Mirror object diagonally (or Symmetry about origin), i.e. excusively in X+Y I'm trying to mirror an object like this (see picture) such that the mirrored object behaves exactly like it would using the Mirror Modifier - that is, mirrored transforms and mesh. Currently I have achieved this using drivers and linking mesh data. But can it be done by not using drivers - either by modifying the Mirror Modifier itself, or creating a custom modifier, or by linking a modified source object data, or any other method?

I'm really grasping at straws because I have no idea about the directions this can go in.

PS: Note that using the array modifier with an object offset is no good since it needs the transforms to be applied.

PPS: You can suggest an Add-on if you know any.

Point Reflection.
As pointed out by @RobinBetts can achieve point reflection by using the array modifier, with offset object and the offset objects scale inverted.

In this case have constrained the offset empty's location to the inverse of the original.
Rotate the Mirror Object.
If the object already has symmetry in X & Y

The mirror object set via the modifier acts like the mirror plane. Rotating the object, rotates the reflection.
In example above, mirroring in $X$ axis, which is normal to the mirror plane, and at the location of the empty.  Any 3d plane can be defined by a point in space, and the normal vector to the plane
Similarly could mirror in $Y$ and rotate empty 45 to achieve same result.


Where can I find the custom bone in version 2.8? When I import a character created in version 2.79 of Blender to version 2.8, I do not see a custom bone. I am currently using version 2.80.31 of Blender.

Some characters seem to have a custom bone, but there are more characters that do not.

Do I have to wait for the official 2.8 version?

Or is there another solution? I tried Google but I could not find the right answer for me.

It looks like the Collection 11, the one with your bones, was hidden, I don’t know why as I don't know a lot yet about how the switch from 2.79 layers to 2.8 collections works, but anyway unhide it:

About custom bones, how to create custom bones:

In Object mode, create the object that is supposed to be used as the bone's custom shape, for example a sphere.
Select your armature, switch to Pose mode, select the bone you want to custom.
In the Properties panel > Bone > Viewport Display, enable Wireframe so that your custom bone will be displayed as a wireframe, and choose your sphere as Custom Object.
Now your bone is displayed as a sphere in Pose and Object mode.
You can modify the original sphere object (edit, rotate, scale...), it will be directly replicated on the custom bone. But you can scale in the same Viewport Display menu.


Parametric design for pen adapter for 3D printing I have this model I created for a little kid who has problems in their hands (muscular and/or skeletal). I was thinking that it would be awesome to release the design so anyone with this problems can 3d print it fairly cheap. I guess that the size of the model would be proportional to the size of the hand, but as you can imaging the hole for the pen will remain the same.

I am still prototyping the model and it´s not the final version, but I am already thinking about this part.

Some pics of the process so you can have an idea.

First picture, from left to right: v.1a @ 105%, v.1a @ 100%, v.2a @ 105%,v.2 @ 100%

Last picture is the newest version (v.2a, yellow ones were too big but sort of ok for my big hand to test and improve.

Thanks everybody in advance

EDIT: I attached everything here:

I understand your problem to be:
"How do I make this model parametric, so people don't need to change vertices in order to adapt it to their physiology"

Here I have a few pointers:

The question of the pen is probably the easiest solution: Create a mesh for a pen and use a boolien modifier to create the hole. Each grip can be scaled but the hole for the pencil will remain the same size.
Unless blender implements an node based modelling toolkit in the near future, your toolkit in order of ease to use consists of:

shape-keys Morph targets: A sphere shape turning into a cylindrical unwrapped sphere shape
boolean modifiers
scripts


how to make the shadows in Cycles stronger from the grid table lamp Hope someone could help me. I have modelled table lamp the mesh is totally a grid i need to make render result with strong dropped shadow from the light point inside the mesh, the problem the in the 3d viewport with Eevee engine i can see shadow but render result the shadow is too soft in both Cycles and Eevee.
Thanks in advance!
I add screenshot and render result here also blender file.

Solved by using emission light inside the globe on the filament part,
I add screenshot and render result.


Invisible Plane Lines In Top View Outside Of Edit Mode When viewing planes directly from above/the side, when outside of edit mode, the lines that represent them become invisible, even when selected.  Going into Preferences -> Interface and changing the Line Width to Thick does not resolve the issue.  Watching tutorials using older versions of Blender, this does not seem to occur.  Does anyone know how to fix this?

Nevermind, just realized I could view them in wireframe view.  Please disregard.


How to load or manage large OpenStreetMap file in Blender for simulation I am working on a simulation in Blender for syrian refugee migration. That requires a relatively large OpenStreetMap file, covering most of the inhabited parts of Syria. I have a fair bit of RAM on my computer (24GB), but was trying to think about simulation performance with such a large file. I was wondering what is the best way to handle such a large file in Blender? I can try to limit the detail keep the map relatively zoomed out--though I would like the ability to zoom in to the detail if I want to.

So this is the idea. Can I manage this in Blender?

If you haven't seen it yet there is an addon to import OSM data

When it comes to working with and rendering large scenes there are some things you can do to make it easier.

Use particles or linked duplicates. When objects use the same mesh data, only one copy of vertex data needs to be held in RAM, when the polygons are drawn they get "transformed" into position based on the location of the duplicate item being drawn. If you haven't seen the post about the island flyover video, the island has 450,000 tree and rock particles which reports as over 1 trillion vertices at render and was done in 12GB of RAM.

When creating the scene, set the display of each object as bounding box, this will keep the number of vertices used to draw in the viewport low while rendering will use the detailed mesh.

Then when you want to see what a part of the scene will look like, use render border ⎈ CtrlB to define a small square in the viewport before you switch to rendered view to see the full detail in that area.

Use tricks used in 3D games. Keep the objects low poly and use materials and normal maps to make them appear more detailed. You can use some higher poly meshes in the area you want to zoom into and keep the remaining 90% of houses with low poly counts.


Blender Unwanted Bouncy Physics So I have made a wall out of bricks with rigid body, with Convex Hull enabled on every brick, and what I want is to have it collapsing into a big pile of bricks. It is sort of working except, that the bricks just can't stop bouncing, even though there is no external force acting on them. They just can't stay in one place. Bouncing is set to 0, Friction is beyond imaginable, it is technically maxed. Raising the Friction from 1 to that almost infinite number did help a lot, but didn't solve the issue fully.
I tried every possible setup combination in the Rigid Body settings, but it is still not working properly.

Also, I have a second question, regarding if I am able to bake rigid body physics or not?

Download: https://mega.nz/#!otBDWZDI!YvbpjFBP0dlo_eLxB57QCEpd3g2M9oJtBZ_B0W-Mvv0
Alternative Download:

(Just run the simulation and watch the damaged building)

It seems like enabling Split Impulse in the Rigid Body World tab under the Scene tab just solved this issue. Increasing the Steps Per Second to 300 almost solves the bouncing 100%.


How to duplicate objects with constraints using script? I have a few objects which are connected. This code copies without constraints. How should I modify it for duplicating ALL things on the scene?

import bpy
for ob in bpy.context.scene.objects:
    ob.select
    bpy.ops.object.duplicate()

Here is a python script that will duplicate all objects in the current scene:

import bpy

for obj in bpy.context.scene.objects:
    obj.select = True

# use this to duplicate without links
bpy.ops.object.duplicate()

# use this to duplicate with links
bpy.ops.object.duplicate_move_linked()

A few things to note about your code:

obj.select is just a variable...you know this because it doesn't have the parentheses.
You would have been recursively duplicating because that call was inside of your for loop.


How do I move the pivot point of an object? I know there are other questions and answers that cover how to set the origin to the center or to the 3D cursor, but let's say I have the pivot point almost where I want it and I just want to move it a little forward or back.

I can do it by creating a new object moving it to the position, setting the cursor to the object position then setting the origin to the cursor position then deleting that object, but that is really convoluted there must be a better way right?

For people who don't want to watch a 5-minute YouTube video for a question that should take five seconds to answer:

Go to the Options dropdown in the upper right
Select the "Origin" checkbox
Use the move tool to move the crosshair that appears at the pivot


How would I curve this cushion around this chair's outline? , Hello! sorry if my question isn't very clear as I'm not sure how to describe what I'm trying to achieve. I'm still new to blender and learning best I can, so also sorry if this is an easy fix to do.
I'm in the process of creating this chair and I'm trying to create the cushions that follow the shape of the chair's outline.

I'm mostly done with the outline of the chair (photo below), still tweaking and finishing some things, but I'm kind of stumped on how to create the back cushions and also the seat together.

I've tried so many times to get it how I want but I really am stuck on how to correctly do it. If someone could point me in the right direction I would appreciate it a lot. I've looked up on youtube and also on here and still am confused on how to about it. Much appreciated any help!

This is a very general, sketched approach, but maybe enough to get you unstuck.
The basic structure of the back cushion can be created by sweeping a curve profile around a curve path.

Select an appropriate edge loop of your chair, duplicate it, separate it to a new object,and convert it into a Curve. That's your path.
Make a profile curve to be swept round it, bearing in mind that its own Z-axis will be the one following the path,and its origin will lie on it.
Assign the profile curve as a Bevel object for the path. While it's still a swept curve, you can still edit the profile. The illustration shows the Data tab > Geometry panel for the path.

Convert back to a Mesh. Possibly working under a Mirror modifier..

Grid Fill the open ends of the sweep. you need an even number of vertices in the perimeter for this.. you may have to add or delete an edge-loop to get that, and use Proportional editing to puff the front of the arm out a bit, when it's filled.
Select a set of faces which can be duplicated to form the back and sides  of your base cushion, duplicate, and separate off to a new object

Bridge Edge Loops the front edges,of the base-cushion rim, choosing the number of cuts to give you an even number of vertices in the perimeter, so you can ..
Again, grid fill the top. Select a central vertex, and under Proportional Editing, pull it up to plump up the base cushion a bit.

See what it looks like under a Subdivision Surface modifier.
The whole thing would then need tweaking, loops removed or added, edges made crisper or reshaped, maybe seams put in, etc. But so long as the basic topology is good, and you don't have too much geometry, it should be a pleasant job.

