How to create color bleeding for material? I have made a donut in Blender with icing and spinkles on top. I would like to be able to have some of the color from the sprinkles bleed into the icing. I cannot find anything to help me achieve this. Every search result was how to get rid of color bleeding... the complete opposite of what I want!

Data Transfer a vertex color

A procedural approch would be to use vertex colors. Paint the icing black, duplicate the sprinkles and join them and paint them white. Duplicate the icing and join it with the joined sprinkles. In edit mode of this merged geometry, shrink the icing ⎇ AltS. Then (to the actual icing) add a subdivision modifier, add a Data Transfer modifier and finally another subdivision modifier using cycles experimental adaptive subdivision. Transfer the vertex colors from the icing_sprinkles_helper object to the icing. Use the vertex colors in the material to apply it to the color.

This procedural approach is complex, computing intense (many polygons) and produces mediocre results, so let's go with the destructive easy method.

Bake bleed to a texture

Temporarily change the lighting:

make springles emissive
make the icing diffuse
remove all other light source (by moving them to other layers or disabling them)

Unwrap the icing and create a new image. Add this image as an image texture node in the icing's material and select it (it should be active). We are going to bake on it.
Bake the direct diffuse component of the icing.

We will now have an emissive map, this is not accurately bleeding, due to the random rotation of the sprinkles.Duh, whatever.

Connect this texture to the fac of a color mix node, mixing icing color with sprinkle_bleed color.

You can also bake multicolored sprinkles, just separate the Value (used for the factor) and the Hue and Saturation (used for the color).

Examples are highly exaggerated. Use a more moderate falloff with the RGBCurves node.


Object mirrors about component axis rather then main model axis I'm trying to mirror a component object about the main model's X axis, however when I add a mirror modifier the object mirrors about it's own axis. I'm sure I'm missing something simple.

Yes, just use the "Mirror Object" field in the Mirror modifier:

Should give you the result you want:

If not, you might need to apply rotation on the object you want to mirror.


Animation Nodes : how can I switch between different setups? Is it possible to work on several animation nodes NodeTrees and to switch between them / select the active one ?

I see AN generates a "Animation Nodes Object Container" object.
Is the nodetree attached to it ? And how ?

Thanks for your lights.

G

Animation Nodes Object Container

The Animation Nodes Object Container is created as a helper object for the Object Instancer node, in other words, it is only created when the Object Instancer node is used. Notice that it doesn't get removed when the Object Instancer node is removed and it is a single object even if you have multiple Object Instancer nodes.

Node Trees

If multiple Node Trees are presents, all of them executes based on the defined Auto Execution settings. So if both have Always option enabled, both will execute simultaneously. So there really isn't an "Active Node Tree". Subprograms are shared across Node Trees, so you can call a subprogram defined in one node tree in another.

Animation Nodes provide a fast way to disable/enable Auto Execution for the available node trees, this is done through the Overview Panel:


Blender color reduction I'm trying to post-process my render to achieve a low color depth look. For some reason the image becomes darker and the render do not really matches the look I want.

Exporting the not post-processed image and using the same algorithm on another program results in the look I want but it does not in Blender.

I would like to achieve the right image look using Blender. That will improve my working speed for my project because I won't need to use two programs.

How can I make Blender's compositing result match the right image?

Thanks for your help.

Create stairs in an "RGB Curves" node. To make the line straight select "Vector Handle" on each dot. Hold CTRL and click on the line to create new dots.


Set pose position to armature I'm having some problems with this model.
I created the armature using mixamo, and he also gave me the pose position.
As you can see in the pictures it is a T-pose and the inclination of the hands is different.
I would like to be able to apply the pose position as a new rest position (using the command "apply position position as rest position") but the result is that the model does not fit the skeleton.
I could recreate the model and its armor, but I want to know if there is any way to recover the model, if I were in similar situations.

tnx to all.

It appears, that you want to apply your new pose to the model as well as the armature.

To do that, make sure you are in the desired new rest pose. Then apply the armature modifier on the object first. The object will now be unlinked from the armature, but it will be in the target pose.

Now, you can apply the Pose as Rest Pose to the armature. Following this, both (armature and mesh) have the desired pose as the default pose.

To clean up, re-add an armature modifier to the mesh and select the armature as the target object of the modifier.


Connect a vertex to a pre-existing edge I have a vertex that needs to connect to an edge. I'd rather not have to subdivide the edge and just connect it... It seems too manual... Is it possible?

Its certainly not possible and not preferable because at whatever place you join two edges you add a vertex , so you cant just join them , you need to have 2 vertices to join


Blender game character not responding to game logic I created a basic male figure and rigged it using the rigify add on. I also created a simple walk animation action.

I attempted to turn the rigged model into a game character inside the blender game engine by following the Blender Game Engine: Simple Character tutorial by blender cookie.

I am having problems when setting up the game logic:

Sensor: Keyboard Up Arrow -> Controller: And -> Action: Loop End “Walk”

When I run the game the model defaults to its standing pose (unrigged pose?) and nothing happens when I press ↑.

As in the tutorial I tried to set the Relation Parent of the Model to the Rig with the parent type Armature and removed the armature modifier. This seemed to have no effect.

Any ideas as to why the action is not running in the game engine?

I am using Blender 2.68a

Edit: As requested, you will find a link to a zip with 2 blend files here. One is before game logic was applied and the other is with the game logic applied.

In one of the files you sent, RigRichardMaleGame.blend, you did several things wrong, the two most significant being that you moved the metarig away from the generated rig instead of just hiding it. See #4 here.

That next thing you did wrong was remove the Armature modifier from the base mesh, this is what links the mesh to the rig. Your animations will playback in the viewport as these have already been keyframed but the game engine's Action Actuator needs this to know what mesh to associate the selected action with. The action was playing in the game engine, the mesh just wasn't being updated (hence why it went back to the default pose).

So to fix, just add an Armature modifier to the mesh and select the hidden rig which is the proper (unmodified) one, (metarig).

NB: I would highly suggest not revisiting that scene at all. It's very botched (in terms of scene settings, scale and organization) and would no doubt lead to a plethora of further errors down the line. I would instead recommend appending out the base mesh, rigging it again (a matter of minutes using Rigify) and then reanimating and making sure this time to not remove the armature modifier or mess too much with the generated rig.


Can a Force object have no falloff? I'd like to apply a constant force to all objects, attracting them to the scene's origin. A Force object with negative strength at (0,0,0) with no falloff would do the trick.

Is it possible to disable a Force object's falloff?

For example, a negative force object will stretch a softbody; the closest parts of the mesh will move toward the force quicker than the rest. See this stretched torus object (attached .blend):

The falloff is actually correct - as can be seen if you replace the point force with a plane force - in which case the soft body does not distort until it reaches the plane of force.

The apparent issue is actually caused by a combination of the differing direction of travel of the soft body points and how they interact with each other. ie, the top and bottom rim of the torus is being pulled diagonally towards the centre of the force - this pulls the torus into an oval shape, reducing the force keeping the front and back edges together and allowing the front to pull away (and get pushed away from the other soft body vertices) faster than the back (which is also pushed away from the middle as it's pulled together).

Note how the sides of the torus are pulled together as well as towards the point force. This deforms the soft body allowing the front and back to separate (they are actively pushed apart by the 'push' springs).

The uniformity of the force can actually be demonstrated by using particle emission instead of the soft body - this results in the 'particle body' being pulled directly towards the centre and the front-back distance remains constant until it reaches the point force (although the sides are still drawn together).

As a final proof that the effect is due to the soft body 'push' force between vertices, reducing the Soft Body Edge 'Push' spring to 0.000 produces the following result :

ie, the 'sides' are still pulled together - squashing the torus - but since there is no 'push' spring this doesn't result in the torus being elongated along the Y axis (highlighted torus (orange) shows the distorted soft body the same length as the undistorted (black) one).


In my Blender 2.82a the snap function is not working I was trying to learn Blender starting from the beginner tutorial of Blenderguru on Youtube where he tries to make a doughnut.
In one part he tries to use the snap function to make the icing droop down on doughnut. I tried my best to copy the same on my computer but instead of snapping.... the vertices merge with the underlying surface.
I don't know why. I even tried to install a previous version and check if it would work in that but it didn't.
So any help regarding that would be appreciated.

