Can renders be made to include glossy reflections, after baking on textures without glossy in Cycles?

Blender 2.79. Under 'Render" (down at the bottom) there is a section marked "Bake". Within this section de-select "Glossy". This is different from your workflow you described, which is to fake it through the Object settings.


Modelling for a game engine, stuff I should know?

Unless you tell us what game engine you're aiming for, it will be hard to be specific.

However, you shouldn't try modelling with tris, it would be hard and pointless. With triangles you can't use loops, most tools won't work as intended (ie. Bevel, Inset...)

Either let the engine do the conversion (Unity, UE4, Godot, does it really well) ; or if you want more control, handle it yourself just before export (ie, Blender "Triangulate" modifier)


Blender drivers work differently on frame stepping than frame selecting

Well I found a very easy solution to the problem.

I use an empty proxy object to drive the rotation and location of my edge.

So I copy this z rotation with a simple driver, and my original script gets the z rotation input from this proxy. Now it works perfectly regardless of the interpolation.

It is important to note: That the one frame latency occurred, because in the question the driver and driven properties belonged to the same object. In a case when these porps reside on different object it should not occur.

I experimented further this issue, and the problem also shows itself if two objects mutually drive themselves.


Eevee - how to do god rays emitting from a transparent object?

I know this also involves the use of opacity to obscure the light, but unfortunately, that is one of the limitations of EEVEE. You can't apply masks directly to lights using nodes like in Cycles. However one way you could do this is to give the sphere itself a semi transparent texture, and then shine a light through it, capturing the rays with a volume.
Start with a sphere and give it a texture with transparent "holes". I used a Noise Texture, clamped with a ColorRamp to make this texture, and since it's black and white, I also used it as an alpha factor. As you can see on the right, I set the Blend Mode to Alpha-Clip.

Next, add a cube, roughly the size of the desired "explosive radius", and give it a volume with a Volume Scatter node. You may want to adjust the density to meet your needs.

Then, just place a point light at the center of the sphere. You can make the "god rays" look cleaner and more defined by adjusting the Volumetrics settings in the Render Properties panel. You can change the color of the light as needed. However, there are some limitations to the volumetrics in EEVEE - as you can see, the rays hit the edge of the cube in a rather noticeable fashion. You can make the cube bigger, but then the volume density can become more noticeable. You may have to spend time adjusting things until it looks tight in your scene.


Boolean on curved face with smooth shader

You can also try the Edge Split modifier.


Creating smoke domain manually instead of using quick smoke makes domain visible

That's because the default material for the domain is still enabled
so you see on that image that it doesn't work
so you have to make a random image and apply quick smoke on it and then delete it and then select the domain again and choose the smoke domain material   and then it works.


Error with Warning! Legacy WGL is unable to select between different OpenGL versions

This is not a Blender question but I'll try to help you anyway.

Uninstall any display drivers you installed previously using DDU. Then just run a Windows update, that should load the most stable driver for you automatically. If that still doesn't work, go to amd.com, nvidia.com, or intel.com and find your driver from the Download/Support/Driver page.

A warning for the future, randomly renaming dlls is not a solution, it's a hack at best and is dangerous unless you understand what it's doing. In this case, you basically removed the OpenGL driver.


2.8 Principled glass shader doesn't show any thickness?

Right figured this out, sorry my fault it wasn't actually a transmission issue (that was set to 1, I must of been fiddling with it when I took the screen shot). So the issue did occur even with a transmission of 1.

The problem was I think with everything being a bit flat. So I added a few edge loops and added a bit of curve to the base, making it more parabolic(?). Also, made sure I didn't have any extra faces hidden in the base.

Also used all the setting recommended above (thanks everyone, much appreciated) ie.

blend type to "Alpha Blend" in settings for the material
See if mesh object doesn't have negative scale and has its normals calculated inside
“screen space refractions” turned in settings for the material


Moving vertices along normal axis in BGE

The vertex normals are the interpolated normals of the faces which are perpendicular to the faces. The vertex normals are normalized this means the length of this vector is 1, therefore you might want to scale them before adding the normal vector to the vertex coordinates.

Moving the vertices along their normals would create an effect as shown in the this image:

import bpy
import GameLogic
###### get the vertex normal vector
# get controller
controller = GameLogic.getCurrentController()
# get object the controller is attached to
obj = controller.owner
# get the 1st mesh
mesh = obj.meshes[0]
for v in range(mesh.getVertexArrayLength(0)):
    vert = mesh.getVertex(0, v)
    norm = vert.normal * .3
    vert.XYZ = (vert.x + norm.x, vert.y + norm.y, vert.z + norm.z )


Remove inner wall on thin shell model with complex geometry

Maybe your inner mesh have different Normals, try selecting one of them and go to Select > Select Similar > Normals

And then see if it selects them all


How do you group objects together without joining them?

there are many ways to do this, if you group objects together you can then add a group instance of that group, this is an empty that controls all the geometry in that group.

Alternatively you could use an empty, parent everything to it and then disable the ability to interact with the objects.

You can also just parent everything to an object of your choice, probably the biggest one of the group, and control everything that way.

It depends what your objective is by grouping.


Subdividing part of spherical object without getting weird bumps

Assuming a couple of levels of subdivision below those already applied, a fairly conventional method to insert features like this into curved surfaces is to use a topology something like this:

Retain an intact,featureless, more subdivided copy of the sphere in the same place, and assign a Shrinkwrap modifier to your model with the intact sphere as target. (You can hide the target sphere, or put it on another layer)

Make a vertex group in your model, of all the vertices you want to conform to the target surface, (for example, excluding the ones shaded blue in the picture) and aim the Shrinkwrap at that group.

The result:

Matcap - showing Srinkwrap off:

Matcap - showing Srinkwrap on:


Help with creating procedural aged golden material?

You could do something like this. It's just 2 Noise textures, one multiplied (to transfer the darks) and the other added (to transfer the whites), both mixed with an orange basecolor, which when combined with a high metallic value gives the cooper-ish look similar to your reference image. You can change the amount of light/dark by adjusting theColorRamps. As an additional factor, I mixed the 2 Noise Textures and combined the result with black for a roughness factor, and adjusted the mix factor until it was sufficiently "shiny but grungy".


Add-on Dev: Extract int value from Blender's enum flag set?

You can access the value through the RNA properties. Assuming that you have stored modes in a PointerProperty and assigned to bpy.types.Scene.demo_tool (just an example), you can access it in the following way:

The first step is to get access to the RNA properties of demo_tool or in general the object that contains your EnumProperty. This will give us access to the underlying data structure of modes which contains the mapping to the integer values.

demo_tool = bpy.context.scene.demo_tool
items = demo_tool.bl_rna.properties["modes"].enum_items

The enum_items give you access to a collection (bpy_prop_collection) of EnumProperties which represent the valid (single) flags you can use. It allows a look-up with a key. For example the following code gives you the integer value for your 'LP' flag, by accessing the EnumPropertyItem.

items['LP'].value

Since you have a set of strings stored in modes when using options={'ENUM_FLAG'} you must iterate through it to get the integer value for each flag.

for flag in demo_tool.modes:
    print(f"{items[flag].value}")

Once you have the integers you can perform the boolean logic operations to create a single value.

import bpy

class DemoSettings(bpy.types.PropertyGroup):
    GA = 1 << 0  # activator for asset mode
    LP = 1 << 1  # activator for low poly mode
    HP = 1 << 2  # activator for high poly mode
    CU = 1 << 3  # activator for custom mode

    # string based flag values for Blender controls
    opflags = [
        ('GA', "Asset", "desc", GA),
        ('LP', "Low", "desc", LP),
        ('HP', "High", "desc", HP),
        ('CU', "Custom", "desc", CU)
    ]

    # property using flags
    modes: bpy.props.EnumProperty(
        name="Modes",
        options={'ENUM_FLAG'},
        items=opflags,
        default={'GA', 'LP', 'HP', 'CU'}
    )

class DEMO_PT_panel(bpy.types.Panel):
    """Creates a Panel in the scene context of the properties editor"""
    bl_label = "My own addon"
    bl_category = "Name of your tab"
    bl_space_type = "VIEW_3D"
    bl_region_type = "UI"

    def draw(self, context):
        layout = self.layout
        demo_tool = context.scene.demo_tool

        row = layout.row()
        row.prop(demo_tool, "modes")

        items = demo_tool.bl_rna.properties["modes"].enum_items

        flag_value = 0

        for flag in demo_tool.modes:
            flag_value |= items[flag].value

        row.label(text=str(flag_value))

classes = (DemoSettings,
           DEMO_PT_panel)

def register():
    for cls in classes:
        bpy.utils.register_class(cls)
    bpy.types.Scene.demo_tool = bpy.props.PointerProperty(type=DemoSettings)

def unregister():
    for cls in classes:
        bpy.utils.unregister_class(cls)

if __name__ == "__main__":
    register()


Yes, Surely You can do that. After linking you have to make proxy of that linked object because linked object do not move and etc.
Go to Object->Relations->make proxy..
You can now do your work on the proxy of that object.


I have two layers with different objects in an animation how do I render these two layers together?

To activate more than one layer, you need to Shift+LMB the layer buttons in the 3D-View Header or the Render Layers, or you can press the appropriate number on the top row of your keyboard (Shift+1, Shift+2,... for the top row, Shift+Alt+1, Alt+2... for the bottom) To select all press `.

