How to simulate cloth on a fast moving character?

Fast dynamic movement is often a problem for Cloth Solvers/Simulators. Extremely fast dynamic movement such as this requires a much more precise simulation: this means that you have to increase the Simulation "Steps" Per Frame parameter to the extreme. This will slow down your simulation time significantly (hours instead of minutes). However, you will get a more precise/correct simulation as a result.

If you cannot wait the numerous hours it takes to simulate a cloth simulation with high steps per frame, then consider reducing the subdivision on your 2D mesh/plane. In this way, it will simulate faster due to less mass/particles to simulate. Note: this will help you gain simulation speed, as you also sacrifice realism.

Finally, If you've tried the highest "Steps" possible and it still isn't giving you sufficient correctness/stability for the simulation. Then you might consider using a Cloth Solver/Simulator that uses Implicit Solvers (Witkin, Baraff 1998) as opposed to Explicit Solver (I suspect that the Blender's cloth solver is using an Explicit Solver).

Reference for Witkin, Barraf 1998: http://www.cs.cmu.edu/~baraff/papers/sig98.pdf


Script for save camera position, to file

From the text_editor templates > python > operator_file_export.py .  Changed the write_some_data function to export matrix_world location of active object.

Just using location and rotation_euler will not give visual location when there are constraints or follow_path (et al).

def write_some_data(context, filepath, use_some_setting):
    print("running write_some_data...")
    camera = context.active_object
    mw = camera.matrix_world
    scene = context.scene
    frame = scene.frame_start

    f = open(filepath, 'w', encoding='utf-8')
    while frame <= scene.frame_end:
        scene.frame_set(frame)
        x, y, z = mw.to_translation()
        rx, ry, rz = mw.to_euler('XYZ')
        f.write("%d" % frame)
        f.write(", ")
        f.write("%5.3f, %5.3f, %5.3f" % (x, y, z))
        f.write(", ")
        f.write("%5.3f, %5.3f, %5.3f" % (rx, ry, rz))
        f.write("\n")
        frame += 1
    f.close()

    return {'FINISHED'}


how to assign different thicknesses to different lines/strokes within same GP objects

One solution would be to create a layer and assign a value for the stroke thickness (let's say 50) and then create a new layer with a different value (300 for exemple).
the strokes in the first layer will be thinner than those in the second layer.


Is it possible to automatically move other strips while dragging another strip?

Well, it's possible. You can use the "Expand to fit" option which is enabled by hitting G for grab and then you can hit G again to toggle "Expand to fit" permanently or hold down ALT to use toggle it temporarily.

When you have three strips with the new one selected but not yet in your final row:

Just hit G to grab and then G again and place it "over" the existing strips:

Confirm with left mouse button (LMB) or Enter and there you have the strip inserted in between the two existing ones:

And to answer your second question: Just snap the handle next to the other strips one with dragging it and holding down Ctrl. Then just Shift-select the other handle and slide both of them with G.

Moving a single handle works with expand to fit as well (even though, the next strip is then moved and not trimmed in length).

Finally you can use Alt+Left Arrow/Right Arrow to swap two adjacent strips.


How to distribute an object to a hexagonal grid?

There is an even easier/faster solution than the one @CharlesL provided (Although some steps are identical) :

Create only 4/6 of the "cell" by using an Array-modifier and an Empty-object rotated by 60°:

Then add another Array and distribute objects on the x direction by the Relative Offset:

And last but not least, add another Array and distribute the result of the previous modifier on the y direction by the Relative Offset 1:

Of course the merge option checked in all three of the Array-modifiers.
And the result is a lighter and better version of the hexagonal array creation, plus, the result has more beautiful "edges".


How to model a ribbed pattern along a body

You can model your pattern flat and use Shrinkwrap modifier and then add thickness and bevel to it with other modifiers. As long as you have enough of geometry in your pattern, it will follow the surface of another object:

You can also edit the deformed mesh easily if you enable modifiers for edit mode:


Render result not the same as my 3d view

If you're using a subdivision surface modifier for the helix, keep in mind the modifier has different levels for previews and renders as seen here:

this may explain why your helix has a funny look when you render it


Identify difference in lighting between sheep it and local render in these two images

Doing a difference of the two images is a little more revealing:

What do you notice? For one, the light fixtures themselves are black. And there are no reflections of lights, only of other objects.Further, the direct shine from a light is seen through the glass (center right), but nowhere else. My guess is something in the sheep-it version has more indirect light. I'm not sure WHY this is the case, (I would expect it to render the file as is) but it may be using more diffuse/glossy bounces, or have increased/disabled the threshold for the "clamp indirect" setting.


How would I go about rigging this model?

You certainly can join all the separate parts into one mesh, and still have it rigged properly.

Just make sure all vertices in the vertex groups all have a weight of either one or zero. you don't want any blending (like if you painted the weights in weight paint mode.)

Join all the pieces into one object, CtrlJ
(If you do not already have all the bones) add an armature and place the bones accordingly.

Now select the object then the armature, so the armature is the active object, and press CtrlP > Empty Groups.

Go into edit mode and select a piece (L and CtrlL should be very helpful here) make sure you are working on the correct vertex group (naming your bones would of helped) and set the weight to 1, then press Assign.

So in that picture I am "connecting" the bone named "Bone" to the selected cube.
All four cubes are in the same object, but with the weights correct the pieces move independently.

If you enter Weight Paint mode you should only see red and blue (or black if you have restrict turned on). Any other colors, light blue to green means there are other values and thus a bone is going to affect part of something that you do not want it to.


How to mask an imported image as a plane?

What you can try to do, is using the image that you want to be filled with the transparent image, and convert it with a Color Ramp. This will work if you have a lot of contrast in that image. Here the Node setup:


How can I make an addon that stores arbitrary data with a .blend file?

You can set this data inside custom properties: https://docs.blender.org/manual/en/2.79/data_system/custom_properties.html If you do it the python way as described below, it's just adding some property to the object. If it's something blender is not familiar with, the Ui will display it a custom property to you.


Shading won't show up in the Properties shelf?

You have an old version of blender, either 2.66, 2.67 or 2.68. The current version is 2.78 with 2.79 to be released shortly.

In 2.69 the shading panel was added, before that the GLSL/Multitextured option was available in the Display panel and it is only available when Blender Render is the active render engine.


Difference between two models, objects disappear from view, cameras added?

In your 1st blend, you've checked "lock camera to view" in the "N" panel. This could have caused some strange things on the view and camera position.

You can't see your (flat) sphere because the sphere and camera are at the exact same Z position.

Move your camera up or your sphere down (on Z axis, use G, Z to constraint the movment on Z axis) and you'll be able to see it.


Over three years since you asked, and with the BGE now dead, I will finally answer your question :-)

I understand what you mean by "tweening", but actually what is required is called lerping. Lerp means linear interpolation, and it is used to create a smooth transition between one value and another. One of its uses is making one object's rotation copy another object's rotation by some specified amount.

Here is the documentation on BGE's lerp()

It takes two parameters: other and factor

Other is the other thing to interpolate to, of like data type (in this case two object rotation matrices).

Factor is by how much - a float value in the range 0.0 to 1.0.

As for what to lerp, in this case it would be the worldOrientation of two objects.

In this simple example, let's take two cubes - one controlled by mouse movement, and the other lerping to match it. (Cube2 starts off rotated so you can immediately see it rotate to adjust)

Here's my script lerp.py containing my function lerp_fn(), being called through a Python Module Controller as lerp.lerp_fn:

import bge
scene = bge.logic.getCurrentScene()

def lerp_fn():
    target = scene.objects['Cube']
    lerper = scene.objects['Cube2']

    always = lerper.sensors["Always"] #Enable TRUE level triggering

    #'target' object also must have a Sensor conected to this Module in order to be recognized

    drag = 0.05 #How closely to copy the target rotation each tick (range 0~1)

    if always.positive:
        lerper.worldOrientation = (lerper.worldOrientation.lerp(target.worldOrientation, drag))

'Cube' logic:

'Cube2' logic:


This is my fault I messed up the compositing the denoise node was not set to HDR and flattened everything


This is one way to do it. currently:

first split the verts of the object
then multiply each vert's vector by a unique matrix (which is some function of z-height here i'm multiplying the vertex's Z component by 51.94)
then recombine using mesh_join.

We don't have a proportional editing method inside sverchok, you'd need to combine math nodes to emulate that feature. Not impossible, this layout should suggest further development.

You can import this json Gist ID directly 8e11420e351e79be0760f86c2f51de06 in the Sv Import/Export panel. (make sure you update Sverchok to 0.5.6.2 or later)


Why are my sprinkles beneath the frosting

Welcome to the Blender community!

All you need to do is continue watching that video until the very end :) BlenderGuru addresses that issue.

Edit: I looked at the file you posted, and the short answer I posted above is incorrect.

The reason why your sprinkles are not showing up properly is that you did not apply the Solidify modifier. BlenderGuru did this at the beginning of Level 1: Part 5.

This is important because of particles are created on the original mesh prior to the other modifiers being applied. You can see that below, where the Solidify modifier is adding additional icing that covers the sprinkles.

To fix this, you'll need to go to the Modifiers tab (the blue wrench) and apply the Solidify modifier. However, when I tried to do this in your file, I received an error due to Multi-user data. This just means that multiple objects have been "linked" together so that if you edit the data for one object, all the objects change.

To fix this, head over to the Object Data Properties tab, which has an icon that looks like a green triangle. Then, press the button labelled "2". The "2" indicates that there are two objects using the data, and pressing it will make this a single-user (unique object).

Once you've done that, head back to the Modifiers tab, and apply the Solidify modifier. The sprinkles will now be showing up on top of the icing, and you should be ready to continue through the Donut tutorials!


How to create macro/record actions while modeling

You can use "CommandRecorder" addon , its record actions while modeling too.

https://github.com/Muthird/CommandRecorder2.8


How to adjust height of sound strip in VSE?

In the strips portion of the VSE, click and drag the MMB to move the view, Ctrl click and move the MMB to resize.
Don't forget to activate the "Draw waveforems" option.


Why does Automatic Weights paint distant vertices?

