Actually it does follow the path, except that you’re supposed to place the armature at the exact same point as the beginning of the path, to do so just press AltG, it resets the location at 0/0/0 but as the armature is constrained by the Follow Path its new 0/0/0 is the beginning of the curve.

Now second problem, once you’ve reset the location, the armature still goes away. The reason is that you’ve given it an animation as you can see if you open the NLA Editor, and this animation contains location datas that moves it away from the 0/0/0. So either delete this NLA strip or delete the location infos of this action.

To delete the location datas of this action: In the 3D View select the armature, in the NLA select the first NLA strip of the top track (the one that plays), press Tab to display the action of this strip in the Dopesheet. Go in the Dopesheet, click on the arrow icon button to only see the actions of the selected object, in the left panel unfold the action datas, double click on the X Location track and press X to delete this row, same thing with Y Location and Z Location tracks.


Making trails in a curve mesh created by the Animation Nodes add-on

You say you implemented hooks proceduraly, consequently you can construct the spline at any frame of your choosing. So, what you need to do is loop over the frames, construct the spline, evaluate some points onto it, and append those points. The loop will output a list containing the evaluate points at all frames. All you need to do now is construct a mesh from that by using the edge and polygon indices of the grid node as follows:


In the mirror modifier check merge and clipping : this will automatically aline and merge the vertices

change the merge limit if there is some gaps

you can also select these vertices and hit S+x then 0 so they aline on the Y axis


rotating edge loops individually on their own axis

It's all about the setup.

model your flower and delete all the rest of the petals leaving one.
since there is 5 sides each petals need to rotate 72 degree.
Using array modifier with a rotated empty I reconstructed the flower.
Now I can modify one petal to make sure all the rest of the petals follow.

Here is the blend file I created ...

Select edit mode.
Select edge mode.
Make sure to select the edge you want to rotate from last (The Active Element)
Set pivot point to "Active Element"
Hit N to open navigation panel in 3d view.
Look for Transform Orientation tab.
Hit the "+" button to setup Transform Orientation to the face you want to rotate.
Remember to choose from the list of newly created Transform Orientation called "face" if there are more than one it should look like "face.001 or face.002"
Activate rotation and hit Y to rotate in the Y axis.


Batch generate preview/thumbnail image for old files?

Thumbnail extraction via Python

The most current thumbnailer is maintained by ideasman42:

https://github.com/dfelinto/blender-git/blob/master/release/bin/blender-thumbnailer.py

It extracts thumbnail that is stored in a blend file for use with a file manager.

Usage: blender-thumbnailer.py <input.blend> <output.png>

e.g.

python blender-thumbnailer.py test.blend test.png

Batch rendering via command line

Alternatively you could batch process the .blend files from a .bat file:

for %%f in (*.blend) do (
            blender %%~nf.blend -b -o //%%~nf -F PNG -x 1 -f 1
)

See also the documentation of command line parameters.

In order to set a fixed thumbnail size you would (probably) invoke a python script (-P script_name.py) that sets the render size.

Something like this size.py (didn't work for me):

import bpy

bpy.data.scenes[0].render.resolution_x = 128
bpy.data.scenes[0].render.resolution_y = 128
bpy.data.scenes[0].render.resolution_percentage = 100

In Blenders installation directory is a file "BlendThumb64.dll" which is registered during installation or

C:\Program Files\Blender Foundation\Blender>blender -R
Registering file extension...success (user)

Running as administrator would register .blend for all users.

I'm not sure whether this is related: In C:\Users\<username>\.thumbnails\normal and C:\Users\<username>\.thumbnails\fail\blender you can find created (or failed) thumbnails.

Load, render and save

import bpy
import os

filepath = bpy.data.filepath
directory = os.path.dirname(filepath)
image_path = os.path.join( directory , "image.png")
bpy.data.scenes['Scene'].render.filepath = image_path
bpy.ops.render.render( write_still=True )
print("file %s" % filepath )
bpy.ops.wm.save_as_mainfile(filepath=filepath)

blender -b test.blend -P save.py (above script, didn't recreate the embedded thumbnail)


Adjusting plane thickness based on amplitude of mapped UV image

Apparently, this is done with the Displacement modifier. Selecting all of the pixels and assigning them to a group, I can complete the Displacement modifier  inputs:

Resulting in this:


If multiple objects are very close together or even overlapping entirely and visually indistinguishable from one another, you can use Alt + right click to get a drop-down menu that allows you to choose from a list of objects in that area.

In the screen shot below there are actually two identical cubes overlapping. The menu lets us choose which one to select.

More on this and other selection methods in the Blender Reference Manual.


The answer to this question basically comes down to processing power and patience. The error I state above was solved by closing the program and trying again. The other issues come down to making sure that the normals are correct in Blender which was addressed by this question.

Making sure the computer has enough memory to cache all the data require is a must, I found that computers with more RAM and processing power could handle transforming shapes with higher face counts into multipatches. Having said that I suspect there may be a limit of about 50,000, but have yet to confirm this.


Is there a python api for texture painting?

https://www.blender.org/api/blender_python_api_2_75_release/bpy.ops.paint.html

This official documentation has details on python api for all kinds of painting including texture painting.


How to make axes more visible on a blueprint?

In the Properties editor > Object Data > Empty, enable the Use Alpha option, you can also play with the transparency.


Name a group of faces / hide the group / call the Name later and un-hide that group

You can create vertex groups.

Select the vertices you want to group. Then using the plus sign create a new group and assign the selected vertices to that group.
Once a group has been created you can select it or unselect it easily.

To hide selected vertices press  H , to unhide press AltH


You just switched the editor (window) type.

All you have to do is click on the Window type button (first button in the header), and switch the window back to Properties.


How to decrease edge loops in skin modifier?

If you add the Decimate Modifier next to appear under Skin, I see no reason "Planar" won't satisfy you even at a default Angle Limit of 5-degrees. With Wireframe enabled in (Object Properties) Viewport Display, you can see the results immediately in Object Mode and change the Angle Limit as needed.


UV Unwrap - random faces chosen to be islands

The mesh had disconnected vertices. (For anybody who is interested, it looks like Ninja Ripper simply doesn't connect vertices that go along seams, which is why I was able to get a UV unwrap like the image above with no seams. However, it doesn't find seams perfectly, so you wind up with some faces not attached to anything in the UV editor).
I solved the problem by going to the edit layout, selecting the entire mesh, and using "vertices->merge->merge by distance" to bind all the loose vertices together. Then I manually recreated the seams where I knew they should go.


Why there is difference in the measurement

Measurments differs because Dimension displays size of Active object only.
With Measurment Tool you measure all objects.


It looks good to me. It may due to the render settings among the scenes, especially the one where your VSE sequence locates, since separate scenes have separate settings.

Here is demo file. FYI, hope it helps.


How to get Bravais Lattices Creator addon？

Maybe somebody will find this these links useful.
The add-on download page with direct links:
http://alexiy.nl/blc-download/
https://yadi.sk/d/ZnPmJKr93PDMts


Fluid simulation not baking with fluid object

The size of your fluid is too small in comparison to the domain size. There are multiple solutions: Increase the resolution of the fluid (in the domain object), increase the size or dimensions of the fluid (that large, thin rectangle), decrease the size of the domain or a combination of those.


While  a face of an object can have only one material, a material can use more than one UV Map, so you can add another UV map to the object to map images generated by Dynamic Paint on to the whole road. You've probably done half of this, but I'll go through the whole thing..

In the UV Maps panel of the road object's Data tab, hit '+' to add a new map. Give it a sensible name, and select it to make it active.
In the header of a UV edit window, you'll find the option to select which UV Map you're defining by the current unwrapping/editing session.. it should show the map you've made active. Unwrap the whole road to it. (Whichever way you like, but probably by looking orthogonally straight down at the road in Edit Mode, and U > 'Project from View - Bounds')
In your shader tree, replace the 'Texture Coordinate' node with two 'Input' > 'UV Map' nodes, one for the tiles, one for the road's Dynamic Paint image sequence. (This tree only illustrates the use of 2 maps, it's not meant to recommend how you might use the rain image sequence to affect the material)

In its Output panel, tell Dynamic Paint to use the all-road UV map when baking its image sequence. (Mine's called UV_All)

Then the tiles keep the mapping from before they were made into an array, and the rain falls on the whole road.


Is blender a good solution for making a PCB enclosure

Blender has much more than you need to make a case model.
You have to understand Blender good before you're able to work efficiently though.
It's same with most programs suitable for this purpose though.


You may need to apply scale in Object mode (CtrlA > Scale).

The hair length will be affected and probably all the combing already done will be damaged, so I'd suggest starting with a fresh particle system after applying scale.


It seems that half of the normals in your model are inverted (the normals of some faces are facing inward and some outward). This might be causing display problems.

Go to Edit Mode, select all faces and use CTRL + N to recalculate normals.

If recalculating the normals doesn't help, display face normals as lines, select only the faces with normals facing inward, and flip normals on those faces.


Different render effect on different machines

You need to connect the composite node to the tree (like your 'view' node is connected). On your local machine, you can see the image because you see the render layer. But if you render it with a 3rd party system - likely via command line, you need to have the composite (final output) node connected.


Objects disappear when zooming in in perspective view?

The op is not in camera view, you have to lower your clip settings in the N panel View tab of the 3dview


Why did this materials bake result in mostly black except for one area?

First material was not connected to Material Output.


You've set your "Transform Pivot Point" to "3D cursor." Change it back to the default "Median Point"


I haven't dig into the theory of the implementation yet, but I have a feeling that Screen Space Reflection is just mirroring the already rendered pixel (aka what you actually see on the screen, the screen space data).

I think that's the intended behaviour. It's an heavy approximation that on the other hand gives nice and fast results, expecially for the objects that touch the ground.

You'll have to use a Reflection Plane to get the reflections of the occluded geometries.


After exploring other options with view locking and having no results, I finally found a setting in my User Preferences under the Interface tab called Auto Depth.

Checking this seemed to allow me to pan and rotate again. I am not sure how it got unchecked, but if all else fails, might as well try before performing a reset.

(v2.78a)


How do I finish cutting out this wheel well?

I would suggest the Knife Project command.

Basically you choose the cutting object, than the object to cut, enter in edit mode, put the camera perpendicular to the projection plane (if the object is shrinkwrapped you just have to avoid to make all the cutting geometry to be visible from the cam) and run the command.