While in Edit Mode for any object, open the Properties Shelf if it isn't already open (n key while hovering mouse in the 3D View), and click on the Tools Tab. Under the Options section, there is a feature called Auto Merge. Make sure it is not checked if you don't want vertices automatically merging with other vertices when they get close.


Unable to install Sverchok on 2.80 - Could anyone help I downloaded Sverchok from Github - but when I try to enable it I am getting the following error:

I am using Blender 2.80 Portable on Win 10 64bit.
I have no problem installing any other add-ons or Installing the older version of Sverchok on Blender 2.79b Portable.

Could anyone please help?

There is a guide explicitly for installing Sverchok for 2.8 here:
https://github.com/nortikin/sverchok/issues/2326

:)


I can't draw but I am super creative Here's a beginners question.
I have always been creative but I was never able to draw or put something on paper. However I can perfectly imagine my idea in 3D.
Now I have found Blender and I hope I can finally do something about my ideas.
So here's my question. Can I use blender to create new art, animations,... without being able how to draw?
Thank you!

I will answer this, but avoid questions that are opinion based like this on this stack exchange. Take the Tour here.
Of course you can! Drawing is not required at all for blender. You can utilize tools like sculpt and modeling which dont require knowing how to draw. I am absolutely horrible at drawing, and I know how to do these things using blender.


How to emit hair particles according to the normal of the emitter face? I have a particle system of Hair type and would like particles to be emitted from only those faces which I set as vertex group. The emitted particles should have the same orientation as the normal of the face of emitter, which to my knowledge is provided with Normal setting in the Rotation rollout and there should be 1 particle per face.

Regardless of settings particle system emits them:

close to but not exactly on the location of vertices set to vertex group;
oriented quite a bit randomly, without any preserving of the normal orientation;
not according to the amount of particles set to be emitted per face.

What I want to achieve:

In the screenshot above: sort of particle emitter selected. "Sort of" because it wasn't created with particle systems (rather duplifaces).

What I get with particle system:

In the screenshot above particle emitter is selected and Edit mode is activated for it. Emitted particles are above it, and particle instance is behind it.

Important particle system settings which were changed:

I realize that this question is heavily related to Emit Hair Particle from Center of Face which ironically was answered by me but to my surprise I couldn't get particle system work like that in 2.79 RC2.

This is caused by weights to some degree - as weights are added to vertices they are interpolated on the faces sharing those vertices. Hence mesh in the file above doesn't have vertex group affecting only top face rather top face plus part of faces below:

Particles will appear everywhere where weights are more than 0 which in this case includes top part of side faces as well. The proximity there will be less but enough to prevent from clear emitting only from the top.

One thing to try is to inset top face and weight paint only it:

This should guarantee particles disappearing from the sides but will still allow appear more than one around the top face as now weights are interpolated around the face which was insetted:

Hence Particle per Face won't really work here.
Another way is to join that Ngon into vertex at center and emit from vertices:

Likely the best way is making several particle systems and using each one for every special case.
Or using dupliverts / duplifaces, where there will be object duplicated via dupliverts instead of particle system. As dupliverts allow less control over position / randomizing / rotation etc. it could be used only for cases where strict rotation is acceptable.


How to create a puffy looking mesh? I want to create a mesh that looks like this sheep:

How could I go about achieving a look like this(I'm talking specifically about the puffy body of the sheep)? I tried using multiple spheres together and using a single sphere and sculpting it with the blob brush, but neither really got the look I wanted. I want it to look cartoon like in the picture, so I don't need realistic fur or anything like that. Any tips?

My blob brush monstrosity:

Try using a displace modifier with a procedural texture:

Add a cube (⇧ ShiftA)
Add a subsurf modifier (⎈ Ctrl5) (where 5 refers to the number of viewport subdivisions.)
Add a displace modifier, and click New texture:

Then click the properties icon on the far right of the button to go to the texture settings for the new texture.
Set the type to Voronoi:

I found that using Distance squared gives more rounded looking puffs, which might be what you want.
Back in the modifiers panel, reduce the strength of the displace modifier to some negative value so that the puffs are convex instead of concave.

Optionally model the cube into a shape approximately how you want the wool to be, and add a second displace modifier for larger displacements (you can use object coordinates and a scaled empty to make the texture larger):

Result:


what is this weird viewport shading? Part of this mesh is now shaded in the viewport in solid mode with this look that changes shade when you rotate the view. Like a hologram.
What is it?
Blender... where you hit the wrong key combo and 2 hours later have no idea what obscure hidden feature you've enabled.

It was this setting under object data parameters. "Normals->auto smooth" Which is somehow different from the other ways of doing it.


real multilayer sss in cycles It seems to me that blender cycles is quite limited for doing a real multilayer sss...

What I want to achieve is something like that.
Here is my bench, a shape with an increasing thickness

in renderman, you can define a multilayer sss like this:

and you obtain something like this

which is exactly what I want. To explain with a little graph, here the way I want my scatter to behave:

But in blender cycles, it seems that you cannot achieve something better than that:

The reason for that is that you can tell the sss shader to be present from 0 thickness to x (via scale and radius), but there is no way to set presence from a to b where a > 0.
The graph looks like something like that in blender cycles:

the deep layer is overlapping every layers...

very simple dummy node setup to summurize what is performed for any skin shader I found or tried to do (also this is a very bad setup here, no energy conservation):

Is there a way in blender cycles to know the deepness of the scatering? Or am I thinking my shader the wrong way?

Thanks a lot! (and sorry for my average english...)

edit:
digging...
I have made a pretty nice step forward using absorption and translucency. It seems that sss is not absorbing the light rays, thus, make impossible the use of raylength, whereas translucency of course does. Here is the same bench:

with suzanne (right one has a quick white skull using solidify)

edit 2
Still digging around
I have created a node setup to create a 3 colors ramp. It is quite usefull for my current tests:
(cursor here is the V coordinate, should be the deepness in the final shader)

edit3
What about this attempt?
I am not sure about energy conservation here, I think the add shader at the end should be balanced with something in the diffuse shader... maybe not. Any idea?
The 8.0 value is just to make the effect more obvious. Should be 1.0 in real world I guess..
Also, isn't there a IOR coefficient in real world? I have tried the glass shader with 1.0 of roughness, but it clearly doesn't make the trick...
anyway, here it is:

This can be achieved by combining multiple Subsurface Scattering shader nodes to 'cancel out' part of the scatter at short distances. This allows the scatter profiles to be manipulated as desired.

As explained in your question, standard Subsurface Scattering shader only provides control of the 'radius' of the scatter in each of the channels - ie, how far each of the colors is scattered within the surface with falloff over distance - with no control over when the scattering actually starts. This means that close to the point of illumination all colors are scattered equally and each drops off at it's own rate as the distance increases.

Using the default 'Cubic' sub-surface scatter mode, the distribution follows the Cubic distribution function :

y = e ^ -((x^3)/(a^3))

For Quadratic, the distribution is very similar :

y = e ^ -((x^2)/(a^2))

Online tools are available to graph these functions so that they can be easily manipulated - for example, https://www.desmos.com/calculator, which allows you to instantly see the result of changes to the function.

Cubic :
Quadratic :

To control the scattering we need to be able to manipulate the profile of those graphs and this can be achieved by combining multiple scatters, each with different properties. For example, by adding two shaders together we can produce a more interesting distribution :

In order to block the scattering at 'short' distances we would need to subtract one distribution from the other.  eg, 'y = (e ^-((x^3)/(a^3)) - e^-((x^3)/(b^3)))*c' with carefully selected values for 'a', 'b', 'c' (a controls one Cubic, b controls the other Cubic, c scales the result).

(https://www.desmos.com/calculator/fnixk2lkqv)

Under normal circumstances it's not possible to subtract the effect of one shader from another - since we only have an 'Add' shader and a 'Mix' shader but no 'Subtract'. However, there is a trick we can use to subtract the effect of a shader by using 'negative' color values. The color of a surface is represented by a Vector of 3 values - Red, Green, Blue. These values are usually in the range of 0.0 to 1.0 but are equally valid to be outside of that range. For values greater than 1.0, the surface will have the effect of amplifying any incoming light rays. However, values less than 0.0 result in any incoming 'positive' light rays being converted into "negative" light. Combining such negative rays with the output of another shader using the Add shader will result in the negative light being subtracted from the positive light. Care should be taken to ensure that the overall effect does not result in negative light escaping the system - this can cause some unexpected effects - but this can be used to 'cancel out' the effect of one shader with that of another.