I finally have a theory. I believe you may be gettting a bone heat weighting error. That happens when you try to bind a mesh to an armature when the mesh is made out of too many different or intersecting parts, and Blender can't figure out how to weight the vertices. I was able to fix this by breaking up all the parts first in Edit Mode with p for the Separate menu, and then Separate by Loose Parts. Then I selected the face mesh and Shift + selected the head mesh, and joined them with Ctrl + j. Then I went into Edit Mode for this new head object and cleaned up this mesh so that the two newly joined mesh parts would be sure to have their verticies merged (Mesh > Cleanup > Merge By Distance). After that, I was able to do the normal binding operation by selecting this new version of the head mesh in Object Mode, Shift + selecting the armature, then Ctrl + p to parent it, and choose Automatic Weights. There were no issues with distant vertices getting bound to the armature.
I recommend that the entire mesh to be bound to the armature is a single, continuous mesh with no other, distinctly separate objects having been prior joined to it. Just as importantly, you should make sure that no other mesh parts are physically colliding or intersecting the mesh anywhere. When they intersect, or are joined together, and then you try to start a binding operation, this issue arises. Your model has eye objects intersecting with one another, and also intersecting with your face. Your face and head have intersecting geometry around the lobe of the ears also. This isn't clean modeling and you don't want it.
When you clean up your model so that all parts are separate (not joined together) and not intersecting one another (not colliding), you will be able to bind those mesh parts to the armature without any problems.


Creating a corner bevel joining 3 edge bevels

Information

Blender is not intended to create accurate models in a way that CAD/CAM software does. Its main purpose is to create 3D models for photorealistic rendering, rigging and animation.

Your model seems to have curved surfaces over several different angles. While those also could be done in Blender, their purpose is just that of sole visual representation and not of accuracy.

Construction of the Base Mesh

When constructing the base mesh, you should always start with the simplest form possible and start adding details. It can be compared with sculpting rock or wood.

In the case of your model I started with shaping a Bezier curve to match the upper shape of the key, converted it into a mesh (Alt+C - Curve to Mesh), extruded the vertices down and arranged them to match the basic side mesh of the key.

After that I created the top and the sides by extruding the correspondig vertices until I got this. (As you see, I don't bother with the curved surfaces right now, this should be done later.)

Beveling

In the next step we are going to bevel all edges at once, that should be beveled. This creates the corner bevels as well.

First, we select all edges, that should be beveled, then we use the spacebar menu to open the bevel tool, so we can tweak the settings.

The advantage of this method is that we do not have to bother with corner beveling. The disadvantage (depending on the original piece, that should be replicated) is that all edges are now eqally beveled.

The blend file below contains the base mesh for the side on layer 2 and the beveled key on layer 3. The latter is not intended to be a final model, its purpose is to demonstrate the method. The key mesh also lacks the bevel at the bottom. If you want to have that area beveled as well you will have to start over from the mesh on layer 2 and include the edges into the process.


After configuring the domain shader I do not see smoke simulation

In this smoke setup the smoke and fire won't be rendered because:

Attribute node which provides information for shaders has property typed incorrect, it should be density.
There isn't any Attribute with property for flame.

To fix that:

either use Quick Smoke operator from 3DView header > Object > Quick Effects which will setup objects and materials automatically. You can choose what type of smoke sim you'd like to in operator's options in the Last Operator Panel (in the Toolshelf). The materials will be setup appropriately:

Automatic setup may be not desired if there is domain / flow already created (you could link materials though from objects created with Quick Smoke to your main ones). So it's possible to correct spelling of the property manually and add one more Attribute node which will be connected to the node tree via one more Add node.

See related question: Rendering Smoke in Cycles


If you create a blend file in 2.79 and then open it with 2.8 the UV sculpt works.


Why is this model rendering with dark faces in cycles render?

1 Add modifier "Subdivision Surface"

2 Go in edit mode, press "Shift E" (Edge Crease) drag the mouse

2 or in Edit Mode press N Side Panel > Transform > Mean Crease to 1.0


Animated part showing up rotated in game, but fine in blender 2.79

Simple fix, just adjust the part to the incorrect position and apply as rest pose using Ctrl +  A in Pose Mode


Bevel edge rounds more on 1 side than another side

You should "apply scale".

In object mode CtrlA then 'scale'.


Not entirely sure if this answers your question. To make an Object unselectable, you just have to toggle it in your Scene Collection. If you're asking how to deselect an object in general it's Shift + M1


Object mode scaling vs edit mode scaling for video game development

I don't think there are any significant efficiency implications, but I typically try to apply scale when making assets for the BGE, as some discrepancies with physics and collision bounds can occur and very large or small scales can cause precision issues.

For external engines I would apply scale just because of the exporting process (depending on the format, the scale may be applied automatically anyway)

It doesn't really matter whether you scale in edit or object mode as long as you apply it with ⎈ CtrlA> Scale when all is said and done.


Rendered image has black outlines from imported image

Increase the number of transparent bounces in render tab


You have hidden vertices. Press ⎇ Alt + H
to unhide them.


How to scale an object relative to a moving Empty's coordinate system?

You were right with your initial intuition about using a Child-of Constraint.

Here is the somewhat limited method of sucking in an object by scaling an Empty that the Child-of Constraint is using:

The limitation with the method described above is that moving the Empty also relocates the object, even when the "suck-in" effect is not being used.

The solution to this is to keep the Empty scaled down to zero all the time and instead use the Influence Slider to control the effect. The Influence Slider can of course be keyframed for animation.

Tip: Enabling "Display: All Object Origins", and also using the Outliner can be helpful for selecting objects in their scaled-to-zero state.

Download the .blend here:

https://blend-exchange.giantcowfilms.com/b/2892/


Why does nothing show up in the Compositing tab?

In the upper menu, you need to check Use Nodes ✓
Then it will work.


How do I use add-on Simple Curves to chamfer point?

If we are talking about this Simple Curves add-on:

First of all Install add-on from file, check it to have it enabled and Save settings.

In Edit Mode find Misc tab in Tool Shelf.
Select Curve point.
Choose Fillet.
Tweak Radius.


Why do keyframed objects cause fluid baking to slow down so much?

Yes. The liquid system must translate one moving object to the domain matrix, making it process for every frame, and calculate the new differences and forces produced by the push of the object over the liquid. Of course, this requires more time.
I guess if the obstacle is really complex (more faces), this also requires more time.
If you can use lower resolution, less to time to bake. Use lower resolution for tests and increase the resolution for the final product. Take a look at my answer on your other question.


If you want to apply the shape of the object as deformed by the armature, what you can do is select the object being deformed, and go to the modifiers tab.
In the modifiers tab, you will see a modifier "Armature deform". Apply this modifier not as a shape key if you want to permanently keep the shape, and as a shape key if you want to toggle between the original shape, and it's deformed shape. From what I saw in your question, this should solve your problem.


How to texture a huge number of meshes in one uv?

The easiest way to get the UVs of all meshes of a complex model into one UV map would be using the Texture Atlas addon. It's in Blender's Community Addon Catalog and can be activated in "User Preferences - Add-ons" (Search for "atlas").

Once activated, you can find it in "Properties Window - Render - Texture Atlas".

For an in-depth tutorial I recommend watching Gleb Alexandrow's great tutorial on how to use the add-on.

In case you already have separate UV maps, I'd use the settings I described in this answer.

The difference between the add-on and Paul Gonet's method is that the major part of the tedious "join - unwrap - separate" process will be done automatically.


How to declare global variables for use in an addon that aren't stored in the blend file

The window manager

If you set up properties on the window manager using bpy.props they are available globally for the session, are not saved and revert to defaults on next.  PRO: simple to add a UI, a lot of UI for operators uses wm.

The driver namespace

The driver namespace can be leveraged.

class Foo:
    def __init__(self, x):
            self.x = x

dns = bpy.app.driver_namespace
dns["var"] = Foo(3)

then anywhere

global_var = dns.get("var") # None if not set

Make a module

from my_module import my_global_variable

Declare a global

max_something = 10000

def update(self, context):
    global max_something

Using lists and dictionaries here often removes the need for the global declaration.

Getter Setter on bpy.props

In example in question code, if using a global instead of using update would set up properties with a get set method. See docs.

As in this example, Internal "get/set" function of property?

let the get or set methods retrieve or set your global respectively.  The set method is akin to an update in this scenario.


Why i cant punch a hole through the mesh?

This is essentially a shading issue: use autosmooth in the property panel. That will avoid the rendering to be annoyed by the normals of the faces created by the boolean.

To fix the little tube that goes bad, just shift it a bit.
Also the tubes are opened at the bottom. They should be closed.


Why is my mesh not fully taking the location constraint serious?

I would say its due to the default f-curve created on the ROOT bone, change its type (channel) to 'linear Extrapolation' that could fix it, but you may have to add one of the 'modifiers' to it.
Also see this
Rotate a Cube on a Plane Using Drivers


Mesh emission strength to Area lamp strength

Yeah that was a problem I had, I did some testing and found that its something like 15 to 1 ratio.
If I had a Plane with the emission strength 1 then I needed strength 15 for the lamp.


how do I prevent the belt from clipping my model (I've used data transfer to transfer the weights)

A simple approach might be to build the belt geometry directly from selected and duplicated faces of the waist geometry, which would then be separated into a new object. However, this would need to be done only after binding the body mesh to the rig. This is because, whenever an object with modifiers is duplicated, the duplicate also has the same modifiers. In this case, your belt mesh will have an armature modifier on it as soon as it becomes a duplicate of the already bound body mesh. The belt mesh will need to have this modifier in order to be deformed by the rig. The belt mesh will automatically have the needed vertex groups for deformation, also, as well as fairly adequate starting weights for those vertices. What it won't have, is thickness. For that you can add a Solidify modifier.

You may find that you still must do some weight paint tweaking afterwards to ensure no collisions between waist mesh and belt mesh. But the work is reduced somewhat by starting this way.