If you need to weld the base and the arms together, you can bridge some of those edge-loops together easily enough - they started off as duplicates, so their topologies will match.
Supplement: Creating the profile curve.. with Transform Pivot set to 3D Cursor ...

Create a Curve > Circle. It's a Bezier curve, by default.
CtrlX dissolve the leftmost control point
Select the two points on the left, and V convert their type to Vector
Select the bottom left point, and ShiftS snap the cursor to selected.

You can move the handles about to adjust the curve with the usual constraint options, (GX, GY, etc.) snap them to the grid, use the cursor as pivot point for scaling, and so on...

When you're done, in Object Mode, ShiftAltX > Origin to 3DCursor. The origin will lie on the sweep path.

In the profile's Object Properties tab > Viewport Display panel, switch on 'Axis' to check that the object's Z will point along the path. If not, rotate the whole curve in Edit mode by 90 in whatever, until it will.
You can assign it as the Bevel object to the path curve in the path's Data tab > Geometry panel,as shown in the top illustration.


Is there a way to make rigid body interact with softbody physics? I'm trying to have a surface with soft body hold obects that are falling on it with rigid body physics, but for some reason, no what matter what mass I give it, the objects just fall trough the softbody enabled surface.

Is there a toggle or a value I need to change to make them stay there?

Normally, soft bodies react to the presence of rigid bodies - providing those rigid bodies have Collision enabled - but the opposite does not occur; ie, the rigid body will not react to the presence of the soft body. This will result in the rigid body 'pushing through' the soft body :

In order to have the rigid body react to the soft body, the soft body must be made to be part of the rigid body world. This can be achieved by adding Rigid Body physics to the Soft Body as well as it being part of the soft body world.

To achieve this, enable Rigid Body in the Physics panel and set the Type as 'Passive' so that the Rigid Body simulation doesn't directly affect the soft body mesh (we'll leave the soft body engine to deal with that). Also, set it to be 'Animated'. In Rigid Body Collisions set the Shape to 'Mesh' and enable 'Deforming' since the mesh will be deforming during the animation.

The rigid body should now interact with the soft body :

Blend file included


How can I unwrap an object with minimum distortion in the UVs? And by "good" I mean with minimum distortion, keeping the original shapes for the most part, etc

So far, after doing the seams, I've been doing with the best choice I can find from the various alternatives the UV/Image Editor can offer, depending on the mesh (Unwrap, Smart UV Project, Project from V, etc). Then I refine it so more with things like "Minimize stretch, and Average Islands scale". And manually straighten vertices with the old trick Scale + perpendicular coordinate direction + 0 + enter. But of course this method can take a long time, not to mention it can be tedious too.

I found a couple of seemingly great scripts at BlenderAddonList, like UV Squares, and UV Tool. But maybe due to not being updated they are not working today with 2.75a :(  Either way, it occurred to me I may not be looking in the right place after all.

I thought there was a tool in Blender called "Relax UVs" in the UV/Image Editor. But I don't see it, could it be it was in 3D Studio Max? It used to do a great job, like Minimize stretch, but better.

Any pointers, ideas, suggestions, etc will be super appreciated :)

Thanks in advance guys

JDL

Incase your doing some painting on it, and want the real size of your faces.
select whole object, mark seams (all face get seams) and unwrap.

There is another way for strange shapes that is a bit more configurable
for better resulting maps.
In mesh edit menu, there is an option to select 'sharp' edges.
First deselect everything, then go fo 'sarp edges' select.
You can give a angle degree (using mouse slider), to select more or less sharp edges. Then do a mark seams, select all and perform uv unwrap.


camera parenting with delay i'm trying to make an animation where we see from the eyes of a pilot of an airplane.

The airplane follow a spline path via follow path, but the inclination/banking is animated by keyframes. The camera is parented to the cockpit (inside the cockpit)
What i like to do, is to find a way to make the camera to move a little, like if the pilot POV suffer from forces/gravity, or with some kind of reverse delay the pilot starts to turn the head a little bit before the airplane turn.

I was wondering if there is a way to do this by using constraints or modifiers or whaterver, so all you need is to animate only the cockpit and the camera is updated if the cockpit animation changes

I tried using the "slow parenting" option, and while it can work this way, it does not offer too much control

sounds like you need a combination of Drivers (probably with expressions) , Camera Constraints and probably some manual tweaking.

If you brake your animation in sub sequences (as you already described them but in a more meaningful way) you will better understand where and when you should use these techniques I mentioned above.

How to express reversed delay and|or gravity (a proposition):

For instance you already have a procedural animation which is your main animation (follow curve) and then you need additionally some more elegant and automated (procedural) animations. The first one was depended on a "3d object", the next one "pilots suffering" is depending on the first animation so thus for why you would go with a driver, looks more like an equation with two factors, camera direction (curve) and camera speed (tweaking the follow curve completion) by these two you may always know the acceleration (time | speed) so by a third factor you may express it as a simple equation, then it comes to your knowledge of math and your aesthetics to tweak it more.

It may sound a bit complicated but I think that you must try it first and get deeper into drivers and in general procedural and data driven animation.

hope that this was helpful, good luck !


Grungy photo print effect I am trying to reproduce a grungy photo print slideshow in Blender that was originally created with After Effects. Despite much searching and experimenting, I can't make my Blender grungy photo prints to look as the example below complete with all the blemishes. There are two .mov  files used by After Effects to create the effect. Can someone please give me some ideas how to replicate this effect in Blender.
Base files
Grungy background
<img src="https://i.stack.imgur.com/ukytN.png" alt="Result I am looking for
" />

By following some tutorials on transparency and bump maps plus some trial and error, I found a way to set up the Blender nodes to get the results I wanted.
The photo in the frame is placed behind the border and adjusted to the shape of the frame.

Knowing that transparency is based on a black and white image helped me. I hope someone finds this information useful.


Drivers not updating on "display" field I have an issue where my driver value never updates. I want to drive the "display" % field under particles, but the driver value never changes.
These pictures should explain better:

Any idea what's wrong here?
Or is there another way to globally change the display % of particles?
I'm using 2.77.

OK i found the issue.
The Display field only updates when you change frame, it will not update if you move the empty but stay on the same frame, if you move one forward or back it works.

You can also use python to control this field. ( Firstsplash is name of particle settings, replace with whatever the name of you particle settings is )

import bpy

bpy.data.particles["Firstsplash"].draw_percentage = 1
bpy.data.particles["Firstsplash.001"].draw_percentage = 1
bpy.data.particles["Firstsplash.003"].draw_percentage = 1


Rendering smoke size issue appreciate you taking the time!

So I have a simulation of smoke that I'm using for the engine of a spaceship, my problem is that I can't feasibly see how I can render it.

A single frame on 1080p/300 samples in cycles (on the more demanding frames with the most smoke) takes 1 hour 35 minutes. which works out at around 20 days render time for the whole thing.

I have a huge amount of points on sheepit renderfarm but I can't use them as the max upload file is 500mb and my smoke cache is 4.5gb.

Is there something that I'm doing wrong? Please let me know if you need additional information. And any broad guesses at common size issues are very welcome!

Cheers guys!

What are your numbers on the volume sampling step size? You could try reducing it, you won't lose any significant quality, check out this other thread, it might help

Smoke drastically increases render time


How can a RGB color value be copied from reference image or render? In the render view one can see the RGB values while pressing LMB.

Can these values be copied to the clipboard in order to paste them into a color widget?

Blender can copy any color value from the 3D viewport directly into the color widget.
The little icon "Sample data block from the 3D view" allows to pick a color value:


Can't paint with texture while in single picture I want to replicate wood of knife to my object. On my first try I had no problems with front and rear, but had with above and under. Then I switched some normals and tried, now when I paint over it just paint with some dark brown color. I think I connected everything as I should but since there is problem, probably something isn't right or I messed with normals. Thanks!

When looking at your settings from the screenshot you showed me, I noticed that the color on your color picker was set really dark.  That is probably the reason why it is coming out as this dark brown color.  If you set the color picker all the way up to white, it should paint onto the mesh in it's full vibrancy.

hope this helped!  If you encounter further problems, let me know : )


Why do volumetrics render noisier when using GPU then when using CPU in Cycles? Alrighty.  I've searched all over the place and even put in a couple of requests from every deity I could think of, but nothing on my issue.  So, I'm messing around with making up volumetric light cones for spotlights in Cycles for a project.  I've got all of the parts set up and in scene.  I start rendering and I get some odd results.  With GPU Compute and GPU+CPU I get wicked amounts of noise inside the cones.  As if the density of the scatter isn't high enough.  Then I try CPU only, it comes out smooth as butter.  Now I'm running a 9900k 32GB RAM and an RTX 2080 on the current stable release of 2.80.  I just can't figure it out.  I mean, I can handle just using my CPU and eating the much longer render times, but I'd much rather use the full power of my rig and get the same if not better results.  I'll put up some pics for examples of what I've got going on.

The following answer is based on a Twitter thread by Stefan Werner.

Volumetric rendering on the CPU can be less noisy with fewer samples, because Cycles uses equi-angular sampling. This importance sampling technique by C. Kulla and M. Fajardo is currently not implemented for GPU rendering.

The slides from the Eurographics Symposium on Rendering 2012 may help to understand the paper.


Texturing models in Blender I a complete beginner in Belnder. (I use 2.8 version of it). I used to work with cinema 4d years ago, so I have the idea about some basics of working with 3D. But as I see Blender is a lot more complicated and complex.

I found this model online and made used a Decimate modifier to reduce the size. Now I need to colorize it but for some reason I face this issue:

After unfolding UV and painting the model it paints the inside part of it.

This happens when I zoom inside the model and paint it from the iside:

UPD.1
I figured out it has to do with Normals facing different directions, I recalculated them outside, it seemed to help a little but still it very edgy.
There are some lines between the polygons and some of normals keep facing the wrong direction.