The Subsurface Scattering Shader consists of two elements - effectively a 'Diffuse' element to handle the surface interaction and the 'Subsurface' element for the below-surface scattering. Subtracting one Subsurface Scattering shader from another will remove the 'Diffuse' element, so we need to add it in again - so we need 3 shaders : one for the 'base' subsurface (which should have Radius set to 0,0,0 to disable scattering), one for the 'positive' subsurface scatter and another for the 'negative' subsurface scatter.

This can be implemented with the following nodes :

The material consists of three Subsurface Scattering nodes. The top one has its Radius set to 0,0,0 so that it does not perform any scattering - it acts effectively as a Diffuse shader (and, in fact, it could be replaced by one - although my tests seem to show that it's not actually more efficient that way) to provide the surface interaction. The next Subsurface Scattering node provides the 'positive' element of the scattering. Its Radius is fed from a Combine XYZ node which can be set to the desired scattering parameters. The final Subsurface Scattering node provides the 'negative' element of the scattering and it also has a Combine XYZ to provide the scattering parameters. A Vector Subtract node generates the 'negative' color from the input RGB node by subtracting from 0,0,0. The Color is also multiplied by an additional Combine XYZ node to provide scaling to adjust each channel. The outputs from the three Subsurface Scattering shaders are combined using Add shader nodes to provide the final output - ie, 'surface' + 'positive' - 'negative'.

I used the same online graphing tool mentioned above to adjust the parameters until I was happy with the parameters for each channel. The values of a,b,c can be simply plugged into the 3 Combine XYZ nodes in the above material - 'a' into the Radius input of the 'positive' shader, 'b' into the 'negative' shader, 'c' into the multiplier for the Color input.

An interactive version of this should be available here : https://www.desmos.com/calculator/jp3nbgellf.

To see how Quadratic would affect the distribution, see here : https://www.desmos.com/calculator/zycoycntdl

To demonstrate on a back-lit wedge :

Blend file attached


How to render an animation of a scene in right viewpoint mode? i.e. so it appears in "2D" and from the right side Complete beginner here. I have an animated sequence of some rotating cylinder objects and want to render this sequence and save it as a video.

I thought that the view on the left of the screen represents what the rendered animation will look like. I have in "right view" mode in the viewpoint settings because that is the angle I want to record (first picture). However, the render looks different to what I expected (second picture).
Also, I'm unsure why there's purple light on the objects when they only have a grey or black material on them and there is no additional lighting in the scene (only the default light). The image below is what the final render looks like.

Was trying to attach a .blend but couldn't work out how to.
Cheers.

The rendered result will always be the camera view which you can access by clicking 0 on the numpad or View > cameras > Active camera.
If you want the Camera's FOV to match with the left image, simply search for "align camera to view" in the search dialog. Since the left image is in ortographic view, you can change your camera to ortographic in the camera settings under lens > type > ortographic.
If something is purple, this usually means that an image texture is missing (renamed or moved to another folder, deleted etc.). Make sure that the cylinder materials have the correct image textures loaded. It could also be the case that you use an HDRi to light your scene which cannot be found.
You can share your .blend file using https://blend-exchange.giantcowfilms.com/ and following the instructions onscreen.


Establish a variable inside a driver expression I'm quite new to python and drivers. I'm writing a rather complicated scripted expression inside the driver-area and I need to repeatedly use a long number sequence. Would it be possible to first store this number inside a new variable and then refer to that variable instead of the number?

The driver namespace

Can add functions and constants to the driver namespace

import bpy

def func(a, b, c):
    return a * b * c

m = 9.4443299912

bpy.app.driver_namespace["f"] = func
bpy.app.driver_namespace["m"] = m

Run the script above, (copy & paste into text editor hit Run Script button,)  to make the new members available to the driver namespace. To make it autorun when file is loaded, give the text block a py extension and check the Register checkbox on RHS of text editor header

Can now consider m in a driver expression to be a named constant like pi and e.

Use in a driver expression like f(m, m, m) Can be typed directly into a field by preceding with a hash # character.  Once the expression is a driver (purple) on editing expression there is no longer a need for #.

There are a number of functions and properties etc already defined to the namespace, a sample of python console output.

>>> for k, v in bpy.app.driver_namespace.items():
...     k, v
...
('asin', <built-in function asin>)
('asinh', <built-in function asinh>)
('atan', <built-in function atan>)
...
('pi', 3.141592653589793)
('e', 2.718281828459045)
...
('f', <function func at 0x7f8f18d34c80>)
('m', 9.4443299912)
('frame', 1.0)

Where frame is the context.scene.frame_current.

EDIT: would like to see a "sub expression" driver variable type where you could do this for scalars, or using other defined variables.  Fitting everything into the scripted expression can be a PITA.


Simple glossy balls in Blender internal renderer I'm trying to make a bunch of balls bouncing around, and I want them to look really glossy and plastic/toy-like, using Blender Render.

I made a plane emitting light above the balls, to make a shiny rectangle on all balls, which looks pretty good, but the balls are all reflecting each other, so it looks kind of stupid like the image below.

How can I make balls, and other plastic objects that look glossy without making them reflect each other and still look shiny/glossy?

I guess I would need to fake reflections somehow?

I think you should simply find a better balance between the "mirror" and the "specular" function of the material, as picture 1.

If you really want to fake the reflections, you could render the previous scene, then render only balls, lights and white reflective plane over a transparent background, unchecking the "traceable" option of the material (this will delete the cross reflection between balls, but shadows also will disappear); then composite the two images: floor and shadows from the first render, balls with no cross-reflections from the second (you will miss the shadows of balls over others balls).
This method works also for animation movies.


How to keep vertices from snapping to to wrong-side of mesh when retopologizing? I've got a mesh that I'm retopologizing as a practice-run to get used to the motions, having followed the method described in this video by FlippedNormals.  Using 2.8, and settings are as follows:

Everything is working as-expected, except that when I try to extrude down the length of the arm.

Everything looks fine until I rotate the viewport and see that...

The vertices on the far-side of the retopology are snapping to points closest to the front, relative to the viewport at the time of extrusion.

Is there a way to keep this from happening, and instead just have them snap to the expected-surface of the mesh?  I'm not adverse to the idea of getting 2.79 and nabbing retopoflow should that indeed be the only/ideal solution, but I would definitely prefer to try and keep everything consolidated to 2.8

Thank you very-much, in advance!

You did not check "project onto self" in the snapping tab. Try that out and see if it helped.


Scale Keyframes Together From "Medium Point" I have two key frames in order to make an object change location.  I decided to make it move faster, so I want to scale the key frames together.  However, when you select them and scale, both key frames will grow closer to each other, but they also start moving towards frame 0.
I want to scale both keys so that they move towards the middle of the original distance between them.  This would be like scaling two objects using the medium origin in the 3D view.  How can I accomplish this?

In the Dope Sheet, the position of the 2D cursor (the blue line) will be the pivot point:

As  atomicbezierslinger says, if you switch to the Graph Editor (CtrlShiftTab) you'll have the choice between Bounding Box Center, 2D Cursor and Individual Centers:

if you want the middle of your selected keyframes to be the pivot point, choose Bounding Box Center:


Render Image is further back than viewport image I am new to blender (yes, laugh at the obligatory doughnut) and I when I set up the camera (I use NUM 0 to access the camera and move it into position with "Lock camera to view") in the viewport it shows as the first attached image, but when I render it the image is further back as shown in the second image. Is this normal behavior or am I missing something?

In this first image, you can see a dark grey border around the plane and torus. Is border represents the edges of the render camera's view. I don't see this in your top image, which leads me to believe you're zoomed in like the second image. Notice in this view the camera has not moved, that is, both pictures will render the same, but you can no longer see the safe area because you have 'zoomed in' on the render area.
To see the whole render area press Home.


why do i get those weird black spots on a baked roughness map? i was trying to bake the roughness map.
but for some reason it got those weird black marking on it. that were not originaly there.
i have no idea why it happens.
any idea how to solve it?

I had a problem very similar to this.  I after much trial and error and using different colors, I finally figured out that you MUST have the "roughness" setting of your materials set to less than 1.  If I painted a model with any color with a Roughness set to 1, then it would be mostly Black with few correctly colored spots when imported into Monogame as an FBX.