Blender 2.81: How do I mirror a collection of objects, instead of a single object, across the center pivot?

set the origin to the center of your object, duplicate the object you want to mirror (shift+D) and rotate the object 180 degrees (R,Z180)


Multiple drivers on a single objects x rotation

You can go the "Drivers" way. Using multiple variable as input (one per bone) and adding them together to get what you want.
Here is more detail about how to use Drivers in blender :
https://blender.org/manual/animation/basics/drivers.html

Here is an example from your blend :
http://www.pasteall.org/blend/38396


You can add detail until you get to a point where its so small your computer struggles, or you'd rather just let a texture handle it. Maybe large wrinkles or veins I'd sculpt, and the rest I do with a brush template or while texturing. Certainly around the eye I'd sculpt wrinkles and detail, as no way that can be simply covered by a brush or texture. Basically get the form as much as you can with bone structure, then past that its simply up to how much you need/want to do.


After hours of searching google and youtube found the solution finally. For those who may face this issue:
1- Select metarig
2- go to edit mode
3- rotate thigh.L and thigh.R (90 degree in my case)
4- go back to pose mode
5- under Object Data Properties > Rigify Buttons activate Advanced Options then Overwrite then click on Generate Rig
If any bone has problem for generating rig:
1- copy the bone name
2- remove it
3- create exact same bone(start and end points are important)
4- set parent
5- set children
6- set the name again
7- rigify again
Don't forget to apply transforms before any generations specially for rigify!


How to evenly cover one object with instances of another?

In edit mode, subdivide your mesh a few times, so that the vertices are where you want your jewels to be placed. Then make note of how many vertices your object has (info bar at the top right). Using hair particles, set the number of particles to the number of vertices, make sure even distribution is enabled, and set the emitter to be verts, not faces/volume. That will place a jewel on each vertex, giving you perfectly even distribution, as well as correct rotation.


The best way to map the moon is to use an actual height map.  You can find a free usable map here: https://astrogeology.usgs.gov/search/details/Moon/LRO/LOLA/Lunar_LRO_LOLA_Global_LDEM_118m_Mar2014/cub

Nothing beats the real thing.  If you want to add more detail, use a noise displacement on top of it.


Exporting keyframed Shape Keys to .gltf in Blender 2.80

I checked that file, I did that steps: exporting .mdd file, creating a new cube and imported previously created .mdd file. All works fine and animation works.


Problems with rotation and scale importing blender object to unity? Replicate unity cube?

Yes, Blenders scale is different, if you are using FBX (which i would recommend for Unity likes it), there is an export options called: Apply Transform (Experimental!). This works for me, otherwise, scale your final mesh down to compensate (Unity's scale is 100x smaller, so it makes the cube's scale 100x100x100, you can also adjust the mesh import scale in Unity, instead of compensating in Blender).

In Blender, if you make any changes to the rotation in object mode, you need to apply that rotation (CTRL - A) before it exports it. Also, the reason the rotation is wrong is due to Unity using the Y axis as its up axis, and for Blender this is Z. You can compensate by making the up axis of your mesh the Y axis in blender. See posts like this for more info: http://answers.unity3d.com/questions/174832/stopping-the-270-degree-fbx-default-rotation-on-im.html

If you are still experiencing issues something is going wrong in Unity, and you should post the issue in the Unity section, with your script included. And good luck and have fun learning!


Setting particle emission at random keyframes?

I don't think you can do it with particles. Can you place your apples in the tree (with rigid body > active + dynamic disabled) and animate the "disabled" properties in the timeline to choose what apple start to fall?


Here some steps that you can follow:

Set the video format to FFMPEG
Go in the Encoding drop-down just below the color settings in the bottom-left corner of the drop-down
In the Video drop-down, in the Video Codec settings, choose the H.264 settings
( I think your problem is that there might be a default setting in Blender)
Just to be safe Double-Check the Steps.
Check if there is any bug, or consult a video tutorial on how to report one


It looks like it would probably be the last bone in the chain coming up from the chin. It looks like that bone ends in the middle of the mouth which would make the automatic weights consider the mouth to be part of the chin and the face would just look elongated when rotating the jaw.
I highly recommend you to learn weight painting though since an issue like that would be very easy to detect if you would scroll through the groups.
Also, I would recommend you to use video for reference while placing the bones and try to replicate the placement when trying out new rigify rigs since they can be very delicate.


Cycles to Eevee conversion shows textures/materials as black

Only part of the answer:
Eevee materials that are transparent need some additional material settings turned on; for example, Blend Mode and Shadow Mode need to be set to Alpha Clip/Hashed/Blend (depends on the usage) in order to display transparency, and (I think it was translucency) needs Screen Space Refractions turned on both in the materials tab and the Render Context tab.

I don't quite know why the eye setup is so (unnecessary?) complex; but I noticed that there are a few material nodes that do nothing, like the eyeball texture is completely muted, two Translucent shaders (almost same value) are mixed with each other, and I also don't quite know why the eyeball texture is controlled by the cubic box, but it somehow contributes to the eyes showing up black in Eevee (though setting up my above suggestions partly helps). Someone else might have more knowledge about that, just wanted to note the  basic transparency info.

EDIT: Okay, workaround: I copied the material of the cube and pasted it into the eyeball material (the one that only had a texture node controlling a Mix Shader with a Transparent Shader + nothing) and plugged the output of the last copied shader (Mix Shader) into the empty input of the Mix Shader that has the Transparent Shader connected to (the lower input). Changing the Blend Mode plus activating Screen Space Reflections then did the job for me. You can delete the cube then if it's not needed for anything else. Also, I would recommend turning down the mix value for the eyeball texture in order to have it visible.


Cycles render is blank and camera object changes

This is because the Bulb object is bound to the marker Jump. See this answer for details.

To fix it, you can either remove the marker (press X while hovering over it), or select your camera object and press Timeline header > View > Bind camera to markers (or press CtrlB in the timeline area).


so to be clear what are you trying to make?

first when u create a plane

this is x rotate 53 degree

rotate 90 degree


You need to do that in post. The compositor to be precise.

In the passes you need to enable the emission pass

In the compositor you can now see

Image
Alpha
Depth
Emission

You add a glare node and set it to fog glow and plug the emission in the color inout, play with the settings till it matches the reference

Now you need a mix Color, plug the glare node in the top and the image node in the bottom.

Set the mix node to add

Now you can play with the values, the higher the add factor the more it will shine and look like it's scattering in the material and coming out glowing.

But rigth now it's not what you want, you want a scattering look. You need to add an object index value to the object and use this as a mask in the mix color node to only add the glow effect where the object is, this will make it seem like it goes throu the object and not throu the air too.

Note that this is the efficient variation. You can use subsurface scattering but it will pump your render times into infinity and beyond


While not exactly the type of tutor you are asking about, the Resources for Blender page, under the first category, Learning, there is a link to an answer which points to two on-line courses, one geared towards high school, and one geared towards college level learners. My suggestions is to work through either—or both— of these is as a start. You need not be a student of the sponsoring institutions to use the courses, and they are free. They are also complete courses as you might find in contemporary US high schools and colleges, where some classes are conducted on line. Having worked through these, you may find you don't have as much need for a tutor.


How to get world-space matrix of any pose bone?

Yes:
As the documentation says, a pose bones matrix is in object space, this means - unless the object has no loc/scale/rot applied, you will have to apply the objects matrix.

matrix_final = obj.matrix_world @ pose_bone.matrix

This test script adds an empty at the pose-bone.
# Assume we are in pose mode with an active bone

import bpy
from bpy import context

pose_bone = context.active_pose_bone

# we can get the object from the pose bone
obj = pose_bone.id_data
matrix_final = obj.matrix_world @ pose_bone.matrix

# now we can view the matrix by applying it to an object
obj_empty = bpy.data.objects.new("Test", None)
context.collection.objects.link(obj_empty)
obj_empty.matrix_world = matrix_final


Editing phone videos with blender, audio is async?

Most NLEs needs footage which is not VFR, so you're right, you'll need to encode it to constant fps.
Velvet Revolver can be used to batch encode a folder to an intermediate files("lossless" with constant framerate): https://raw.githubusercontent.com/tin2tin/blender_velvets/master/Blender_2.80/velvet_revolver.py
Info:
http://blendervelvets.org/en/velvet-revolver/


How to reproduce a smartphone cover material with some specific reflection patterns

This is really just a supplement to Nicola's answer: my approach was to control the Anisotropic Rotation with a grad something like this:

simple

And a simple, dark, slightly blue-tinted glossy material, (roughness around 0.1).

resulting in this kind of response to peak light-sources in an HDR environment.

These are the nodes: I'm not knowledgeable enough in this area to justify them -  I've a feeling changing Anisotropic Rotation is equivalent to  rotating tangent space, bar some mapping, but how it's done in the Principled shader is something I have to look up.


Blender 2.8 - Pro Lighting Sky and Studio -

You have to check on the blendermarket website for version 1.2.4 and download it then just go into user preferences in blender install from file and locate the .zip file. restart pc and it should be there .If you have migrated your settings from 2.79 to 2.8. if you haven't yet then you need to download and install the hdri's to.


Particle Instance Modifier - Options to Offset missing in V2.83

These settings are available in the modifier panel in my build.


To avoid the emitter to be rendered, in the particles panel, go to the 'render' section and uncheck 'emitter':


Your approach is conceptually correct, you are only missing texture coordinates.

You can even skip the gradient texture and use raw UVs.

The most accurate method is to unwrap you mesh and make a proper UV map, but if you want to skip it, since the banana is an elongated almost-linear shape you can approximate it by using basic Generated texture coordinates.

They won't be as accurate as a proper manual UV mapping, but may do a passable job with less work.

Just use a Converter > Separate XYZ node to get the Y component of your Generated texture coordinates, then run those through the color ramp.


Could LMB be made to box-select when used outside of a model, but circle-select when initiated over the mesh?

'Box select on LMB'

Try setting this in User Input: 3D View --> Border Select --> Tweak, Left, Any

(Let me know if you made progress on the SHIFT-drag to add to selection, I am looking for that as well.)

EDIT: I discovered a partial answer. Add a new shortcut, use the same one (type in view3d.select_border) This time check "Extend" and "Shift." Now Box selecting with shift will add to the selection in object and edit modes.

However there still isn't a way to subtract from the selection that I've found yet. And I don't know how to unmap CTRL-select for adding to selection. Keep me posted if you find a way.


For Auto Rig Pro is it better to have eyelids as separate object or as a mesh with eyeball object?