I believe some of your face normals are flipped OR you have overlapping faces / really rough topology, OR you need to unwrap your model more cleanly without UV distortion and maybe even increase the UV texture resolution.

To fix normals: Tab for Edit Mode, then A to select all. Ctrl+Shift+N to recalculate normals (untick "inside").

Fix overlapping geometry: a quick fix might be Re-Mesh modifier. Be sure to save an alternate version before flattening ("applying") a modifier because it is destructive.

UV Unwrap quick fix: Edit Mode, select all faces, U "Lightmap Pack" or "Smart UV Project". Make sure your UV image texture is a large enough resolution and that your UV islands have enough margins between to prevent overlap.


I made a blender cube, but the colors are grey I made a cube and colored it green. When I made it, it looked perfect. But when blender renders it, all the colors turn gray.

The grass block looks fine, but it is not rendering correctly.

You most likely did not change the material's Base Color, but instead changed the Viewport Display color.
For the green color to show up in your render you need to modify the material base color itself:

In order to see the material, you need to switch to LookDev mode. Not solid mode. Click on the button in the below image:

Hope this helps.


How to get diffuse color of a material via Python? Since I am used to code with Python in Maya I have trouble getting things to work in Blender.

I want to do something specific based on the name of its material that is applied.

But I am really confused with all the '[...].data.[...]' / '[...].ops.[...]' and it is really hard to remember all that stuff.

How do I get the name of the material of my selected objects. Note that I am using Blender 2.79.

Python language itself is only a small part of the whole experience. You should expect Blender's and Maya's Python APIs to be very different.

The materials are assigned to material slots of objects in Blender, every object's faces have material indices matching those slots.

You can reach your selected objects using context. That would be bpy.context.selected_objects. You can loop through them.

Faces are stored in object's data, so, you would need to work with a specific object for example first one from the selection bpy.context.selected_objects[0].data.polygons. You can loop trough them and see material indices:

import bpy

for face in bpy.context.selected_objects[0].data.polygons:
     print('Material index of face ' + str(face.index) + ' : ' + str(face.material_index))

You can change material indices, but you do not need to do that if you only want to assign a material to an object. You can just add a material to an object as described here that will create the slots automatically. You can see material slots bpy.context.selected_objects[0].material_slots and materials assigned to them bpy.context.selected_objects[0].material_slots[0].material.name

You can also reassign materials to material slots. Materials are stored in bpy.data.materials so let's say you wanted to change an existing material that is assigned to the active object's already existing second material slot with one that is called 'Material':

import bpy

obj = bpy.context.active_object
material = bpy.data.materials.get("Material")
obj.data.material_slots[1].material = material

or you could just make a new slot:

obj.data.materials.append(material)

By this point I am sure you are frustrated about how in the world one is supposed to know where what is in Blender's Python API. Well there is a nice structure there that you can explore easily with the auto complete function of the Python Console in Blender. Just start typing and hit ctrl+space:

You can see everything there. That is how I found that faces have material indices:

For functions and operators you can just use Google, that will most likely point you to Blender Stack Exchange or Blender's Python API documentation that is really useful.

You can also explore Text Editor's Templates menu for examples and also every single add-on that you get your hands on is a great resource for learning.

Edit: Oh, I forgot to actually answer the question. You can get the diffuse color of your selected objects like this(assuming you use Cycles and you use nodes in the materials):

import bpy
C=bpy.context

for o in C.selected_objects:
    if o.type in {'MESH', 'SURFACE'} and len(o.material_slots) > 0:
        i = 0
        for s in o.material_slots:
            if s.name:
                print('Object ' + o.name + ' has a material "'
                      + s.material.name + '" in slot ' + str(i)
                     )
                if s.material.use_nodes:
                    for n in s.material.node_tree.nodes:
                        if n.type=='BSDF_DIFFUSE':
                            print("The color of it's Diffuse BSDF named '"
                                  + n.name + "' is "
                                  + str(n.inputs[0].default_value[:])
                                  + '\n'
                                 )
            i += 1


Why is one face in my mesh not being rounded by the subsurf modifier? Why is one rectangle being the same fixed point and not being rounded?

The problem could be that you have duplicated vertices.

Try to select the overlapping vertices in your red circle (the one you draw in the screenshot) and merge them Alt+M in Edit Mode. Do it for all the 4 areas that generate the rectangle.


Moving from material to texture, how do I keep diffuse/specular settings? The sole purpose of my models is to export them into a game engine (Unity).

I model in low poly with flat shading, and the goal is to be able to use a simple color palette to be shared among all models in the game.

I'm inspired by this guide: http://gamedevelopment.tutsplus.com/articles/go-beyond-retro-pixel-art-with-flat-shaded-3d-in-unity--gamedev-12259

It suggests unwrapping and then moving the faces over to the right color:

Can I somehow make this color palette automatically or do I have to make it in an image editor? Or can I perhaps make it manually in blender (the next best thing)?

My real question is, though, how do I keep everything from getting super specular, as textures are wont to do? How do I get my diffuse/specular settings over into the texture?

Complete beginner at this, as you can see.

It is possible to make color palette automatically through scripting in both unity and blender, but with given info and case it's beyond the scope of this question. You can create texture manually in blender through setting UV/Image view from view to paint, creating new 2px*2px image, and painting it with brush with radius 1.

For your other question, there is no simple automatic way to put unity-compatible specular data into your texture. The specularity behaviour depends purely of the choice of the shader and supplied textures in unity, and without further info it's hard to say much about how to proceed with that and also it's not really blender-related question, so you need to go look for unity-related tutorials and forums.

   To get the look in that tutorial you need to switch your material's shader in Unity from standard to Legacy > Diffuse


Creating an Object Matrix in Blender 2.82 To create an array of object in C4D, I would select the object, select a modifier, and enter the number of objects needed in the X, Y, and Z directions. Is there a similar method in Blender? Using the Matrix Modifier works but is not that simple.

To get something that looks like this;

You can use a modifier stack that looks like this;

An array only goes in one direction at a time.


How to move objects via script so that they stay in camera view Ok, I am completely new at scripting in blender but I wanted to know if there is a way to move an object within a scene randomly (x,y,z) but constrain its movement to only the camera view.
In other words, I want to position one object randomly in a scene without leaving the camera view.
I was thinking maybe getting the camera viewport coordinates but how do I constraint the object to those points withing the bpy.obj.transform?
Thanks for the help!

camera.data.angle_x/y doesn't seem to follow changes in resolution, so I made the following script taking into account resolution, pixel aspect and focal length.<
br>
The following functions camera_normalized_frame1() and camera_normalized_frame2  both return camera frame normalized by the distance btween camera image plane and origin.
import bpy
from mathutils import Matrix

#-------------------------------------------------------------
def camera_normalized_frame1(cam):
    render = bpy.context.scene.render
    aspect = (render.resolution_x * render.pixel_aspect_x) \
                / (render.resolution_y * render.pixel_aspect_y)
    view_frame = cam.data.view_frame()
    frame = [-f/view_frame[0].z for f in view_frame]
    if aspect > 1:
        mat = Matrix.Diagonal((1, 1/aspect, 1),)
    else:
        mat = Matrix.Diagonal((aspect, 1, 1), )
    for i in range(len(frame)):
        frame[i] = mat @ frame[i]
    return frame

#-------------------------------------------------------------
def camera_normalized_frame2(cam):

    import bpy_extras
    scene = bpy.context.scene

    frame = cam.data.view_frame()
    poss = bpy_extras.object_utils.world_to_camera_view(scene, cam, cam.matrix_world @ frame[0])

    ratio = [0.5/(poss[i]-0.5) for i in range(2)]
    norm_frame = []
    for f in frame:
        norm_frame.append(f.copy())
        for i in range(2):
            norm_frame[-1][i] *= ratio[i]
        norm_frame[-1] /= -norm_frame[-1][2]

    return norm_frame

Create Icosphere objects in the corners of a rendering imag.
import bpy
from mathutils import Matrix

cam = bpy.data.objects['Camera']
frame = camera_normalized_frame1(cam)
#frame = camera_normalized_frame2(cam)

distance = -cam.data.view_frame()[0].z
for v in frame:
    loc_l = distance * v
    loc_w = cam.matrix_world @ loc_l
    bpy.ops.mesh.primitive_ico_sphere_add(radius=0.1, location=loc_w)

Place objects at random locations within camera view.
import bpy
from mathutils import Vector, Matrix
import random, os
import math

random.seed(os.times().user)
min_z, max_z = 2, 10

# Base object for duplication
bpy.ops.mesh.primitive_ico_sphere_add(radius=0.05)
obj = bpy.context.object

cam = bpy.data.objects['Camera']
frame = camera_normalized_frame1(cam)
#frame = camera_normalized_frame2(cam)

for i in range(200):
    v = Vector([
                random.uniform(-1, 1) * frame[0].x,
                random.uniform(-1, 1) * frame[0].y,
                frame[0].z
                ])
    distance = max_z * math.sqrt(random.uniform( math.pow(min_z/max_z, 1), 1 ) )
    loc_w = cam.matrix_world @ (distance * v)

    obj.select_set(True)
    bpy.ops.object.duplicate_move_linked(TRANSFORM_OT_translate={"value":loc_w})
    bpy.ops.object.select_all(action='DESELECT')

obj.hide_set(True)
bpy.context.view_layer.objects.active = cam


Can I explode my mesh in Blender? Is there a modifier or a quick way to explode a complex mesh in Blender?

In order to be as clear as i can, when I write explode, I mean:

What you will do to start with is add a rigid body simulation to one of your objects and set it to active. You can do this in the Toolshelf, or in the Physics tab.

Then, in order to have the objects react to each other in close proximity. use the collision margin option. Adjust this to be as high as needed. The maximum is 1.0. If this needs to be animated, you can keyframe this as well.

Next, select all objects that compose the model being exploded, or rather that should share the same rigid body properties that you just made. I sometimes find it to be faster to take advantage of wireframe here to quickly select anything behind with border selection. Now, with everything selected go to the toolshelf>physics and select copy from active to copy the physics settings to all selected objects.   It is a good idea to remember to do this anytime you change the simulation or you may have an unexpected result.