What is the definition of "ples" What does ples mean? The editors section, on the picture attached, has an arrow that points to the word ples. I would like to know what it means.

in the meantime: does this diagram help?


Converting a mono audio strip to a stereo audio strip I have imported an mp4 video file (an interview) into the VSE, for use with an animation. The audio of the video file is mono. I want the VSE to output a video file with the audio in stereo (so that the video is played on two speakers, not one, as is the case now). How can this be done?

In the Sidebar check mono.
Duplicate the audio Shift + D to a new channel.
In the Sidebar set Pan value to -1 in one audio strip and +1 in the other.


Can't get armature to move mesh! I am trying to get an armature to move one limb on a deer I have made. Here is my design process!

I made the body and limbs as separate meshes. I wasn't sure how to create limbs out of the body of the mesh and make them look good.
I tried joining  the meshes, creating the armature and setting automatic weights and then moving the armature in pose mode. The mesh would not move with the armature
I thought maybe it was because many vertices between the mesh and the limb were crossing so I thought maybe that was why the armature was not moving the limbs
I used the cut tool to remove the intersecting mesh on the limb and the body so that there were no intersecting vertices.
I then joined this set of meshes and created a new armature, set the weights to automatic and tried to move the mesh in pose mode and it still won't work.

What should I do? I don't know what else to try. I have been following any other online instructions exactly.

File Link:

First, you needed to join all parts of the deer by selecting the misc ones, then the main one, and keying Ctrl + J.

You also needed to parent the mesh to the armature by first selecting the mesh, then the armature, and keying Ctrl + P. You would select Armature Deform > With Automatic Weights.

Lastly, some weight painting had to be done. I did all of this. Here is the finished .blend file:


Sun lamp and Diffuse surface is not lambertian? I made simple scene with 1 sphere and 1 sun light. I set strength of sun lamp to 1.000 (emission node) and add diffuse BSDF surface with white(R1G1B1) to sphere. When I render this scene, sphere shows gray color(max 0.3) even at completly orthogonal with sun direction.

I think diffuse surface reflect light using lambertian, so surface shows white color at orthogonal point.

What's wrong in my scene?

(I used Cycles renderer and cut off shadow)

Assuming the sun light has size 0 and strength 1, the correct maximal value on the sphere is 1⁄pi, because of energy conservation and the units used.

Cycles uses physically based units for light strength, in this case Watts⁄m2 for sun lights. Other renderers and game engines (typically ones that were not designed with physically based rendering in mind) often use a light strength that is implicitly multiplied by pi, which would give the maximal value of 1 you expect.


Why Blender and git seems like working so well together? Blender and git seems like working exceptionally well together!

I took some tests with hundred of megabyte files and versioned these several times.. the result was a git folder of just a couple of MB... and sometime even lighter then before committing!

from test to test I run a git gc for the garbage collection...

I also took some tests on merging and apparently It handles (for simple tasks like materials modification and new objects creation/deletation) the thing pretty well!

so my question is...

how's that git works so well with Blender? Is something in the code? It's because of python... anything else? =]

tested with git 2.17.0-1 and blender 2.79.b-5

Blender saves a direct copy of its memory to the blend file. As a result, the file contents change little when you change a small thing in Blender. This allows tools that perform binary diffs (not sure about Git, but Subversion and Mercurial do a good job at this) to produce a small diff.

When you save your blend file compressed, the entire file can change even when in Blender only a single bit was flipped. This prevents efficient diffing, and thus makes it work much less efficient with such tools.


Blender 2.8 Beta wouldn't load old 2.79 Key Configuration Blender 2.8 Beta wouldn't import 2.79 Key Configuration

Is this a bug or a feature?

Thank you.

Keymaps and input settings changed significantly between 2.7# and 2.8 to the point where it is not trivial to make them compatible.

For this reason, importing old keymaps has been intentionally disabled.


How to get more speed for the blade Im creating Table Fan. For the blade the rotation looks slow. I added Motion blur yet to it looks slow. Any suggestion how to increase the speed to look more realistic.

With the reference of the answer Edgel3D

Whats missing im not getting the same effect in the answer shown. I tried all the setting in the answer. Any suggestion what im missing. Thanks

Note - this Blend file was from Version 2.77a.   The same principle applies for later versions.

Once the rotation is set up, it often looks more convincing to fade in a semmi-transparent disc whilst also fading out the propeller to semmi- transparency, reversing the procedure as it slows down.

In this example the Material slot's 'Alpha' slider was keyframed for both the prop & disc.

Layer 2 is a turbine propeller whereas Layer 7 is a piston engine with compression.  The compression kick-back is done in the graph editor.
(see the green 'Y rotation' f-curve where the prop stops)


Collision logic brick not detecting collision in BGE I am making a game in the BGE and I don't want my character going off the platform. I have is set to quit the game when that happens (I am going to change that later), and the walls let him pass right through. How can I prevent that?

I want him to stop at the walls. Here is the logic:

What am I doing wrong?

Is your character have "Static" physics?
If yes,just change character's physics to "Dynamic"


Is there a way to bring in vectors from an AutoCAD file without them being filled? I come to Blender from the CAD world.  I am teaching Blender to 12 students.  We are working on a scene that happens in Charleston Harbor in 1862.  I found an old chart and scaled it to full size using AutoCAD.  Then I traced it making closed polylines.  I can bring it into Blender as an FBX, but those closed shapes come in looking like this image:

I want to make a landscape using the shapes I created, giving it height.  Do any of you know how I might un-fill the shapes?

There's a plug-in for importing DXF files that gives  you a lot more options than FBX and it looks like it imports linework as paths instead of meshes.


Should I fill every face include invisible one? Often, I overlap two meshes together to make some desired geometry. In this case, there are always invisible faces.

When I was just beginner, I made some bad topology sometimes, and this makes bad UV results. Maybe that's why I try to fill every faces even they are invisible, because I had bad experience with empty faces in invisible geometry.

(I think those problems were coming from duplicated vertices, maybe)

The problem is that when I'm making textures, invisible area still takes texture spaces even they are invisible, and sometimes it takes a lot, depending on size of the faces.

So theoretically, I can get more spaces to make more high resolution texture by riding off those invisible faces from UV.

Does it matter that remove invisible faces? Should I fill every face include invisible area?

Any advice will very appreciate it.

Removing the invisible faces means less things to render, which will save you time and require less processing power. So I would advise to get rid of invisble faces and everything that won't be shown in the final render.

I would suggest using a Boolean > Union to unite the two meshes once you have managed to create your desired geometry. It will turn the two meshes into one and remove all the invisble parts without requiring you to do it manually, which can quickly become tedious.

Of course, always make sure that you have copies of the original meshes, in case the Boolean operation gives you trouble and messes things up. It can happen, depending on the meshes involved, their complexity, level of detail and many other factors.


Camera Tracking 360 Degrees On X, Y, Z Axis I have tried searching for an answer to my question, but I haven't found any helpful information yet.

I would like to create a camera that follows a rollercoaster path 360 degrees around my scene along the X-axis, Y-axis and Z-axis. So the camera will pass above my scene, below my scene and all around, but the camera focus will mostly move in the centre of my scene. Except sometimes I want the camera to ignore the focus and be locked looking forward along the path, other times I want to pan to the sides/up/down and other times to barrel roll around the camera's local negative Z-axis.

I have created a Bezier curve path for my camera to follow and an empty for the camera to track. However I have parented the camera to another empty and set the camera's parent empty to "Follow Path" along the camera path and also Track To my focus empty. The focus empty also has a second Bezier curve path that it follows.

I parented the camera to an empty so I could still pan and barrel roll the camera as the empty moves along the camera path. I am also key framing the offset of the camera's parent empty in order to create rapid/gradual acceleration/deceleration to match a rollercoaster's various speeds.

First I tried setting the camera empty parent to Track To my focus empty, but of course the camera flips 180 degrees when it passes above or below my focus empty.

So I deleted the Track To constraint on the camera parent empty and replaced it with a Locked Track constraint, but even the Locked Track constraint still has one axis the camera will flip 180 degrees.

My question is what are some camera rigs to circle 360 degrees around a focus empty along the X-axis, Y-axis and Z-axis simultaneously without the 180 degree camera flip, and still be able to rotate and pan the camera as it moves? Thank you very much.