This is a tough topic, and I've struggled with it mightily. I eventually found this video, which got results for me. But my problem was specifically getting the lattice deformers--whose purpose is to make the eyes oval shaped despite being rotated--to parent properly and to actually stay put during eye control manipulation. As to your specific question, I don't know if the video will provide a clear answer, but I know in standard ARP eye rigging practice, each eye is part of the same "object" during facial setup, and yet each eye works just fine later on when controlled independently by the rig. I expect this is because they each have their own independent vertex group, so that then the armature modifier can tell each eye which bone to follow. So based on this, I would imagine you could have your lids as part of the same eye object also, provided you give them separate vertex groups, and target some bone with them by giving those vertex groups the same name as that of the bone. Hope this helps.

https://www.youtube.com/watch?v=r1Di71uD578


Is there a way to make an operator know if the context viewport is in ortho or perspective mode?

Yes, you can check is_perspective.

You can get the perspective of the current context (provided the current context is a 3D view) with bpy.context.space_data.region_3d.is_perspective.

For example, running this in the text editor will print Perspective or Ortho to the terminal for each 3D view.

import bpy

for area in bpy.context.screen.areas:
    if area.type == 'VIEW_3D':
        for space in area.spaces:
            if space.type == 'VIEW_3D':
                if space.region_3d.is_perspective:
                    print("Perspective")
                else:
                    print("Ortho")


Maybe the closest thing you will get to that is making a text editor window.  Any of the blender panels can be changed to many different windows. One of the options is a text editor.  It won't however, overlay on top of the 3D viewport.


I want to unite every piece of this into a connected unified mesh without anything to clean up afterwards

A possible way is using the Shrinkwrap Modifier, though it might not affect the look, it will most likely radically change your mesh geometry.

First we have an object consisting of multiple meshes:

Then we make a high resolution (in terms of vertices) sphere around it:

Then we put a Shrinkwrap Modifier on it. Choose the initial object as your target. Choose "Project" as the Mode. And check the box "Negative". Lastly click the Apply button.

I have no idea which is which.

Seems the icosphere was more then enough high rez. You might want to tone it down a little depending on the level of detail of the initial mesh.


how to create a texture with random circles on an irregular shape

I think the answer might be simpler than you think. I think part of your problem is that you switched the nodes to 2D - this is generally for things without depth or that have a texture that is mapped to a UV map. Have a try with this setup (note that I set the randomness of the Voronai to 0 - this is to make the most "perfect" circles possible, but it also takes a bit of randomness away from the distribution - balance as needed):

Increase the scale of the Voronai for more dots:

If you're looking for more diversity of shape (randomness to the edges), you can warp your input vector using a Vector Math node and some other texture (I used a Noise Texture). As you can see, I used a MixRgb node to mix the values from the noise texture with almost pure white, otherwise the "Warp" effect is far too strong, and leaves undesired results.


Attempted relative import with no known parent package

To the future me if I make more addons and to newer programmers when it comes to blender, the issue isn't actually the scripts at all. Blenders in-house text editor cannot edit multi file addons, if you try it will throw this error. I was going insane trying to figure out what was wrong with my addon and comparing it to other code.
To conclude, if you're making a multi file addon, it'll work if the syntax is right and it's installed, and you can still edit it this way..


You can use the copy location constraint. Give the spot light a copy location constraint and set the coin as the target and check the offset option so the spot light won't be exactly at the location of the coin but above it.

More info on manual: https://docs.blender.org/manual/en/latest/animation/constraints/transform/copy_location.html


You could do it this way:

Create a plane and subdivide it twice.
Bring the additional edge loops close to the borders.
Extrude down the whole plane and recalculate the normals with a ctrlN.
Remove the bottom, select the rim and press W > LoopTools > Circle to make your square a circle (if you don't see the LoopTools you need to activate the addon in the Preferences).
Now your bottom is a circle, rotate it on the Z axis so that it's correctly aligned.
If you give your object a Subdivision Surface modifier you'll have a smooth object but your top angles won't be sharp anymore. To sharp then back create some additional edge loops with some ctrl R.
Remove the top faces.
Close the bottom with some extrudes, then a merge: alt M > At Center.
You can add a Solidify modifier to give it thickness.


What setting do I need to be in to see colour?

I think everyone struggles a bit in the start. Just persist and keep watching his videos. I would also try Grant Abbit. He does a very good job of explaining the things and has lot's of videos for intermediate and beginners. For your colour question there is a screenshot of colour management in blender. Make sure that the settings are set to what I have here.


Several different multi user objects to single user

Through the bar menu i could make all the instances unique objects through: Object/Relations/Make Single User/Object and Data and then afterwards (still with all the objects selected) join them as I would normally through Ctrl-J.


First try Makewalk from Makehuman Blender Tools. It works beautifully.
If you didn't skin the rig yet, you can adjust Roll of bones, that tend to rotate wrong. In my case also helped using DAZ friendly BVH instead of Max or Motion Builder friendly ones. If you have problem only with end bones, which are not parents for any other bone effected by the animation, you can also adjust the rotation in Graph Editor by moving all frames of the channel with wrong rotation up or down.
Hope it helps, cause fighting with bvh's can be really annoying.


Ok, here's what you have to do. Get rid of the existing UV map. Go to object properties, UV maps, select the map and click the minus button. See below:

Then, go to object mode, press ctrl + A and select apply scale. Then, go back to edit mode smart unwrap again, but make sure to untick the "stretch to bounds box.

You should be good to go from there.
However, since all you're unwrapping is a flat plane, you should be fine to just use "unwrap" instead of "smart unwrap". You will still need to remove the existing map though, as smart unwraps tend to "stick around".
EDIT - Here is a .blend file showing what the UV unwrap should look like to avoid stretching, as well as the node setup for both the image texture and the generated one. I hope this helps to clarify that the ability to texture has nothing to do with subdivisions (in most cases). If you want the image tiled, look at the scale section of the Mapping node.
Here is the file -


Select text object by name and change font via script

Example below is based on windows file location.

import bpy

my_name = 'ALGER.TTF'  #name of text object
new_font = 'G:\\Blender Working folders\\Fonts\\ALGER.TTF'  #file location of new font
for ob in bpy.data.objects:
    if ob.name == my_name:
        ob.data.font = bpy.data.fonts.load(new_font)


Creating face on subdivided edge distorted in top orthographic mode

This is because faces are not meant to be bent. All polygonal faces are secretly changed into triangles in the rendering engine, so if they are bent, it will split them arbitrarily. Create multiple faces one at a time, working your way around that corner. Select three or more vertices, and even if an edge to make them a face is missing, it will be auto-created.
Also, the top and bottom pre-existing faces seem to have mismatching edges round the corner, as in they are not exact copies of each-other and the differences seem random.


Although I have solved this problem for a long time, I see better answers in other places, so I sent them out
The first is the imbuf library, but the documents are not very detailed and haven't been updated for a long time
https://developer.blender.org/T54272
And then this
How to merge external images together in script?
Then my method is that the PIL library cuts the pictures, saves them to Blender's cache directory, and loads them through this path

from . PIL_library64 import Image
import sys

def cut_image(image,x,y):
    # x指横上切的刀数
    width, height = image.size
    item_width = int(width / x)
    item_height = int(width / y)
    box_list = []
    # (left, upper, right, lower)
    for i in range(0,y):
        for j in range(0,x):
            box = (j*item_width,i*item_height,(j+1)*item_width,(i+1)*item_height)
            box_list.append(box)
    image_list = [image.crop(box) for box in box_list]
    return image_list

# 保存
def save_images(image_list):
    from os.path import exists
    from os import makedirs
    import bpy
    temppath=bpy.app.tempdir
    print(temppath)
    if not exists(temppath+"mi2bl"): # 判断文件夹存在
        makedirs(temppath+"mi2bl") # 创建文件夹
    index = 1
    file_list=[]
    for image in image_list:
        image.save(temppath+"mi2bl\\"+str(index) + '.png', 'PNG')
        file_list.append(temppath+"mi2bl\\"+str(index) + '.png')
        index += 1
    return file_list