After you have done this, head over to the scene properties, and you can bake the rigid body simulation.

I just used a sphere after a cell fracture as an example, but this works with anything else also that is made of separate objects. You may also find it necessary to adjust the mass of objects in the rigid body settings.


Keeping group instances visible while hiding originals After creating several group instances, I've found that the original objects I used in their creation will show up during a render.

I thought I could fix this by selecting the original objects, going to the Object context, and under Visibility, deselect Show in Renders. However, while this does stop the object from being rendered, it also stops every other grouped object of its kind from being rendered as well.

How can I hide these original objects, while keeping their group instances visible?

Version 2.8

there's actually a pretty simple workaround for this. All you need to do is put your collection into a collection, and make the highest collection non-rendered while keeping the baseline set to renderable


blender 2.8: 'Object' object has no attribute 'hide' Code from example:

import bpy

bpy.ops.object.select_all(action='DESELECT')
for ob in bpy.context.scene.objects:
    if not ob.hide:
        continue
    ...

Fails on ob.hide:

AttributeError: 'Object' object has no attribute 'hide'

How to solve this issue? It seems that example was written for 2.79.

Blender 2.80 use a more complicated (sound and safe for code) API to deal with some attributes.

As the object.hide in Blender 2.79 is replaced by getter and setter function:

object.hide_get() # get the hide value {True, False}
object.hide_set(True) # set hide to True

so, ob.hide needed to be replaced by ob.hide_get()


How can I scale all objects in the scene about the origin using Python? I'm currently writing a small script to help ease exporting objects made in Blender to the Unreal Engine, and one of the things I need to do is scale all mesh objects by 100 about the origin (0,0,0).

Although I have working code, the way I'm doing it seems a bit obtuse and I was wondering if there is a more direct way to do it. This is the code I have:

for ob in context.scene.objects:
  if ob.type == 'MESH':
    ob.scale *= 100
    ob.location *= 100
    ob.select = True
    scn.objects.active = ob
    bpy.ops.object.transform_apply(location=False, rotation=False, scale=True)
    ob.select = False

Because of the selection stuff, in order not to lose the user's selection, I also have a bunch of code to save and restore the selected and active objects, which I'd rather not have. I am also not 100% sure if the scaling code is working flawlessly or not. It seems OK, but there is also bpy.ops.transform.resize, which might be more reliable, but then I need a bunch more code in order to set the 3d cursor position to 0,0,0. Is there a simple function along the lines of ob.set_scale(value=(100,100,100), pivot=(0,0,0), apply_transform=True)?

No solution, but a hint (cannot comment):

Your code runs the danger of scaling parented objects more than once.
You could filter/only scale objects with no parent (root scene objects)...like so:

root_objects = []
for obj in context.scene.objects:
    if not obj.parent:
        root_objects.append(obj)

for obj in root_objects:
    ...


Why won't this particle system render? When I render my image, my particles system won't render, instead it just shows a black background.

I have search for answers and followed them.

I made sure that the render icon was on
I unchecked the emitter box that is in the "particles system" tab
I made a vertex group
I also added a mask modifier

I just have no idea what to do for my particles to render.

I think I found your problem. Your compositing node setup looks like this:

You need to switch the node paths going into the Alpha Over node on the left so that it looks like this

I think that will solve your problem! Before you were layering the black background over the blue particles but if you switch them like in the second picture, the blue particles are going over the background!


Shortcut to add faces following the loop when re-topology let's say I'm in the situation shown in the image here under:
I want to quick add edges/faces following the loop.
The method I'm using is "select 4 vertex" and add face with F. But this is quite long and I saw many 3d artists doing it very quickly (without the need of selecting vertexes all the time).

I'm also using F2 addon, but I don't think it can help in this context.

Yes, select only the yellow edge and press F and it will fill the whole face, and if you press F again it will go on with the following ones. It looks like you doesn't even need the F2 addon:

Or in Edge or Vertex Select mode, select the whole edge around and CtrlF > Grid Fill and it will fill the whole with a row of faces.


How can I increase the size of the handles/keys in the Graph Editor? I'm fairly sure I've seen tutorial videos where the handles and keys are larger and therefore more visible, but I'm not finding anything about changing the size of them in docs or on forums.

You can find this option in the user preferences. Go to File > User Preferences > Themes > Graph Editor and modify Vertex Size and Vertex Handle Size to your needs.

You can see the changes immediately, so make sure you have a graph editor with active keys visible, when you tweak the values. And don't forget to save the user settings.


How can i fix subdivision surface + bevel modifier issue with modifiers I am wondering if it's possible to get rid of artefacts after using a bevel and subdivision surface automatically by using modifiers.

I get those artefacts:

Try meshing your object like this:

See how are the edges/faces here?
Is a little bit different.


Subsurf doesn't use creases outside of edit mode I couldn't find anything on google, but as soon as I tab out of edit mode, subsurf ignores the creases I set. I just use the standard settings, and I never had problems like that before. Is there maybe a project setting or something that controls how creases are used which I accidentially changed?
Thanks in advance

Alright, found the problem. A boolean before the subsurf messed up the creases.


Why can I no longer easily navigate inside of this mesh? While originally modeling a mesh, I was able to easily re-orient my view to inside of the mesh.  In the process, I made the following changes:

made the mesh completely hollow (removed some extraneous faces from the inside)
added texture

Now I can't seem to navigate or zoom into the mesh like I was doing earlier.  All I can do is get ridiculously close to the outer surface.  Even in wireframe mode, I either can't do this or it seems as if everything is zoomed in much too close to do anything productive.

You're likely in Orthographic view, rather than Perspective View. Press 5 on your numeric keypad to toggle between the two.

If for some reason you want to stay in orthographic view and still see the inside of the mesh.

Some options:

Hide faces that obscure the interior.
Use mask modifier on meshes to mask out some geometry.
Use view-clipping feature (⎇ AltB)
Invert the normals of your mesh (⎈ Ctrl⇧ ShiftN) and enable backface culling in 3D view > Properties


Can I use Vertex paint with volume shaders? Simple question: Can vertex paint be used with volume shading in Cycles?

When you plug the vertex-colors into any volumetric node (emission, scatter absorption) and plug the output of that node into the volume input of the material output node the material will not render.

Is this behaviour a bug or am I doing it wrong?

Unfortunately, AFAIK this is not possible currently.

This is because the vertex colors are 2D and can't really be represented in 3D. You'll notice that the same thing happens with image textures.

Instead you could try adding the vertex colors on top the volumetrics with a transparent shader, but I'm not sure this is really what you want.


How do you access the Blender underline keyboard shortcuts? In Microsoft office software if you press alt, menu items appear with a keyboard shortcut. Is this possible in Blender?

In this instance I was trying to select several edge loops with a combination of keys.

If you press the space bar you get a search tool where you could search the name of the required operation and it show the shorcut of it (if it has a shortcut)


How can I connect two bones head to head (not head to tail)? I have a problem with my Armature, to be more specific, it's 3 bones which makes the problem.
I have a Pony character which I wanted to rig, so I made an armature which works great, but I can't connect my Root bone to the Front legs and neck section. (see picture) I watched a few tutorials on the internet and read this question, but all they said was to flip the bone from the Head to Tail and connect them together. I don't want to flip, but connect Head to Head.

Can I do this? I can't move the legs and the neck/head section from the Root(Spine) bone. Here are some pictures. I marked the Root bone with a White circle and the other bones which I want to connect with Red circles.

You can not "connect" (parent) a bone's head to another head, nor does tail to tail work. As I showed in my answer parenting bones to other bones is the normal way to connect them. The manual's page about armature structure explains how bones link together.

However, there is another option, using the bone Child Of constraint.*
In pose mode, Under the Bone Constraint tab of the properties window add a Child Of constraint to each bone you want to be connected.
Simply set the Target to be the armature, and then your "root" bone.
The Set Inverse button will keep the bones position. (as you may of noticed it jumped to the targeted bone's head).
The Clear Inverse button will move the bone to the traget's location.

The downside to this method is it will not work in edit mode.

* The manual warns against using a Child Of constraint to create chains of bones.
I don't see any problem in this instance, and it is the only way to connect bones' head to another head.


Mtree addon blender 2.83.10: Leaves and Tree branches separated in Particle System I have an addon Mtree which I make trees and leaves the addon itself is working fine. The problem is, when I want to scatter the tree with particle system I only get the trunk and not the leaves, I tried to join the tree and the leaves but got the same result, I also tried a collection but to no avail. Can someone give me a solution?

This is not a real solution but it works. Select the tree and the leaves Export selected as .FBX then import again then join. Just like that you can just move it around and scatter it together.


How do you create an aura, or halo effect, like what was possible with the internal Blender Render Engine, in 2.80 When Blender had its internal render engine, you could set it to render objects as a halo, rather then as a solid. It also allowed for starburst and other effects in the halo. I would like to know how to do the Halo effect using Blender 2.80, preferably in Cycles. I doubt there is away to add the other effects that were possible.

A similar question was asked a little while ago. The following answer should provide you with the information to render halos in Cycles: (see 'Point Clouds').
https://blender.stackexchange.com/a/45487/23799

Since the linked answer is over a year old, I went ahead and verified it's content for Blender 2.80 and expanded upon the explanation on how to set this up.
For further reference on this method, see the aforementioned post.

As an example, I've added a mesh that will represent the location of the particles in the particle system. Add a particle system to the mesh and leave the settings as is.

Add a mesh that completely encompasses the particles in the particle system. This will be your volume shader. Create a material for this mesh and open the Shader Editor.
(I have made the cube semi-transparent so you can see what's going on inside).

In the Shader Editor, detach the Principled BSDF Shader node(or delete it) and add a Point Density shader (Add > Texture > Point Density) and an Emission shader (Add > Shader > Emission).
Connect the Density output of the Point Density node to the Strength input of the Emission shader.
Then connect the output of the Emission shader to the Volume input of the Material Output node.