I solved the 180 camera flip problem by duplicating my camera and switching the active camera. Here is how it works for anyone new to 3D camera animation like myself.

I created four separate empty cubes named CameraFocus, CameraTrack, CameraTarget_Y, CameraTarget_-Y, and then three cameras named Camera_Y, Camera_-Y and StationaryCamera.

I parented Camera_Y to CameraTarget_Y and then parented Camera_-Y to CameraTarget_-Y.

Then I parented CameraTarget_Y, CameraTarget_-Y and StationaryCamera to CameraTrack by selecting them all, selecting CameraTrack last, and pressing Ctrl-P. Then I added two Locked Track constraints to each CameraTarget_Y and -Y, like this:

CameraTarget_Y:
Locked Track: 1
Target: CameraFocus
To: Y
Lock: X
Locked Track: 2
Target: CameraFocus
To: Y
Lock: Z
CameraTarget_-Y:
Locked Track: 1
Target: CameraFocus
To: -Y
Lock: X
Locked Track: 2
Target: CameraFocus
To: -Y
Lock: Z

I had to set the Camera_Y x-axis to rotate 90 degrees to point it at my CameraFocus. Then I set the z-axis of Camera_-Y to 180 degrees and added a Copy Rotation constraint to copy Camera_Y's x, y and z inverted rotation in local space and checked the offset. So now I have two cameras that point to the CameraFocus but they are mirrored on the x-axis.

Now I can use the Follow Path constraint to make the CameraTrack follow a path while tracking my CameraFocus. I can also keyframe the CameraFocus to move or set it to follow it's own path.

The 180 camera flip happens when the CameraTrack is parallel to the zero x-axis and crosses the y-axis because the Locked Track direction and 'up' values cannot be parallel. When To: is Y or -Y and Lock: is also Y the Locked Track doesn't know where to point so you end up with the 180 camera flip.
But we now have two cameras that are mirrored on the y-axis, so when they flip just switch cameras by setting a marker in the timeline with M and then Ctrl-B to set the active camera.

If the camera flip is instantaneous you can simply switch from Camera_Y to Camera_-Y or vise versa. If it's not instantaneous, key frame the StationaryCamera to match the rotation to the active camera and set the StationaryCamera as the active camera. Move the timeline to when the cameras have completed their flip and key frame the StationaryCamera to match the rotation of the opposite camera of the previously active camera and set that camera to the active camera.

And viola, a professional Hollywood camera dolly system that can rotate around the x, y and z-axis simultaneously with no 180 camera flips. I can move the CameraFocus by key framing it or constrain it to follow it's own path to create smooth curving camera pans. And since the CameraTarget_Y and -Y handle the camera tracking, the cameras themselves are free to pan and roll independently if needed. Just remember when you switch Camera_-Y to the active camera and you want to pan or roll Camera_-Y, you will actually need to rotate Camera_Y to keep them in sync. Hope this helps someone else out there.


Why is this glass Cycles material casting solid shadows? I created a glass cone with black seams (the seams are a diffuse not transparent material).

When I shine light on it, the cone casts a solid shadow. Why is this?

I would like to have a (semi) transparent shadow cast from the glass
and a full shadow from the seams.

Here is the link where you can (hopefully) download the blend file:

glass cone

You did have Transparent Shadows disabled in the Material Settings.  Once enabled, you can use the Light Path Node's Is Shadow Ray to Select between the Glass and Transparency shaders to achieve this effect.


Is it possible to have multiple bevel objects along a curve? I'm wondering if it's possible to define multiple bevel objects along a curve and have Blender interpolate between the bevels like keyframes.

Nope, this isn't supported, nor do I think it's coming in any near future.

It probably wouldn't sit very well with Blender, since it's a mesh based. This would be more suited for NURBS based modeling tools or CAD software.

Closest thing I've ever seen is BSurfaces Addon but it's not a very good solution.


How can I manipulate these fingers? I have downloaded this rigged hand and I am interested in using it to spell letters as they do in sign language. I am using the python prompt to manipulate objects because the ability to do it programmatically is important to my project.

My trouble is I can't figure out how to bend the fingers. The model of the hand has an Armature, which I understand to be some sort of collection of bones. Well anyway, I did this

bpy.context.object.pose.bones['finger_index.01.R'].rotation_euler = [5,5,5]
bpy.context.object.pose.bones.update()

And I expected the finger to move when I did. Why did this not happen, and how do I achieve what I wanted?

To do this:

import bpy
import math

ob = bpy.data.objects['Armature']
bpy.context.scene.objects.active = ob
bpy.ops.object.mode_set(mode='POSE')
bonename = 'finger_index.01.R'
pb = ob.pose.bones[bonename]
pb.rotation_mode = 'XYZ'
angleX = 5
angleY = 5
angleZ = 5
pb.rotation_euler =
 (math.radians(angleX),math.radians(angleY),math.radians(angleZ))
bpy.ops.object.mode_set(mode='OBJECT')


Bone sizing won't work When I try to change the thickness of the bones by pressing crtl alt S, nothing happens.  Any ideas or suggestions?

To adjust the size of the bones you need to be in the edit mode.  You can enter edit mode by selecting the object and hitting Tab.


Where is the option for facets view or face triangles? There is the facets view in 3DsMax that allows you to see the triangles that cut every quad in two, and in Maya there is a "face triangles" option which does a similar thing but with doted lines. This is an important visual aid while doing retopo for game models.
Is there such an option in Blender?

In Edit mode with everything selected first open the Face menu and choose the Triangulate Faces option.
In object mode with model selected, Open the Objects Properties panel > Viewport Display > and enable Wireframe.
Now you can see the face triangles in object mode.


image not rendering properly (weird orange grain) so, every time I try to render my image, i just get a bunch of orange noise. i can't even see the image I'm trying to view

Go to the outliner. Select your camera. Go to field of view (FOV) and check it says 35mm. Then go to the depth of field, uncheck it to render. If it renders, go back and re-check field of view, type 24mm and check results.
Also, on the N -panel on the viewer uncheck depth of field.

Thank you for your consideration to choose this as the correct answer.

BFCT_Schiller


How to pack all linked data inside the current .blend file I'm working on an animated short. I am trying to send my final results to a render farm because I don't have the processing power to render it on my computer. Each shot is in a separate linked .blend file, and the render service cannot see the linked data.
Note : All paths are relative and File->External Data->Pack All Into .blend doesn't do it

Is there a way to send a linked file as its own isolated .blend, with its own path data?

There is now an add-on (BlendFile Utils) that comes with Blender (2.77 and newer).

That supports packing a file and all its dependencies into an archive.

Note that this is a stand-alone tool which can be run from the command line, the same code used on the Blender-Cloud for downloading blend's as zipfiles and was used for exporting Blend files to the renderfarm for the short film Cosmos Laundromat.


GPU compute not working in Mac Book Pro with NVIDIA GeForce GT 750M 2048 MB Blender 2.77 not rendering with GPU compute in mac book pro with NVIDIA GeForce GT 750M graphics and Intel Iris Pro Built-in graphics.
2.5 GHz Intel Core i7 and 16 GB 1600MHz DDR3.
after starting the render its shows--

first for about 2 minutes the status line shows --'Loading render kernels(may take a few minutes the first time)’  after that a message is displayed -
' cycles render GPU Compute. Calculation is finished.'

then in the status area it shows-  'OpenCL build failed: errors in console.'

is this graphics card not supported in blender?

what can I do to use the GPU render.

It sounds to me like you're trying to use OpenCl as opposed to CUDA. Change your render option to CUDA in Blender Preferences. If that doesn't work, try updating blender to 2.77a.


How to select faces inside model? Here the author selects only faces inside of the model. In my case, I can't select only inside. I am using border select.

Is there any way to select faces inside without selecting faces on the surface?

Here is my file:

http s://drive.google.com/open?id=0B_-tV3odolwlaTM1bjZLRDF6U1Evv

There are several ways to do that, but first, change triangles to quads by selecting all faces and pressing ALT+J in edit mode.Here is what you can do to select only inside faces:

Hide the rim, select one inside face, CTRL+L to select linked.
Mark seam around the rim, select one inside face and CTRL (it doesn't work with vertices, must be with faces)


How to iterate name of output image name in blender via python? For example I want it to be something like:
RenderedImage1.png
RenderedImage2.png
and etc
How to do something like this?