#主函数-分割图片，存储到blender的项目缓存文件夹中
def image_crop(file_path, x, y):
    image = Image.open(file_path)
    #image.show()
    image_list = cut_image(image,x,y)
    file_list=save_images(image_list)
    return file_list
```


Updating objects parameters using python creates multiple objects

Swap out the mesh

Just like the font change handler is swapping out the body of the font, ie the data part of the text object, can do same with meshes.
Proof of concept
Use the create surface operator to create an object stepping along v changing the steps and the point to step to, max.
After each call, save the mesh, remove the object.
Script to create the meshes via operator
import bpy
from addon_utils import enable
from math import pi

from bpy import context

enable("add_mesh_extra_objects") # make sure addon is enabled

# default 4pi in 128 steps
step_value = pi / 32
steps = 10
for step in range(1, 129, steps):
    bpy.ops.mesh.primitive_xyz_function_surface(
        range_v_max=step * step_value,
        range_v_step=step,
        )
    me = context.object.data
    me.name = f"XXXX{step}"
    me.use_fake_user = True
    bpy.data.objects.remove(context.object)

After running this script have a number of "XXXX" meshes
>>> D.meshes['XXXX
                  1']
                  101']
                  11']
                  111']
                  121']
                  21']
                  31']
                  41']
                  51']
                  61']
                  71']
                  81']
                  91']

Now simply a case of writing a handler to use these.
Handler to swap in the meshes created
import bpy

def swap_ob_mesh(ob_name, mesh_base_name):

    def handler(scene, depsgraph):
        ob = scene.objects.get(ob_name)
        f = scene.frame_current
        me = bpy.data.meshes.get(f"{mesh_base_name}{f}")
        if ob and me:
            ob.data = me

    return handler

# while testing
bpy.app.handlers.frame_change_post.clear()

# test call

bpy.app.handlers.frame_change_post.append(
        swap_ob_mesh("Cube", "XXXX")
        )

Notes: IMO never mix context and handlers. When it comes to render most likely wont work.
Consider shape keys.  If instead simply ran the operator only changing v max (not steps) if all the meshes produced have the same number of verts / edges / faces simply join them as shapes and animate the shape key.
To demonstrate the "stepping" nature of swapping the mesh have used 10 frame steps.  Reducing this to 1 will be as smooth as it gets.
On a side note this is a "proof of concept" scrubbing the timeline may produce unexpected results since the mesh is only swapped when exists.


How to get color data of lighting for materials?

I'm not 100% sure this is what you're looking for, but if you want colored light to apply in a "toon" fashion, you could try something like this.
In the example below, I have a single red light to the side.

And in this picture, I un-hid a green light above and to the right as well.

If you want to take it one step further and make the toon shadows darker and more apparent, you can turn it back into an RGB, and then multiply it with the values from your "toon shadows" ColorRamp.

Or if you want really dark, vibrant colors from the lights (this will heavily wash out the original texture's color, but can be slightly overcome by turning up the emission strength from your image texture), you can make it a Diffuse Shader again:

Let me know if this works.


how can i fix the this offset rig problem with the hand?

turns out because i made the parent bone weights ovelap with the child, this caused the problem


I suggest you include the leaves inside the stem object. You can use the same technique twice. You should use a random seed on the leaves, otherwise all the stems have the same leaves. Distribute this stem-leave object on the floor. This should work.


How to straighten and rearrange UV Islands? (hair cards)

The easiest method to straighten and rearrange UV islands in Blender is by using the free add-on TexTools by renderjs.

After you installed TexTools, you find a new tab in the UV/Image Editor.

Step 1

In the first step, you want to rectify all the UV islands. Select one island, click the Rectify button then repeat the process for all the UV islands.

Step 2

Once you've rectified all islands, enter Face Select mode, then select the similar ones and rearrange them vertically at the top edge.

Step 3

In the next step, chose one island as template and scale the edges of the others vertically. Do this by selecting the same edges on each island except in the template island, then press S, then Y and then 0.

Repeat this for all edges.

Step 4

After that, turn on "Snap to Vertex", hit G, Y then press Ctrl while moving the edges vertically, until they snap at the same height as the template edge.

Repeat this for all edges.

Step 5

Now, position the islands roughly into a vertical stack, switch to Face Select mode, then press the "Align left" button to arrange them horizontally on the left edge.

Step 6

After that, turn on "Snap to Vertex", hit G, X, then press Ctrl while moving the right edges horizontally and move your mouse over the template  until they snap at the same width as the right template edge.

Step 8

Repeat Step 1 to 7 for the second island group, then rearrange them by using the method in Step 2.


Cloth Distance

possible issue of big distance can be object Scale - try Apply scale Ctrl+A for both objects.

adjust distance for "body" object
Physics Properties > Collision > Soft Body & Cloth > Thickness Outer

Collision ignorance

you have to extend cache End frame of Cloth sim
also motion of hands is too drastical (from frame to frame) cloth has no time to react
if issue persists even for slower motion try to increase Quality Step and Collision Quality


Blender 2.,8 does not apply texture properly

You don't appear to have marked any seems. If you didn't use "Smart UV Project", the UVs are going to be all tangled up.

Andrew (the guy in the video) starts talking about Smart UV Project and how to mark seems for more intentional UVs at the 4 minute mark in that video.


How to share/copy Grease P. materials from one Collection item to another? (2.80)

I found that copying a layer from one object to another also allows you to import all the materials present on that layer. Maybe it can help.


How to get the addons path using python?

An add-on is just a regular python module so there are  multiple ways to get the actual path.
You can use addon_utils, a module for addon management that comes with blender to filter the add-on and get the path:
import addon_utils
for mod in addon_utils.modules():
    print(mod.bl_info.get("name"))
    print(mod.__file__)

Or you can iterate through all enabled addons and use sys.modules dict:
import bpy
import sys

context = bpy.context

for mod_name in context.preferences.addons.keys():
    mod = sys.modules[mod_name]
    print(mod.__file__)

Related: How can I get a list of the installed addons using the API?


It could depend also on the resulting mesh you wish to obtain, eg:

a big plane with only 4 vertices?
a big empty plane with only 4 vertices?
the plane as it is but without inner quads?

see a couple of example below, using dissolve commands

with dissolve vertices, but you get a plane of more than 4 verts

or with dissolve edges

...you get the idea...

[edit]
in the tutoarial you are following inthe link above, it says

"Create a plane, subdivide it two times and then remove the inner four quads."

well,

first, it is wrong: to get the subdivided plane I see in that image, which has a total of 16 face after subdivision, you have to subdivide the plane 3 times, not 2.

then it seems to convert those inner 4 faces into a a big square.

so you can switch to select faces mode, selet the inner 4 faces, and simply "dissolve faces"... like this


1st create a simple object and apply Scale with Ctrl+A.
Now goto the "Modifier Tab" and add "Array Modifier" and put X and Y to 0 and Z to something like 5 and don't apply it now.

2nd add a bezier curve and shape it the way you want it.

Now, select the cube object and again go to modifiers Tab and add "Curve Modifier" and select the created curve. Then you'll have something like this.

You can increase the number in "Array Modifier" and just align it with the curve.
Remember that. Array Modifier should be at the 1st place and followed by curve modifier.


Basic Cell Fracture not appearing to work

I am noticing on 2.77 that Cell Fracture will add the fracture cells to the outline, but they are not visible.  If I save the blend, restart Blender and load the blend, then the cells will show up.  I don't know why this behaves this way and would love to know if there is a fix.


Is there any personal data saved inside a Blender file?

The path to the image will be visible even if packed. However if you used a subdirectory of the path of the .blend e.g. //Textures/ (// means dir of the .blend) only this will be visible, including the name of the image. The only way Blender uses absolute paths (to my knowledge) is when you import the image before saving the file, or if you told it that in the global settings.
Computer name etc. will not be visible, there is no username, registration or anything else. The version you used to last edit the file can be determined, eg. 2.83.
I am not aware of any (other) pitfalls.


How to prevent Parent bone rotates the child bone in pose mode in Blender 2.8?

A bone can be child of another but you can disable its Inherit Rotation option in the Properties panel > Bone > Relations.


Blender 2.8 does not render current camera view

select the camera press 'n' and in view check 'use local camera'


Does blender 2.8 have an autosave feature?

Blender automatically saves your scene to a temporary file every few minutes. To get to these auto saves, just reopen Blender and go to File > Recover Auto Save.

Auto Save
 Temporary Files
Enables Auto Save. Tells Blender to automatically save a backup copy of your work-in-progress files to the Temporary Directory.

Timer
This specifies the number of minutes to wait between each Auto Save. The default value of the Blender installation is 2 minutes. The minimum is 1, and the Maximum is 60 (save every hour).


The reason why your tiles are becoming so rounded off, is because you have created the displacement map from a picture where there is a lot of reflections coming from one of the sides of each tile. Blender sees this as a height difference and this is your result. You'll either have to try getting those reflections out of the map (not recommended, because it's pretty difficult), or you'll have to raise the tiles manually. Also, displacement maps need a ton of faces. More than you would ever need to just raise flat tiles.

Good luck!


I would suggest using Scorpion 81's fracture modifier build instead of Blender's default cell fracture. There, the fracture is a modifier, so you can unwrap and apply your material to a cube, and after fracturing each piece of the fracture will retain it's original uv coordinates. In addition, Scorpion 81's fracture modifier build offers some great features for streamlining and making easier the fracturing process.

Here is a link to an example of the modifier in action:
https://www.youtube.com/watch?v=6Vcd1GQw5Ac

Here is the fracture modifier build's page:
http://df-vfx.de/fracturemodifier/


Combining two renders with different seeds

You could try using or writing a program that calculates the average of the pixels and outputs to an image format.


Is it possible to clone objects with a name diferent in blender at a runtime?

I want to generate ... multiples objects with a diferents names ...
  Is it possible?

No, it is not.

When you create an object then you already know the object. You do not need to search for it.


There is a way, but it's rather complicated and it's not based on the smoke simulation engine, therefore it's also inaccurate... But I'll show it anyway :)

Create a particle system on your emitter

First of all, apply rotation and scale to your emitter (Ctrl+A), then add a particle system to it.

Particle systems, especially of the fluid type, are VERY sensible to their parameters, so you'll have to go through trial and errors by yourself. For an object the size of the default Monkey, these values work well (pay attention to the highlighted ones!):

If you need deflectors, use objects with Physics > Collision (give them some Damping, like 0.8).

Try the different parameters and play the animation until you're happy with how the smoke particle spread. At this point, bake the Particle Cache.

Create a cube for visualization

We won't render the particle system. Instead, we will use the density of the particles as an input for a volumetric cube.

The trick is all done in the cube material. It first divides the world in blocks; then it checks, for each block, the local density of particles. It uses this density information to choose the opacity of the volumetric shader.