Set the nodes up as follows; In  the Point Density node, select the object to which you added the particle system(in this case, Suzanne) and select its(her?) particle system (called 'ParticleSettings' here) in the Particle System input below. Leave the other settings as is.

Now, if you render the image using (Viewport) Render, you'll see the particles glow up. You can change the size of the glow by changing the 'Radius' setting in the Point Density node.


How to recover lost data in blender? Hi guys I am just facing with big problem I was working on my computer and of course I was in the blender suddenly electricity switched off and it happened again then my project turned into default file it shows true size of my project below of the icon but when i open it shows default project how can i recover it please help i just need to recover my project

There is an option called recover auto save, when you go to
File > Recover auto save

You should be able to get a file called something like 9036...or other 4 digit number as in my case. It also migth be called "quit". As long as you have not opened new projects it should be there.

It itself is a file in the temp folder


Anti-aliasing of ID Mask is more coarse than Cryptomatte The edges of the Cryptomatte are smooth, but the edges of the ID Mask are rough even if the anti-aliasing option is checked.
The anti-aliasing option of ID Mask seems to have a very small difference between on and off.

How can I make the ID Mask's anti-aliasing as smooth as Cryptomatte?

I've attached the blend file I set below.

I don't think there is any decent way. That is why cryptomatte became "game changer" (with some issues as well, as you can see in your screen). You can play with edge in compositor, but it always brings some artefacts (inaccuracy) in final comp.

Short pixel "steps" can be disolved quite easily, but long pixel "steps" can't (as you can see on vertical edge). Also corners became a bit chewy. I used ColorRamp instead of Delite/Erode, because it was easier to adjust edge.

Ad Cryptomatte - in Fusion, there seems to be a way of node tree that can avoid that. So probably someone can bring it into a blender as well. https://blenderartists.org/t/cryptomate-matte-edge-imperfection/1189344/3


Add a button without a panel? Is it possible to add a button outside of a panel, e.g. in the user-preferences?
Say I want to add a new addon category in the addon list, via an addon:

Is this possible? How?

As explained in answer to your earlier question, items can be added to existing panels and menus by appending a function to the existing class that draws the new additions you want to add.

While most buttons in the interface represent operators that will be run when the button is clicked, the item you are pointing at above is not an operator. When you get several buttons attached together that represent a choice of multiple values they are representing an enumerated property.

Based on the code that defines the property you can alter the displayed addon options with the following. Unfortunately with enumerated values you will often find that other code changes would need to be made to handle any new values you want to add, meaning they are often not an easy change.

bpy.types.WindowManager.addon_support = bpy.props.EnumProperty(
        items=[('OFFICIAL', "Official", "Officially supported"),
               ('COMMUNITY', "Community", "Maintained by community developers"),
               ('TESTING', "Testing", "Newly contributed scripts (excluded from release builds)"),
               ('NEW', "New stuff", "New stuff here"),
               ],
        name="Support",
        description="Display support level",
        default={'OFFICIAL', 'COMMUNITY'},
        options={'ENUM_FLAG'},
        )

In contrast the enumerated values for the addon categories listed under the supported levels is a dynamic list and you only need to add a new category to your addon's bl_info property to have it added to the list.

bl_info = {
    "name": "My addon",
    "category": "Special addons",
}


Field Weights - Charge I was just wondering what this charge function controlled. When I changed it from 1 to 0 I did not see any apparent changes in my animation. Just curious and want to know how I could use it for future projects. Thanks!

A charge force field can work like honey or a magnet, as particles move close to it, they slow down or stick to it depending on the settings, with two opposing fields (one on the particle system) you can get a magnetic result that draws the particles to the force field.

Note that gravity overpowers a charge, so you should set gravity to 0.0 to see the effect.

The charge setting in the particles field weights defines whether a particle sticks to the charge field, as you increase it particles passing through the charge field will start to stick.

By also having a charge field on the particle emitter you can use positive and negative values to have the particles drawn to or repelled from the field, like magnets.


How to deal with bad contiguous edges for 3d printing I was trying to model my object for 3d-printing and faced this problem. I use 3D Printing Toolbox in Blender v2.79. And checking my object for manifoldness, it shows me that I have Bad Contiguous Edges. I don't know what to do with it.

On this picture, that edges are selected. And 28 Non Manifold Edges are because I haven't used Mirroring yet.

In Edit mode, I pressed A to select all, then Mesh->Normals->Recalculate Inside.
This fixed it for me as my problematic edges were inside a cylinder recess in my object.


fire and smoke in same domain i like to create a fire and smoke simulation in one domain with different emitters.
But I can only change the colors from both the smoke and the fire. I like to set different colors for the flames and the smoke.

for 2.79 if you use an attribute node and put in flame or smoke you can add materials for flame and for smoke


How do I round the edges of a side? Let me start off by saying that I'm very new to blender.

Alright, so I need to know how I would go about rounding off the edge of this model:

(heres a wireframe of that model)

to make it look like this picture:

if you look at the previous picture closely, you can see that the circled area is kind of rounded off. How would I do this?

You can use "Bevel" on selected edges.

Select the edges that you want to round, then hit Ctrl+B to bevel them. Scrolling your middle mouse button wheel you can choose the bevel resolution.

Bevel comes in different "modes" that you can cycle using M during the tool's operation. Unfortunately neither of these modes can be used to force a predominant axis. For fine adjustments you will need to edit your geometry before or after applying bevel.


Make a seamless, continuing texture on two separate models I've made a simple test texture:

... and a simple test model. Combined, they look like: (in Unity)

The image above shows two of my test objects. The left-most one is fine to me, but the right isn't. I would like the right one to continue counting where the left one stopped. For example, a brick wall made of two models. I don't want it to get cut off in the middle of the wall, rather I'd like it to continue seamlessly. The real-world application I'm going to use this for is 2D levels of different meshes. I built the levels and the Unity code would randomly place them for me. I'm having a problem here because the textures cut off. I was considering texturing each level individually, but that would be painstaking and it would take up a lot of memory.

Edit:
Please keep in mind that the two objects are different models and different shapes that will be placed in the Unity scene. Most of the methods listed wouldn't work or are not practical.

Look into UV project modifier.
It allows an object (could be an empty or the camera) to project an image into UV unwrapped objects, Very easy to control the size and positioning in real time.


Texture slots and viewing combined textures I am painting textures in Cycles. My material contains multiple textures that are color mixed together in various fashions. I can use the Paint Slots in texture paint mode to view any given texture and paint on it. However, I want some way to view the whole combined stack of textures.

Is there a proper way to do this other than rendering or viewport rendering?

Simply using Material Draw Mode for combined textures is the only option in Cycles for now. Blender Render used GLSL viewport to get combined, but the nice thing about Cycles Material Draw mode is that you can toggle shadeless in the N panel without affecting the shaders themselves. Also, you might be interested in looking at BPainter addon as it simplifies and streamlines the painting experience in Blender all around.


How does the color ramp work in Cycles? How does the color ramp work in Cycles?:
I had only been using the blender internal and have suddenly set foot on cycles which turns out to be a 90% node based for materializing and almost anything.
Being a non-programmer and self-taught up to this point both in blender and GIMP, I'm having trouble in every node in cycles except the shaders and textures. Specially for this part of the question, would anyone be kind enough to explain me how the "color - ramp" node works???
It appears to be very different than the BI.

The color ramp maps values to colors.

A black and white picture is made up of a bunch of pixels, each with a value between 0 and 1, where 0 is black, 1 is white and 0.5 is half way between, etc.

What the color ramp node does, is it takes a black and white input (if you input a color image, it will convert it) and re maps each pixel to a new value.

If a white pointer on the color ramp is at postion 0.5, then a value at 0.5 will be mapped to white.

To see this in action, lets look at two color ramp nodes:

The one on the top represents an un modified image, white goes to white, black goes to black, grey goes to grey.

The one on the bottom is a modified image, everything about .5 grey goes to white.

We will now have a little 3 pixel demo image:

[.25][.5][.75]

The first pixel is at 25% grey, the next at 50% grey and the last at 75% grey. Lets see what the lower color ramp will do to each of these pixels.

.25

The first pixel, at point two five will get mapped to .5. The reason is that it is half way between a white and a black point, and since the color fade is linear, the half way value will be .5.

.5

The pixel at .5 lands directly on the white pointer, and therefore is set to 1.

.75

The .75 valued pixel lands past the white pointer, between it and the end. This means that it will also be set to white, a value of 1.

What I would do now is put some images through the color ramp, using the image texture node, and just play around until you get the hang of what effect it is having.

Footnote The pixel at .25 would not have the value if the interpolation was not set to linear. For the sake of understandably I won't mention interpolation in detail, leave it a the default until you get the hang of things.


How to hide object but keep shadow in EEVEE? This is very easy to do in Cycles, just have to click on the camera checkbox.

I cant figure out how to do this in EEVEE.

Any help would be appreciated.

EEVEE now supports some Light Paths but not all seems to be supported yet, or in working order.

Until then, use this workaround.

Add a Transparent shader to the object's material.
Under the material options set the Blend Mode to anything other
than Opaque, most options seem to work.
Then under Transparent Shadows set it to opaque.


How to increase the number of faces in a model I am an absolute beginner with Blender, and to 3D modeling in general.

I am taking a tutorial and my extruded plane with a skin modifier applied is comprised of basically 11 quads, the tutorial I am watching has 32 quads (if I am correct in assuming that each "side" is a quad).

Is it possible to increase and decrease the number of quads that an extruded plane with a skin modifier would have?

It's hard to know how to help without many details. If you're following a modelling tutorial and you're supposed to have 32 faces and you only have 11, you may want to go back and double check you followed the tutorial properly.

But your question was how to increase the number of faces, and here's a few ways how...

Method 1: Using Subdivide Tool

Select your object and make sure you are in edit mode.

Click this button to enter face select mode:

Select the faces that you wish to divide by right clicking on them:

Press W, and when this menu pops up, click Subdivide:

You can repeat this as many times as you want. Each time the selected faces will be divided into 4 new faces if they are quads.