The darker buttons are visible layers, and the lighter ones invisible.

The dots in the layer buttons indicate that they contain at least one object. The layer that contains the active object will have an orange dot instead of a grey one.

Documentation of Layer Settings


As of version 2.73 from 2015:

Make sure render engine is set to cycles (BI wouldn't create the required cycles materials)
Select the object you want to emit smoke
From the menu Object/Quick Effects pick Quick Smoke

After that a material has been created that looks like:

In order to also emit flames it can easily be extended to:

Note that the attribute names have to be exactly as they  are show 'color','density' and 'flame'.

Important settings for the Domain object (besides higher-resolution):

Important settings for the Flow Object:

Add a procedural texture and animate some properties to animate the flames.

Full tutorial: http://www.blenderguru.com/tutorials/make-fire-cycles/


Blender Game - How do I start the game with the cursor centered?

According to the description you really want to let the ship fire projectiles toward a point under the system mouse cursor.

I suggest to use a short Python script to position an "aiming target" empty at the desired location (e.g a collision point under the cursor). Then let the turrets turn towards that aiming target (TrackToActuator).

Setting the system mouse cursor to the middle of the screen at game start would still add to the player's comfort.


I have previously developed an add-on to achieve this (Smoke2EXR) for the old smoke simulation (Blender 2.81 and earlier) and am in the process of updating it to work with the new Mantaflow fluid simulation (Fluid2EXR) in Blender 2.82 and later.
The add-on can be downloaded from https://github.com/baldingwizard/Blender-Addons/wiki (click on Fluid2EXR, download the ZIP and use the 'Install..' button in the Add-on Preferences editor to install it).
Once you have run your smoke simulation, save your .blend (important to not lose your work - as well as the add-on needing to save your image 'local' to your Blend file, so it needs to have been saved first). Press F3 to bring up the operator panel and type 'EXR' to find the add-on.

You should now be prompted by the add-on for the frame you wish to convert (it defaults to the current frame) :

Click 'OK' and after a "short" delay (it will take much longer for higher resolution smoke domain) should complete. Note that it can take a long time and will hang Blender while it is running - open the System Console before you run the conversion to be able to monitor progress (it outputs diagnostic messages to the console).
Once complete you should have your smoke domain in a 'spritesheet' format.

Note that in addition to the smoke density it will also extract the Flame, Heat, Color (only useful if you've set the color of your smoke) and Velocity data to separate images.

The filename is based on the domain size (eg, '64') and the 'spritesheet' grid dimensions (eg, '8x8').
I'm currently looking to enhance the building of the images to use Numpy which should hopefully drastically improve performance (it can currently take a very long time to extract a large domain or one with more than a few levels of Noise).


What is that rapid changing number under Animation Node Tree?

That number shows how long the last execution of your node tree took.

It changes all the time because by default Auto Execution is enabled. If you don't want that you can disable auto execution in the corresponding panel.

It is turned on by default because it makes it easier to get started.


Is it possible to do a Rigid Body chain that needs to split at a certain frame?

Yes - you can animate the properties of the rigid body constraints to effectively disable the link.

For example, here is a chain of cubes, linked together with a series of Rigid Body Constraints - each set to a Stiffness of 40. At a certain frame the keyframes Stiffness drops to zero, splitting the 'chain' :

The produces the following when animated :


Maybe try this and see if it makes sense to you.
It really should also poll to see if objects are selected in the operator.

bl_info = {
"name": "Material Button Panel",
"author": "Your Name Here",
"version": (1, 0),
"blender": (2, 78, 0),
"location": "View3D > Toolbar",
"description": "Button to Remove Duplicate MAterials",
"warning": "",
"wiki_url": "",
"category": "Material",
}

import bpy

class RemoveDupmatl(bpy.types.Operator):
    """Remove Duplicate Materials"""
    bl_idname = "object.remove_dupmatl"

    bl_label = "Remove Duplicate Materials"
    bl_options = { 'REGISTER', 'UNDO' }

    def execute(self, context):

        scene = context.scene

        #new code
        mat_list = bpy.data.materials

        for o in bpy.data.objects:
            for s in o.material_slots:
                if s.material.name[-3:].isnumeric():
                    # the last 3 characters are numbers
                    if s.material.name[:-4] in mat_list:
                        # there is a material without the numeric extension so use it
                        s.material = mat_list[s.material.name[:-4]]

        return {'FINISHED'}

class TestPanel(bpy.types.Panel):
    """A custom panel in the viewport toolbar"""
    bl_label = "Test Panel"
    bl_space_type = 'VIEW_3D'
    bl_region_type = 'TOOLS'
    bl_category = "Tests"

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

        row = layout.row()

        row.label(text="Single Button")
        row = layout.row()
        row.operator("object.remove_dupmatl", text = "Remove Dup Material", icon = 'ROTACTIVE')

def register():
    bpy.utils.register_class(RemoveDupmatl)
    bpy.utils.register_class(TestPanel)

def unregister():
    bpy.utils.unregister_class(RemoveDupmatl)
    bpy.utils.unregister_class(TestPanel)

if __name__ == "__main__":
    register()


I think you'd be better off using a character animation technique over a constraints-based setup.  Why not use something like Rigify to quickly animate the character, and then use a very simple rig to bend the board.

I first learned Rigify with this tutorial: Quick Rigging with Rigify

As for bending the board, simply make an armature along the board with as many segments as you want.  Then, parent with automatic weight the board to the armature.  If you want, you can set up an IK Chain to make the bending a bit more realistic.

Use the Action Editor to make actions for the board and the character, then put them together with the NLA Editor.


How do I make my textures show up in render?

You've created a world texture, but I think you want a material texture.
To add a texture to a object, you must first create a material:

With the moon object selected, press new in Properties > Material:

Now you can assign the texture you already created to your object, by selecting it in the texture panel, making sure that the middle option (checkered ball icon) is selected:


You can use a modification of a Vector Product. Here is the node setup:

Let me explain how this works. First, Geometry > Normal gets the normal vector of each point on the object. The Separate XYZ and Combine XYZ nodes respectively isolate the z-component of each vector and return that value as a vector. Because vectors that lie more in the xy-plane than others will have a smaller z-component, it is necessary to normalize every vector.

At this point, it would generally do to use the Dot Product to compare the magnitudes of the two vectors. The Dot Product maximizes when vectors are parallel and minimizes when they are perpendicular. For some reason (someone please edit if they know why), the Dot Product is rather glitchy in this case. So I substituted the Cross Product, which maximizes when vectors are perpendicular and minimizes when they are parallel. This had the desired effect. I compared the z-vectors with the Geometry > Incoming vector, which gives the vector from a point to the camera.

Normal vector: A vector that is perpendicular to the surface at the given point.
Normalize: To make a vector or vectors all a standard length (usually 1 unit).

Vector math is a fascinating subject. Consider reading more about the cross product (sometimes referred to as the "Vector Product") here.

Edit 1

As the OP referenced, the above solution separates out the view from the $\pm$z-axis for material selection. Now for a custom view, the so-called pink arrow. Try as I might, I could not find an automated solution that directly pulls the rotation data from the pink arrow in the scene.

First, a note on how vectors are defined in three dimensions.

Google Images

A vector, like the one represented by the pink object above, has an x, y, and z-component. In the picture above, to "get" from the origin of the graph to the tip of the vector would require you to move +2 units in the x-direction, +3 units in the y-direction, and +5 units in the z-direction.

This data can be directly (by hand) entered into the node editor. To compare the camera view to the pictured vector, enter the pictured data into the Vector Math > Normalize node, as follows. This has the added advantage of normalizing (see above) the vector at the same time.

Now, with mostly the same node setup...

...we get this result (my pink vector is the (2,3,5) one). Note that the sphere aligns with the pink vector while Suzanne aligns with the z-axis.

For your vector of choice, use the above info on defining vectors to define yours and substitute its components.

Component: A part of a vector that gives its magnitude in one, specific dimension.

Edit 2

Looks to me like my edit worked, but you defined your vector in terms of local as opposed to global coordinates. I have modified your nodes in your .blend file to line up with the pink vector as follows.

I took these two screenshots of the global coordinates -- first of the base of the vector and second of the tip of the vector:

Let's call the ordered pair of the base $(x_0,y_0,z_0)$ and the ordered pair of the tip $(x_1,y_1,z_1)$. From this data, it is possible to find each component of the vector by subtracting$$n_0-n_1=\vec{n}$$
Therefore,$$\begin{align}
x_1-x_0&=\vec{x}=0.799\\
y_1-y_0&=\vec{y}=-2.203\\
z_1-z_0&=\vec{z}=0.657\\
\end{align}$$

If we plug these values into the Normalize node, we get the expected behvior.

Ordered pair: A group of elements denoting the one dimensional translations necessary to move from the origin to a point.


Mirroring object across global axis using mirror modifier?

Use the mirror object, set to an empty with no rotation.


Looks like a little bug: to solve, when importing your image sequence, you have to sort your files by name.


How to get current marker's name via python?

Each marker has a camera and a name property. Easy to figure out using the python console:

>>> C.scene.timeline_markers['F_01'].
                                     as_pointer(
                                     bl_rna
                                     camera
                                     ...
                                     name
                                     ...