Here are the nodes:

The blend file

Is for Blender 2.81. You won't be able to open it with 2.79. The instructions, however, should work well regardless.


How to change the camera from Landscape to Portrait

Probably the easiest way to do this is to swap the values for the x and y resolution fields of the camera Dimensions-Resolution section. So, for instance, change it from 1920x1080 to 1080x1920.

For 2.8 the resolution settings are in Properties > Output > Resolution

The other way I know of is to select the camera and, while viewing from it, rotating the camera 90 degrees. This, however, rotates the view too.


Can I update a Make Human model in Blender without losing my animation?

I'd go with option 3, especially if your deadline is tomorrow.  Especially if it's just a matter of re-topoligizing, and then re-weightpainting just a bit.

If you want to learn from this, I suggest try having a master-slave style rig.  That means you have one set of bones you animate directly, and those bones in turn constrain a bunch of 'slave' bones that only deform the mesh.  That way if you want to re-import your model later on, you can simply re-constrain those 'fresh' new bones to your older animation rig.

You can even have two separate armatures, one for deforming, one for animating to make the re-constraining process clear to yourself.  Although I've found this method a tad obscure, and not considered canonical Blender rigging.


Procedural texture of random square clusters

If you take a Voronoi Texture's Randomness parameter all the way to 0 it generates squares like you want.

You can take the Color output into a Noise Texture like you suspected and generate lots of different outputs.  What I did here was put a Color Ramp on the other side set to Constant to isolate groups of these squares to use as a mask for whatever you want.

But you can imagine animating some of these values and generating any number of visualizations.


display face for which I know its coordinates

One way you select the face by way of the co-ordinates of the constituent vertices is to make use of the 3D cursor. If the properties shelf is not visible on the right hand side of the 3D viewport, unhide it by pressing the N or clicking on the small + sign in the upper right hand corner of the viewport. Find the panel in the properties shelf window labeled 3D cursor, and if necessary, click the small triangle to the right of the label 3D cursor to open it. Enter the co-ordinates of one of the points in the entry bars to the right of the labels of the three axes, and the 3D cursor will move to the selected vertex; select the vertex. Next, enter the values for the co-ordinates of a second vertex just as you did the first in the co-ordinate slots of the 3D cursor, and navigate to the new location of the 3D cursor. Add the second vertex to the selection. You might now be able to determine which face you want from the selected points; if not, enter the co-ordinates for a third vertex, and if necessary, any other vertices for which you might have co-ordinates, and proceed just as for the first two, but in almost all cases, three vertices will be enough to give you the location of the desired face. One thing to watch out for, is that Blender keeps track of several different co-ordinate systes, global, local, normal, gimbal, and view, and you will need to make sure you are using the right co-ordinate space.

Another approach would be to take the x co-ordinates of the vertices you have, add them together, and divide by the number of vertices, to obtain the median value for the x co-ordinate, and then proceed to do the same for the y and z co-ordinates of all of the vertices. Enter the median values you calculate into the bars defining the 3D cursor location, and the cursor should in be in the desired face. Again, you will need to make sure you are using the co-ordinates relative to the correct co-ordinate space.


camera doesn't fit my screen? not sure how to call it

Once your camera is placed, uncheck Lock Camera To View and you can move the camera frame around within the viewport.


How to make objects not pass through each other when animating

You can use the Soft body modifier after you animated the general movement.

https://docs.blender.org/manual/en/dev/physics/soft_body/index.html

https://www.youtube.com/watch?v=ofIi4ddHGW0

https://www.youtube.com/watch?v=uZHmo3iH4cE


I can't create a UV map for this object and I don't know why (sphere unwrap)

The faces of your sphere are overlapping in the UV Editor because you must have unwrapped with the Unwrap option (first one) without any seam on your mesh. The result is that each face displays the pupil. You should mark a seam on one of your sphere longitudes (select the edge and press CtrlE > Mark Seam), then select all and unwrap again (with the first option called Unwrap). This time it will take the seam into account. You can bring some corrections like scaling up and down the UV in the UV Editor and align it to the pupil.


How to keep dense particles at the center of emitter in blender 2.8?

So as stated in a comment, you can have two particle systems.

One (in green here) is the "outer" system. The other one (in red) the "inner" system.

By giving different lifetimes and initial velocities to your systems, you can probably approach your desired result.

Green is long lived with high velocity

Red/inner is short lived and with low velocity


How to create a larger light radius with an HDRI

Judging from the middle grey-ish values on the left and right, something seems incorrect here.

That is, I suspect the albedo values on your floor are too high. We should expect that the direct sun source, which is relatively small, would project sharp and direct heavy light through all three windows. Instead, we barely have middle grey, yet on the centre window, the high energy pixel region is the cumulative effect of fresnel and albedo reflecting the light directly, as opposed to illumination. Hence, wrong values, and too low of an HDRI strength.

I also see skew to yellow there, which suggests Filmic isn't set as the view, or you have a degree of processing that is breaking things. The false colour LUT shouldn't be used with anything other than Filmic.


How can I transform origin when I am in Edit Mode with shortcut?

here are some thing to get you started.
Shift + Tab for switching Snapping on/off
Shift + Ctrl + Tab for switching between Snapping options/methods
Transforming origin -  So you are asking for transforming origins, probably so that you can move/scale/rotate at that origin. But Blender has a more elaborate method to do so, by using 3d Cursor. Its a just a null pointer made for this purpose. Simply being in edit mode press Shift + S and you will find options to change the 3d Cursor location like this -

Also you can select some loops and snap the 3d Cursor using same method Shit+S. Still only the Cursor position will change, else nothing is going to change. Now press "." near right Shift on keyboard for this menu and you will have to select 3d Cursor , now things will move/scale/rotate from this point/3D cursor/Temporary origin. -

Also please enable Pie menu from the preferences -  ITS A GREAT TIME SAVER !


Seams aren't separating in the UV viewport

I figured out the problem. I'm mirroring my mesh and apparently there was a face in between them that was interfering with the unwrapping. Deleted that, unwrapped it, and all is well now.


Why can't I see keyframes in the timeline?

I just realized that I scrolled my timeline down.
Using Shift while using the MMW (Middle mouse wheel) the contents of the Timeline can be scrolled up (out of the visual area), and thus keys become hidden.


Here is one way using a Warp Modifier
Your surface must be highly subdivided, it will contain the modifier. In the gif below this is the plane object.
The modifier stack is as follows:

The from and to fields in the warp modifier are the important pieces here.
The modifier pulls from point a to point b, thus creating the effect shown in the gif below. By animating the cube to move toward the empty, as well as the strength parameter of the modifier it exaggerates the effect. This should get you in the direction you are looking for.


As far as i understand there is currently no way to have multiline text boxes. However there is a solution in work which will allow multi line tool tips:

https://developer.blender.org/D622

From the comments i think that this patch will also allow multiline text boxes as a side effect.


Is there a way to mirror a mesh with hair but without deforming these?

Go to Edit Mode, flip normals on the mirrored parts, then go to Particle Mode, enable X-Mirroring, set Comb Tool strength to 0.001 and comb the original side, the mirrored sidewill match.

If there are any artifacts with some of the hair you can fix them manually or delete/recreate individual guides with mirror on.


Fixed it, remove all materials then add them back


How to view the Property Editor in Blender

Edit: As @Jachym Michal points out, it is possible that the 3d view is maximized - use Ctrl+Space to toggle maximization.

If that does not fix the issue, perhaps you have indeed closed the other editors. All editors can be restored and rearranged as desired.

To add a new space, right-click the border of your existing space.

Then select "Vertical split" and specify the split location by clicking. You will now have a new editor. To change the editor type to properties, click the dropdown at the top-left corner of the editor and select the desired editor type:


Add these two lines at the end of the script:

cont = logic.getCurrentController()
main(cont)

The module mode calls specifically the function main through the entry point on the controller, while in the script mode you have to explicitly call the main function on the script. As the main function needs the controller reference, you get the controller and pass to it.

That's how you use a module as a script, however I would seriously recommend you to stick with the module mode: the script mode is A LOT slower than the module mode (as it is parsed at runtime) and the module mode provides much better options on code editing and organization.


What's the difference between pressing S and Alt+S?

The key command S is used to scale whatever is selected in the viewport, regardless of mode. However using the command Alt+S to scale selection along the normals is only possible in Edit Mode.

When you scale the object, all the distance ratios between various vertices and all angles will remain exactly the same, just get larger or smaller:

However when using the Alt+S command, blender will try to shrink or fatten the mesh. This can lead to unusual results if done on certain meshes:

I have noticed that it works much better with more vertices. This really shows exactly what is happening. The inner vertices appear to have a greater weight, being moved a much greater distance. This leads to a convex shape after fattening, or a concave shape after shrinking.


As David already mentioned in the comments, there are plans for this in the future. As for now you will have to go with the compositing method described in various answers here: https://blender.stackexchange.com/search?q=render+only+shadow

The most comprehensible tutorial that I have watched about this topic is this one: https://www.youtube.com/watch?v=k7gKzgvFiGM


Modify panel's row after panel has been created

bpy.types.Scene.show_row = bpy.props.BoolProperty()

row1.enabled = context.scene.show_row

And your other function will just set the show_row property. Thats it.


Solved! Here's what happened:

In order to apply the speed control transform strip, I had imported a new video file to that location on the time line. I had then built a 25% proxy for that file. The video didn't work quite how I wanted, so I deleted the strip and created a new video file with the same name as the deleted one. When I dropped the new file onto the timeline, however, only the audio strip was visible. So I tried deleting the proxy file that had been generated for that file name, and then I imported the new file again. It worked! But the audio strip had actually imported on the previous try: it was hidden behind other strips on the timeline. Clicking nearby strips eventually exposed it, and for some reason that badly imported strip was labeled with a length of 2147483647 frames! Finding and deleting that video strip restored my ability to use the "Jump to Previous Strip" shortcut. Hooray!


Select the high poly then the low poly mesh. So the active will be the low poly. Check the option Selected to Active in the Bake panel. Here is an example:

To be able to do this you have to UV unwrap the plane or cuboid and assign
a texture for the UV to bake on. But you have already done this. :) To use