Method 2: Using Knife Tool

Again, select your object and make sure you're in edit mode:

Press K to activate the knife tool. Now you can draw lines where you want to cut your object:

And press ENTER when you are satisfied, or ESC to cancel.

Method 3: Ring Cut Tool

This is essentially a much more controlled, but limited, version of the knife tool. Once again make sure you select your object and are in edit mode. Press CTRL + R to activate the ring cut tool, and mouse over an edge. The purple line is where the cut will be made.

You can scroll up and down with your mouse to increase/decrease the number of cuts, and click to perform the cut.

At this point you can adjust the position of the cuts, or right click to keep them in the center.

Method 4: Subdivision Surface Modifier

This one is a little different. This time, make sure you are in object mode:

With your object select, go to the modifiers panel on the right (it looks like a wrench) and click Add Modifier and select Subdivision Surface.

You can adjust the number of cuts with the numbers where it says "View" and "Render". If you don't want your object to be rounded, click on Simple. Click Apply when you are satisfied.


How to I translate an edge in edit mode precisely using numbers? I have a box centered on the origin of the scene. I want to grab the bottom right edge and pull it in towards the center to taper. I want to do this on the left side too, and I want to be able to translate that edge precisely using some kind of number input, so that I can control exactly how far it goes, and replicate it on both sides perfectly. I know that I can probably do something similar using mirror mode, but I'd like to know how to do this for more than just this, as it would help me to be more accurate when I'm box modeling.

To Translate any selected Vertices, objects or edges you press G and then after that depending on what axis you want to move it on you press the corresponding letter, which can be Y,X, or Z.

Secondly, you can either move it yourself with your mouse or type in a number. You can use numbers with decimals and or negative numbers which will translate in the opposite direction.

As for getting the edge to where you want it to be you will have to experiment with numbers. Hope this helps, and good luck.


Blender is only using one tile and only on CPU I have tried to make blender faster by using my Nvidia GeForce GPU in the user preferences window and under the render options in the properties window.
But I can see in the task manager that the CPU is used mostly and even though it is set on multiple tiles it is still using only one. How could I increase the GPU usage and the amount of tiles? Thank you for the answers:)

Switch on GPU compute in the task manager. That will show you something else ;-) GPU compute is different than realtime rendering to task manager. It shows 97% to me while GPU 3D is barely working.

Go to GPU click on one of the sub diagrams like copy and select compute_0 or 1 or whatever yours is called.

be aware that you need something like 1080 before it is faster than a modern day cpu with 4-8 cores.


Trouble exporting in correct file format I'm having trouble with exporting my animation. I'm trying to do a water simulation and export it as an image sequence but when it finishes all of the files are textedit files. I've gone to the output settings tab and changed it jpeg and pdf but both times it still ends up in textedit.
What am I doing wrong? Help!?

Blender will never generate text files for images, it cannot do that. This is a user error and improper configuration in blender or the OS

What might be happening is that the option to add the proper extension to the file name has been disabled and the OS does not know what kind of file it is dealing with. If you are using windows the computer cannot guess what to do with files that do not have the 3 letter extension at the end of the file name (like *.jpg)

Options to fix the issue: on the already rendered images just add the proper extension to the file for exmaple: image01.jpg (if the image is a jpg file).

For future renders enable the File extensions box on the output settings.

If your OS is still trying to open files with the .jpg extension as text, then you need to configure it to use a different deafult app. In which case it is not an issue with blender and will require you to learn how to use your computer and set the default app to open image files.


Argument values in `bmesh.ops.similar_verts()` Can someone please help me understand the values for the arguments in the function bmesh.ops.simlar_verts(bm, verts, type, thresh, compare)

I understand that:
bm- is the bmesh you are working on
verts- is a list of BMVerts to base the selection on
thresh- is some kind of distance based threshold

But what on earth do the int values for type and compare relate to?

I have played around with the values and have noted they select different patterns of vertices but I can't figure out the pattern. The docs don't appear to have any information for the values.

If you can explain to me what these values relate to or point me in the direction of an answer I would be extremely grateful.

Check the source where docs are lacking.

Similarly to this answer re bmesh.ops.delete look at source of bmesh/intern/bmesh_operators.h

On compare

enum {
    SIM_CMP_EQ = 0,
    SIM_CMP_GT,
    SIM_CMP_LT
};

The int enum values for equality is 0, greater than 1, and less than 2.

On types

/* similar vertex selection slot values */
enum {
    SIMVERT_NORMAL = 0,
    SIMVERT_FACE,
    SIMVERT_VGROUP,
    SIMVERT_EDGE
};

On types it appears to check, 0 checks normals, 1 linked faces, 2 vertex group, and 3 linked edges.

Note

The bmesh similar operators appear to have been removed from 2.8


Dynamic Paint and Cycles and Fire Simulation Does Dynamic Paint work with Cycles and Fire Flow in the following way?

Fire is moving as determined by Dynamic Paint Vertex Group
Not just a single beginning frame of Vertex Group
Cycles Render not Blender Internal Render.

If it does work, what are the practical settings in Blender?

Additional Context

I can see that the Weight Paint is successful in 3D View.

I cans see a successful Dynamic Paint with Fire with Blender Render.

This Blender User has Cycles with these results

Successful

Particles which allow some movement with associated texture
Full Mesh Fire
Static Vertex Group
Single Texture

Failed

Image Sequence as Texture

The mesh emitting flames is both a dynamic canvas and a smoke flow, it needs to use the same vertex group for painting and smoke flow.


autoexec python code / script doesn't seem to work Using Blender v2.78, auto executing python code / script doesn't seem to work no matter how you're trying to do that.

Following explanations from Blender manual - Scripting & Security

1/ Setting auto execution manually should be possible when Register is checked in the text editor containing your python code.

NOT working : script does not run automatically (even if you also check Auto Execution in User Preferences)

2/ Setting auto execution from command line should be possible when -y (or --enable-autoexec) is provided as argument.

NOT working : this parameter should override User preferences (and factory startup by the way, see : Auto-run scripts security options)

Here is the dummy code I put in an empty blender file to do very basic testing (trying to "see" startup process using different ways ... but since script doesn't seem to be started, app handler is also probably not called):

import bpy

def onStartup():
    print("[DEBUG] doing something on startup")
    bpy.ops.mesh.primitive_monkey_add()

print("[INFOS] Blender v" + bpy.app.version_string)
onStartup()

from bpy.app.handlers import persistent

@persistent
def load_handler(dummy):
    print("[DEBUG] handler called AFTER blender file is loaded (" +     bpy.data.filepath + ")")
    onStartup()

bpy.app.handlers.load_post.append(load_handler)

Found a solution !

Ages ago (before we were relying only on Internet), I was told "If you try searching for some explanation start with man man and dig further from there (yep, I was surrounded by prehistorical nerds)". So an old reflex just came back, I've done an old fashion man blender from my terminal and found the following option :

--python-text <name>
       Run the given Python script text block

Since your text editor creates a block called Text by default, you just need to specify this block name ... and it works as expected !

While it shouldn't, the online manual seems, somehow, providing less information than the one available locally !

So, execution of random python code can be executed automatically with the following command :

  blender -y yourfile.blend --python-text Text

or

  blender --enable-autoexec yourfile.blend --python-text Text

where Text is the name / label or your text block (you can get it from the header of your text editor view)

As pointed by batFINGER and dr. Sybren, another easy way is to modify the name generated by default when you create a new text block, by adding ".py" extension to it !


Some part of the armature is not visible anymore thought the mesh in weight paint mode I don't know which kind of configuration is broken,but suddenly I haven't been able to see the armature thought the mesh in weight paint mode,anymore. But in the earlier version of the model,I can see it. So,the problem should be caused by some setting that I have modified inadvertently. Can you tell me what happened ? Thanks. I added two pictures. The first one,it is wrong,the second one,doesn't.

Mate. You have X-Ray turned on for both the Armature and the body, so it's the same as if you did not have X-Ray turned on for either of them. You show edit mode with wireframe on, that's why you see everything. If you went to Solid view, it would look exactly the same as in Weight Paint. If you want to see bones through the body, you have to turn X-Ray on for the Armature, but not on for the body and if you want to see body always on top, you have to turn X-Ray on for the body, but not on for the Armature.


Hair particle problem after rendering Good day guys.
I want to ask why my hair particle kind of messed up when I render it?
I provided the blender file below.
Thank you guys!

Calvin reporting.
I figured it out why.
Under Children > Interpolated.
The Display Amount and Render Amount must be of the same value.
:)


How to improve D-Noise in blender? I'm new to blender. I have version 2.90. I made a trunk or treasure chest and when I preview it in render mode (Cycles Engine) it looks very blurry. Is there a way I can improve this? I search on google but cannot find anything related!!
Thank you in advance!!!

It should not be relative with denoise, without your screenshot, it's hard to tell what's going on your setting.
But a common blur in preview is because the simple viewport option is set to auto:

Set it to 1-px and see if the problem resolved.

And you might want to start denoise your view port after certain sample (20?) instead of denoising from beginning (which result in a laggy viewport been denoise every sample):


My mirror ball is not shading correctly - it looks too flat I have a 32x32 UV sphere in blender. I have it set to "shade flat".

What I want is each square face to be clearly defined and visible (like shading flat normally does).

It looks basically correct in Look Dev mode:

However, even though it looks correct in Look Dev mode, when I render it looks like this:

I am pointing a square area light right at the object and that is all I see.

The white part of the material is glossy so ideally it would create a mirror look (where each face would reflect its background).

The holes are created by an alpha map, ideally the white parts around them would be glossy.

How can I get the "look dev" look, in my render?

The Look Dev mode uses an HDRI which produces the nice reflections in your first image. As the name suggests the Look Dev mode is only meant to develop the look of your model, not for a preview of the final render, that is what the Rendered mode is for. If you want to use the scene's world settings instead of the HDRI preset in Look Dev, you can enable Scene World in the Viewport Shading settings.