To get the cameras just iterate through the markers:

>>> for m in C.scene.timeline_markers:
...     print ("Marker name:", m.name)
...     print ("Camera object:", m.camera)
...     print ("Camera name:", m.camera.name)
...
Marker name: F_01
Camera object: <bpy_struct, Object("Camera")>
Camera name: Camera


When I import a model form 3D builder , its wireframe looks weird

Try one of these:
Beautify Faces.
Remesh Modifier.
Limited Dissolve.
Tight Budget


Duplicate of an object vanishes when starting the blender game

If you are duplicating the object with the animation then the animation is your problem.

See if you have the location keyframed the location is locked to those keyframes. If you duplicate and move that animated object, as soon as you play the animation both objects are going to be in the same place (same location in the animations).

This gif shows the problem

What you should do, and what X-27 said to do in the comments, is to add an empty in the same location as your coin. Then parent the coin to the empty. Now move the empty to position the coin. To duplicate it again, select both the coin and the empty and put them where you want.

In this gif I show how to duplicate animated objects.


Using your blend file (in blender 2.77a) the render was ok. Then using it as environment texture in world shader and viewport showed no pinching.

The problem seems to come from FSPViewer (sphere UV mapping).

EDIT:
Mapping an equirectangular texture on a UV sphere can't be done with UV unwrapping without pinching because of the tris at north and south poles. But you can use this setup:


Armature doesn't want to spin around intended origin

When I would code this for a game, I would do it like this:

Apply the sit down animation and wait for it to finish.
Make the Character a child of the spinning chair seat.
Rotate the seat of the spinning chair.

Im not sure how to do this within a blender animation but I hope this approach might be useful for finding a solution.


array rotation while maintaining object rotation

You can use dupliverts to obtain this effect.

Create the capsule
Create a circle composed of 8 vertices as you have 8 capsules
Make the circle parent of the capsule by selecting both the capsule and the circle (in this order) then CtrlP

Then in the circle's object properties panel check "Verts" in the duplication section.

Notes :

The original capsule will not appear in rendering
The positions of the duplicated capsules will depend on the position of the object's center of the original capsule
If needed you can rotate the capsules parenting the circle to an armature


Subdivision surface modifier unexpected result

I found out the problem: I had some extra faces "inside the mesh" where they shouldn't have been, erased them and now everything looks fine.


Using a boolean modifier to substract one object from another:

The original object.

Add a cube that intersects your original object (this will become your mold).

On the cube apply a boolean modifier, choose difference and select the original object.

hide the original object (delete it or move it to another layer)

once you are happy with the results you can choose to apply the modifier.

EDIT: there is also a add on that removes the step of using a modifier. Download. It has it's own tab. Just follow the steps above but instead of using a Boolean modifier use the 'direct' section in the 'booltool' tab, which is on the right side of the 3D view


How can I place vertices on the very center of the uv image?

There might be a better way, but here's a quick and dirty method:

In the UV/Image editor, select all vertices.
In the UV/Image editor's N-panel, set the UV vertex position to X: 500; Y: 500.
With all vertices still selected, scale 50% in the x-direction by tapping S, X, then typing ".5", Return.
In the N-panel, set the UV vertex position to X: 250.


Feel free to try/modify this

bl_info = {
    "name": "Blank1",
    "author": "Your Name Here",
    "version": (1, 0),
    "blender": (2, 79, 0),
    "location": "View3D > Tools panel 'T' > Blank1 > Blank2",
    "description": "",
    "warning": "",
    "wiki_url": "",
    "category": "",
    }

import bpy
import os
from bpy.types import Operator
from bpy.types import Panel

def unhide_objects(scene):
    """Unhide all objects"""
    for ob in scene.objects:
        ob.hide = False

def ToggleHide(self, context):
    scene = self
    unhide_objects(scene)
    if scene.TestStringProp:
        for ob in scene.objects:
            if ob.name.startswith(str(scene.TestStringProp)):
                ob.hide = True
            else:
                ob.hide = False
    if not scene.TestBool:
        unhide_objects(scene)

def initprop():
    bpy.types.Scene.TestBool = bpy.props.BoolProperty(
        name="TestBool",
        description="",
        default=False,
        subtype='NONE',
        update=ToggleHide)

    bpy.types.Scene.TestStringProp = bpy.props.StringProperty(
        name="TestStringProp",
        description="",
        default="",
        subtype='NONE')

def delprop():
    del bpy.types.Scene.TestBool
    del bpy.types.Scene.TestStringProp

class VIEW3D_PT_Blank1_Blank2(Panel):
    bl_space_type = 'VIEW_3D'
    bl_region_type = 'TOOLS'
    bl_category = "Blank1"
    bl_context = "objectmode"
    bl_label = "Blank2"

    def draw(self, context):
        scene = context.scene
        layout = self.layout
        row = layout.row()
        col = layout.column(align=True)
        col.label(text="Columns")
        col.prop(scene, "TestBool")
        col.prop(scene, "TestStringProp")

def register():
    bpy.utils.register_class(VIEW3D_PT_Blank1_Blank2)
    initprop()

def unregister():
    bpy.utils.unregister_class(VIEW3D_PT_Blank1_Blank2)
    delprop()

if __name__ == "__main__":
    register()


How to automatically fit the camera to objects in the view?

There is an operator to do exactly this. it can be called from Python or accessed from a menu.

Select the objects you wish to put in the camera view.
View -> Align View -> Align Active Camera to Selected.

Or run the operator: bpy.ops.view3d.camera_to_view_selected()

eg:

import bpy
from bpy import context

# Select objects that will be rendered
for obj in scene.objects:
    obj.select = False
for obj in context.visible_objects:
    if not (obj.hide or obj.hide_render):
        obj.select = True

bpy.ops.view3d.camera_to_view_selected()

There is also an object method to place a camera given input coordinates: Object.camera_fit_coords()

If you want a margin around the objects, you could temporarily reduce the cameras view angle, then restore it afterwards, or simply move the camera back along its Z axis.


It seems that it is due to the flipped surface. So try to go to the edit mode with face selection mode, then select the face and then click on "Flip Direction" option as shown in screenshot below.


Problem with rest position and pose mode

Blender does not run scripts that are part of .blend files automatically, which unfortunately includes the scripts that run Rigify-based rigs together. Blender has to be told that this file is ok, and to run its included Python.

At the top of your first screenshot, there is "Auto Run Disabled" next to the button "Reload Trusted".  Click Reload Trusted, it will reload the file with scripts enabled.

When you load the file with the "open .blend" option under "file", there is the checkbox labeled "Trusted Source", which should also allow scripts to run and for this rig to not flip out.


Camera in Blender 2.8 only rendering the background

Your collection is disabled for render:

Hit this camera icon to enable it:

Also check render state for individual objects


To render a model as a matte black or white on a transparent background:

Firstly, for the black matte image, simply switch the lights off!  Locate the lamp being used in the Outliner panel at top right.  Click the eye and camera symbols off. (they're at the extreme right)

Next we make the background transparent -

At right in the properties panel (under the outliner panel) click on the camera icon. (at the left)

Go down to the shading tab, open that and at the right change "Sky" to 'Transparent'.

Close the tab and go down further, open the Post Processing tab and make sure both the sequencer and Compositor boxes are UNTICKED.  (precautionary step)  Close that tab   and -

Further down again, open the "Output" tab.  Set the format (just under 'Placeholders') to "PNG".  At the extreme right again you'll see a button called RGBA.  Highlight that (click on it).  That's your alpha channel.

While you're there check the output folder is where you want the image to end up.

We're almost set up but you might want to change the pixel resolution for your images and can do that back at the top.  Open the "Dimensions" tab and set the xy pixel sizes.  (I use the 100% option just under those slots and also make sure the "Time Remapping" figures remain at 100 & 100)

That's the output set.  Close the tabs, get back into the 3D window and press N.

The window's panel will appear.  Open its "Display" tab and tick the "Only Render" box.

If you're wanting to render using Blender's internal renderer you'll have to position the camera for the view you're after.

If you're a little on the lazy side like I am, you'll render it out as it appears already, using the OpenGL renderer which is much much faster, particularly for video.   That can be accessed at top left of the window from the (amazingly) "Render" menu !

To make sure the pic does render, change the timeline's frame range from 1 to 1.

Go back to the Render menu (at top) and click on "OpenGL Render Animation".

The pic will appear in the output folder.  When viewed in Gimp or Blender's Video Sequence Editor, you'll see the black model with a checker pattern behind it.  That's the alpha layer.

Make sure you rename the pic file because the white model is about to write using the same filename.

The white Model -

Change the Model's material colour (diffuse) to white with slider up all the way.

Turn the Specular slider back to zero.

Sllde the shading "Emit" slider to full. (2.00)  It often comes out a little brighter than 'shadeless' this way.

...and you're all set to go.  (You don't need the lights)

Render that out and you've got what you want !

The Blender file is attached, it's settings left at the white cube on transparent

Happy Blending!


Possible to remove part of a rigid body bake?

I see two possible solutions here.

You can bake animation to keyframes, and then remove the part of the keyframes that you don't need.

Also, you can create a new object, that will use copy location / rotation / transformation constraints for mirroring baked transformations into a new object. Ones it is done, you will get the ability to set off this constraints by animation influence value from 1 to 0


Is it possible to specify texture dimensions for Cycles nodes

No, there's not a way to modify the actual resolution of a texture with shader nodes.

The solution would be to bake to a lower resolution to begin with.