Here's the code I have:

import bpy
from random import randint
from random import random
from random import uniform

ob = bpy.context.active_object

ob.particle_systems[-1].settings.hair_step = randint(0, 20)
ob.particle_systems[-1].settings.hair_step = randint(0, 20)

def render_image():
    if  bpy.context.scene.frame_current == 250:
        bpy.context.scene.render.filepath = 'BlenderRepository/RenderedImages/RenderedImage.png'
        bpy.context.scene.render.resolution_x = 1920
        bpy.context.scene.render.resolution_y = 1080
        bpy.ops.render.render(write_still=True)

render_image()

Just call RenderSettings.frame_path() which returns the absolute path to the filename for a given frame or concatenate your string like  ".../folder/image_" + str(250) + ".jpg"(error prone due to OS differences).

Proof using the Console:

>>> rd = C.scene.render
>>> rd.frame_path(frame=250)
'/tmp/0250.png'

For multiple render iterations, I'd suggest append the iterator to the filepath:

C = bpy.context
rd = C.scene.render

for r in range(1,3):
    path, ext = rd.frame_path(frame=250).rsplit('.', 1)
    multi_path = path + "_" + str(r) + "." + ext
    print (multi_path)

Terminal Output:

/tmp/0250_1.png
/tmp/0250_2.png


Denoising options in latest 2.91 nightly builds I've been using the Denoise node in the compositor, hooked up to Denoising Normal/Albedo, with those render denoising passes turned on. Works fine. I believe that's the OpenImage denoise algorithm.
In latest 2.91 nightlies, I see in the Scene settings under Denoising, a Render option with choices NLM and OpenImageDenoise.
How are these related? Are they the same? If I keep my denoise node in the compositor and turn on the Scene-settings denoise do I get two denoise passes? If I choose NLM in the settings, what happens to the denoise node in the compositor? Should I just remove the compositor nodes?
I see in this commit the new text explaining that the denoise passes are adapted to the selected denoiser, but that doesn't say anything about what you need in the compositor.
And finally, is OpenImageDenoise or NLM better?

The short answer is that if you enable the Denoising in the render options you do not need to use the compositor Denoise node. And OpenImageDenoise is better.
The longer answer is that OpenImageDenoise is the same as the compositor node but it works while rendering rather then after the the render which can speed things up a lot. NLM is a denoiser that doesn't use ai unlike the others so it isn't as good.
This is a version of a project i started that has subsurface scattering so it is harder to render
This is with only 5 samples and no denoising

This is all the same and still with 5 samples but with NLM denoiser which is the one that doesn't use ai

And this is identical but with the OpenImageDenoiser made by Intel that uses ai but can sometimes be slightly slower than Optix ai denoiser by Nvidia that is only for compatible Nvidia graphics cards and slightly less impressive
As you see the OpenImageDenoise is better
For curiosity's sake this is the faster but only for Nvidea cards Optix real-time denoiser that is somewhere in between NLM and Intel OpenImageDenoise


How to model spread book interior? I know the question can sound odd, but here's something I aim for:

I often need to create mockups, but I can't figure out how to model sheets of paper that are bent and closely packed. I tried to create planes with solidify modifier, bend them manually and then use array modifier to copy them. But it looks boring and unrealistic. I think that the visible pages should be created manually, but everything that lies beneath seems to be very hard to model in my case.

In the second example, you can see that sheets of paper seem to be different in size, position and maybe even in colour. The book's edge (the edge of the book's interior) looks rough just like in real world. I know it's a matter of randomness, but... how to achieve this kind of effect? I was wondering if my strategy of creating separate planes is good. Maybe there is a better way?

Basically, I'm looking for some idea that would help me to create bunch of pages that look like an open book.

Thanks in advance guys!

If you are trying to achieve a more organic render you could use an image of a book end or stack of paper as a texture and bump map. The "paper ends" image I captured for the texture/bumpMap is at the bottom of this post. I'm throwing it out to the Public Domaine CC-0.

The body of this book is a cube with some loop cuts which has a Lattice Modifier creating the bend. Then mirrored.

The two top pages are Bezier Curves which are Extruded. The Resolution of the curves was turned up to smooth the resulting curve.


Red nodes aren't affecting result I am creating a lens flare for my scene using the node editor.

I finished setting up all the nodes and had a final render which looks ok. However, when I tried to group it (CtrlG), all the nodes being grouped turned red.

It's my first time trying to group nodes so I'm not sure if it's normal that all the nodes turned red. Moreover all the nodes that is under the group doesn't work when being rendered! the nodes no longer work after I grouped them. How could I fix this?

Here's my blend file.

Those nodes are red because they are muted, which is a means of disabling a node temporarily. M toggles the selected nodes muted/unmuted.

Grouping in your file works fine for me, so I'm guessing you pressed M accidentally while pressing CtrlG.

To fix, just select the muted nodes and press M again.


Using the z-depth buffer when drawing from bgl draw callbacks? I'm investigating making some simple widgets using bgl and finding it difficult to use the depth buffer without making a mess of the area I'm drawing in.

Enable depth testing:

glEnable(GL_DEPTH_TEST)
glDepthMask(GL_TRUE)

From here I've tried calls to glDepthRange(...) , glDepthFunc(...) , with varying degrees of success, but without a handle on writing above the view, ie when I do get an element to draw behind it ends up behind everything and can't be seen.  (well at least I'm assuming that's the case)

Will keep editing the question as I get more o fay with bgl / opengl.

Ok I have found one way of doing this.

bgl.glEnable(bgl.GL_DEPTH_TEST)
bgl.glDepthRange (0.0, 0.9);

# Draw "Something" here

bgl.glDepthRange (0.1, 1.0)

# Anything drawn now will be below "Something" drawn above

# restore opengl defaults

bgl.glLineWidth(1)
bgl.glDisable(bgl.GL_DEPTH_TEST)
bgl.glDisable(bgl.GL_BLEND)


Dark conical shape appeared in solid view clipping display of objects I was setting up a render border, but instead must have pressed something wrong (I'm not sure what) and this is what I ended up with:

Basically, there is a darker, conical or pyramid shape in the solid view and it restricts (clips) what parts of items are visible.

I want to disable it, but because I don't know how it is called or what I did to enable it in the first place, I can't find the option.

What is this feature called and how to disable it?

By accident you set View Clipping Border with Alt+B shortcut, to disable it hit Alt+B again.


How can I display the currently selected settings in a panel? In my panel I have 3 buttons you can press. Each one will change the File format type to a different setting. I would like to add text above the buttons that displays "Current Selection:" and then what ever setting that is currently selected (for the File Format).

By looking at the template I know this is possible, because you can add the name of the currently selected object.

row.label(text="Current Selection: " + obj.name)

I know the obj is related to the object in the scene but I need to know how to change it so I can display the File format type instead.

I just don't know the proper context to make it work for me.

After playing around with it, I think it would be easier just to add this:

scene = context.scene
view = scene.view_settings
row.prop(view, "view_transform")

Not only do we get the options we want but we can see which is active.

Alternatively, as brockmann has said, you can use:

layout.prop(view, "view_transform", expand=True)

which would give you this -


CUDA option not shown when using an old GPU It looks like this is a common problem, but I can't find any forum post that has a solution to my situation: I have no CUDA tab in system settings in Blender.

My data:
Windows 10 64bit

Blender v2.77

Geforce GT 330M - driver Nvidia 341.95 (newest avalible driver.)

Is there someone who can help me to find out what can be the issue?

You are out of luck.

The graphics card in question is quite old and has a Cuda compute capability 1.2, which is not supported in blender anymore

To use GPU rendering in Blender you need a card with a 2.0 compute capability.

Form the manual:

  NVIDIA CUDA is supported for GPU rendering with NVIDIA graphics cards. We support graphics cards starting from GTX 4xx (computing capability 2.0).

read:
How to enable GPU rendering on older Nvidia GPUs?

and
Enabling GPU rendering for Cycles?

Even if you where able to somehow hack GPU rendering with that card, it is likely going to be equal or slower than rendering on CPU.