In order to use an HDRI in your render, you'll have to set it up in the world tab or its node editor.

Blender 2.80

Blender 2.81


How can I combine two colored textures so that the final image is blended to match a specific lighting setup I have been working on using Cycles to bake textures for a game environment.  This works well for base lighting which can be rendered at low resolutions, then scaled-up and blurred but for high resolution/high frequency textures Cycles takes way to long to render.  Basically this takes about an hour per texture at 1024x1024 since I have to render at higher samples since the final texture cannot be blurred.  However this only takes a few minutes for the base diffuse texture rendered at 512x512 then blurred and scaled up.

To deal with this, I would like to just bake the diffuse shader result to a texture and then scale it up to match the high-res base texture and combine them both using the compositor but I really have no idea where to begin.  What nodes would I use and with what settings?

Here are some textures to help illustrate this point.

(i) a basic colored procedural texture baked with no lighting(Blender Internal), the original is 2048x2048.

(ii) a texture baked with Cycles_OSL diffuse lighting only.(512x512)

(iii) a texture baked with both of the above(this is what I'm hoping to avoid)

(iv) The final scene with textures applied and no lighting.

UPDATE: Well, the multiply node seems to be what I needed for this, thanks, here is a test that that uses more diverse colors.  The strip on the left is the Cycles bake output done the way things are normally done and the strip to the right uses the compositor node to combine the original colors with the diffuse shader node output.  Both look identical so this all works.(except for the weird margin problem but that's off-topic)

To the right is the scene, the center cube was baked.

Basic node trees would be like this:

Sample file

Note:

The Composite node will only output based on Scene size set in Render tab. If you want to output full-size composite result, you have to use File Output node.
Mask node is sort of a trick to apply the transform result without being limited by the original image size.


Problem assigning action in BGE I created an action, "run", in the animation editor.

To create the animation, I moved the bones in pose mode and used automatic keyframes, so, for each movement of the bones, it creates a new frame.

I don't know if I forgot something, but with the animation complete, I added a keyboard sensor in the Game Logic Editor and set the key to W.

I then added an And controller and the action "run". I used the following settings:

Action playback type to loop stop
start frame 1
End frame 30
blending 3

I then connected the logic bricks. What I don't get is that when I press P and W, the character doesn't execute the animation.

I don't know what to do; I have read many pages; I have seen many tutorials, but I don't get how to do this part.

Thanks for your help.

I had met this problem.   And googled about this matter, but nothing helpful.
Eventually and suddenly when I applied the "subdivision surface" modifier to the rigid bodies (Remember: not the "armatures") surprisingly it done.
So to fix this first keep in mind to be sure to apply any Modifiers relate to the rigid bodies then look after other specifics in the (game logic bricks) if needed some works.
I added this information to my mind and hope to help others.. Thank you.


How to fix Beveled intersections/corners/inner edges? I'm pretty new to Blender and am trying to create a 3D type logo. It's almost done, but I can't figure out how to fix these inner corners circled in red (see images below).

To create the rounded edges I am using the Bevel Modifier that references the model's edge data (I gave all the sharp edges a Bevel Weight of 1). It's then followed up by a Subdivision Surface modifier to smooth things out.

Any help would be much appreciated (I'm not even sure if I modeled this thing correctly so I attached the Blend file). Thanks!

JT Logo White.blend

As Duarte said, the Subsurf is not necessary and you need to clean your topology, the following method gives a good result:


FBX model from makehuman has broken rig on import I've exported the default makehuman body as an .fbx set to metres as the units, and imported it into Blender with Import Normals, Import Animation, Import User Properties, Import Enums as Strings, Ignore Leaf Bones and Automatic Bone Orientation all selected. However, the model and rig import like this:

I'm using Blender 2.76

Any advice would be much appreciated!

The current semi-official MakeHuman advice is to not use FBX in the first place, when the end goal is Blender.

MakeHuman has two alternative pipelines that directly target Blender, each of which is more likely to work than when going via FBX.

The traditional one is MHX2. This is a tried and stable approach, which has been in use for many years, and which should work with most blender versions, including 2.80. See https://bitbucket.org/Diffeomorphic/mhx2-makehuman-exchange/overview
The new approach is available starting with MakeHuman 1.2.0 alpha 1, and allows fetching a rigged mesh directly from a running makehuman instance without having to go via a file export. This works in blender 2.79 and 2.80. See https://www.youtube.com/watch?v=tAwfR-G813g

If you want to stick with FBX anyway, you could try the latest alpha of makehuman, see http://www.makehumancommunity.org/content/downloads.html. There are known issues with rigging in this version too though, but it's possible it might work better as parts of the routine has been rewritten.


2.8 Pivot Point trouble Hi and thanks in advance.  I have a project in which I can't seem to zoom in enough (anymore) and the pivot point does not seem to work as desired.  I have tried setting both the 3d cursor and pivot point to the world origin but it does not clear the problem.  No matter which object I select and the try to set the pivot point to, I never see the pivot point anymore and the rotation and mouse movements are all wrong.  I would expect to select an object, set the pivot point to the active element and actually be able to see a little dot in the object in one of the Viewport modes.

I started a new project and added a cone beside the default cube and I was able to easily set the pivot point to the cube, and then to the cone and all mouse movement, rotation etc worked as I would expect it to.  So I believe I understand the what and how but somehow I must have messed up my larger project.

I did find a post that talked about moving in and out of camera view (numpad 0) could cause a similar type of problem and that using numpad '.' would clear it but that has not worked for me.

Any ideas?

It sounds like the viewport is no longer locked to the 3D cursor to me.

Press "N" to pull up one of the side menus, and switch it over to the view tab. Click on "View Lock" and check if "Lock to 3D cursor" is selected


How can I make an object appear or disappear smoothly? I would like to do an animation where an object that is broken in two pieces comes back together and gets "repaired".

What I did until now is to model the full object, copy it and break the copied version into two pieces.

Now, I'm starting my animation by having one of the broken piece come to the other part, and I hide the two pieces and show back the full piece.

It kind of works, but I find that the transition between the broken piece to the full piece is too abrupt. The broken pieces will also have a distinct rusted texture which I'd like also to make gradually change to another "good as new" texture.

So, as a resume, my questions are:

How do you make an object gradually appear or disappear?
How do you make a texture gradually change to another texture?

You can use the node editor to animate the mix shader slider.
this shouldn't matter what render engine your are in.

Here are two examples posted:

 <-- Blender Render (Blender Internal)

 <-- Blender Cycles

Here are the file links for you to see how it is done:

<-- Blender Render

<-- Blender Cycles

Hope it helps - Kind Regards,

RRiggs

Added in response to the comments below:

To make this a little more expressive without having to download files, here is the summary of what I would do:

The 1st question was - how to make an object gradually appear/go away.

The second one is how to do this with a texture.

The quick answer is (IMHO), add two materials to each of the objects, one of those materials needs to be completely transparent, and the other material needs to be the desired visible one.

For the second part of the question:

Two textures will be needed for each of the objects that require the texture differences.

In either case the 'mix' sliders within the node editor can be key-framed in the timeline by hovering your mouse over them and hitting the I key.

Your control over the timeline and keyframes allow you to have the control over how gradual you want the effect to be.


Where Is Shadeless Material Option For Blender 2.8? just trying to use shadeless lighting for a material, but cant find where it is in 2.8
This is how it looked in the older versions:

Any help is appreciated, thank you!

The option shown there is for Blender Internal renderer, which has been removed in Blender 2.8. See the following questions for information on how to create a shadeless material using the shader node graph.

Totally white shadeless material in Cycles?

Node for setting render colour, regardless of lighting

These setups will work for both Cycles and EEVEE in Blender 2.8


Recommended Version for Mac OS X 10.5.8 I am wanting to download and learn how to use Blender at home on my Macintosh PowerPC system.  It is older so I need to know what version of Blender is recommended for my system, here are the specs:

Macintosh
Dual 2.3 GHz Power PC G5
OS X 10.5.8
2 Gb DDR2 SDRAM

Video Card:
NVIDIA GeForce 6600
VRAM - 256MB
32 Bit Color Depth

General hardware age isn't the big problem here, and that's what the other commenters were talking about. Their advice is great if you have an x86 system of that vintage (ex, Pentium 4), but you don't. You have a PowerPC machine. That's problematic as the official OS X Blender builds are not compiled for PPC and haven't been for quite some time. Since 2.63, to be exact. You can find it here: http://download.blender.org/release/Blender2.63/

Download the file blender-2.63a-release-OSX_10.5_ppc.zip and install as usual. It should be your best bet.


How to model this car hood? I recently started to model a car and can't get past the hood :P
I tried many things, ended up with this (not finished, I'm aware of ngons...)
I'm aware that the topology is not right, it has a bad flow and so on.

So I ask you for advice on how to model such non-traditional hood.

My reference

Thank you in advance!

After many hours of trial and error, I somehow figured it out myself :

however, I'm always opened to your suggestions :)


How to export a scene with Shape Keys Animation? I have a scene with the cloth simulation, turned into shape key animation, using this method: http://blenderartists.org/forum/showthread.php?387461-Bake-Cloth-to-game-engine

How to export the scene correctly and what format should I choose to be able to open this scene in any 3D editor, like Maya or Houdini?

Here is a simplified scene, I tried to import into Maya:

Download link: http://www.mediafire.com/download/5bm1jwe6iah5zo0/ClothesOnTheRope_ShapeKeys.blend

I tested different formats:

FBX - after import, objects in the scene are huge, and, the most important, - static:

OBJ - creates a sequence of files, I don't know how to import it, and I need to have a single file with the scene.

DAE (Collada) - after import, I see a huge static objects, with offset from each other

How to export the scene correctly and what format should I choose to be able to open this scene in any 3D editor, like Maya or Houdini?

What you need is the .abc Alembic file format which is a production standard. Blender does not support it as of 2.76b but it is planned for some future release.

There are also other formats (.FBX, .PC2, .DAE, .OBJ sequence) how to transfer animations but they are pipeline/software specific - will not be as general as Alembic. But they should be tried first anyway.