Does Blender 2.79 fully support 3D mouse?

Yes, Blender is fully compatible. I use a 3Dconnexion SpaceNavigator with Blender both in Windows and OS X daily. It works great in all 3D views/modes but also in (for example) the Node Editor where you can pan around and zoom in/out.

Note: I haven't used the buttons much since there are only two on this particular model, but for navigating around it is really a time saver.


You can use Dupliverts.

Add a big icosphere and at its center, a small one.

Parent the small one to the big one. (select small, then big, Ctrl+P, Object)

Select the big sphere,go to Object panel, in Duplication, click Verts.

The little sphere is now replicated on every vertex of the big one. Notice that the faces of the big sphere won't be rendered, despite they appear in the 3D view.

Now you can duplicate the big sphere (Shift+D), disable duplications on it, and add a Wireframe modifier.


Add an edge split modifier, should clean up the messy normals.


Curve Modifier - not smooth enough deformation

You can try both method

Method 1

Select the curve go to curve tab and in Resolution - Preview U : increase from 12

Method 2

You have added loop cut vertically and no loop cut horizontally

So just select all and delete with limited dissolve

Press W key and add subdivide and Press f6 to increase the count to above 7

No need of subsurf modifier

Apply smooth shading.


How do I view normals in blender 2.8 - 2.81

When in Edit Mode - Expand your Viewport Overlays menu at the top right, than at the very bottom you will find buttons to enable Normals overlays.


I found the solution: Pivot point! I discovered I can edit the pivoting point Blender uses to transform the geometry. So if I choose the opposite edge middle point as the Pivot point (marked by an orange dot), I can then change the scale of my stair with total control :)

More info here: Setting the pivot point of an object


How can I identify the trackers when reconstructing a scene

You can name the trackers on the movie clip editor.

Then enable 3D marker names on the 3D viewport.

Set the view to camera and load the tracked video clip as background image. It will all make sense then.


I want to know how the mix function works in the mix rgb code

source code
material.c
ctrl+f "blend"
https://github.com/blender/blender/blob/master/source/blender/blenkernel/intern/material.c


You could accomplish this with a shader. The acitve ingredient is the Noise Texture connected through the height input of a Bump Node.  I added the Diaplacement for added effect, but it is optional (especially in eevee). The rest, I just used as an example of how the whole thing can be made through a shader (not just the crispy bits), should you choose to do so.

With a just a bit more complexity to the graph in the form of removing the Z input vector on the Noise Texture, you can achieve a melted, or cut look on the sides, and another noise texture (clamped with a ColorRamp) adds some more "rice bits" showing through. I also combined the "rice bits" to make a roughness texture so they don't shine like the "chocolate". The more complex you make the graph, the closer to real you can get.


Create invisibility cloak (alpha mask material)

After reading Leon Cheung's answer, I've redone my solution:

Say you have this setup

and you want to make the plane into an invisibility cloak that affects only the red monkey.

First, make the background transparent (see here for help).

For Blender Render, select the plane, and under the Materials tab of Properties window, enable Transparency, select Mask and set Alpha to zero:

For Cycles Render, select the plane and set its material to Holdout,

For both Blender and Cycles Render, you create two render layers: one with the invisibility cloak and objects affected by it, and one with the normal, unaffected objects.

Then create this node setup:

and the result is:


How to draw a single graffiti over the multiple objects?

Use the 'Object' coordinates of the Texture Coordinates node with the 'Object' property set to the same object for each of your meshes. This will use the same coordinates for each mesh so that the texture can be mapped over all of them.
Here's an example :

Each of the cubes is a separate object - all with the same material. Note that the Texture Coordinate node is set to 'Cube' (one of the cubes) for the Object. This means that the Object coordinates are always with respect to that specific object. The Mapping simply allows you to scale and position the image.
The 'Separate XYZ' and 'Less Than' nodes use the Z-channel of the Generated coordinates so that the texture is only used for the upper surface of each cube (otherwise it would also show down the sides and on the bottom).


Your script ins't executed anywhere. If you want it to be executed at the start of your game you'll need to have an always sensor connected to a python controller having the script in it. This can be in any object.


How to show face in edit mode after hiding with "H"

⎇ AltH or 3D view > Header > Mesh > Show/Hide >Show Hidden will do it:


As of now, you need a CUDA capable card in order to leverage GPU renders reliably.  OpenSL for AMD cards are hit or miss right now.  The rendering guide also suggests that your card may not have enough memory.

https://www.blender.org/manual/render/cycles/gpu_rendering.html


How do I get the fire to show up for the mantaflow fire and smoke effect in Blender 2.92?

While I'm hardly an expert at mantaflow explosions in blender, I've also noticed that it's pretty hard to get the flames to show up. From what I can tell, the 'flame color' setting in your Smoke Domain's Physics->Fire->Flame Color settings doesn't seem to have any effect at all.
I have had some luck following the simple instructions in this short video. Basically, you select the smoke domain, go into the shader editor, and increase the blackbody intensity. I suspect this is just one way to get the flames to appear as anything other than black, but it's the simplest I've seen so far.


UVs resetting to same random pattern when I close the file

Keyframed UVs

As most of all the properties, UV island coordinates can be individually keyframed.

By examining the Outliner and the Graph editor you can realize that each island has fixed location coordinates for the current animation.

If you modify the UV island position and save without overriding the keframes values, the island would come back to the stored position.

If those keframes are needed, you must Insert a new keframe upon the old one before saving.


The blend file already contains the enough instances of mesh object and the armature (RIG-Sky), but the instances are not registered to any scene collection. Therefore delete armature and empty(GRP-Sky) objects and then run the following script to link the instances to a collection.
import bpy

for obj in bpy.data.objects:
    if obj.name not in bpy.context.scene.objects.keys():
        bpy.context.scene.collection.objects.link(obj)

Another way: Use Shift M key in the outliner


How to get rid of defocus node artifacts?

For best quality with the Defocus node, uncheck the "Preview" radio button.This will calculate slower, but give much better results.
Also, if you use the Depth buffer, the Defocus node can automatically use the Focus Distance of the active camera in the selected scene to calculate the blur.
See Blender's manual.


Things like fire etc. I loop in post-production, turns out to be the easiest way and fastest. Just render a bigger chunk of the animation, split it in half and switch the halves. The ends are now seamless but in middle is a discontinuity. Overlap those two parts and blend them with opacity and by pixel-warping if needed (visible edges should be pixel-warped). Picking the right moment for blending is crucial.

Reversing frames and having a ping-pong animation will not work on flags, fire, etc. - That's why it needs to be blended.


How did you rig your dragon?
"manually" you would do weight painting for your bone that parts you want to be deformend if that bone moves.
I did that for your case and i got:

But your vertex group (i just checked for that special bone) didn't had any weights!?, that's why i asked how you did setup your rig.
and i did this weight painting for this vertex group:


No, if you rely on a specific order you will have to sort on export.


This is because there are really three selection states:

Deselected

No outline or origin shown:

Selected

Orange outline and orange origin:

Active

Yellow outline when also selected, yellow origin:

      Active + Selected                  Active + Deselected

There is only one Active object. This object is the one which will be edited, if any changes are made in the properties region or edit mode etc.
In your screenshot you'll notice that the camera is still active, even though you deselected everything. To fix this,

The Active object is normally the last object clicked with  RMB. To set the active object without deselecting all other objects you can use ⇧ Shift RMB.


How to speed up rendering of transparent areas?

Since 2.9 you can enable Adaptive Sampling.
Transparent areas (or pure HDRI) are then rendered with 1 sample only.


Visual Effect "Light" of Greasepencil doesn't exist

Greasepencil's draw-engine was refactored and now GP objects can interact with 3d lights, so the light effect was removed. See point 1.3 in this post.


Why do symmetrically identical edges bevel differently?

If you go to the options for he bevel operation (the toolbar or press f6) then you can change how the width is determined. In your case since the edges are equal length all around percent would work. I've noticed the bevel tool behaving weirdly as well (specifically when offset is used). Maybe it's a bug in the latest version of Blender.


How do I center an object in its parent?

Your problem is essentially this one. With your current Pivot Point settings, ('Median',) the center of your object is considered to be the mean location of its vertices, not the center of its bounding box.

Set Pivot to 'Bounding Box'
Edit Mode, all selected, ShiftS,Cursor to Selected
Object mode, ShiftAltX Origin to Cursor
.. and set the location to 0..

...for both objects.


Renders doesn't display in Node Editor while compositing

TARDIS Maker comment is a solution to my problem, I just didn't connect render layers to a viewer node.


Viewport of render gone, I joined Areas to area with folders


Blender not importing openings from doors or windows from IFC file

After painful hours of trial and error, I found the solution (or at least the problem, to some extent).
The problem comes from the way the file is exported to IFC format from Revit. Even though on the IFC viewer everything looked fine, there's something on Revit that does make a difference when exporting: the IFC version.
The version I had set was IFC 2x3 Coordination View 2.0, because I understood it's very reliable and because it exports objects, if not with textures, at least with material names assigned, which makes applying textures on Blender very easy.
However, there were issues with walls and opennings. In some cases, the opening was imported properly, in other cases it wasn't.
Now, a side note about this: The openings were actually imported, but they didn't go all the way through the wall. I tried playing with the width of wall and window and door families, but I never got a consistent result and was running out of time (an patience!)
The IFC version that imported the openings and all elements without a problem, was IFC4 Reference View, which I've heard is not as widely accepted as IFC 2, but it worked for me. Downside is that objects are imported without material names assigned, BUT, the material names list is imported.
I'm moving from there and assigning materials object by object, since it was more important for me to have walls with proper openings.
If somebody has a better solution, do say!