It will also automatically select the inner faces of the cutting loop.

Another could be to use boolean operations.

From the cutting profile you have to create some faces and extrude them just of the amount needed to penetrate the object to cut. Than apply Boolean modifier set to Difference

Once applied, you should have the faces that belonged to the cutting object extrusion selected, ready to be deleted.


How to make an object in blender game engine react with different collision differently

You can filter the collision evaluation

by Property (M/P disabled Property: contains a property name)
by Material (M/P enabled Material: contains a material name)
no Filter at all (all other cases).

Be aware - the other participant of the collision needs to have the property/material.


Is it possible to use a video for image-based lighting?

you can create a plane and give a material that has a emission shader and the color is plugged in to a image sequence.

Note: you might have to set the fourth drop down menu to movie, and make sure that you the the frames property on the image sequence.


There is seemingly no way to get a Sketchup model to work properly in Blender. Pls help

You will find that it works with Blender render, but not cycles render. Once in blender render mode (not cycles) change your view to Material rather than shaded or textured. You'll see your sketchup model as it appears in sketchup, with slightly better rendering. Rendering from here doesn't work well.
Cheers


Blender render crash when using subsurf modifiers.

Short Answer
You are exaggerating with the subdivision.
Using large values on for subsurf or adding mutliple instances of the modifier will stress your system in no time.
It is better to use proper modeling and efficient topology, and keep the subdivision to low values. Less than 3 levels of subdivision should be enough for most projects.
Long answer
In this case you are using multiple subsurf modifiers on some of the objects.
Doing that is not only going to cripple the performance of your computer but can even make it crash.

What exaclty is the is the issue with subsurf then?
From the blender manual:

Subdivision Surface is a method of subdividing the faces of a mesh to give a smooth appearance, to enable modeling of complex smooth surfaces with simple, low-vertex meshes. This allows high resolution mesh modeling without the need to save and maintain huge amounts of data and gives a smooth organic look to the object.
This process creates virtual geometry that is generated non-destructively without modifying the original mesh

Creating virtual subdivisions on your geometry saves you the trouble of  creating smooth curved surfaces, but when you do the final render blender has to compute all of that "virtual" geometry as if it was real anyway.
With each one of the modifiers on the stack your geometry is getting subdivided: out of every quad at least 4 virtual quads will be created. A second (or third) subsurf modifier will subdivide it even further, creating a very large number of vertices in no time!
So what can you do to prevent this?
For most models it is likely you can get decent results with proper modeling and adequate topology, and using only one subsurf modifier with low values.
If the edges on your model are not round enough, consider reworking your mesh to have a greater level of detail, or cautiously increase the number of subdivisions in a single modifier. You should hardly ever need more than level 2 or 3:

What is important to keep in mind is that for every subdivision level the number of polygons increases exponentially: It's very easy to end up with a number of vertices that exceeds what your computer can handle.
(Again from the manual)

Great levels of Subsurf demand more video memory, and a faster graphics card. Blender could potentially crash if your level of Subsurf surpasses your system memory.
Note about potential crashes: Be aware that the Subsurf Modifier will need more and more memory at higher levels of subsurf, and the more dense your base mesh, the more memory you will need. In 32 bit systems, Blender could potentially crash with malloc errors, when you surpass 2~3 GiB of memory used. This is not a Blender bug. Blender, when paired with a 64 bit system, could use 64 GiB of memory, thus reducing the chances of malloc() errors.

To get an idea of how many vertices are created with every subdivision level take a look at this charts:

(click on the images to enlarge)
But what if I still need high levels or more than one Subsurf modifer in the stack?
Sometimes you do need to use a subsurf modifier to create denser geometry for other modifiers to work, and then you need to have a second subsurf modifier to smooth out the result. For example when using a displace modifier:

In those cases you might want to consider applying the modifiers and/or decimating or retopologizing your mesh, all in the interest of having a number of vertices that is reasonable enough, so that your system can handle it.


Cylinder Subdivision surface Modifier Problem

Avoid ngons (polygons with more than 4 vertices). They do not subdivide nicely.

You have a big and ugly ngon connecting the two rings. Delete that.

To connect concentric circles is easier to extrude and scale or use Bridge Edge loops. Both of them will give you topology based on quads. Those will deform correctly


How can I make the length decrease constant between each object when using array modifier and object offset?

2.79
Natively in 2.79 you can use Dupliframes under 2.79 for this step. Create first keyframe, last keyframe of location and scale and enable under Object Properties > Duplication > Frames

Or you can use script (by Chebhou). It generates separated objects, that shares the same object data, so you can easily edit original data (shape) to affect all those objects or simply change object data to completely different one. Like if script generates a cube you can switch to Torus object data or what ever under Data Properties. But I see script works in 2.79 ...
2.9+
For 2.9x you would have to use something like Animation Nodes like Ligazeton's example. Or probably in experimental build you can try Geometry Nodes.


I found this question to be interesting so I did some research on it.

What I found out is that you need to add slots for all materials to the main object. The cutting objects will assign material IDs for its material to the cut out faces.

In the scene below I have created a green cube and a red cube that cuts from the blue cube.

I didn't know this. Neat!


(Beginner) How do i achieve these results?

This is due to the resolution of your normal map. You can improve the result by creating a bevel in your low poly mesh, and by merging your maps to optimize your texture space.
This will give give you a smooth effect.

You can achieve a hard border effect without bevel, and with both hard edges and separated UVs.

Also, you can increase the dilation width to avoid some pixelated border effects.


how can I stop freestyle from drawing in mist?

You can avoid freestyle rendering in mist by setting a "distance from camera" modifier.

Goto "Render Layers"
Scroll down to "Freestyle Line Style" Panel
Click "Alpha"
Click "Add Modifier" and then select "Distance From Camera"
Select "Mix" for the blend type
Select "Curve" for mapping type
Add a point in the center of the curve ui
set the right most point x pos to 0.3 and y pos to 0.0
set the center point x pos to 0.25 and y pos to 0.5
set the left most point x pos to 0.0 and y pos to 1.0

EDIT:

set the Range Max to the depth of your mist.

PROTIP: Gain more control over falloff by adding points to your curve. Adjust shape until the "Distance From Camera" modifier falloff matches your mist.


Press Alt + S to access the shrink/fatten tool.
https://docs.blender.org/manual/en/2.80/modeling/meshes/editing/transform/shrink-fatten.html


Small 2D image plane disappears at short distance?

When your clipping maximum and minimum are too far apart you can get some glitches (hence why we need clipping in the first place). Therefore when you lower your minimum from 0.1 (default value) to 0.0001 make sure you do the same with your maximum to keep things balanced (from 1000 to 10).


All you need to do is set the Fill to Full on the curve to get a complete 3D shape. It defaults to Half, which is why you only have half of you shape showing.


Mesh seems weird after applying solidify modifier

I think you need to apply the modifiers in the order you created them, otherwise the results will be unpredictable


When you duplicate objects that have a keyframe animation attached that include keyframes on the location, these duplicated objects will snap to that very same location. You will have to move to each frame that has a keyframe, position the duplicated object and insert/update the keyframe to the correct location.


Problem: Wireframe on object with modifiers, autosmooth problem

Very thank you for the comment, that helps me solve the Q.2

Solutions for my problem:

Q.1: You can set wireframe for each object separately. You can find it for each object in:

Q.2: Go to Properties editor > Object Data panel > Geometry Data and click on Clear Custom Split Normals Data to re-enable the angle setting.


How to add windows in a workspace which has no handles?

It could be a maximized area.... try pressing Shift+space, Ctrldown, or Ctrl↑ Up


Texture shaking/trembling in Blender Game Engine

This is a really strange issue and I was able to replicate it with different textures and objects. I don't know why it happens but if you want to fix it rotate the camera a little bit on the X Axis. Just select the camera, press R then X.
It looks like the problem only appears when the rotation is 90°.


How can I animate an interior scene from day to night?

If you are using Cycles or Eevee

Light your scene with:

a world node setup using a Mix node between two Environment textures:

a nightlight texture like this
a not too bright daylight texture without a visible sun direction (highly overcast) like this, because you will like to add and animate the Sun yourself

a sun lamp with some "midday" inclination, parented to an Empty that stays at ground level in the middle of the scene (you could also put the sun lamp directly in the middle, but with an Empty it "looks" nicer while you work on it).
indoor lights

Animate by setting these keyframes:

Starting frame:

the Empty is rotated such that the sun is high in the sky.
The sun Energy is high. The sun color can be slightly orange if the daylight world texture is slightly blue
The world Mix factor is at 1.0 (completely daylight)
no keyframes for indoor lights

at ~80% of the transition

indoor lights Energy is zero
no keyframes for world/sun

at ~80% of the transition + a few frames

indoor lights Energy is high
no keyframes for world/sun

Last frame:

The Empty is rotated along either the X or the Y axis in a way such that the sun goes just slightly below (and parallel to) the horizon
The sun Energy is zero. The sun color is neutral.
The world Mix factor is at 0.0
no keyframes for indoor lights


The number shown is called a user count. A user being defined as a data block (or object) in blender.

A new action will have one user, adding a fake user by clicking the 'F' button makes it 2 users, to get a third user you need to link it somewhere else, like to another object, a strip within the nla editor or an action constraint.

By dulicating an object with AltD (known as a linked copy) the new object will also be linked to the action. If this is the case then you may be importing the duplicate into unity not the one you added the new action to.


OptiX

Quick answer is:

To take advantage of RTX hardware raytracing, select OptiX
otherwise GPU + CPU is mostly faster than pure GPU if you select the CUDA option, unless you would have a very weak CPU

Official blender announcement one year ago

https://code.blender.org/2019/07/accelerating-cycles-using-nvidia-rtx/

Some benchmarks by random users

https://www.youtube.com/watch?v=VXibUlLXwKk

https://www.youtube.com/watch?v=LRC34eO2AiE

https://www.reddit.com/r/blender/comments/cwx14w/some_rtx_optix_benchmarks/

Render settings

Regarding the render settings, that is very subjective and highly depends on the lights setup, types of materials you use and other factors. I can't answer that in a general sense. The defaults are good for start. Diffuse-only scenes with simple direct lights will look fine with much less samples per pixel than complex scenes with glossy objects and many lights or indirect lighting only. The new adaptive sampling in 2.83 will help towards more universal settings, but it will still remain a matter of experience and subjective judgement.