Missing 3d text on animation render I've been making a video with some clips, a couple of photos, and 3D text hovering over them. On VSE, I set, in this order fron lower to higher, an audio track, a video track with a blank sheet on it, used as background, another video track with some clips and images, an effect track to manipulate those clips and images, and, over all of them, an "scene tracK" for the text, made in 3d viewer. I created several text objects, set black and green opaque materials for them, and keyframed their location parameters to animate them so they apperaed and dissapeared over the white background or over the clips and photos. The white background was set as Cross blend, and the rest of the clips were set as Alpha Over blend. I used Blender Render, and my office pc works with windows 10, has 16gb ram, and some mid range CPU and video processor.

I worked on it the whole day. Everything was going well until, prior to render it, I realized that my green text had suddenly gone black on vse viewer. On 3D rendered view, it was still green. Then, going to the beggining of the video, I found some of my text was just missing on my vse viewer. I changed to 3d view, and I could see that it was there, animated as I had planned before. By that time, I had to leave my job, so I sent myself the project and the files to finish it home. Now, I open it at home, and see that the text has gone transparent on the VSE viewer, and it's on screen when It should be out of it. What a mess, ain't it? I guess I made something wrong during my day work and it's getting me mad not knowing what (specially as I had to make this video for today :P)

Thanks for reading! Surely someone here will make me see what was my mistake

I clip an image showing my vse tracks and the text which shouldn't be there (it's keyframed to be totally transparent at that time).

I found the answer by myself. The issue was caused by linked data on copy-pasted text. I didn't know that copying an object linked the original and it's copy propierties. When I animated the copies that I then modified as new text, I was animating the originals too. By deleting copies keyframes, I was deleting the ones which animated the originals. And by changing copies colour, I was changing original's colour.

I also learnt that duplicating (shif+d or alt+d) is better than copy-pasting


Why are my Regular Solids Hollow Sometimes? I had done two projects where I used Add>Mesh>Math Functions>Regular Solids to create polyhedral dice that I added numbers to via Boolean Difference. Both of these went fine and my dice had the numbers indented into them (shown below).

But today when I added a tetrahedron it was hollow (shown below).

I did nothing different between this project and any others but now every project I open (including previous ones) it generates hollow solids. This happened to me a long time ago but just closing Blender and starting a new project fixed it but that's not the case now. I tried using the Solidify modifier but with a lot of these irregular shapes it doesn't properly fill. What could've changed between yesterday and today that now these are all generating like this? How can I undo it?

For reference I had previously done numerous cubes, tetrahedrons, octohedrons, cones, dodecahedrons, and icosahedrons all without the "hollow" issue. I just showed my cube below because it's what I had in this project.

I just figured it out and it's pretty dumb. While every other number extruded properly, my 3 lost it's bottom face and that was leading to the boolean doing this. If anyone comes across this problem in the future: Look at your numbers from every angle (including the bottom!) to ensure they're extruded right.


Diamond Shape Rounded Even tho I am new to Blender, I have tried many techniques posted on stack. However, I can't find a way to make this shape with a solid element (with faces).

Final:

Steps:

Subdivide a Plane (W > Subdivide) as much as you need, keep in mind to have vertex in the center of a Plane. So you will need odd number.
Select vertex in the center.
Turn on Proportional Editing (you can switch trough different falloffs to get different results).
Scale down (S) and increase Proportional Editing influence size - MouseWheel.


Output Node with Python Is it possible to create an Output Node with python?
I tried to do it, but I'm in stuck.

Here is what I want to create:

This is the code I started but I'm sure it's wrong:

import bpy

bpy.context.area.type = 'NODE_EDITOR'
bpy.ops.node.add_node(use_transform=False, type="CompositorNodeOutputFile")

It's better to not use operators, there is a sophisticated "low-level" API for the node interface:

import bpy

scene = bpy.context.scene
nodes = scene.node_tree.nodes

render_layers = nodes['Render Layers']
output_file = nodes.new("CompositorNodeOutputFile")
output_file.base_path = "//maFolder/"

scene.node_tree.links.new(
    render_layers.outputs['Image'],
    output_file.inputs['Image']
)

You basically need to create a node and a link, and specify the input and output for the latter on creation to establish the connection.


Problem with a simple physic simulation using python scripting I am very new at blender and I want to make a simple simulation in blender.

I used boolean operation to model the bowl-like shape. And I dropped the cube into the bowl.
When I play the simulation via "Alt-A", the cube is stucking on the invisible surface. But I want to see the cube drop into the bowl.

What is the thing that I should correct?

Here is my code:

import bpy

def make_cup():

    bpy.ops.mesh.primitive_cone_add(radius1=2, radius2=4, depth=2, location=(0, 0, 0))
    cone1 = bpy.context.object
    cone1.name = 'cone1'

    bpy.ops.mesh.primitive_cone_add(radius1=2, radius2=4, depth=2, location=(0, 0, 0.5))
    cone2 = bpy.context.object
    cone2.name = 'cone2'

    mod_diff = cone1.modifiers.new('mod_diff', 'BOOLEAN')
    mod_diff.operation = 'DIFFERENCE'
    mod_diff.object = cone2
    bpy.context.scene.objects.active = cone1
    res1 = bpy.ops.object.modifier_apply(modifier = 'mod_diff')

    cone2.select = True
    bpy.ops.object.delete()

    cone1.select = True
    bpy.ops.transform.translate(value=(0, 0, 2))
    bpy.ops.rigidbody.objects_add(type='ACTIVE')

if __name__ == "__main__":

    for o in bpy.data.objects:
        o.select = True if o.type == 'MESH' else False
    bpy.ops.object.delete()

    make_cup()

    # floor
    bpy.ops.mesh.primitive_plane_add(radius=8, location=(0, 0, 0))
    bpy.ops.rigidbody.objects_add(type='PASSIVE')

    # square
    bpy.ops.mesh.primitive_cylinder_add(vertices=4, radius=1, depth=1, location=(0,0,4))
    bpy.ops.rigidbody.objects_add(type='ACTIVE')

Make the collision shape of your bowl mesh

The default collision shape for rigid bodies is convex hull.  This is why there is an "invisible wall" at the concavity of the bowl

In your script you need to set it to mesh.
Here is py console code that changes this property for the context object

 C.object.rigid_body.collision_shape = 'MESH'

do same for bowl in your script.

rigid bodies: sphere not falling into the "box"

Rigid body physics problem even a torus acts like it had no hole in it


In Blender, a "Texture" is a slot that can contain a picture file (or something else, like a procedural, point cloud...). It is omitted when exporting, because in Obj a texture is a picture file. So your first material, mtl001, looks perfectly fine.

Are your sure your mtl002, mtl003 etc are actually assigned to some faces ? (In edit mode, select your material slot, select some faces, hit Assign under the slots list).

Try viewing your cube in Material shading instead of Texture shading, it will show you if the materials are correctly assigned.


Accessing the new External Image Save functionality using Python As Gandalf3 recently pointed out, Campbell has recently added code that allows for saving images externally.
This sounds like the feature which experimental branches of Bake-Cycles were using to save baked images automatically when a bake finished.

https://developer.blender.org/D398

I can't find it exposed in the UI so I assume for now it's hidden until this is all sorted out.

This would be very useful for batch baking in scenes that already have dozens or more textures since finding everything that has just been baked can be difficult.

Does anyone have some script ideas on a simple way to access this new feature so that all images are checked for changes and saved if changes have been made?

The patch adds an additional option to the Save as mainfile operator:

bpy.ops.wm.save_as_mainfile(external=True)

In a build with this patch applied, the option should show as checkbox in the side panel in the file navigator if you use Save as... or Save Copy...


Soft dewy glow lighting set up? Does anyone have a way of creating this type of lighting in blender or is this something that's more easily achieved in photoshop?
The objects almost have this glowing aura and that's what I'm really looking to recreate !

You should be able to achieve this by mixing your "porcelain" material with an Emission Shader, driven by a Fresnel. Don't forget to enable bloom - you may want to increase the intensity as well (assuming you're using EEVEE).

If you want to take it one step further and use the compositor, you can enhance the effect using a Glare node set to a high quality Fog Glow:

The Fresnel trick may not work for the Vase, as it will cause the underside (shadowed areas) to be lit as well - unless you have the perfect IOR and camera angle, it ends up looking like a lamp. Instead, just use a very bright light, using the same bloom as before and the same compositor set up:


Get bone current rotation python If I set the rotation X of a bone lets say

bone.rotation_euler = [rotX, 0, 0]

and then I want to set the Z rotation, how can I get it so I don't overwrite it?