We will care only about the final vertex animation - which is general for armature deforms, cloth, soft-body simulations, rigid-bodies etc. The vertex count needs to be constant - it won't work on particles. We will use .MDD NewTek's Point Cache with a static .OBJ to export the animation out of Blender into Houdini.

In UserPreferences under Addon in section Import/Export make sure .mdd and .obj are enabled. Go to first frame of your animation and export your object as .obj and export the animation range you want as a .mdd vertex animation. Blender has Z as up, Houdini has Y up, also keep vertex order pls:

If you don't have Houdini then download it for free (Apprentice licence). There is also an Indie licence for $200.

Inside Houdini Import your .OBJ with File > Import > Geometry. Almost everything is done there inside a Node window. Double-click your object node to enter it (you will see a mesh node inside) and hit Tab to invoke a new node menu. Select Import > MDD and connect it below your mesh node. Select the new node and import the .mdd file into it:

The yellow black crosshatch around the node should disappear. Click the blue eye icon of that mdd node to view it's results and play the animation.

To export this animation into Alembic we will use another node to render the animation into a file. Jump back to object level with AltLeft Arrow and add a ROP node (Tab > Managers > ROP Manager). Enter the node (double-click on it) and add a Alembic node (Tab > Scene > Alembic). Select the node, set it's parametres (file path, change from single-frame to frame-range) and render the animation into a file.

Getting animations into Maya can be also done as exporting a .PC2 PointCloud and converting inside Maya to .MC Maya Cache file format. You do this with a MEL script:

cacheFile -pc2 1 -pcf "C:/input.pc2" -f "mayaCache2" -dir "C:/" -format "OneFile";

Just change the file paths.

Then you import the .MC file inside Maya.


Weight painted mesh stays in place when rotated I’m new to Blender and trying to rig a head but the head and body are one mesh so I used weight painting to make sure the head bone only controlled the head. When I rotate the head bone the head deforms, with part of it staying in place rather than moving as one unit. The entire head is uniformly weight painted so I’m not sure why this happens. I also checked to make sure none of the other bones have weight painted control over this area in the head.

I am unable to add an attachment so I have a video link of what is happening here: https://imgur.com/a/hJbVS41

Also as a side note I have no idea why the hands move when I move the head (there is no weight paint there).

Any help with these two issues would be greatly appreciated.

Select your head (or weighted object). Go to weight paint mode. Open in the object's properties your vertex group, there you should see a list of all your bones organized as vertex group's influences. Use your keyboard's down arrow to go from top to bottom, one by one until you see the head bone (it should color your head in red color: full influence), keep going down the list and there should be other vertex group influenciating your head. If so: stay on that vertex group,now switch your painting weight brush from DRAW to subtract. Strength 1, weight 1. "Paint to delete" that influence. Repeat for all remaining groups that have influence. Go back to head bone vertex group, switch back the weight brush to DRAW. Strenght to 1, weight to 1. Move your bone head until your head deforms, now paint the remaining vertices (left behind) and they will sit in place now.


BGE, logic bricks, setting up a timer (that reverses at some point) with the delay actuator I set up a "timer" that adds +1 every 60ticks to a "timer" property.

Now I want it to count backwards after it reaches 4 and, when it becomes 0, again goes up to 4 and so on and so on.

Has anybody an idea how to achieve this with logic bricks? Or is python neede?
Thanks for every suggestions :)

Logic bricks are best explained with an image :

the basic idea is that instead of adding 1 to your “timer” you add an “increment” property.
You then switch this "increment" to -1 when it reaches 4 and back to 1 (effectively +1) again when the “timer” value is back to 0

to switch the "increment" property from +1 to -1 I do some fancy math (inverting the value and doubling it)

For a simpler version, you could also do it with 2 separate logic flows like here:


Blender camera with follow-path constraint does weird turns along curve I have imported a 3D curve into Blender. It was obj and is now NURBS.
All the curve points' tilt values are set to 0.
I have created a camera with an empty parent object.
Then, attached a follow-path constraint to the empty object.
The empty object is attached to the curve and is moving along the curve, however, it does weird turns in random directions along the way making it impossible for the camera to have a proper view of the model.
So tweaking the follow-path parameters won't do the trick.
I know I can manually set tilt values for the curve points but it will take ages.
I was wondering if there's a systematic fix so I could have a neat follow-up along the curve.
Update:
I decided to remove the images and upload a link to the file.
The file contains:

The curve
Suzanne (with an Array + Curve modifier) which clearly shows the weird behaviour.
A camera (Alt+R and Alt+G-ed!)

Path-following Camera -

Use a cube, either visible or invisible as the path object.
Add a line between two diagonally opposed corner vertices and subdivide that.
Set the cube's Origin point to that. (with SH-S)  (Shouldn't be necessary, but... )
Parent the camera to that vertice ONLY.  Select the cube, then the camera, go into Edit mode and select the center vertice.
Press CTL-P --> 'Single Vertice' .
That will stop the cube's tilts & rotation antics from affecting the camera.
The cam can also be turned and animated at will, or focus on some object or other using the 'Track-to' constraint.


Blender script run print to console How can I run some script and have print result in console window? Now I have these results only in System Console Window.

Override print method.

Been investigating a number of ways to do this.  Possibly the simplest is to  override the print in your scripts.  Below is designed to from somewhere import print and writes all print non keyword arguments to open consoles in same screen.

import bpy
from bpy import context

import builtins as __builtin__

def console_print(*args, **kwargs):
    for a in context.screen.areas:
        if a.type == 'CONSOLE':
            c = {}
            c['area'] = a
            c['space_data'] = a.spaces.active
            c['region'] = a.regions[-1]
            c['window'] = context.window
            c['screen'] = context.screen
            s = " ".join([str(arg) for arg in args])
            for line in s.split("\n"):
                bpy.ops.console.scrollback_append(c, text=line)

def print(*args, **kwargs):
    """Console print() function."""

    console_print(*args, **kwargs) # to py consoles
    __builtin__.print(*args, **kwargs) # to system console

print("print me to console")
print("and me\n and me", "and me\nI'm:", print)

My attempts at redirecting stdio have failed and often lock up a console. Will get back to this later with better links, but there is a lot of console code to fiddle around with ...  console_python.py bl_operators/console.py and the mathviz addon code.

EDIT: See Dubplicate Question Answer on handling stdio redirecting.


Video with 50 FPS slightly off I created a video and exported it in MPEG4 format with H264 encoder and 50 FPS.
When I import this file to Camtasia 2020 into a project with 50 FPS I notice a stuttering in the video. When I go frame by frame I can see that Camtasia is doubling some frames. Increasing the FPS to 50.95 in Blender makes the playback better, but still not perfect.
The file information (right click, properties) shows the exact same frame rate I set in Blender.
Now I am wondering if that is a Blender or Camtasia problem and how to fix it.
Can someone help?
Thanks and best regards,
Michael

It is most probably a problem with blender. You shouldn't have set it to 50 FPS though. You should have gone with 60 FPS. If you still need it in 50 fps, I would say you should render it in frame-by-frame form and then import it to Camtasia 2020 and arrange it in the order you want. Make each frame last 0.02 seconds. Then see, it will probably work. If it still feels a bit rough, you can smoothen it using the tool you have. I am not very sure though, this is my best guess. If you face any issues, please comment. Hope the answer helps.


Use a HDRI just for lighting and change the background color I want to use a hdri just for the light and i want to change the color of the background in white.How can I do that ?

A flexible way would be to use compositing, as shown here. That would let you change the background to anything you like, at later stages.

A more destructive way is to use a Light Path node in the World's node tree:

(Select 'World' in the Node Editor's header, as opposed to 'Object')

With HDRI background visible to camera:

Without:


texture is different on the geometry than on a plain Why my texture is different on a plain than on my final geometry?

Because it's mapped differently. The plane has a default UV map, which an image-based texture will use in the absence of any explicit UV unwrap you may perform. The other object doesn't.(It appears to have each face mapped to the entire UV space.)

So you will have to UV Unwrap your second object.


How to change the axis of rotation of an object? **Here is my blend file.

I am making cement mixer so I want this object (mixer drum) to just rotate but not come out of its base.

I'll try to show here what I said above in comments.

This is the drum from your object and I highlighted its pivot point as it is in the file. I also placed an empty to its current position, as a marker.

But if you think that the pivot point is well positioned, you should try to "recalculate" it origin to the geometry

And you get this: you see it is now a different position... this is what makes the drum to rotate wrongly even after correcting the local axis...

If this mesh was designed better, this following method would have worked, to reset the local Y axis to get a better rotation animation:

first, I selected a ring from the mesh (which is supposed to rotate well around a corrected Y axis), duplicated it as a separate object, and used it to calculate the current rotation using an empty:

the empty is placed at the new ring center (obtained with "origin to the geometry") and in side view, with the help of vertex snap tools, rotated until it matches the ring mesh, and you so you get the (wrong) rotation angle between the empty and the ring.

you then have to use that angle to correct the real "drum" angle

as you see the drum Y local axis has now the right rotation, but if you compare the empty position and the drum pivot, it is easy to understand that this will not work good in animation either...

I cannot model the drum for you (btw I'm on holiday) but at least you know something more than before :D maybe someone else will add more help...


I'm having trouble trying to understand the topology & model this shape I'm trying to model the HK G11 but this part just confuses me.

I tried to model it and it looked alright but the "flow" was still not close to the real thing. I don't know where the poles should be and if my way of doing it was bad or not.  If you want to give me some general ideas on how to do it or recommend me a related tutorial that would really help me.

To me it looks like something like that:


Why Does The Background Image Not Show in Orthographic View? I have added a background image to the world settings. However, it has disappeared from my 3D view and only shows when I view the scene from the camera. Does anyone know if there is something I can do to make it reappear?

It's because you are in ortho view, so you will only see one pixel of the background image at a time (if you move the 3D view around, the background color should change).

Switch to perspective (Numpad 5), and it should appear normally.