Syncing action and lips of a charecter with pre recorded voice over

There are a few approaches you can try. I would first enable Simplify to make the scene a little lighter while you're animating.

Another way to make your animations run faster is to split up the blend file into multiple files, and use them as linked libraries. You'd have one file with the rigged character model, another one with the scene, and a third one with the animation data. You can then link the rigged character into the animation file, make a local proxy of the armature, and animate the character. Because the animation file doesn't contain the rest of the scene, your computer will have an easier time moving from frame to frame. Once you have the animation the way you want it, you can link the animated character into the scene for lighting & rendering.


How many CPU render tiles/buckets should I set in Cycles?

Since you have 8 CPU threads in total, you can render 8 tiles simultaneously at max. You can also lower this number to reserve remaining threads to other tasks your computer might be doing. The setting is here:


What can I do to blend the transition between 2 materials in specific parts of a mesh in Cycles?

Try using a single material with both your material setups connected to a mix shader node, and then use:
a. a texture for your model, made with the texture painter after you've unwrapped your model
b. use the vertex colours, set the brush to black or white and paint where you want your materials to be.
and connect either of those to the factor of your mix shader


Objects not appearing in Blender in 3d viewport

You are on the wrong layer as your objects are in layer one, just press 1 with the mouse over the 3d view.


Delete a scipt that autoloads that was run

Afaik you cannot delete the script from the outside, but you CAN disable its execution temporarily so you can get instide the blend file. Run blender from the system command line with the disable autoexec flag, like this:
blender —disable-autoexec

…and then open your file with that instance of Blender.
PS: note that if blender has not been added to PATH on Windows, this will not work directly. First, either navigate with Windows Explorer to blender’s program files and open the command line there, or just open the command line and navigate to the directory first:
cd C:\Program Files\Blender Foundation\Blender

.\blender —disable-autoexec

The .\ on the blender line is necessary in PowerShell.
Of course, you can also just add blender to PATH, but that’s an OS-specific question.


I imported 3D models that was ripped from game file(model-resource), but it has black things around eyes and mouth

It seems to be a case of transparent parts rendered as black (this is not a bug, but a feature in material view)

You are in material-view mode and not render mode. When you go into render-mode it should appear correct (if nodes are setup properly).

If nodes are incorrect, It normally is the following:

Its possibly that the alpha output of the image-texture is not connected to the alpha of your principled bsdf.
Edit: As I suspected, the nodes are not properly setup. All you have to do is connect the 'Alpha' output from image texture to 'Alpha' input of Principled BSDF
Note: in the first image below, on the right side, it mistyped "Rendered View". I meant to say 'Material View/Viewport Shading mode'. Its a small mistake, I noticed late.


No this is not currently possible. There is some development happening with the grease pencil now so this may change in future versions.

After drawing a grease pencil stroke you can convert it to a curve object. This can be found in the grease pencil toolbar options.

This will convert the one active grease pencil layer to a curve object. The drawback is you loose any of the new fill settings and you need to bevel the curve and give it a material. Once you have the curve you can parent and duplicate as you want.

For the example you give I would draw a tree on an image and use the image as a texture on a plane.


In 3D view, Tab into Edit Mode. Set your selection mode to face select (mode toggle is in the upper left hand corner of the 3D viewport). Select the inside faces of the vase. Press P to separate then select Separate by Selection from the pop-up menu. It should be the default option. If so you can just left click after pressing P. Tab into Object Mode, select the separated inner surfaces and apply a new material to them.


Driver with random output between a range of values ( -1 to 1)

Noise module is in the driver namespace
For our convenience the mathutils.noise module is  added to the driver namespace by default. As have all members of mathutils and most of math module.
>>> bpy.app.driver_namespace['noise']
<module 'mathutils.noise'>

There are a number of options for randoms, for a simple range (-1.0, 1.0) can type #2 * noise.random() - 1 directly into a non-driven field.  The hash # signifies make this a driver.

after, (good some random in range.

Click within the property can edit it directly (notice no hash since it is already a driver, signified by purple)

Note these values will change randomly for each frame. Remove the driver to "keep" a value.
Using self in drivers
Further to my comment re @Gorgious's answer can use self in drivers.

If the driver is on a modifier then self will be the modifier, self.id_data the object the modifier belongs to.
Simple test script, adds a method test to the driver namespace.  The object the driver is on is passed to the method.  The hash of the object's name is divided by some seed and the remainder returned.
Hash can be either positive or negative, so the values should fall within the range of (-1, 1)
import bpy
from bpy.app import driver_namespace as dns
from math import modf

seed = 203137

def test(ob):
    r = modf(hash(ob.id_data.name) / seed)[0]
    return r

dns["test"] = test


I can't install CrowdRender or any other add on in Blender

G'day Daniel, The install function in blender just copies the addon files to your scripts/addons folder for the version of Blender that you install the addons from. So there are somethings we'd like to check.

1st is the addon actually installed into the correct directory? You will need to check your addons folder for the version of blender you are using. This location depends on your settings, but usually it will be on a path in your user directory. Mine is

~/Library/Application Support/Blender/2.81/scripts/addons/crowdrender - for mac
~/AppData/Blender Foundation/Blender/2.81/scripts/addons/crowdrender - for win
~/.config/blender/2.81/scripts/addons/crowdrender - for linux.

Check that you have a folder in addons called 'crowdrender'

If you do and it still doesn't work, can you try opening a console and running blender from it. When you try to list your addons, or enable or install the addon, any errors will be printed to the console, you can post them in response to this answer as comments.

Alternatively, you can actually post in our forum and ask for help there since we support the crowd render addon. Asking here on stack exchange will take longer since I don't really come here that often!

Forum is at www.crowd-render.com/forum-1

All the best and look forward to hearing from you soon :)


Persistent Render region will not disappear

Go to 'View' in your viewport (usually at the top), then hover on 'view regions' and select 'clear render region.' If it doesn't work, I'll suggest you update a different version of blender.


i am using sculpt mode in blender but when i use draw format in it it uses draw from both sides of the plane how can i draw it from one side?

Try this option, if I understood the problem ...


Selecting and moving a subpart of a mesh

The door is here a subpart of the window mesh object.

This subpart is defined as a part of the mesh (some vertices and faces between all the others). And this subpart is not linked to the rest of the window vertices. This is like you have here a subset of the vertices dedicated to the door.

As this subpart is so some kind of "vertices isle", he can select it by just selecting (with the mouse) one or two vertices and then use Ctrl+L because this shortcut means "select linked" or "starting from a selection, select also all the vertices linked by one or several edges to this primary selection".

Concerning the "move away" : this is the consequence of above. Inside the window object, door vertices are not linked to the other vertices. So they can be moved independently in edit mode.


Half of mesh looks darker when I attempt to add normal map

If anyone still suffers from this problem: change the Color Space to Non-Color on the texture node of your normal map.


How to preset Blender shaders and textures?

This is actually quite easy to do:

You can set up the .blend file that Blender default opens.

If I wanted to set up default shaders, I would simply go to the shaders tab, and select the shader I want to be the preset.
Same goes for the textures: go to the textures tab, and select the default Blender texture I would want to be the preset.

Now comes the magical part:

1) Save the .blend as (default.blend) or whatever.

2) Press CTRL+U to give you the "save startup file?" menu, and select it, or for the python-lovers' sake:
bpy.ops.wm.save_homefile().

3) Re-open Blender, and discover the new changes you have made.

This is how to preset default settings in Blender (not modifiers or unset simulators), and I hope it helps all that read this post!


Grease Pencil has pixelated strokes. Anti-aliasing issue?

Confirmed. I made a report about it -> https://developer.blender.org/T74938. It seems to be due to the fact that the actual antialiasing system isn't sensitive enough to detect all edges, and therefore antialias some strokes.


What are the differences between the two gamma settings

The main difference is that the gamma on the color management section will be applied globally at the end of all processes, and to the whole rendered image. It will affect all output images (except for those exported as OpenEXR), including those coming from the compositor, the VSE and even images that do not use the compositor.

Images saved from the UV/Image editor will also be affected by this setting if they are saved using the "Save as render" option.

The gamma node in the compositor will only affect those inputs connected directly to it.


Water ripples / waves on the surface of an object

I got a pretty decent result by using an ocean modifier and a displace modifier.

I find that icospheres lend themselves to displacement better than UV spheres due to the more even geometry.  So for the above example I used an icosphere with a subsurf modifier to give it some more geometry.

The basic wavy fluid look is produced with an ocean modifier.  The key settings to change are to set it do Displace the geometry instead of regenerate, increase the Choppiness and Scale, and adjust the Size to fit the scale of your scene.

Here are the settings I used (for a sphere with a diameter of 25 Blender Units):

The smaller bumps are created by a normal displacement modifier.  It is placed after the ocean modifier in the modifier stack and uses Global mapping coordinates for a clouds noise texture.  This is so that as the geometry is moved around by the ocean modifier, the displacement texture changes too.  Make sure the noise texture is set to a high Depth value as well to get a more detailed look.


@DiegoAdum the problem is in the composting , you are combining a layer from blender_internal and a layer from Cycles ,you'll have to render the Volumetric scene first , or remove the composting and render both than pass the images through the processing.

Thanks @Chebhou!! Following your suggestion I change the scene and press Animation button. the render start but only for the 2 scene. I change back the scene to the first one and hit Animation button and now is working again! It seems something was blocked!!! Thanks a lot!!!


Change preview menu directory according to the category

I already solved, if someone has the same question I leave the answer below.
Create an update function
This will execute a function everytime the category is changed
def update_func(self, context):

    for pcoll in preview_collections.values():
        bpy.utils.previews.remove(pcoll)
    preview_collections.clear()

    pcoll = bpy.utils.previews.new()
    pcoll.images_location = os.path.join(os.path.dirname(__file__), "images/" + bpy.context.scene.MyEnum)
    preview_collections["thumbnail_previews"] = pcoll

    bpy.types.Scene.my_thumbnails = EnumProperty(
        items=generate_previews(),
        )

    return None

In this code the value changed is the pcoll.image_location, where the previews folder is changed based on the category id
Set the update
Then we have to set the update function in the category menu
bpy.types.Scene.MyEnum = EnumProperty(
    items = [('cat1', 'Category 1', ''),
             ('cat2', 'Category 2', ''),
             ('cat3', 'Category 3', ''),
             ('cat4', 'Category 4', ''),
             ('cat5', 'Category 5', ''),
             ('cat6', 'Category 6', '')],
    name = "Category",
    update=update_func)


My camera will not follow the object it is constrained to

Ok so I just rotated the camera and it somehow reset correctly enough to even remove the limit rotation modifier. This was definitely a bug, I didn't even keyframe the rotation to fix it... If you are having this problem try rotating the camera on the appropriate axis and it will reset the rotation of the curve. Thanks everyone!