Python: Selecting vertices and separating them into new object

Just found out through testing that there is nothing faulty with my code, nor any of the methods I'm using. Instead, there was some issue with the coordinate system that formed during or after I had imported the .obj file that I used to test with, resulting in the code not having the same effect as it normally would have.


Where is this material viewport in Blender 2.8 Beta?

Too bad that you cropped your image so tight... The shading options you are looking for are to the right of the image you posted.
Move the cursor over to the right of the screen and click to make the options active.


How to fix these weird shading problems?

You might have some artifacts in your mesh after using the modifier. If it's just a shading issue, you could try turn on "Auto Smooth" in the object data properties and see if that fixes it. Auto Smooth also works best when your shading is set to Smooth. Another thing that can help is to clear the custom normal data on the model to make sure there aren't any other settings affecting  your shading.


Why is the image not transparent in when I import as a plane?

If you imported your image by first creating an image plane (Add > Image > Background), then you will want to click on the resulting plane object in Object Mode, and then look in the Object Data tab of the Properties Panel to find its Opacity slider.

If you created it as a Background Image, you will want to select your camera instead (this is easiest to do in the Outliner window), and then look in the same Object Data tab from the Properties Panel, which will now show the object data for the camera. This will expose you to a different opacity slider.

Hope this helps.


Blender rendering automation (build script)

For starter, there's already quite a bit of discussion about command-line rendering in this forum, like for this question. You do need scripting for such automation. Here's a script containing just the basics, elaborated below:

Script:

# Run as: blender -b <filename> -P <this_script> -- <image_path>
import bpy, sys, os

# Assume the last argument is image path
imagePath = sys.argv[-1]

if os.path.exists(imagePath):
    # Assume object, material and texture name (and settings) are valid
    charObj = bpy.data.objects['Char01']
    charMat = charObj.material_slots['Char01Mat'].material
    charTex = charMat.texture_slots['Char01Tex'].texture
    charTex.image.filepath = imagePath

    # Render to separate file, identified by texture file
    imageBaseName = bpy.path.basename(imagePath)
    bpy.context.scene.render.filepath += '-' + imageBaseName

    # Render still image, automatically write to output path
    bpy.ops.render.render(write_still=True)
else:
    print("Missing Image:", imagePath)

Invocation:

There are several arguments you need to pass, to make scripts like this work:

-b <fileName.blend> to load specified .blend file without UI,
-P <scriptName.py> to load and execute specified Python script,
-- prevents Blender from processing subsequent arguments,
<imagePath> will specify texture image file, to be read by the script.

For this discussion, let's say you save the script as render_script.py, and execute it like this:

blender -b char01.blend -P render_script.py -- tex01.png

Description:

The script itself just reads image file path, assigning it to appropriate texture, tweak some render settings, and then rendering the image.

Command-line arguments can be accessed in sys.argv, and by passing -1 index, we access the rightmost argument. In the example above, it's tex01.png.

After verifying that the path is valid, using os.path.exists(), the filename is passed as texture image path. This part assumes that the object exist, with material and texture already set, and names as specified.

The third step is to modify render output filepath, so that each render with different texture will be written to separate files. So if output is already set as //sprite, this particular render will be written as sprite-tex01.png.

Finally it just executes render() (making it automatically write still image), then exits quietly.

This script contains only the gist of what needs to be done, so I really suggest you to modify it to suit your need.


Object disappears when trying to set origin to geometry

It crashes for me as well.
However:
If you go into edit mode and select all vertices via Box Select (don't use A), then press Ctrl + I to invert the selection, you'll see that there is at least one vertex at an undefined position (nan = not a number). If you delete that, everything is back to normal.


For basic materials like plastic, glass and metal, you only need Principled BSDF.
Rough plastic has similar properties as rough glass.

Transmission = 1
Roughness = 0,2
That's it.


How to best create an animation of an opening paper fan?

Here's one to try out. The base is a Plane with one vertical cut [CTRLR] and the lower vertices merged [ALTM]. It is shaped to approximate one fold of the fan. Hooks are added to the outer vertices by selecting them in Edit mode and pressing CTRLH. Once back in Object mode the hooks can be (shift) selected and moved down on the Z-Axis or scaled towards each other to create the fold.

You can later animate the Location by pressing CTRLI. The single fold can be duplicated with an array modifier using a new empty as the centre.

The centre empty rotation can also be animated with CTRLI to match the timing of the Hook movement. Of course it is cheating and if you look too closely they might not match perfectly..


Why is it I can move an animated model after importing but not later?

A complex animated character consists of two parts, a mesh object and a rig that deforms it. When you move one of these paired objects in object mode the armature deformation goes bad, you need to move both objects together. Usually the armature is made the parent of the object, so moving the armature keeps it all together but moving the mesh object will be an issue.

In 2.7x while an armature is in pose mode, we can select an object and the armature will be deselected. In 2.80 this changes, while in pose mode we are unable to select another object. The solution is to go into object mode to select another object. This is also true for other modes, we need to be in object mode to select a different object.


In a BGE RTS, how could I make a selection box to select Units?

Here's how to select people in general, by clicking on them with a button other then the one that sets the mouse tracker. Unfortunately, I don't know how to do a draw-box, but if someone else does, I would be super thrilled.

You need to add a mouse sensor, and set the field from the default Left-Mouse-Button to something else, like Middle-click, or Right-Mouse-Button. You also need a property on the cube; call it "active". This property needs to change to "True" when the cube is selected, and "False" when the cube is inactive; therefore, the Boolean variable type would be the best for this property, since there are only two different modes.
In order to change it, you need a "Property" actuator set to toggle (that way you can deselect also). In the field with the little bullet, (the property field) enter "Active" which is the name of the property you want changed.
Connect the actuator to your Mouse sensor you created earlier.

Now when you click on a cube, it will set the property "Active" to true.
All you need to do is create another property sensor, set the evaluation type to "Equal" and enter true for the search, with Active as the property to be evaluated. connect this to the AND controller that allows your cube to steer toward the tracker and Viola!

Here's a blend to show you. hit Num5 to add people.


The material preview uses a built in HDRI to provide lighting and reflection information. You can add your own in the shading tab under "World" (highlighted below), by adding it as an Environment Texture. You can use any HDRI you want, but the ones that come built in with blender are in the blender folder at ../2.83/datafiles/studiolights/world.

If you want the reflections and lighting without the visible background, there are a few ways to accomplish this. The method I prefer is to connect the texture to two separate Background Nodes, and then combine them through a Mix Shader, using the "Is Camera Ray" output of a Light Path node as a mix factor. Doing it this way allows you to control the brightness/strength of the both the lighting and the background image independently (I set the background image to 0 in my example).


Mathematics behind creating shapes using math nodes

If you want to make simple shapes here is a recommendation - https://www.youtube.com/watch?v=BqijDcTdfZ8 but i can explain here , if you separate the xyz of texture coordinate using  a Separate xyz node and then connecting it to a compare node(math) , you can get a black strip on a black plane , this could be used to make a square by subtracting another such white stripe from it , i really recommend watching the given tutorial. IN the future , you might want to make your own shapes  and as you have mentioned in the link , the topic used in the equation is Linear and quadratic equations you can by the way trace equation in node , like say you have a value node , assume it to be x then adding math node to divide it by 7 , then square the result , it can be done , but if you want to verify the equation , proper linear and quadratic equation knowledge is needed to interpret them


Is there a way to find all vertices mapped to a specific UV image

A slight variation of this answer, if you paste the following script into blenders python console you will get a list of what face uses which material and image.

import bpy

for obj in bpy.context.scene.objects:
    if obj.type == 'MESH':
        for f in obj.data.polygons:
            mat = obj.material_slots[f.material_index].material
            if mat and mat.use_nodes:
                for n in mat.node_tree.nodes:
                    if n.type == 'TEX_IMAGE':
                        print('Face', f.index, 'uses', n.image.name, 'from', mat.name)

If you are using 2.80, while in edit mode enable indices in the overlays menu.

Now in face select mode, when you select a face you will see the face index. Match this with the face index from the script to see what image it uses.

If you are using 2.7x, first enter bpy.app.debug=True in the python console, then you will find the indices option under Mesh Display, everything else is the same.


Your driver was working with local X movements, while moving a bone along its longitude is local Y axis. I changed the driver formula to "scripted expression" and multiplied the variable (named default "var", but you can change it) by - 10 for having consistency between bone and eyelid movement.


Creating an implant for spinal surgery - workflow questions

Hopefully this is captures the problem and a solution.

To create geometry for a fixure which can be lifted off a complex geometry like a spine, you can use a high resolution mesh and the shrinkwrap modifier. The resulting object should be 'water-tight' and able to be 3D printed.

Detailed instructions:

Import the spine geometry.

Add a plane which will be the dividing plane between the upper and lower clamps.

Select the spine and the plane. Use ctrl-J to join the geometry.
Add a cube for the upper portion of the clamp. Size it so it covers the area to the clamped. Keep it above the spline. This block should NOT intersect the spine geometry.