a cubeoid, you simply have to adjust it so that it represents the models
geometry as close as possible.


Object / Edge Bevel with angle other than 45 degrees

Found an ok solution.  In the transform toolbar there is a "face info" section.  Adding a check in the box next to angle allows one to see the angle while making adjustments to the face edges.


Why are some edges not visible/ covered by mesh?

Try enabling the "Ajust edit cage ..."  button in the subsurf modifier header


Blender 2.92 - No visibility tab in Cycles. Need to make a shadow catcher but the option is not there


Setting the texture's grayscale as alpha?

Here is the way I would do what I think you're asking. I plugged to color data into a Color Ramp and plugged that into the Alpha channel. There is also a SeparateHSV node that might work well between the Color output and the Color Ramp. For Eevee, you need to go into Settings and set the Blend Mode. In the picture it is set to Alpha Blend.

Another way of doing it is to mix an emission shader and a transparent shader, assuming this is meant as a light. For this screen shot I added another white cube behind the blue object and turned on Eevee's 'bloom'


Change scale of objects in array without affecting distance

While the array modifier, with its limited scaling options isn't really suited for the task, you can quite easily achieve this using dupliframes.

Move and scale your object into the position you want the first duplicate to be in, and hit I to add a LocScale keyframe to it. Then move forwards on the timeline some amount of frames, for example 100. On this latter frame,  move and scale your object to the transformation you want your last duplicate of the object to be, and insert another LocScale keyframe. Playing the animation should now move the object between the locations of the first and last duplicates you want to have.

Go into duplication panel of the object buttons, and enable the "frames" option, and set "off" frames to
your animation length / (the number of copies you want to have - 1) - 1,
and animation end frame one frame longer than your animation.
This will take the object's position on frame 1 and add a copy there, skip the off amount of frames, and add another copy on the frame after that, and so on, ending on the final position of the object.

Because animation interpolation by default is non-linear, you should go to a graph editor, and set the curve interpolation to linear (T -> Linear)

Example result, with cube animated to go from 0 to 20 on X, with a copy every 5 units

The instance of the cube you animated will not be rendered, only the copies will be visible in the render.


Why am I unable to see AA sample when selected branch path tracing and unable to render animation when select GPU Compute on Mac?

I cannot help with your GPU because I don't have access to your computer. However, I was able to figure out the bluriness.

Problem

In your scene, one of the first things I noticed was that it was inside an enclosed space. Bluriness in enclosed spaces can often be caused by low lighting.

Solution

I selected the area lamp near the top of the cabin and turned up the Emission Strength to 1000 from 300. I also turned the Max Bounces: to 1024.

I also optimized the .blend file.

I made some adjustments in the Render tab of the Properties panel, namely that I set the Max: and Min: Light Path Bounces to 0 (for faster rendering). I also turned the Filter Glossy: value to 0.7. Additionally, I changed the resolution to just 1920x1080 (1080p; you had it set to 4k which really won't make any difference except causing the rendering to take 4 times as long). Furthermore, I turned the Sampling > Settings: > Clamp Indirect: value to 3.00. I turned the AA render samples to 100. Lastly, I optimized the Tile Size for CPU rendering (Properties panel > Render Tab > Performance Drop Down Menu > Tiles:). If you want it to be optimized for GPU rendering, change each (x/y) from 16 to 256.

On my 8-year-old mac with CPU and not all the image textures, one frame (probably) took a bit under an hour (I didn't wait for it to finish). On my Nvidia 970 4GB STRIX, one frame took just 54 seconds and looked like this:

Final Notes

Here is the fixed up .blend file:

I don't generally offer this (haven't before), but if you can get me a .blend file with all the images included, I will render it for you. 90 frames x 1 min each = about 90 min. --A fellow Blender-using student.


How do I get a user defined filepath in Blender with python?

As far as I know, it's bad practice to create the custom property for the scene in the register function. You can do this in the execute function. Also you shouldn't create it on bpy.types.Scene but on the current scene itself.
For the execute function you can use this code:

def execute(self, context):
    d = self.properties.directory
    bpy.context.scene['image_filepath'] = d   #store the path for later use
    [...]
    return {'FINISHED'}

You only need the bpy.context.scene['image_filepath'] = d if you want to store the path for later use.

You can simplify your register and unregister functions:

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

def unregister():
    bpy.utils.unregister_module(__name__)

You can now run your operator and choose a folder to do something with. If you later want to access the path to the folder you can use bpy.context.scene['image_filepath'].


Cycles isn't appearing in render engine drop down list

First thing to check is in the Addons tab in the User Preferences:

  User Preferences > Addons > Render: Cycles Render Engine.

My best first guess is that the box for this option is unchecked.


How can I control a cube's movement with a function?

You can do this very simply with logic bricks and object properties. First , in the logic editor, hit N to open the properties editor. Now add a new property, make it a boolean type by clicking on the box that says "Float" and changing to Boolean. Boolean is the best choice since you only want two values, 1, and 0; or True and False. Now, all you need is a property sensor in the logic editor, and a motion actuator. Set the motion actuator applicably to move the cube along the y-axis, and then connect it to the sensor so that it will move when the sensor is true. Now all you have to do is set the test conditions for the sensor. Make it test for the property you just created, (default prop) and set the test value to "True"

Now you didn't specify how you wanted to change the property, but in this test file i made it happen when you hit the spacebar.


What's the easiest way to rotate around an edge that is not parallel to a primary axis?

Here is another way ( without effecting the pivot element ):

switch to (Pivot : cursor, Transform orientation : view, View : orthographic ).
select the element and press Shift+S->cursor to selected.
press Shift+(1 or 3 or 7) to go to one of the ortho views aligned to the selected element.
when in the desired view press Ctrl+I then rotate the object according to the view ( use RXX ..).


Combine all Lists from nested Subprogramm [Animation Nodes]

Just loop over all the lists you have and do your computation:


One way is to subdivide a plane, select, with B, the faces you want to remove or the window and delete them. Then you select the object and extrude it.


How to get the active strips in the NLA editor from Python?

You can get the active NLA track, but the strips array has no property .active in the Python API. It's not exposed, but the active strip is known in the C code (note that the
Active Strip panel is hardcoded).

All you can do with Python is to get all selected strips:

try:
    selected_strips = [strip for strip in bpy.context.object.animation_data.nla_tracks.active.strips if strip.select]
except AttributeError:
    selected_strips = []


How to dig an elliptical hole in blender (iphone)

Edit: My topology was quite ugly so I reworked a simpler one:


Change stroke drawing order (Arrange stroke)-Grease pencil

Checked - Draw on Back option (underneath Continuous drawing)


how can i create a grainy rough plastic material in blender, just like one on MI TV Remote

It looks like basically, for plastic, you need to mix a Diffuse with a Glossy.

To make it more realistic, use a Fresnel in the Factor of your Mix Shader so that the light will enlight the contour of your object a bit. You can also add a second mix to add a Translucent shader so that the light plays a bit more naturally with the object thickness.

Your object also have a grainy surface, so you need to add some noise: Use a Noise Texture that you plug into a Bump node that you plug into your shaders Normal sockets. As the details are very small, choose a high Scale in the Noise Texture.


it depends what style do you wanna use? cartoon or real? high poly vs low poly?
here some references you should check (see the wireframe view to check how they model a similar mesh):

https://www.turbosquid.com/it/3d-models/3d-shake-nigiri-1401254
https://sketchfab.com/3d-models/handpainted-nigiri-sushi-combo-f3cd020bdad449b89afe9d21ed6fccc6
https://www.cgtrader.com/3d-models/food/miscellaneous/sushi-toro (metaballs for rice)


You have basically 2 options: modal operator or scene update handler.

Modal operator is what an interactive script would use, here is an example with over-commented code. It will create panel in tools under Misc. and the operator can be ended with ESC:

import bpy
# for random positioning of cubes
# so they dont stack one over other
from random import random

class Panel(bpy.types.Panel):
    """
    This displays number_of_cubes property in tools panel
    And can run a modal operator
    """
    bl_label = "Custom Panel"
    bl_space_type = 'VIEW_3D'
    bl_region_type = 'TOOLS'

    def draw(self, context):
        # display cube count if modal operator running
        # else display button to run it
        layout = self.layout
        if context.scene.watcher_running:
            layout.prop(context.scene, "number_of_cubes")
        else:
            layout.operator("my_custom_op.cube_watcher")

class CubeWatcher(bpy.types.Operator):
    """This will run in background monitoring user actions"""
    bl_idname = "my_custom_op.cube_watcher"
    bl_label = "Cube Watcher"

    # this function should be used to do stuff
    # in our example to adjust the number of cubes
    def execute(self, context):

        # get cubes already present in scene
        cube_list = [object for object in context.scene.objects if object.name.find("Cube") >= 0]

        if len(cube_list) < context.scene.number_of_cubes:
            # add cubes
            for i in range(context.scene.number_of_cubes - len(cube_list)):
                bpy.ops.mesh.primitive_cube_add(enter_editmode=False)
                context.active_object.location = (5-10*random(), 5-10*random(), 5-10*random())

        elif len(cube_list) > context.scene.number_of_cubes:
            # remove excess cubes
            for i in range(context.scene.number_of_cubes, len(cube_list)):
                context.scene.objects.unlink(cube_list[i])
        return

    # this function will be called everytime user does something, even moves a mouse
    # should be used to react to user input
    def modal(self, context, event):

        # when user interacts, adjust number of cubes
        # this will react to all event types
        # which is kinda inneficient but simple
        self.execute(context)

        # end modal operator when hitting ESC
        if event.type == 'ESC':
            # set the monitoring property to False
            context.scene.watcher_running = False
            return {'FINISHED'}

        # all other events pass through to blender
        return {'PASS_THROUGH'}

    # this is run when this operator is called
    # usually inicialization code is here
    def invoke(self, context, event):

        # this is important, it will run the modal function
        # without this the operator would just execute and end
        context.window_manager.modal_handler_add(self)

        # set the monitoring property to True
        context.scene.watcher_running = True

        # run self to spawn cubes
        self.execute(context)

        return {'RUNNING_MODAL'}

def register():
    # register classes so blender knows about them
    bpy.utils.register_module(__name__)
    # add a property to scene that will control number of cubes
    bpy.types.Scene.number_of_cubes = bpy.props.IntProperty(default=0, min=0)
    # add a property that will monitor if modal operator is running or not
    bpy.types.Scene.watcher_running = bpy.props.BoolProperty(default=False)

def unregister():
    # unregister classes
    bpy.utils.unregister_module(__name__)
    # remove properties
    del bpy.types.Scene.number_of_cubes
    del bpy.types.Scene.watcher_running

if __name__ == "__main__":
    register()