See mathutils.Vector:

Vector.lerp for linear interpolation.
Vector.slerp for spherical interpolation. https://en.wikipedia.org/wiki/Slerp

c = a.lerp(b, 0.0)
# c == a
c = a.lerp(b, 0.5)
# c == (a + b) / 2
c = a.lerp(b, 1.0)
# c == b


How can bone names be copied across an axis?

make Sure you are in Edit Mode!

Step One: Create just ONE side of the armature and name the bones.

Step Two: Select Bones Wanted to copy to across an axis.

Step Three: Set 3D Cursor to origin by hitting Shift-S: 'Cursor to Selected' (Make sure origin is in center of armature).
Step Four: Press Shift+D and click the mouse button

Step Five: Hit Cntrl+M and then hit X (Or y if you are using the y-axis)

Step Six: Click the mouse button and hit w and select 'Flip Names'

Profit!


How to get rid of vertice on the same high?

It seems you might have overlapping geometry, so you would have to solve that somehow if you wanted to have one piece of geometry. If the vertices are between edges on the same connected plane with nice non-overlapping topology, you can select all flat connected faces with Ctrl+Alt+Shift+f when you have one of them selected and then just press f for Make Face:

You could remove vertices from separate pieces of the mesh that you have there. If you wanted to join them into one piece, that is another question. I believe there is no easy clean way to do this, I would just remodel the whole thing as one if that is needed. Booleans might not work nicely if you have overlapping surfaces.


Access property by argument name (dot and bracket notation not equal)

Defined properties use ID properties as storage

A defined property bpy.types.Scene.xxxx = bpy.props.BlahProperty(default=default)  is stored as an ID property scene["xxxx"] once it is set (non default). See get set example

>>> bpy.types.Scene.xxxx = bpy.props.IntProperty(default=11)
>>> C.scene.xxxx
11

>>> C.scene['xxxx']
Traceback (most recent call last):
  File "<blender_console>", line 1, in <module>
KeyError: 'bpy_struct[key]: key "xxxx" not found'

>>> C.scene.xxxx = 12
>>> C.scene['xxxx']
12

You see a struct printed for the property scene.xxxx if it is a pointer or collection, or an int for IntProperty, a str for StringProperty.

Henceforth, rather than scene[propname]  a more generic pythonic way would be using

getattr(scene, propname, None)

to return, if propname == "xxxx",  scene.xxxx if it exists, else None.

for the defined default

>>> C.scene.bl_rna.properties['xxxx'].default
11


There does not seem to be one satisfying explanation about why this happens when you update Windows. This is just something that happens sometimes when updating Windows - stuff breaks sometimes. Microsoft is a company, people work in it, people make mistakes. Something just went wrong during the update.

Also one does not install OpenGL. OpenGL comes as a part of your graphics drivers instead, so you can update the graphics drivers. Updating the graphics drivers should be the first thing to do when you get an error message like that from Blender.


It is true that you probably don't need 3 million triangles for such a simple object (You should try to avoid excessive subdivisions read: Blender render crash when using subsurf modifiers.).

Did you actually apply the modifier, or just added the modifier to the object? In other words, did you make the subdivision permanent by hitting the Apply box on the modifier?

If you didn't apply, the modification is still editable, and you can just dial down the number of subdivisions in the modifiers.

If you actually applied the modifier, you can use the decimate modifier with the option to Un-Subdivide. Move the number of iterations to the number of subdivisions you want to get rid of.

Modifiers are designed so that you can work in a non-destructive way, so that you can make some operations without making them permanent. Unless you have a compelling reason to Apply the modifier, you can keep them as modifiers.

Another sometimes overlooked feature of modifiers is the ability to turn them off so that you can continue editing the object:

Modifiers have a few switches to control them:

The Camera icon enables or disables rendering using the modifier.

The Eye icon toggles visibility on the 3D viewport.

The Dotted Square (or Box) toggles visibility in Edit mode.

The Triangle, when enabled,  will show the final modified geometry in Edit Mode and can be edited directly. (This last option can only be used when visibility in Edit mode has been enabled)

To learn about all of the other options for modifiers please read:

https://www.blender.org/manual/modeling/modifiers/introduction.html#interface


Newer versions of blender (added in 2.65) allow you to feed normal data (bump maps) into the shader nodes allowing the shader to adjust itself to the altered surface of the model. Also the normal Map node was added that gives us more control over how the normal map is applied.

The closest alternative you have in 2.63 is to connect your bump map into the displace socket of the Material Output.


1.Turn off gravity in the scene settings.
2.Now, add an active rigid body object and change the mass to something very small, like .003kg (this may need to be adjusted later)
3.Add a wind force field at the center of the scene (or origin of passive object) (make sure direction of wind is correct for your scene)

At this point things should be roughly working, so adjust the strength of the wind force against the mass of the active rigid body until the simulation is satisfactory.
Wind settings used in example gif are below:

Very basic example below:


Is there a way to take keyframes and snap them to the value of neighbors keys?

You use the NLA for this. Maya also has one.
Here's a walkthrough: https://youtu.be/-SQdHehksJw
You animate in your Fcurve. Open a dopesheet window, switch it to ACTION. Set your first keyframe (it doesn't matter where) and name the action: Breathe_1_10 (if you want to identify the duration for your keyframes, this is very helpful as you will produce ACTION clips). When you're done animating, press PUSH to NLA.
Open an NLA window, you will see an unnamed NLA track, double click it. Name it the same as your action (Breathe_1_10) and now your character's OWN NLA will be available to you wherever you port your character with your breathing animation. While in the NLA window, press N, go to STRIP tab on the right side tabs and scroll down to check-animate influence. That's the track's weight influence. If you want it to "CONTRIBUTE" to the animation, set the Active Strip>Blending>Add (alternatively: combine). They are self-explanatory.
Notice, once you enter the NLA, all the animation will be driven by mixing and combining weight Action clips, no longer it will prioritize the fcurve editor.


The ball is returning to its original position before the follow path constraint was applied.

Pre-constraint

With follow path constraint active

With follow path constraint at 0 influence

What this means is that that object (the ball or the cube) is now animatable.

I'd suggest inserting one location & rotation key on the ball before the constraint is turned off (frame 200), then on the same frame that it has been switched off (frame 201), change the location of the ball to where it should be in relation to the animation (as it would have returned to its original position)  and insert a key frame (LocRot).  From there onwards you will be able to hand animate the ball.


Cycles: "Image as plane" show shadow from other objects

There are two solutions. Option 1 is easier and better.

Option 1 (Diffuse)

When importing the the image, make sure that you have Diffuse selected under Material Settings on the left side.

Option 2 (Emission)

I have searched far and wide for a solution to test for a shadow so that one can use the Emission setting with some extra nodes, but eventually concluded that it cannot be done. The final word came from gandalf3's answer here. You can, however, do a workaround through RenderLayers, if you so desire.

Final result:

Nodes:

What I have setup are two RenderLayers. One with the cube and image (Scene), and one with a plane with identical dimensions to the image with a plain Diffuse BSDF material (Shadow). I also enabled Transparent under Properties panel > Render tab > Film drop down.

This is the .blend file:


How to make use of a cubemap in Blender Cycles

You could just UV unwrap a Cube object, map the texture to the inside faces and then scale it up large enough to contain your scene. Should work just fine.


Why are Images Imported as Planes Hidden by a Reference or Background Image?

This happens because Images as Planes addon automatically uses Alpha Blend mode.

Switch to Alpha Clip or Alpha Hashed and it will work as intended
(You need to be in Eevee, for these options to show up.)


How can I get "Plane.000" instead of "Plane"?

I don't recommend doing this, BUT here is a way to change blenders default naming behaviour.  The following needs to be "tightened up" for other names eg will make mistakes with names like "Planet", but will do as a simple example.

Open a new blender file, run the script below, then add or duplicate planes.  The scene_update_pre handler runs alot.  Any added plane, cube or sphere will be renamed to start at 000.

import bpy
prim_names = ["Plane", "Cube", "Sphere"]

def name_prims(scene):
    for name in prim_names:
        prims = [o for o in bpy.data.objects
                 if o.name.startswith(name)]
        newprim = scene.objects.get(name)
        if newprim:
            newprim.name = "%s.%03d" % (name, len(prims) - 1)

# make it a handler
bpy.app.handlers.scene_update_pre.append(name_prims)

Remove all scene update pre handlers with: (Note this will remove all handlers, this one and those added by addons, etc)

# remove all handlers
bpy.app.handlers.scene_update_pre.clear()

Otherwise remove it by name

my_handlers = [h for h in bpy.app.handlers.scene_update_pre
               if h.__name__.startswith("name_prims")]

for h in my_handlers:
    bpy.app.handlers.scene_update_pre.remove(h)


Well I solved my own issue! I just went to edit mode and reset the roll of the arm and hand to 0. This made it all weird, but when I fixed the pose it mirrored perfectly!


You can press the little down arrow for Overlays menu. This is in the up-right corner of your 3D-viewport.


Why doesn't my Eevee rendered image match my view through the camera?

First have a look at camera background images in the documentation:

Crop
Scales the image up so that it fills the entire camera view,
but without altering the aspect ratio (some of the image will be cropped).

The image is scaled at minimum so that either its height or its width fits the view.
Then you have shifted the background image of -0.104 along Y.
Now in the compositor, you've used a scale with crop option: that means the image is cropped then displaced (if you displace it) so you'll have a transparent part at the top. This is probably not what you want to do.
You can use a "transform" node instead, and some little math.
Your image is 4032 x 3024.
The render setting is 1350 x 800.
As crop from camera background image has adjusted the width. That means you have a scale ratio of 1350 / 4032 = 0.334821.
That give a height of 3024 * 1350 / 4032 = 3024 * 0.334821 = 1012.5.
As you've moved the background image of -0.104 (which is -10.4% in the camera coordinates), you have to shift the image in the compositor of -0.104 *1012.5 = -105.3
That gives this compositor setting:

To add the blue frame which has the same size as the rendering, you can add another alpha over setting on top of the previous one:

And if you want to avoid the above math/calculation, you can also parent to the camera a plane that will render the background.
Place the plane far from it, then scale and move it as you need. The plane has no shader to render with its full colors (don't forget to adjust the camera clipping if the plane is too far):

A blend file for this last setting:


In Blender 2.80 the render buttons are in the main window header, next to File and Edit.