Select the cube and use tab to enter the 'edit mode'. In the edit mode, select the vertices on the bottom of the cube. Use subdivide to create a high resolution mesh on the bottom of the cube. With the bottom of the cube selected, add a vertex group and name it 'bottom'.

Use tab to return to object mode.
Add a shinkwrap modified to the cube. Project the shrinkwrap modified in the 'z' direction and only shinkwrap the 'bottom' vertex group. Set the spine as the target. This will project all of the vertices in the bottom group down onto the spine. Because the plane was added earlier, the shrinkwrap will either touch the bone or the separation plane. Since the vertices only project downward, the block can be removed by lifting off the spine.

You are done! Some other things to consider are increasing the mesh resolution in areas of interest to better match the scanned geometry and adding offset to the meshes to provide some fitting tolerance for installing and removing the blocks.

If additional clearance is needed between the scanned spine and the mold, the diplace modifier can be applied to the geometry. This will project the surfaces of the bones outward a little and give additional room. The image below shows the original spine in geometry as a solid and the displaced geometry in the wire mesh.


in the example below how possible is to rotate the nurbspath on its own z axis?

Not sure I entirely understand you issue. Assuming this is what you want to do.

In Object Mode select your curve and place the 3D cursor at its origin with the Shift+S menu.

Enter Edit Mode and select one or all of the vertex at the end of the curve.

Change transform pivot to the 3D cursor with . Period key.

You can then rotate the selected vertex. For a smooth transformation like below try using Proportional Edit.


You can achieve kind of that modeling manually.

Select 2 curves, join them, convert to mesh and use Bridge Edge Loops to fill space between them:

Add a loop cut, select it, P to separate selection, and delete new created loop. Enter Edit mode of that separated selection, and extrude it in one of horizontal (in my case) directions:

Join 2 meshes, in Edit mode select outer loops and use again Bridge Edge Loops tool to make faces between them.

I added 2 loopcuts to define another form of the mesh and scaled them by X axis with Pivot set to central loop so to make them not on the default position.
After deleting non-manifold geometry the mesh became like this:

And this is what is done with this technique as for torus:

On the left is the curve I used to define that shape, on the right - the resulting mesh.

It's not ideal and automated, but you may always refine loops' position so it to look in another way.

Advantages

The only one as for me (comparing to Lattice using) - is that you definitely use curves you create to define the shape of the resulting meshes.


How can I make a fluid simulation in game engine

No. You can't do fluid sim in BGE. Fluid simulation is a complicated process and won't run fast in real-time.

Only if it's built on a graphics card  system, such as CUDA or OpenCL, it might be fast enough. But Blender's fluid system isn't. You might want to check into faking it with particles.


You can use the To Sphere transformation to make sets of vertices more nearly spherical: https://docs.blender.org/manual/en/latest/modeling/meshes/editing/transform/to_sphere.html

You can also use Smooth Vertex to smooth out sets of vertices, as unintended jaggedness is a common problem when trying to achieve smooth features in a complex mesh:

https://blenderartists.org/t/is-there-a-way-to-smooth-out-the-vertices-in-blender/518443

I would, however, add this: when a key feature of a primitive form (like sphericity) is desired, it is usually best to start from a primitive (like, well, a sphere) that already has that form, and only gradually modify those features of it that you don't want to maintain. Working in the opposite direction (complex form to primitive features) is often considerably more difficult.


You can import .c3d file in blender like this:

https://stackoverflow.com/questions/20499320/how-to-import-c3d-files-into-blender

The problem is it won't be an armature, but animated locations of points:

Some points will be dead in the center (marked).

Adjust the frame range to fit the mocap data
Delete the dead markers
Re-build the armature - add armature to scene

looks like we have markers from both sides for each leg - that means the bones will be somewhere in between markers
Building the armature:

select a marker (or two if I want position in between) and align 3D cursor with 'Shift-S > Cursor to Selected'
then enter edit-mode of armature and select a joint and 'Shift-S > Selection to Cursor'
this way I can place all the bones (joints) precisely

also recalculate the Roll of the bones with 'Ctrl+N > Cursor' with 3D cursor on some reference marker

Name the bones properly
Constraining location of root bones:

use copy_location constraint
or two of them with second on 50% influence to get in-between position of two markers
similar for center of 3 markers, you get the idea

Constraining bones direction

use damped_track constraint
also multiple of them with adjusted influence for center of group of markers

Bake the animation to Action with Pose > Animation

Bake Action: visual_keying_ON, clear_constraints_ON
Export armature as .bvh from the blender main menu (you might need to enable BVH addon).

These steps will result in having a .c3d file converted to a .bvh file.
A sample .blend file with rigged markers here:


Game character UV map with Alpha Eyelashes

Ok, I guess I got it. Just have to make a new texture file and placing it where the eyelashes on the UV map are located.
I haven't baked it yet but I guess it will work.


Evening sky, or how do I use the Sky Texture Node?

I don't know anything about Sky Texture but it looks like this setup works the way you want:

Plug the Sky Texture (Preetham mode) into a Gradient into your ColorRamp (always better to use a Gradient before a ColorRamp if you want your gradient to look like your ColorRamp spectrum, I dont know why though).

You can also use Texture Coordinate > Mapping nodes before your Sky Texture if you want more control on the sky position/orientation.


How to mirror copy existing vertex weights

Copy your vertex group
Mirror your vertex group

Now you just have to merge them togerher. Do it with script if you wanna automatize it or by hand:

How to merge vertex groups?


The settings for the color management don't match with the color space for the images used.

If the colorspace for the original images is sRGB then set the View transform for sRGB (or "standard")

Read the following link:

Blender image output gets greyish touch


Is it possible to render a single game engine frame in cycles?

I found the solution to my problem.  I end up running the 'render game engine' while having the 'record animation' checkbox checked under the Game dropdown.  Of course, you need to change to the 'Blender Game' rendering before this otherwise it won't appear.  Then starting the 'Game Engine' by clicking 'Start Game Engine', as it is recording, all of the keyframes are created  Once I find the frame I want that represents a good image of what I wish to render.  I move to that frame and turn it over to cycles render.  Here I can play with the materials, lighting, etc in order to get just the right image to be rendered.


When trying to render an animation, it doesn't work

It's likely to be one of two things:

Either the output path you are trying to use is invalid or trying to write the file to a protected non-writable path on your machine,
OR you are trying to use a video codec that your OS does not support.

Try switching up your output path and/or your video codec and see if the error goes away.

Bonus Tip: It's best to render your animation to a sequence of still images (PNG, JPG, etc), and then render the video from the images. Lots of reasons why this is better (some reasons include: in case animation render fails in the middle, it's easier to render video from images instead of raw render, etc).


Why do I get "CUDA error: Out of memory", even on empty scenes?

retaking this now. I am using a NVIDIA GeForce GT 640M 512 MB (not the best, I know) in an iMac (21.5-inch, Late 2012) running OSX 10.11.5 (15F34) El Capitan. With CUDA version 7.5.27 and Blender 2.77a. I was struggling to render an empty image using GPU and CUDA. When I saw @cegaton suggestion: Reduce tile size. It made an empty image render with GPU. Maybe is the most we can do with it, but at least, we can get something. I was using X:64 and Y:64 tile size, and moved to X:32 and Y:32. If I find anything interesting, will post back. But maybe this is the limit. Hope it helps.


If you scaled you box in Object mode you will need to apply the scale to get the faces the right size. To apply the scale Ctrl A -> Scale

You need to add seams to properly unwrap your mesh. If you do not use seam and try to unwrap you will get a weird and distorted UV map. To add a seam you can select and edge Ctrl E -> Mark Seams.

After you add enough seems to cleanly separate faces in the correct places you can unwrap the mesh, U -> Unwrap. Make sure you select all polygons before unwrapping.


Set existing animation start frame with script

You're right. Since frame_range is read-only, you can't modify it directly. It gives you the range over which all fcurves of that action are defined. AFAIK you'll have to change fcurve values of that action. Here's a small snippet of how to do that:

>>> for f in line.animation_data.action.fcurves:
...     for k in f.keyframe_points:
...         k.co[0] += frame
...         k.handle_left[0] += frame
...         k.handle_right[0] += frame

...where I assume you have predefined value for frame (e.g. frame = 10)

Here each of k.co, k.handle_left, k.handle_right, have 2 components: frame number and value. We have incremented the frame number of each keyframe (to translate all keyframes by constant amount). You can also play around with advanced things such as scaling or resampling.

Happy PyBlendering! :)

PS: Please note that if inside your duplicateObject(...) function if you're calling bpy.ops.object.duplicate(...), then you don't need to separately create animation data or action, since it is done automatically by the operator.


Here is one option to use the Vertex Paint Blur tool on the border between the white color vertex and the black color vertex. I paint the center area white in vertex paint mode, and then invert and set paint to black (in the header, go to Paint> Set Vertex Color and this will act like a fill). I used Face Select masking to do this without overriding the center white area.

I then switch tools to the Blur tool and blur the area around the white spot so that it cause a gray area. To deepen it, I subdivide once to force the vertex paint to blend across the changes. I then use this vertex color in the Attribute node (named Col by default) as a factor to mix between a diffuse black shader and a blue emission shader.


Can armature/bones be edited without edit mode?