A handler is a function added to some event, in this case before scene updates. This will produce similar result as code before but will be much more likely buggy or laggy. Next example is simple and does not handle any error cases. Use this only when you know what you are doing.

import bpy
from random import random

def cube_count_handler(scene):
    """This function will be run everytime before scene updates"""
    cube_list = [object for object in scene.objects if object.name.find("Cube") >= 0]
    if len(cube_list) < scene.number_of_cubes:
        for i in range(scene.number_of_cubes - len(cube_list)):
            loc = (5-10*random(), 5-10*random(), 5-10*random())
            bpy.ops.mesh.primitive_cube_add(enter_editmode=False, location=loc)

    elif len(cube_list) > scene.number_of_cubes:
        for i in range(scene.number_of_cubes, len(cube_list)):
            scene.objects.unlink(cube_list[i])
    return

class PropPanel(bpy.types.Panel):
    bl_label = "Custom Panel"
    bl_space_type = 'VIEW_3D'
    bl_region_type = 'TOOLS'

    def draw(self, context):
        layout = self.layout
        layout.prop(context.scene, "number_of_cubes")

def register():
    bpy.utils.register_module(__name__)
    bpy.types.Scene.number_of_cubes = bpy.props.IntProperty(default=0, min=0)
    # add handler if not in app.handlers
    if cube_count_handler not in bpy.app.handlers.scene_update_pre:
        bpy.app.handlers.scene_update_pre.append(cube_count_handler)

def unregister():
    bpy.utils.unregister_module(__name__)
    del bpy.types.Scene.number_of_cubes

if __name__ == "__main__":
    register()


Cloth Simulation - Sleeves keep sliding off arms

It's difficult to tell without seeing it animated or seeing more settings... however, this is likely an issue with the Collision settings on the model mesh.
Firstly, ensure you have 'Applied Scale' on all of your meshes - this is good practice anyway but if you haven't done this it can cause strange effects with your simulation.
Next check the Collision 'Cloth and Soft Body' settings. Reduce the 'Inner' and try the simulation again (free and re-bake) to see if that helps.
The 'Inner' boundary needs to be less than half the thinnest part of your mesh that's involved in the collision - otherwise the collision bound can "leak" out of the back face of your mesh and upset the collision.

After reviewing the uploaded Blend file, the issue was actually just that the Modifier stack was in the incorrect order :

In the original file the Collision modifier was above the Armature modifier. This meant that the collision was working correctly but was on the unposed model - which was obviously in a different position to the 'base' model.
Simply swapping the Collision to be after the Armature modifier resolves the problem and the collision is on the posed mesh.


Code to toggle viewport display material alpha

You would have to implement an Operator for a shortcut. I'd suggest ask for the alpha value and set it based on a certain condition. Following example is based on our famous operator_simple.py template that comes with Blender (Text Editor > Templates > Python > Operator Simple):
class SimpleOperator(bpy.types.Operator):
    """Tooltip"""
    bl_idname = "object.simple_operator"
    bl_label = "Simple Object Operator"

    @classmethod
    def poll(cls, context):
        return context.active_object.active_material is not None

    def execute(self, context):
        # Get viewport display color
        diff_clr = context.object.active_material.diffuse_color
        # Get the alpha component and set it
        if diff_clr[3] == 1.0:
            diff_clr[3] = 0.2
        else:
            diff_clr[3] = 1.0

        return {'FINISHED'}

How to implement the shortcut: Create keyboard shortcut for an operator using python?


Can I find Geometry Nodes in Blender 2.91?

Geometry Nodes are new in Blender 2.92 and implemented in there by default. You cannot load them into Blender 2.91 as an Add-on.


How do I move keyframes on multiple frames? v2.8

Select the keyframes you want to grab, then press G and move the mouse, confirm with left click. After pressing G you can enter the value of frames of the movement, then press enter to confirm. The new behaviour is consequence of the new general left click approach.


How to handle creating a node group in a script?

Thanks to iKlsR's response the complete answer here becomes mostly the same -

import bpy

# create a group
test_group = bpy.data.node_groups.new('testGroup', 'ShaderNodeTree')

# create group inputs
group_inputs = test_group.nodes.new('NodeGroupInput')
group_inputs.location = (-350,0)
test_group.inputs.new('NodeSocketFloat','in_to_greater')
test_group.inputs.new('NodeSocketFloat','in_to_less')

# create group outputs
group_outputs = test_group.nodes.new('NodeGroupOutput')
group_outputs.location = (300,0)
test_group.outputs.new('NodeSocketFloat','out_result')

# create three math nodes in a group
node_add = test_group.nodes.new('ShaderNodeMath')
node_add.operation = 'ADD'
node_add.location = (100,0)

node_greater = test_group.nodes.new('ShaderNodeMath')
node_greater.operation = 'GREATER_THAN'
node_greater.label = 'greater'
node_greater.location = (-100,100)

node_less = test_group.nodes.new('ShaderNodeMath')
node_less.operation = 'LESS_THAN'
node_less.label = 'less'
node_less.location = (-100,-100)

# link nodes together
test_group.links.new(node_add.inputs[0], node_greater.outputs[0])
test_group.links.new(node_add.inputs[1], node_less.outputs[0])

# link inputs
test_group.links.new(group_inputs.outputs['in_to_greater'], node_greater.inputs[0])
test_group.links.new(group_inputs.outputs['in_to_less'], node_less.inputs[0])

#link output
test_group.links.new(node_add.outputs[0], group_outputs.inputs['out_result'])

To perform the same in 2.66 or older use -

import bpy

# create a group
test_group = bpy.data.node_groups.new('testGroup', 'SHADER')

# create group inputs and outputs
test_group.inputs.new('in_to_greater','VALUE')
test_group.outputs.new('out_result','VALUE')
# add a node
node_add = test_group.nodes.new('MATH')
# link them
test_group.links.new(test_group.inputs[0], node_add.inputs[0])
test_group.links.new(node_add.outputs[0], test_group.outputs[0])


Edge holes topology. How to make holes like this?

You can use the extrude function to do this.

Lets say you have the following mesh:

Now we need to add some extra edge loops to the area want want to extrude. This can be done by clicking CTRL + R.

Once for the top and repeat that for the bottom.

Once for the side. Do this also on the other side

Now we going to Face Select and select the part we want to extrude

Now we can extrude the selected faces by pressing E and dragging it to the position you want.

You can add a few extra edges to it to control the subdivide but I find mostly that its not needed and just creates more vertex.

Result


Rays emanating from a point on the surface

You could use a simple box for the volume with the following texture:


import series of csv files as keyframe using handler

Hi Ray thank you for your answer.
I found another way and it works, so ...
Thank you anyway, I put the script in case of someone....
import bpy, csv, os, sys
path="/home/hadrien/Desktop/blender_parti/tuto2/"
case_name = 'fensap'
def read_frame():
for l in bpy.data.objects:
if l.name.startswith("part "):
l.select_set(True)
bpy.ops.object.delete()
current_frame=bpy.context.scene.frame_current
end_frame = 3
if current_frame >= end_frame:
    print("NO EXISTING FRAME")
    return
with open(os.path.join(path,'{}_{:01d}.csv'.format(case_name,current_frame))) as csvfile:
    content = csv.reader(csvfile, delimiter=',', dialect='excel')
    for i,row in enumerate(content):
        if i == 0: continue            # skip header
        x,y,z = row [4], row[5], row[6]#
        bpy.ops.mesh.primitive_uv_sphere_add(radius=0.05,location = (float(x), float(y) ,float(z)))
        parti = bpy.context.object
        parti.name = 'part ({0:0>2d})'.format(i)
        parti.data.name = 'Mesh ({0:0>2d},)'.format(i)
    print("Frame number=",current_frame,"number of particles=",i)

def my_handler(scene):
read_frame()
def register():
print("register")
bpy.app.handlers.frame_change_post.append(my_handler)
def unregister():
print("unregister")
bpy.app.handlers.frame_change_post.remove(my_handler)
register()
#unregister()


Normal map baking gradients instead of "flatness"

You need to use edge splits on sharp corners.

Set the whole object to smooth shading, select the edges to be sharp, press ctrl + E and select Mark Sharp. Then add the Edge Split modifier. You might skip marking edges sharp manually and rely on the angle based edge splitting.


Why are these edges appearing in the render?

You will need to create loop-cuts from the corners of the doorway horizontally and vertically, so your shape will be essentially 6 'faces' but with the removed doorway.
This SHOULD fix your problem.
One thing you could do is research 'topology' and understand how shapes and vertices work together.


How do I remove weight from a single bone in Blender

If you want an individual bone to not have any influence on mesh deformations, you can go into the bone's settings and turn off deformation. just uncheck that checkbox and it wont move any vertices around anymore.

I don't know if this is exactly what you want but maybe it'll help. good luck with your rigging!


How can I constrain a camera to focus on a face of an object?

Lets say you have doing this suggestion :
Constrain camera

But that solution is just make the camera only looking to the center of the object, not the face you want.

The next step you need is just to create a vertex group on the face you want then assign it to the constraint :

Select your target object and go to edit mode.
Select your designed face.
Go to the mesh data tab and in the vertex group field, just add one by click + button.
Rename your vertex group and click assign ( to assign the face you selected )
Then select your camera, go to the constraint tab, and insert your vertex group to the vertex group field


I had the same issue a while back.

First, this tutorial gave me the general idea on how to achieve a basic exaust

However, since you just need to make an image it should be easier

I came up with two ways to do it:

1. The fast way

Create a exhaust shaped cilinder (I used a cylinder, scaled down one face and welded it to an half sphere on the other end), a toroid and a small UV sphere.
Join the toroid and the sphere, then add an Array Modifier to them (or just duplicate them many times).
Play with the materials using the Emission Shader in the Volume socket of the Output Node (a Volume BSDF with 0 density and Emission turned on will do the trick as well): the toroids and spheres will have a simple orange color with some noise, the material of the main shape is shown in the next method

2. The long and (probably) better way

This method requires a bit of math knowledge, so be warned

create the main exhaust shape described before without the toroids and spheres
make this material

The fist color ramp (the purple/blu one) is creating the main exhuast material, the second is creating the rings. The main idea behind this material is to create cylinders in the exhaust shape that you will then use to model the entire thing.

It can be fairly complex if you don't like math or if you are not experienced with Blender, but with some tweaking the results will be awesome, and you can make it more versatile as well

As you can see, these are not complete ideas: it's 1 AM in the morning here so I don't have time to finish them now.

You still need to add some horizontal noise and the little balls in the second method, and you need to tweak the materials to make them look good (I just tryied to explain you the methods, I'm not doing it for you)

Don't panic!

Here you can download the .blend file ;P


The foundation of a shader like this is the Fresnel function, which you can access with either a Fresnel Node or the Layer Weight node. From the wiki:

  Dielectric fresnel, computing how much light is reflected off a layer, where the rest will be refracted through the layer. The resulting weight can be used for layering shaders with the Mix Shader node. It is dependent on the angle between the surface normal and the viewing direction.

In this case, the Layer Weight's Facing output might be better since it gives a more linear falloff whereas Fresnel is more exponential.

Here Fresnel is passed through a Color Ramp to change the colours to a range of blues and purples before connecting to the Color of an Emission shader. A procedural Noise texture is used for the bump map, and some transparency is mixed as well. The transparency is mixed more where the surface is facing the camera using the same Facing output.


What does the "Simulation Threads" setting in the fluid simulation do?

It adjusts how many threads are used to calculate the simulation, 0 means "automatic"

If you hover over the label:

  Override number of threads for the simulation, 0 is automatic