It depends on the purpose of the background, but if you encounter this problem in 2.8, it means that you are confused by the loss of the sidebar, then you need a camera background


How can I create a similar material in eevee blender

The ring looks like a frosted glass with a low IOR. You will need to enable screen space reflections to get good looking results.


there's a short cut on edit mode:
1 . select the edges you want to bevel. [works with faces too]

2 . press [ctrl]+[b].

3 . dragg the mouse to set the angle of the bevel.

4 . scroll the mouse weel to segment(loop) the arc.


unselectable edge showing only when smotted

You have probably hidden this part in the edit mode, press AltH in edit mode to unhide the part of the mesh.


I guess there are many ways to do it but here is one:

Create a plane that you bend on the background. Give it a Subdivision Surface modifier and a Smooth Shading.
Create a Spot and play with its parameters (mainly Lamp Size, Spot Shape Size and Strength).
To give no influence to the World, disable all its Ray Visibility options .


How to display EnumProperty control like radio buttons, while keeping the selection exclusive?

Booleans have toggle=True, and Enums have expand=True

layout.prop(scene, "my_enum", expand=True)

The most extensive UI cookbook is still this one though the layout docs are definitely useful after you've struggled a little. Other than those two sources I find it best to read through the draw functions of the add-ons supplied with Blender (you probably did this already.. if not, do)


My objects/planes aren't selectable anymore

You are in Edit Mode. Press Tab to leave Edit Mode and return to Object Mode.


Wind force field not affecting cloth object

It's only because your Wind force field is oriented in the exact same direction of your cloth planes. Just rotate the force field a little bit on Z and it will work.

Also, I recommend you to use the noise setting of the force field, as well as animating the force field rotations with some noise modifiers on its curves. It's not needed, but it might just add a little more appeal to your animation.


Is there a way to spread a texture across each stone and not the whole thing?

The way I ended up doing this was to select all the edges and then marking a seam on all of them. But then, the texture will be blurred so you have to turn the scale up on the mapping node.


Short answer: High-quality character animation is hard work even when it is done by experts. A lot of work goes into every second. Nonlinear animation is an attempt to speed things up, but note that it could sacrifice some quality.

Longer answer: When you start animating, you can be successful using only keyframes, but after a while you find yourself animating similar motions again and again, and you want to reuse your work, just like you reuse node groups. You also want to be able to mix and blend overlapping motions in a nondestructive way. You might want to create an animation layer for the broad movements and one for the refinements. Or a layer of face motions and one for the body, and combine them according to the story. Nonlinear animation is used for achieving these goals.

Note that the quality of automatically reused and blended motions might not be as good as the quality of a hand-crafted keyframe animation, but they could be fine for background characters. It could be a tradeoff between quality and time.

The following video explains the "how" part with an example: https://www.youtube.com/watch?v=W4TkA5P5Qes


The mesh has custom split normals in the problematic area. In order to see the split normals, switch to edit mode and enable Display Split Normals in the Viewport Overlays.

Viewport Overlays

Problematic Normals

If you have created the split normals intentionally you can edit them until they match the desired result (consult the manual for ways to edit normals). In case the custom split normals were created by accident and you don't want them, they can be deleted in Object Data Properties > Geometry Data > Clear Custom Split Normals Data.

Clear custom split normals

Fixed Normals

When custom split normals are stored, Auto Smooth is automatically enabled. It can be disabled in Object Data Properties > Normals > Auto Smooth, in case you don't need it.

Disable Auto Smooth


Vector displacement maps can contain negative values (and this one does), so you also need to disable "clamp" under the texture's "colors" rollout. Also, you need to apply rotation since the by default Blender will import Zbrush obj's with a 90 degree object rotation to handle the Y-up/Z-up conversion, you want that applied to the base mesh, not the post-modifier object transform. Once you do that, the correct value reveals itself (it's 27).

Displace Modifier (World Space Displacement only)

Zbrush:
vTangent = disabled (world space map, see below if you need tangent)
exr output = on
Flip and switch = 27

Displacement modifier
Mode = RGBtoXYZ
Midlevel = 0.0
Scale = 1.0
Coordinates = UV

Mesh

Apply rotation after importing to bake the axis flip, but DO NOT apply scale. (if you apply scale, you must compensate with the modifier's scale setting)

Displacement map (texture panel)

Color space = non-color ("linear" or "raw" should give the same result by default, but are technically not "proper")
Clamp = disabled

Tangent Space Displacement

In Blender 2.8, Cycles includes support for vector displacement. Unlike the displace modifier, this system DOES support tangent-vector maps. The node setup will look like this. Note the use of "non color data" on the image texture. In most cases, the "vector displacement" node should be left at exactly these settings, they are the defaults for a reason.

Tangent space maps are not dependent on the object transform, and can also displace meshes after they have been affected by deformation modifiers such as armature, corrective smooth, curve, etc. This is extremely useful when rigging a sculpted character from Zbrush. You can rig the level 1 mesh, then use subdivision and tangent vector displacement to rebuild the high-level sculpt at render time after deformation has been applied.

Note that as of Blender 2.80, adaptive subdivision does not support mesh tangents. As a result, you will need to use fixed subdivision with tangent-space maps. (if your object is not going to deform and you'd rather have adaptive subdivision, you can still use the same world space maps and settings you'd use with the displace modifier with Cycles vector displacement shader. Just change the vector displacement node's space to "object" or "world")

In this case, export your map from Zbrush with the following settings:

vTangent = enabled
exr output = on
Tangent flip and switch = 25

Whether you apply rotation or not does not matter with tangent space maps.


Eevee renderer looks bad when rendering big objects on long distances

It's seems there are some problems with objects at distance if ratio between clip start and clip end is to big. Increasing clip start from 0.01m to 1m (both in camera and viewport settings) fixed the issue. I don't know if this is some sort of rounding error, but I hope this answer helps someone else...


How can I transfer a collection of float values to a node socket?

In the case you are describing you can use the NodeSocketVector a socket. It is a built in NodeSocket.

class MyNode(Node):
    def init(self):
        self.outputs.new('NodeSocketVector', name="Vector")

    def get_output_vector_value(self):
        return self.inputs[0].default_value


How do I access a Rigify Control by name (Grouped and linked into scene) with python in 2.79

Got it. I used this formula:

bpy.data.objects['group_proxy'].pose.bones['torso'].bone.select = True


White line across my blender sample render?

Thanks to @Cegaton, the line is now gone! He suggested I resize my background image, as the line coincided with the bottom of the image. Now that I resized the image so that there are no edges within the camera view, the line is gone! Thank you Cegaton!!


Python deleting objects with duplicate location?

Be wary, ob.location is a reference to objects data

Use a copy of an objects location to your tmp list tmp.append(ob.location.copy()), otherwise you are keeping a reference to an object you may* be deleting. (Which crashes blender).  Will point out this isn't the case in the logic of question script

A simple script to demonstrate.

import bpy
ob = bpy.context.object
tmp = []
tmp.append(ob.location)
ob.location = (10, 10, 10)
print(tmp)

will always print [Vector((10.0, 10.0, 10.0))]

import bpy
from bpy import context

selected = context.selected_objects
scene = context.scene
tmp = []
for ob in selected:
    if ob.location in tmp:
       scene.objects.unlink(ob)
       # do_unlink to be sure to be sure
       bpy.data.objects.remove(ob, do_unlink=True)
    else:
       tmp.append(ob.location.copy())

Might also pay to check that (u-v).length < TOL where u is location of current obj, and v is each vector in the list, rather than trusting location in list.  On a few tests with duped cube works ok without...

Script below uses tolerance on each objects matrix_world.translation for global location.  It sorts the selected object list by this vector, rather than checking against another list every iteration.

import bpy

context = bpy.context

TOL = 0.00001
obs = sorted((o for o in context.selected_objects), key=lambda o: o.matrix_world.translation)
obs[0].select = False
for i in range(1, len(obs)):
    o = obs[i].matrix_world.translation
    p = obs[i-1].matrix_world.translation
    obs[i].select = (o - p).length < TOL


Feathered wing - how to keep feathers from colliding with eachother?

Unfortunately there is no simple solution to this. Passive rigidbodies don't do anything but collide with the active ones, while staying in place, so they won't help you there. Could try to use hinge joints with a lot of constraints (RB settings, not object constraints), but I doubt that will produce steady results (worth a shot, let me know if that works).
Not even animation nodes will get you very far I'm afraid, because they can't simulate, just animate, so they might be able to move some of the feathers, but they will probably collide with the next ones.
The only sure-fire solution is to create your animation and then manually adjust the overlapping parts, by either making a bone for each feather and bone-parent (what I would prefer) or animating them as individual objects.


sculpting - Everything is edgy and sharp, but I want it smooth

Your main problem is that you don't have enough polys. The tutorial model has been subdivided much more than yours. They still have jaggies, but theirs are smaller.

You have couple of options, useful in different circumstances.

You need to start with a good base topology. It looks to me like you started from a UV sphere? You should definitely, at minimum, use a roundcube, as that will give you (1) only quads, and (2) no pinching at the poles. If you have time, start from a cube and just extrude and model until you have something that looks like a blocked out version of what you want.

Once you have a workable base, you could try:

Using Dyntopo

If necessary, subdivide the model by applying a subsurf modifier. You don't need to use smooth shading, in fact, I wouldn't recommend it. Flat shading lets you see the poly size better. You should set it to constant detail, find a size that's about double the resolution of your current mesh, (each quad becomes 8 triangles) and use Detail Flood Fill to triangulate the mesh at the right level. Then, sculpt as much as you can before repeating the process. Double the resolution, flood fill, and sculpt. repeat until it looks how you want it to. Eyes or hard surfaces should be kept separate.