No, The armature must be in Edit mode for us to be allowed to add or remove bones. We can switch into and out of it, using bpy.ops.object.mode_set. An idiom I use a couple of times in my addon, is to store initial mode in a variable (prev_mode), then restore it when I'm finished:

prev_mode = armature.mode # save

bpy.ops.object.mode_set(mode='EDIT')
for bone in context.selected_bones:
    # do anything in edit mode
    hook_name = PRF_HOOK + bone.name
    hook = armature.data.edit_bones.new(hook_name)

bpy.ops.object.mode_set(mode='POSE')
for bone in context.selected_pose_bones:
    # do anything in pose mode
    hook = armature.pose.bones[PRF_HOOK + bone_name]
    ct_constraint = hook.constraints.new('COPY_TRANSFORMS')

bpy.ops.object.mode_set(mode=prev_mode) # restore

This way, we can access any editing mode, any number of times, without the user even notice when the script is finished.


The images store multiple material information in their color channels. When you view them in RGB, the resulting image doesn't make any sense, because all these layers just get added up.
If you look at the color channels independently, you can identify the stored information. The RGB channels of boYTW.png and K3Cvf.png look like this:

I don't exactly know, what the R channel is for in the first image, it might be some kind of mask or SSS information. The green channel however clearly stores the specular information. You can see the shiny hair, the wet lips and the metal buttons. The blue channel seems to store the roughness information.

The other image only carries two channels, R and G. Blue is black and therefor doesn't store any information.

The Red channel seems to store emission information, the Green channel stores ambient occlusion data.

You can grab the channels in Blender and see for yourself, wich channel might contribute to wich part of the shader.
Here is one possible experiment, there are obviously a lot of maps missing, you'd need to add the albedo and normal maps. But this is a nice approach to see wich texturechannel might deliver wich information.

I hope that helps!


Is it possible to use characters of Manuel Bastioni Lab with the rigify rig?

There is an addon by DanielEngler to do just that.
Link to download:
https://github.com/danielenger/Meta-Rig-for-MLAB
More explanations on BlenderArtist if it's not obvious enough for you (it wasn't for me).


looks like your helpers are children are of the rig and are therefore also affected, my understanding is they should remain static since their referenced by bones. With only your last layer visible go to your outliner, set to only visible layers, select any mesh withing the rig heirarchy, now change your outliner view to same types, select all (A),right click the mesh and chose 'select', hit alt+P in the 3D view to un-parent. Now go back to your first layer and the rig should behave properly.


Alt-click is not selecting edge loops on a mac.

I found two ways to do this
You need to go to edit > preference under the Input. turn off emulate 3 button mouse.
or
You need to go to edit > preference under the Keymap search for Loop Select and change it from Ctrl + LMB  to Shift + LMB


How do I add texture to new faces on an already-textured mesh?

Like someonewithpc said, you can simply create the new geometry for the fringe and add it to the existing UV map:

Create the new geometry
In Edit mode, deselect everything then select only the new geometry
With your cursor in the 3D view, type 'U' and select your preferred method of UV unrwapping
In the UV/Image Editor, select the new geometry and place it in an unused portion of the texture. (Hopefully you have some blank spots in the image. If not, you're out of luck)

The new geometry should be part of the UV map, and the existing UV map will remain unchanged.


Add a color input and output to OSL shader

In OSL, you can use color as type of parameter. For example see here your script. I changed the tex parameter and the Result parameter

shader Exp_Shader(
    color tex = 0,
    float OldMax = 1,
    float OldMin = 0,
    float NewMax = 1,
    float NewMin = 0,
    output color Result = 0,
)
{
    Result = (((tex - OldMin)*(NewMax-NewMin))/(OldMax-OldMin)) + NewMin;
}

After doing this and pressing the refresh button the Script node will look like this:

Hope this answers your question.


Blender can't see through glass because reflections are too hard

I was able to fix it by giving the glass thickness with the solidify modifier.


How do I make rounded corners on this box? (Blender 2.8 beta)

There are many ways of solving this, but here is one.
It gives good control over the roundness of the corners.
Make sure you Apply Scale first so you wont get a strange behaviour.


Cycles Render bake over texture with transparency

I ended up finding a way around this. Basically I would bake only my shadows to a separate image and then manually add them to my textures with Photoshop. It requires the extra step, but I ended up liking it even more this way because I can adjust the shadows some more.


As an alternative to the other answer, if the material isn't assigned to anything, select "orphaned data" in the outliner and expand the "materials" category.  you can then right-click and delete any material you don't want anymore and it will be removed from the file immediately, no need to save and reopen.


How to get XYZ euler rotation of 3DView?

bpy.context.region_data.view_matrix.transposed().to_euler()

Tanks HENDRIX, that was pretty simple


The reason it is not working like you expected is because you are using a mask. Right now all you are getting is a black and white mask that has no transformational information so all it is doing is "hiding" the part of the image outside of your mask.

What you want to do is use a Plane track and a Plane Track Deform Node. After setting up the plane track, that node will deform whatever image you give it as an input to match the skew of the plane track.

Switch to the Tracking mode in the Movie Clip Editor, add 4 tracking markers.
With the 4 markers selected go to the Solve tab in the Tool Shelf and click the Create Plane Track button.
Drag the corner points of the newly created plane track to match your frame.
Now in the compositor set up your nodes to look something like this:

The Plane Track Deform Node is the heart of this, that is where all the data from the actual plane track gets in to the compositor to distort the image.

My answer here show the whole process of setting up the track and the needed nodes in more detail.


The Add 3D Function Surface addon allows you to do exactly this. You can download this addon here. It also comes included in the built-in Extra Objects addon.

Once you have the addon installed, when you go to add a new mesh, you will have two additional options: 'Z function surface' and 'XYZ function surface'. If you select either of these, you will then be able to add parametric equations in the Toolbar menu to define your shape.

Example XYZ Function Surface:


Modelling complex, planar faces (from imported DXF)

After trying @Mr Zak 's responses (thanks), I feel I should summarize my findings in something more visible than a comment.

Blender should be able to create a polygon from vertices. If it doesn't, the geometry of the vertices is too complex, somehow. To overcome this, fill the shape with less complex planes (tri's, quads, maybe a pentagon) and combine them using "dissolve limited".

If 'dissolve limited' doesn't work, then check the normals of the faces. They should all point the same way. Flip them if needed and try again.

It also helped to remove the edges, while keeping the vertices.

See also Cutting hole into a face with a line loop?


Put the 2 pumpkins at the exact same position, unwrap the low-poly (for example with Smart UV Project method), give it a material with an Image Texture (not plugged for the moment), create the image (make sure that you create a 32-bit Float), select the high-poly, shift select the low-poly, choose Bake Type > Normal, Selected to Active, Extrusion > 0.2. Then bake. Then plug the Image Texture into a Normal Map node that you plug into the Normal socket of the Principled BSDF or of the Diffuse.


Changing tooltip for menu entries which use the same operator

Using a dynamic operator enum property
Add a custom property "prop" to the scene to show dynamic behaviour.  Once added will add a new item to menu.
import bpy
#populate itemslist
def items_list(self, context):
    items = [
        ("RED", "Red", "This will add RED",  'OUTLINER_OB_ARMATURE', 1),
        ("GREEN", "Green", "This will add GREEN",  'OUTLINER_OB_ARMATURE', 2),
        ("BLUE", "Blue", "This will add BLUE",  'X', 4),
        ("YELLOW", "Yellow", "This will add YELLOW",  'BLENDER', 8),
        ]
    # test dynamic by adding custom prop "prop" to scene
    if "prop" in context.scene.keys():
        items.append(('BLACK', "Black", "This will add BLACK", 'BLANK', 16))
    return items

def draw_enum(self, context):
    self.layout.operator_context = 'INVOKE_REGION_WIN'
    self.layout.operator_menu_enum("object.simple_operator", "type", text="My Menu")

bpy.types.INFO_MT_add.append(draw_enum)

class SimpleOperator(bpy.types.Operator):
    bl_idname = "object.simple_operator"
    bl_label = "Add Avastar..."
    bl_description= "Avastar"
    #bl_options = {'REGISTER', 'PRESET', 'UNDO'}
    #dynamic enum property
    type = bpy.props.EnumProperty(items=items_list)
    @classmethod
    def poll(cls, context):
        return context.active_object is not None

    def execute(self, context):
        print("run with ", self.type)
        return {'FINISHED'}

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

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

if __name__ == "__main__":
    register()

PS: from your screenshot it looks like you are using presets, check out Python add drop down menu that stores data  The preset code is in 2.77/scripts/startup/bl_operators/presets.py


Does increasing Blender's noise texture increase the quality of the rendered video?

Short answer: it depends on your intentions and on the scene. Just try different settings.

Longer answer: the noise detail is not a quality setting, you might want a "blurry" look. And even if you prefer the "rough" look, it might not matter depending on the scene (for example if your object is far away from the camera).

Note that creating a more detailed noise requires more computing time. It depends on your scene whether this extra time is significant.

The scale is not related to the detail (or to the quality), the best scale depends only on your intentions. The scale setting should not influence the rendering time.