Once you have finished, you may wish to Retopologize. Essentially, this involves carefully constructing a low(er) poly mesh over top of the sculpted one, and baking the normals from the HP mesh onto the LP one, giving better performance and cleaner deformations (e.g. facial animations.)

Using MultiResolution Modifier

My preferred approach is to use the MultiRes Modifier. Instead of changing the detail level on Dyntopo, you just click subdivide whenever you need more detail. This involves constructing a much less rough base mesh, with all of the important features blocked out already. This will take a while, as it's essentially just normal modeling until you get it to where you need it. Once the Mesh is complete, you go into sculpt mode, click the Subdivide button on the MultiRes Modifier, and start sculpting. Repeat until you have the level of detail you need. I like this approach because when you are finished, you do not necessarily need to retopologize. You may be able to simply use the lower res model, still stored by the MultiRes modifier, as your base. This also makes sculping multiple things in one scene easier, as those objects not being worked on will be set to the low Preview subsurf level.

In conclusion, use Dyntopo if you want a fast, easy sculpt for a static render. Use the MultiRes modifier if you want a clean, reusable model that supports animation.


First begin with the outlines, then extrude on the Y axis, then scale the extrusion, bring some additional edge loops to bring details and sharpen the edges, etc...


Exporting to fbx - halo material is lost

I don't think that Blender's .FBX exporter exports halo's. Even if it did, the software you're exporting to (in this case XNA) also has to have support for halo materials.

Most of the time, it's just best to export meshes, UV maps and animations with the exporters, as materials and lights vary wildly from program to program. Do all the material setup in the target program.


how access to new vertices after bmesh.ops.bisect_edges?

bmesh.ops.bisect_edges returns a dictionary that only has one item geom_split, that one item is a list of the data you want. You can easily find what everything is in the python console -

>>> newmesh.keys()
dict_keys(['geom_split'])
>>> newmesh['geom_split'].keys()
Traceback (most recent call last):
  File "<blender_console>", line 1, in <module>
AttributeError: 'list' object has no attribute 'keys'
>>> len(newmesh['geom_split'])
12
>>> type(newmesh['geom_split'][0])
<class 'BMVert'>
>>> type(newmesh['geom_split'][11])
<class 'BMEdge'>

If you replace your print() with the following you can see the returned data.

for i in newmesh['geom_split']:
    if type(i) == bmesh.types.BMVert:
        print("Vertex",i.index,"positioned at",i.co)
    elif type(i) == bmesh.types.BMEdge:
        print("Edge from vert",i.verts[0].index,"to vert",i.verts[1].index)

While the api states that bisect_edges returns "newly created vertices and edges" I only see two edges returned.


Blender Game. My Game does not move when executing but it goes to the final position when I stop it

While in the related question i test channel.location.x += 0.1 and channel.location.x += 0.1 but none work all time print (0,0,0) (i try because i never has move a bone), so i read the armature documentation and location. Finally end up with this script.

from bge import logic

armature = logic.getCurrentController().owner
if not hasattr(logic, 'boneLocation'):
    logic.boneLocation = 0
else:
    logic.boneLocation += 0.5
    channel = armature.channels["moveBone.003"]
    channel.location = [logic.boneLocation, 0, 1]
    print(channel.location)
    logic.getCurrentController().owner.update()

Blender Game Engine Started
<Vector (0.5000, 0.0000, 1.0000)>
<Vector (1.0000, 0.0000, 1.0000)>
<Vector (1.5000, 0.0000, 1.0000)>
<Vector (2.0000, 0.0000, 1.0000)>
<Vector (2.5000, 0.0000, 1.0000)>
<Vector (3.0000, 0.0000, 1.0000)>
<Vector (3.5000, 0.0000, 1.0000)>
<Vector (4.0000, 0.0000, 1.0000)>


Texture Paint doesn't paint where I want it to

If you switch to Edit mode and activate the Face Orientation display option, you can see that your normals point inwards (the faces are red instead of blue), you need to select all and press shift N to recalculate outward, then you'll be able to paint correctly.


Can I confirm knife action with mouse, or other key than Enter?

This is mapped by default to Enter, NumpadEnter and Space but you can change it if you want to.

To change it, you go to User Preferences > Input.

In the search field, type Knife and it will bring up the relevant panels
Toggle Knife Topology Tool
Toggle, Knife Tool Modal Map
Change any of the Confirm options to whatever input you want by clicking in the input field to the right and then pressing the key you want to use OR
* You can add another one with Add new at the bottom.


Make a wireframe out of an uneven rectangle with even thickness?

You have scaled your object in Object mode, so it's not scaled 1/1/1 on the XYZ axis anymore, you just need to apply your scale in Object mode: ctrl A > Apply Scale


How to scale multiple faces proportionally

Press Alt + E, then select Region (Vertex Normals).


Strange behaviour - object is hidden behind grey "wall"

The problem with the "portal" was with the setting "Clip End" of the camera.


Cryptomatte & Render Layers: is it possible to recover Cryptomatte from a .PNG sequence?

Unfortunately there is no way to recover the Cryptomatte render passes, since .png isn't capable of storing them. For an explanation of the Cryptomatte format you can take a look at this answer. You will have to render it again and store the result in a Multi-layer OpenEXR.

  Why is it, every time I close Blender, my Render Layer in the
  compositor seems empty, losing the Cryptomatte pass?

Blender caches the last rendered frame and its render passes for compositing, they're not stored in the .blend file though and therefore not persistently written to your hard drive. Once you close Blender that data is gone.


Create vertex on a desired part of an edge

It's true that CtrlR works a bit different for single edge like this other than loop cutting on faces, since it is not designed for that. However, you can select that new vertex then GG, or ShiftV to slide it along the edge.

Furthermore, a new coming feature may benefit such workflow. Just FYI.


Faces are getting thinner as i extend them.. How do i fix this?

If you want to prevent the tail from "thinning" as you "pull it out" you can press "shift + y" to exclude the y-axis from the transformation.
If you want to fill in missing faces select all points around it and press "f".


Unable to install cube surfer addon by PyroEvil

It should be an OS-related issue. this addon requires some higher Visual Studio Redistributable version installed, like 2010 or 2012. Then restart Blender, enable the addon again.


Python automation, normals, and dupliverts

The equivalent using BMesh and bmesh.ops would be:

import bpy
import bmesh

for obj in bpy.context.selected_objects:

    bm = bmesh.new()   # create an empty BMesh
    bm.from_mesh(obj.data)   # fill it in from a Mesh

    d = 0.0001
    bm_verts = bm.verts[:]
    bmesh.ops.remove_doubles(bm, verts=bm_verts, dist=d)

    bm_faces = bm.faces[:]
    bmesh.ops.recalc_face_normals(bm, faces=bm_faces)

    bm.to_mesh(obj.data)
    bm.free()

But, i doubt it will be much faster.


Solved. Thanks a lot!
I only understood logic now.


how to Voronoi-fracture with Chebychev, Manhattan, or Minkowski?

It is not possible natively. And there isn't an easy way ...
You can try create black&white image. I wanted suggest to use newly implemented Trace to GreasePencil, but it didn't work without issues for this kind of image.

So probably would be better to use other app to vectorise (trace) image as Line Art and import as SVG back to Blender, Convert to Mesh, Delete by Limited Dissolve - angle 35°in this case (or dicrease curve resolution to 1 before convert to mesh), Merge by Distance.

Add Plane, select both objects, switch to edit mode and use Knife Project to split plane into parts.

There was a script FractureMe2d with this feature - split plane by image. It was a part of FractureMe file from pildanovak for Blender2.49 that worked at glance. Abandoned.


Eevee - Light inside a bulb lamp not passing through glass

Changing shadow mode from opaque to None will allow your light to pass through. And changing blend mode from alpha clip to alpha hashed will give you a more realistic looking glass. Enable screen space reflection too in render tab
Also, change your shader material to this:


Weight painting not moving model as expected

A weight of 1 (red) means, that your mesh will react 100% to the bone movement.
A weight of 0 (blue) means, that your mesh will not react at all.

So, if you want a more natural behavior, select the lower vertices of the head and assign a weight of 0.5 (green). These vertices will only be partially affected. You can go further and have several transition loops:
Assign it like this to the top bone.

And assign reverse weights to the bottom bone.


I don't know how well this question can be answered, but I'll give it a shot.

1. I believe the difficulty of separating out individual teeth depends on:

The quality of your scan data
Your modeling skills
Your knowledge of anatomy
Any additional data you may have to reference (x-rays?)

In the 3D scan there is no differentiation between tooth and bone, so you have to recreate it. Taking x-ray images to accompany your 3D scan data may help significantly by letting you see where one ends and the other begins - and ideally you will want at least a front and a side view.

2. This is an extension of the idea in Part 1. Filling holes is easy, as far as modeling goes. The accuracy however, will depend on the data you have available and your abilities.

3. I'm not clear on what you mean by "3D matrix". 3D coordinate data is always represented as a matrix, but I don't think that's what you mean here. In any case there are many ways to present your 3D models in Blender, including using animation. If you describe what you mean in more detail I can probably address this point better.

4. You can use Blend4Web to embed your Blender scenes in a web page. Since it does not require any browser plug-ins anyone can view it, even on mobile devices. The details of how to do this are beyond the scope of this question, but you can learn about it on the Blend4Web site.

Here is a related dental modeling question worth looking at.

The link in Abel's comment looks promising as well, although I'm not familiar with it.

Good luck and please let us know how it works out.


Does anyone know how to make straws for a hawaiian style hut or stall?

I'd try hair particles, brush them a bit randomly and then use a 'particle instance' modifier to put another mesh on the hair particles, here's a rough attempt-

And here's the .blend to pull apart-
https://www.dropbox.com/s/5pljlpiel33jllt/StrawHairParticles.blend?dl=0

Use more emitters and more meshes to instance onto the hair, and go nuts 'combing' (particle edit mode) the hair, and you should be able to get way closer than my 5 minute attempt!


It's amazingly easy to achieve.

Create emitter with Real World Scale - this is important, as Smoke sim can differ based on scale. Mine has ~56x7m. Apply Scale!
Add to it Quick Smoke - F3 > Quick Smoke.
Scale Domain in Edit Mode to make it as big as you need.
In Domain settings I've changed only Resolution - 192, Temp. Diff. - -0.04, Adaptive Domain - checked and High Resolution - checked + Resolution Division > 2.

Collision Object. This is most important thing to do here. Set it as Smoke > Collision and Animated.

Now you have 3 options how to interact with smoke.

Allow object to "sink" into smoke.
Attach to object "plow" to raise smoke and not be visible in Render.
Attach Force Field to object to "suck" smoke from the ground.

This is it for the Smoke sim. You can cover smoke after baking by ground material, it will only show after being forced up.

Also to produce something as realistic as from your reference smoke is not enough. You can add some Particles for bigger parts from the ground (not necessary), motion blur, colors for the volume and probably that's it.


Material is black at edges when rendered

This issue was resolved by adding a Normal Map in the PBR node setup. Missed that earlier...


How do I find out what tool a shortcut is triggering?

In future, to find out what tool is being triggered by a shortcut, you can search in the 'Input' section of the 'User Preferences'.

Going to File> User Preferences (Ctrl+Alt+U)> Input, you can use the search field to search for tools assigned to shortcuts. The 'Filter Method' drop down box must also be set to 'Key-binding' for this to work:

This will yield a list of all tools in blender using that shortcut. For example, "ctrl n" would result in showing that that shortcut will 'Make Normals Consistent' for meshes in edit mode. 'Make Normals Consistent' will make sure all faces of the mesh are facing the right way and shaded correctly see: Render has strange artifacts. It also lists other commands that use the same shortcut such as 'Reload Start-up File':

You can also look in the bottom of the toolbar (T) in the 3D view immediately after using the shortcut to see what was triggered:


Closing a hole after adding solidify modifier

Can you post screenshots of your mesh without modifiers? It's hard to tell from the images, but it looks like you have a non-manifold mesh, that is a mesh that could not exist or be built in real life.

In your case it seems you have edges that belong to more than two faces. Specifically that large circular "lid" that makes inner part of the lamp is probably attached to the outer faces causing an inconsistency in your mesh that the solidify modifier can't handle correctly.

I would advise choosing one of the two methods and sticking with it.

If you require modeling the inside of the mesh than abandon the modifiers completely and model it all the way through.

I always prefer a modifiers non destructive workflow so in your case you could either detach the "lid" into a separate object that doesn't use a solidify modifier, or leave it in the same mesh but detach it from the surrounding geometry, making it a separate chunk.

Edit: As I mentioned previously, closing the mesh at the selected loop will yield a non manifold mesh, you would be creating a an inner face that would be connected to the outer part of the shell.
I mean, you can do it, but it will generate a mesh that will most likely cause problems with most modifiers and create a topology that is troublesome.

The way I see it you have four choices:

Apply the solidify, enter edit mode select the inner center vertex, grow the selection with Ctrl + + until the desired loops are selected and X > dissolve faces.
Drop the solidify modifier or and manually model the interior with the closed loop as desired. There is an edit mode Solidify operator you can use.
Leave the solidfy modifier, duplicate the selected loop with Shift + D then press F to close it. It will create a separate chunk of mesh and a discontinuity in the object, but it will remain a manifold watertight object and leave the modifier in place.
My favorite would be to rethink the whole object and use a screw modifier instead. Just draw the section of the light bulb and then use a Screw Modifier.


Your container is not properly scaled:

CTRL + A with your Container object selected, then apply Scale: no more black stripes.

Please note: in the image below I turned off object FluidDomaain for more clarity.

Sorry for poor english


I can't switch from Blender render to Cycles render

make sure that cycles is enabled in your add-on panel in your user preferences. also it might help if you upload your blend file with this problem.


Smoke+Fire Simulation Fire Not Rendering

The Color output of the flame attribute isn't what you need. Instead connect the Fac output to the ramp. The Fac contains data about the flame intensity, and connecting it to the ramp, will define the color based on the intensity.

Moreover, your intensity multiplier is set quite low. This is not an error, but it may get you very low visibility on the flames.

This image shows the defaults that get set when using Object -> Quick Effects -> Quick Smoke


Bake modifiers (ocean) animation into keyframe

You have to export it to mdd format, then import the mdd file on your model, which will appear as shapekeys for every frame. You have to turn on the "Import-Export: NewTek MDD format" addon.


change the shader's blending mode (from Opaque to Alpha Blend or Alpa Cliping in case you want to have more control on its threshold)


After you've left-clicked to accept the radius, the bevel-tool is still active and you can

press numpad + / - to change the segment count. If you don't have a proper numpad: in Preferences, go to Input and check Emulate Numpad
or.. press F6 and adjust segments from there:


Convert Formula to xyz Function (blender python) - Pisot Triaxial Surface

Make a Script.
Seems you have already got there, started answer, thought I'd post as crunching in the equation via the text editor is IMO way simpler

The equations are in parametric form on the Paul Bourke site linked to question.
To make them python expressions only requires adding an asterisk * to represent multiplication.
I find crunching formulas into blender's text boxes a little tedious, so have written as a script.  Enable the Add Mesh Extra Objects addon to have the operator available.
Note: This is the script to run in object mode to create the Pisot Surface (Equations from Paul Bourke link in question) Simply copy script, paste into text editor and press run script.

import bpy
from math import pi

# run in object mode
if context.mode != 'OBJECT':
    bpy.ops.object.mode_set()

bpy.ops.mesh.primitive_xyz_function_surface(
        x_eq="0.655866 * cos(1.03002 + u) * (2 + cos(v))",
        y_eq="0.754878 * cos(1.40772 - u) * (2 + 0.868837 * cos(2.43773 + v))",
        z_eq="0.868837 * cos(2.43773 + u) * (2 + 0.495098 * cos(0.377696 - v))",
        range_u_max=2 * pi,
        range_u_step=32,
        range_v_max=2 * pi,
        range_v_step=32,
        edit_mode=False,
        )

Notes. The defaults of the operator on first run can also be seen by bpy.ops.mesh.primitive_add_xyz_function_surface(Tab in blenders python console.  There is no need to add a value to call above that is already a default.
The code below is the (expanded) result of auto completing the operator in the python console. It shows the default settings of the operator that create the sea shell.  It is not the Tisot surface
>>> bpy.ops.mesh.primitive_xyz_function_surface(
primitive_xyz_function_surface()
bpy.ops.mesh.primitive_xyz_function_surface(
    x_eq="cos(v)*(1+cos(u))*sin(v/8)",
    y_eq="sin(u)*sin(v/8)+cos(v/8)*1.5",
    z_eq="sin(v)*(1+cos(u))*sin(v/8)",
    range_u_min=0,
    range_u_max=6.28319,
    range_u_step=32,
    wrap_u=True,
    range_v_min=0,
    range_v_max=12.5664,
    range_v_step=128,
    wrap_v=False,
    close_v=False,
    n_eq=1,
    a_eq="0",
    b_eq="0",
    c_eq="0",
    f_eq="0",
    g_eq="0",
    h_eq="0",
    show_wire=True,
    edit_mode=True
)
Add a surface defined defined by 3 functions:
x=F1(u,v), y=F2(u,v) and z=F3(u,v)

Tip to more easily change some of the constants eg 0.868837 could assign them to a helper method.
    x_eq="A + u",
    a_eq="0.868837"


Is it possible to add spring/jiggle physics to a rigify metarig?

Didn't actually find an answer to my own question but did find a workaround, so I am posting in case it shows in search results.
Basically, while applying the addons to the bones in the metarig don't work as far as I see, you can apply it to the drivers in the generated rig and those do survive a regeneration of the rig.
I found that works best to apply it on rig types for single bones (like basic.super_copy or basic.raw_copy) or bone chains controlled in a FK fashion (like basic.copy_chain)


Why does the view transformation controls become frozen sometimes?

You are likely experiencing a problem that blender has with the Viewport navigation where it becomes progressively less responsive.

Try pressing Numpad., or use Shiftb to drag out a Zoom To Area box.

This restores the view navigation function.


I have found a solution to this.
#Retrieve the current roation

current_q = Quaternion((kf_w.co[1], kf_x.co[1], kf_y.co[1], kf_z.co[1]))

current_eulr = current_q.to_euler()

#Element-wise multiplication with a weight vector

new_euler = Euler((x * y for x, y in zip( weights,current_eulr )), 'XYZ')

new_q = new_euler.to_quaternion()


How can I see and select the Vertex of the Mesh in Weight Painting Mode in Blender 2.8?

I'm not sure what you're referring to in 2.7 but in 2.8 you can display the wire with the Viewport Overlay > Wire option, and if you switch to Edit mode you can select a vertex then in the N panel > Item > Vertex Weights, set the weight you want.


How can analyze the diffuse texture and normal texture from obj with a mtl , by using python

I solve it by material.node_tree.links.

for object in objects:
    for s in object.material_slots:
        if s.material and s.material.use_nodes:
            for link in s.material.node_tree.links:
                if link.to_node.name == "Principled BSDF" and link.to_socket.identifier == "Base Color":
                    if link.from_node.type == 'TEX_IMAGE':
                        print(s.material.name, "diffuse",link.from_node.image.filepath)
                if link.to_node.name == "Normal Map" and link.to_socket.identifier == "Color":
                    if link.from_node.type == 'TEX_IMAGE':
                        print(s.material.name, "normal", link.from_node.image.filepath)


My materials seem to be locked on one colour?

I think I have an idea what you are referring to. You are duplicating an object and changing the materials of the properties, correct?

When you go to the material of the duplicated it might look like this "Material.002 and then a box that says "2" next to it before the "F""+""x". Click on the number (which is 2) and do so on texture as well if necessary. I hope that helps, as that was my solution.


to instance a full hierarchy of objects the easiest way is to group them, add as a dupligroup on some layer and use this object as the AN instancer object -need to activate 'copy full object'-

you can animate the number of instances, so new objects appear on new frames, or you can have all there at the first frame and animate them scaling from zero...

to add more animation the easiest way would be generate it from AN, something simple and parametric, or have some cyclic animation in the objects... if you need to sync it to start time for each object it can be done also, but it's more complex

here's a test scene (AN 1.6) with some simple objects, made 100 instances of a dupligroup, then use a loop and a couple of delay nodes to first scale them, and then animate in random directions, the trick is to use instance index as seed and delay factor -the usual procedure with loops-

https://dl.dropboxusercontent.com/u/16486113/Blender/archivos/temp/AN/AN%20cohetes.blend
https://dl.dropboxusercontent.com/u/16486113/Blender/archivos/temp/AN/AN%20cohetes.png


Blender Cycles Viewport Preview taking too long

This seems like a question about the performance of your specific components, which the Blender Stack Exchange is not able to help with as much.
You can reduce the viewport sample number (the default is 16) to shorten the time that it take to render (as you mentioned you did). You can also reduce the render samples and/or resolution of the camera to speed up the rendering process for rendering a final image or animation.
Here are a few things that may be causing slow viewport rendering times (not an exhaustive list):

Scenes with lots of objects and textures (remove any objects if possible)
Objects with high vertex/face count (use the minimum number of vertices possible)
High resolution textures on objects
Other applications using processor(s) in the background.