Data Transfer always involves two components: An export process and an import process. Both of them need to be aligned with each other to produces a correct result - or at least a desired one. Now, we don't have your source files available, but let's tackle your comments bit by bit:

Another weird thing is that the .OBJ file is 920MB in size

This is basically buried in your tessellation settings. Your model is an architectural one, meaning it spans across a dimension of roughly 100 meters. Rhinos internal units however deal with sizes of millimeters or centimeters (to be checked within your Rhino settings), and the tessellation refers to that. The defaults are crafted to objects at the size of a coffee machine would tessellate nicely. You're feeding something considerably bigger to it, so the settings for tessellation can be lowered to compensate for that. Especially the minimum edge length seems to be far too fine from where I stand. As soon as objects are curved, this will result in very dense triangulation.

But when importing to Blender nothing shows and layers don't work either

The first part is a misconception. Check your own screenshot and have a look at the right on the Outliner area:

You'll notice that there are a bunch of objects. Generally that means that data has been transferred, just you don't see it. And this leads to the second part, which is:
OBJ sucks at what it actually CAN store

OBJ has no definition in the file format for layers, as has been mentioned in the comments already. You will only get as far as achieving at least that things come in as more than one object (which is the case for you already), but that's about it.

Worse than that, OBJ has no means of storing units. That means, when you try to store a vertex located at (1.0, 0.0, 0.0), OBJ will happily write down the numbers, but not what 1.0 actually means. Millimeters? Meters? Feet? Inches? You won't know. So what breaks in your scene is that Rhino exports the numbers very likely as millimeters, but Blender on the import side interprets that same raw numbers as meters. This results in your scene scaled up by a factor of 1.000, too big to see it in the viewport.

The worst part however is that the OBJ importer in Blender has no Scale setting either, which you could use to apply that unit compensation. Blender 2.82 does have it for the exporter, but not for the importer, for reasons that are beyond me. So the only thing you can do on the Blender side is to scale down the scene using the 3D Cursor as the origin by a factor of 1.000. Maybe you have said unit compensation on the Rhino side.


bpy.data.object 'NurbsPath' name is "NurbsPath.001" and cannot be "NurbsPath" while bpy.data.curves name can be either "NurbsPath" or "NurbsPath.001"

Some blender basics.

bpy.data.objects is a collection of objects of type bpy.types.Object, as is context.selected_objects and context.scene.objects.  The properties and methods of bpy.types.Object are available to all objects of any type.

Each object has a data part. When an object is created its type is set according to its data.  This cannot be changed, eg trying to give a 'CURVE' type object a 'MESH type data will result in an error.

Each object has only one data member.

>>> for ob in C.selected_objects:
...     ob.name, ob.type, ob.data, type(ob.data)
...
('Empty', 'EMPTY', None, <class 'NoneType'>)
('BezierCurve', 'CURVE', bpy.data.curves['BezierCurve'], <class 'bpy.types.Curve'>)
('Cube', 'MESH', bpy.data.meshes['Cube'], <class 'bpy_types.Mesh'>)

for example the curve type object above has one data member of type bpy.types.Curve.  All curve type objects in the file will be in the bpy.data.curves collection.  The curve object is not equivalent to the curve data object.

>>> D.objects['BezierCurve'] is D.curves['BezierCurve']
False

but rather the data part of the object.

>>> D.objects['BezierCurve'].data is D.curves['BezierCurve']
True

Can set the data to any other data of the same type.

>>> C.object.data
bpy.data.curves['BezierCurve']

>>> C.object.data = D.curves['BezierCurve.001']
>>> C.object.data
bpy.data.curves['BezierCurve.001']

Each data type, can be used by none or many objects.  There is no direct reference from a data object to its object. To find all the objects that use the "BezierCurve" data in a scene would  use something like

>>> [o for o in C.scene.objects if o.data is D.curves['BezierCurve']]
[bpy.data.objects['BezierCurve']]


These edges are marked as sharp.

To unmark them, simply select the edges (or all edges A), press ⎈ CtrlE to open up the edge popup menu and choose Clear Sharp.


Materials modified with GLSL in bge, return to original material (using only python)

The shader(s) can be disabled/removed with shader.delSource().


Why doesn't Blender Game Engine render worm gear mesh with all vertices and textures?

The Game Engine by default hides back faces. By disabling backface culling (under the object's properties > material > game settings), I can make it render the faces.


Is there a Way to Align Camera to View and Fit the View?

First hit NumPad 0 to enter camera view, then press Home so the camera fills the window.
Now when you press Ctrl Alt NumPad 0 (or go to the camera view any other way) the camera will fill the screen.

If the camera is still not positing where you want it; then that means you are in Orthographic view. Hit NumPad 5 to switch to perspective view, and the camera will match your view.


Object mode takes to account object position in space, use the texture coordinate "generated" output.


Try to switch to 2d shape because it makes better defined corners.
 If you want to optimize for render convert to mesh using Alt C.
Then add a decimate modifier and play with the ratio value until you got the looks that you want.


It looks like you accidentally hid those faces/vertices.. If you open that model again, go into 'Edit Mode' then press 'ALT+H' you'll see that those vertices/faces were, maybe by mistake, hidden. 'H' hides anything that you have selected. and 'ALT+H' unhides them. If you selected those faces, verts or edges and accidentally pressed 'H' then you probably hid them so they'd remain hidden until you press 'ALT+H' to unhide them.


Because you are using the armature-driven mesh to interact in a rigid body world, you need to toggle the Deforming in the settings for that animated box.


Why do we apply location, say after we moved an object

Do we have to apply location after moving object?

In short, No. In which case thought I'd explain what it does, and a couple of scenarios where it may be useful.

Local vs Global Coordinates.

Blender uses world and local coordinates.

When an object has zero location and rotation, and unity scale, the local coordinates of its data will match the corresponding world coordinates.

For instance the default cube has its origin at (0, 0, 0) and its data, the mesh, has a  corner (vertex) at (1, 1, 1).

If I move the cube object to (1, 1, 1) the local coordinates remain the same, but the global coordinate of the fore mentioned corner vertex is now (2, 2, 2)  I've snapped the 3D cursor to the vertex in image below to demonstrate, would also show by selecting "Global" for vertex coordinate.

Applying location in object mode, would alter all vertices local coordinate to the global coordinates, matching its origin to global origin. (note  has no rotation or scale applied)

Applying location is the  same operation as Origin to 3D cursor with the 3D cursor at (0, 0, 0). (with no object parenting)

Why do this?

If I want the origin on base of default cube I can move it up one unit such that global (0, 0, 0) is on its base, and apply location.
Let's say I have an intricate assembly made up of different parts
that I've modeled with a separate object for each. When finished,  it may
be simpler to have all the parts located at (0, 0, 0) and let the
local mesh data take care of the positioning, by applying all
transforms on all components. (that way if I transform a part later,
it can be relocated easily, I don't need to remember its location, rotation and scale, I can just set all to default)  I've imported a number of models that have been arranged this way.
Making simple model of earth and moon. Add sphere (earth) at origin,
duplicate for a moon, scale down move away along x axis and apply
location.  It can now be rotated in its fixed orbit around earth by
simply adjusting the z Euler rotation.


Complex text (curve) to mesh creates gaps

Using extrude in the font properties in Blender proved to be the right way.

In my question I had created a text, then converted to mesh and finally extruded with 'e' - that created the broken mesh. A lot of unnecessary steps that also rendered a bad result.


How to get a clip's source media starting and ending frame numbers?

Here is a script that prints strip details to the system console.  Note how the python property names are shown when you mouse over the field in the Properties Panel of the VSE. If this answer is heading in the right direction, give me a heads up and can edit to format the output more specifically to suit your needs.

import bpy

context = bpy.context
scene = context.scene
vse = scene.sequence_editor

for strip in vse.sequences_all:
    # Edit Strip Panel
    print("-" * 72)
    print(strip.name)
    print(strip.type)
    # extend for other strip types.
    if strip.type in ['MOVIE']:
        print(strip.filepath)
    elif strip.type in ['SOUND']:
        print(strip.sound.filepath)
    print(strip.channel)
    print(strip.frame_start)
    print(strip.frame_final_duration)
    # Trim Duration (soft)
    print(strip.frame_offset_start)
    print(strip.frame_offset_end)


Color disappears after changing render engine from Blender internal to Cycles

In the materials panel, go to the Options section, and set the checkbox for Vertex Color Paint.


For an external render engine, yes. Have a look at cycles, it is actually created as an external render engine made available through a python based addon. Luxrender also utilises this to integrate with blender.

For general opengl drawing I would say no. Blender is developed to read it's own data and draw it to screen. There is the bgl module available in python to allow python scripts to draw as needed, you could get data from another application and draw in blender with this but I would not expect decent performance with anything but a very simple scene.


I don't know how to get rid of this grid

You're in Edit Mode. In Edit Mode you can only edit data of an object (in this case your mesh).

Go into Object Mode by pressing the TAB key.


Select your object and go to the shader editor, add an image texture by pressing shift>A and then connect the image texture node into the base colour. In the iamge texture node press open and select your file or just open the dropdown menu and select the file from there. Now go to the texture paint workspace and check. It will not be pink.


Non-planar quads: how to connect two curves with faces?

I tried to re-create your model to mimic the issue and as others stated in comments, adding some loop cuts should solve it.

After that I would just try to make the cuts more even using vertex slide.


transparency issue in blender render with shading?

when using a transparency in Blender Render ensure that in the material tab , under options that the traceable box is unchecked so as to not cast a shadow on the transparent portion of the texture.


I figured out a solution.

Changing the solver of the boolean modifier from bmesh to carve did it for me.