You can try fixing any of the above problems, edit using solid or material preview mode, and/or do your editing and modeling in Eevee before doing final edits and renders in Cycles.


Anyway to use light information as a mask?

Sort of.

Create a light. Create an Empty and use the Copy Location constraint with the light as the target.

Use the following node tree as the texture for the object. Be sure to note the Empty selected as the Object in the Texture Coordinate node.

In this case, I'm just mixing between red and blue. Transparency doesn't seem to work, but you could create a second view layer, use this texture with an emission shader and use that as a mask in the compositor.


Try checking Visibility in the Object Properties


Do you mean gameplay stop?
If yes make a variable.give it a name like gameplay.
now make that variable True to make it boolean
import bge
cont = bge.logic.getCurrentController()
own = cont.owner
w_key = cont.sensors["w_key"] # This is to get the keyboard sensor

#The gameplay variable make it playable or not:
gameplay = True

if gameplay == True and w_key.positive:
    apply.movment([0,1,0], True)
elif gameplay == False and w_key.positive:
    print("You can't move!")


At the bottom of the 3D View input list, click on the "Add New" Button. A new command will then appear at the bottom of the listed named "None".
Click on the triangle to the left of the word "None" to expand the options for the command. Enter this text: view3d.rotate (as shown in the image below) and press Enter. At this point the name of the command will change from "None" to "Rotate View" and you can choose you input command.

You may also want to double check that the command is not already in use by searching for it in the "Key Bindings" search box at the top of the list. If it is in use you can just disable it by clicking on the checkmark next to its name. That way you won't have any conflicts... hopefully.


You can recenter the active object's  origin (orange dot) by pressing ⎈ Ctrl⎇ Alt⇧ ShiftC> Origin to geometry, or the button in 3D view > Tool shelf > Tools > Edit > Set origin:


How to apply Cycles modifier in Graph Editor?

What you're looking for is keyframe baking, which does exist. There are two baking operators on animation curves: bake curve and bake action. What you want to use is bake action. They are both terrible operations, in my opinion, but they get the basic job done... I will explain why later.

Select the object or bone in question and take note of the distance between your cycled keyframes (in my example I used 22). Make sure your curves are editable and do a spacebar search for "bake action." This will pop up an option window.

Set your start and end frames accordingly, then change the frame step to the distance between your keyframes (22 here). Click OK and your action will be baked. If you leave "Overwrite current action" unchecked, it will automatically add and activate a new action for the object/bone. This is basically what you're asking for, but here are some snafus:

Tangents are destroyed

This is my biggest pet peeve of this operation. So you spent some time scaling your tangents to get the right kind of curve and cycled it. Great, now you want to edit the positions of some of those keys. Well, too bad, because baking destroys tangents. It will automatically set tangent types to automatic. Again, this totally destroys your work and takes control away from the artist. The only case where this is OK is when all your tangents are completely flat and automatically weighted. Then all you have to do is select all, change pivots to individual centers and scale to 0 on Y. It's a terrible solution.

All channels are baked simultaneously

This would be fine if you're doing pose-to-pose keying, where all keys are aligned to the same frames, but totally useless if you have offset curves.

Automatically cleans keys

Automatically cleaning keys is bad because you want keys on each bake step, so this is not expected or appropriate behavior.

"Bake curve" locks curve from all editing

Obviously locking the curve is out of the question.

You should try both baking operations to see for yourself what they do. They're pretty nasty if you ask me. Unfortunately, these are the only two options I could find.


Unable to see, select or edit new objects

You may need to look a little harder at the outliner objects.

If the little eyeball next to the hidden objects is off, then the object will be hidden in the viewport.

If this is the case then with your mouse cursor over your 3D viewport, Alt+H will turn this back on for these objects.

Also you may need to check if you are currently using the scene's active layer...

If your 'Lock camera and layers' button looks like the following, you will want to click it to toggle the lock.

Related to the last comment, you may need to hit ` (Backtick) to toggle all of your layers on.

Otherwise the only other thing that I can think of is viewport clipping.

If you are having trouble getting to this panel, with your mouse cursor over the 3D viewport hit the N key to toggle.

Then try increasing your clip distance.

You may also have to do the same for your camera for rendering, but that setting will be found in the properties panel >> Object Data >> Clipping


Proper greasepencil animation workflow: How to manage "scenes"?

I generally create an empty grease pencil keyframe (something like a single dot out of camera) and i move it at the end of the scene, so it acts like an "off" button for the active object. Hackish, but it works.


Pass collectionProperty through operators (Blender 2.8)

Thanks to batFINGER's comment, here is the working code: no need to pass arguments here, when calling operator : if it's stored in Scene, we can access to collection through context:

import bpy

# Assign a collection
class SceneSettingItem(bpy.types.PropertyGroup):
    name = bpy.props.StringProperty(name="Test Prop", default="Unknown")

class CallerOperator(bpy.types.Operator):
    """calls"""
    bl_idname = "object.caller_operator"
    bl_label = "Simple caller Operator"

    def execute(self, context):
        # Assume we have selected objects :
        selected = context.selected_objects

        # Create Collection :
        bpy.types.Scene.my_settings = bpy.props.CollectionProperty(type=SceneSettingItem)
        # clear collection:
        context.scene.my_settings.clear()
        # add in collection:
        for obj in selected:
            my_item = context.scene.my_settings.add()
            my_item.name = obj.name

        # call operator:
        bpy.ops.object.called_op()
        return {'FINISHED'}

class CalledOp(bpy.types.Operator):
    """called"""
    bl_idname = "object.called_op"
    bl_label = "Called Operator"
    #selItems : bpy.props.CollectionProperty(type=SceneSettingItem)

    def execute(self, context):
        #read collection
        print ("collection = ",context.scene.my_settings)

        for obj in context.scene.my_settings:
            print(obj.name)

        return {'FINISHED'}

def register():
    bpy.utils.register_class(CallerOperator)
    bpy.utils.register_class(SceneSettingItem)
    bpy.utils.register_class(CalledOp)

def unregister():
    bpy.utils.unregister_class(CallerOperator)
    bpy.utils.unregister_class(SceneSettingItem)
    bpy.utils.unregister_class(CalledOp)

if __name__ == "__main__":
    register()

    # test call
    bpy.ops.object.caller_operator()


How would I animate this but not move the other side of cube?

Just add a Limit Rotation constraint to the piece in blue, provided the following pieces are parented in chain.

Make sure you set it to World Space coordinates, so it reads the absolute value instead of the parent.


How to animate an image sequence texture?

You need to indicate the number of frames you want to be used for the sequence:

From the documentation here:

Frames
Sets the range of frames to use.


Unparent object but keep animated properties

You can do this by baking the keyframes. This will overwrite the current keyframes of the child object and replace them with keyframes of both its own animation and the parent animation combined, so it retains the same movement but without having to be parented.

Select the object and choose Object> Animation> Bake Action. Set the range of the animation to bake, the Frame Step (to insert a keyframe on every nth frame) and enable Clear Parents (for some reason, for your example you also have to enable Visual Keying to get it to work correctly). After that you can click 'OK' to bake.

The baking process will then begin (which could be time consuming depending on the range of the animation and the Frame Step value).


How can I repeat a mesh using multiple empties with unequal distances?

Collection Instances
First put your object(s) into their own collection.
Select all your Empties. Go to the Object Properties, expand the Instancing panel.
Now it is important you keep ALT pressed until the end. This will propagate the modifications to all selected objects.
Click on Collection while still maintaining ALT and choose the collection you want to instance.
If you want "real" meshes afterwards, you can use CTRL + A > Make Instances Real or Object > Apply > Make Instances real.

Troubleshooting :
If you don't see any change after these steps:

Make sure the empties are not in the collection you are trying to instantiate
The Instanced Collection's origin might be different from what you'd expect. You can tweak it by following these steps.
ALT + Click doesn't work because you are emulating a 3 button mouse :

Add a collection instance only for one empty. Select all the other empties too and make sure the instance collection is "active" (yellow outline). Then go to Object > Make Links > Instance Collection or use shortcut CTRL + L.


RAM is mostly about storage amount. More ram will allow you to render more complex & more populated scenes (more objects, more polygons, more textures, etc....).

It will not have a significative impact on render times, unless you have less ram than is needed to handle the complexity of your scene (the more complex the scene the more ram is required) - in which case your system will store on your hard drives, which are way slower.

The important hardwares in render times are the CPU and the GPU.


How to get (just) color data from my model in blender to an image for later editing?

Hah, I found out. Its actually very simple. Just bake the texture with this settings:


UV Image Editor Display "Repeat Image" Zoom Problem

Just closing the loop on this one. Apparently, this is considered "expected behavior" for the moment. There is a .25 second window during which the graphics are allowed to be drawn. Past that time, rendering of the image stops to avoid bottlenecking the system or causing it to bog down.

While that is surely valid, it means that using small textures repeated lots of times and UV-mapping it over a large area (such as tiles on a huge roof, for example) is not possible.


Mate, your symmetry axis is set to Z it's the one from top to bottom (blue arrow) and it works on the test mesh, cause it's symmetrical on this axis. To sculpt on your final mesh you need to set Mirror to X axis (red arrow leading from left to right on your image)


How could I add the FLIP Fluids obstacle component to multiple objects at once?

SOLVED! I selected all of the fractures, clicked on the sidebar, and hit the Add/Remove Obstacle button.


How to reduce thousand of faces of an already low poly object

use Decimate modifier with planer option

you need a little cleanup depending on complexity.


get string from Text Object using Animation Nodes

The .body attribute is not an attribute of the object, but of the text object data. So you need to get the attribute like this:

An object is like a container for multiple things that gives them properties like location, scale, render visibility, etc. These things range from meshes, lights, curves, .. and texts. And what is inside the object is referred to as data.