Something like:

rotX = bone.getRotationX()
bone.rotation_euler = [rotX, 0, rotZ]

PS: I must do it separately

Concept

I first want to talk a little bit about the Armature/Animation concept as far as I understand it.

Bone

A bone is an element of the armature. You can see it as a structural element. You can view and modify the bones when you switch the armature to edit mode tab (in Blender).

You can't and you do not want to modify a bone within the game.

Channel

You are talking about a channel. A channel is a set of transformations of a single bone. Bone transformations can be translation, rotation and scale in any combination (material channels have different transformations). These transformations can change over time. I guess that is why it is called "channel" it is a flow. The transformation at a specific time is a "pose" of a bone. The pose of an armature contains the poses of all channels. You can see the channels when switching the armature to pose mode ctrl+tab (in Blender).

In Blender channels will be applied to bones of the same name. This is a loose coupling between these different entities. The great benefit is that you can apply an armature pose to a different armature. Only bones with the same name will receive the according bone pose from the channel.

Action

You can fix a bone pose by setting up a keyframe I. This keyframe will belong to an action. The action can contain several channels with multiple keyframes. The poses without keyframe will be calculated on the fly (within Blender and within the BGE).

The loose coupling between channels and bones allows to easily apply an action to another armature as long as the bones names match.

As you want to change the channel via custom code we do not need to look at actions any further.

Modifying Channels via custom code

Within the BGE you can access the current channels of an armature.

import bge

controller = bge.logic.getCurrentController()
armature = controller.owner

channel = armature.channels[0] # first channel

The channel has several attributes that can be changed. You are looking for a rotation.

Be aware there several different types of rotations. You set up the type in Blender or via BGE custom code.

I strongly suggest you always check the rotation mode rather than assuming it is a certain one. Mostlikely there will be no error when the mode is not what you expect but the resulting behavior will not be correct. So it is important to ensure it is what you need.

if channel.rotation_mode == bge.logic.ROT_MODE_XYZ:
    xyz_rotation = channel.rotation_euler

A rotation consists of several components dependent on the rotation mode. Directly modifying a component channel.rotation_euler.z = 10.0 will not result in a change of the rotation. You need to assign the rotation to make it effective:

    xyz_rotation.z = 10.0
    channel.rotation_euler = xyz_rotation

Btw. this belongs to nearly all operations that deal with Vectors. I'm not really sure but I guess the BGE does not notify when you change a single component. But it notifies when you exchange the container (by assigning a value to the attribute).

Remarks

I haven't used custom code to modify channels in the BGE only for investigation to your questions.

I noticed that changing the channel alone does not have immediate effect. Activating an armature actuator applied the changes from code. There might be other ways.


Reflection and Lighting Problem : Donut The first image is my blender work space but i want it to look like the second image.

You seem to have the Glossy and Diffuse shaders connected the opposite way around compared to the tutorial screenshot. This means (with mix factor or 0.09) your material is far more glossy than diffuse. Either increase the Mix factor closer to 1.0 or swap the Mix input nodes around. The mix works by mixing between the inputs with 0.0 being completely the first input, 1.0 being completely the second input, and inbetween values mixing gradually between the two.


X-ray mode doesn't look the same as video I decided to try my hand at blender. I got the donut tutorial done and just have do the beginner modeling and the intermediate tutorials from Mr. Blender Guru. I ran into a bit of an issue with the x-ray mode where it doesn't look the same as the video. (I use Blender 2.90.1)
 Here is his x-ray mode.
 Here is mine.
I am very confused.

In the Subdivison Surface modifier, uncheck "Optimal Display".


How to avoid reflected dots? I want to ask if there is a way to keep the same values, but avoid this light dot as shown in my picture below. I am using principal BSFD and using point light. I also tried to smooth by simplify and decrease light bouncing, but it didn't work.

You can remove the lamps reflection in glossy materials. This will hide the reflection of the light source in glossy surfaces.

Select the light source, go to the "object tab". Under "cycles settings" remove the checkmark in "Glossy"


How to make an animation / armature remember poses? I rigged a character and I can render stills, but I can't make an animation. How to make Blender "know" that I want the arm - as an example - go from up to down?

I tried to move my character arms down, than changed the current frame to 1 and moved it up a little. Than I went to frame 2 and moved it up a bit more and repeated this until frame 20. When I went back to frame 0, it stayed as I left it in frame 20, so I guess I'm not doing it right.

How to "remember" the poses?

You need to set keyframes after posing the character. With the posed object selected hit I and set the appropriate keyframe, e.g LocRot (for location and rotation). You need to do this before you move onto the next frame.

Frames that have keyframes on them are highlighted with an orange line in the timeline. If you don't see the keyframe before moving on, your changes will be lost for that frame and you will have to redo it.

You may want to enable Auto Keyframing (Docs) to automatically insert keyframes as you pose your armature:


How to make a punch pose I tried to rig my hand as good as possible. With the riggify addon. I tried to roll the finger to give a punch pose.

when scale the widgets all the fingers get mix with each other. I tried with copy rotation. Nothing work. Any suggestion or help where im going wrong and cant make a good pose of PUNCH

Punch pose

Since the fingers come in at different angles, it would probably be best to animate each bone individually.


Straighten non planar vertices into a circle As you can see the vertices are non planar as they are unevenly distributed in the z axis. Is there anyway to make it into a circle like the edgeloop at the bottom of the mesh?

Blendfile:-

Yes, for straightening that circle you can do like @Duarte Farrajota Ramos said (selecting that circle and pressing S+Z+0)

But that topology will sooner or later cause issues, so I did a quick gif to show you an example of fixing that topology, it stretched a few lines but nothing too noticeable on the mesh.

What I did:

I straightened that circle with
S+Z+0)
Since this object can be perfectly mirrored on all sides I deleted
the left and back part to modify it faster.
Then I started to merge some vertices using W>Merge>At Last
I duplicated that part and inverted with S(lock on an Axis)>-1
And then I joined all parts using the Snapping Tool to Merge at the Closest Vertex.
Finaly I Removed Doubles with W>Remove Doubles


Blender 2.8 I want to select the vertices, edges and faces that are on the front ONLY I've been using blender since v2.74, but I'm still a rookie at some of the stuff. I'm using 2.82 now and whenever I use polybuild or even normal selection in edit mode, and try to move the vertices that are front facing I can't do it without accidentally selecting the ones on the other side or back facing - even without xray on. It's a small issue if what I'm doing is a small task, but I'm having a hard time now with my character's retopo...
I don't know much, but to work around it I've just been separating faces in edit mode so I can edit each set as separate objects then mirroring and rejoining both sets. But I'm doing the ears now and it's annoying to do all that all over again because it takes a lot of time. I just wish there was a way to remove this feature because it wasn't there in previous versions before 2.8. Is there a way to just limit the selection to the visible/front facing vertices in 2.8? Pls help

There are several approaches you could take.
Note: So far as I can find, the backface culling options don't seem to do the trick. The one in the Materials tab, under the Settings section, would seem to only affect the appearance of backfaces during rendering. But there is another Backface Culling option located under the Viewport Shading menu at the top right of the 3D View, and it is only accessible if you happen to be in Solid shading mode at the moment. Clicking the Backface Culling checkbox here makes the backfaces change to translucent, but doesn't prevent their selection. One could be forgiven for expecting either of these options to prevent selection of backfaces, but neither do. The latter doesn't seem to do anything.
Thankfully, there are other approaches.

By default, your objects in a new scene are in solid shade mode. When
you go into Edit Mode for any object, it is likewise solid shaded by
default. If you go into Wireframe shading mode for the object while
it is in Edit Mode, you will see through the object, and be able to
select vertices on both sides. But if you press Alt +
z, you will toggle the X-ray feature for the mesh. This
feature works in both Object Mode and Edit Mode. In Edit Mode, it
forces an opaque view of the mesh in wireframe shading mode, where
normally, it would be transparent when the wireframe shows. This can
help prevent vertex selections to the rear of the mesh.
Alternatively, you can press Alt + b at any
time and then drag a box to create a View Clipping boundary, which
can be used to coral any parts that you want exclusively visible, meaning it instantly hides everything outside the boundary from
view. Pressing Alt + b again gets rid of the boundary.
Another interesting thing to note: For addressing this kind of issue specifically
during dyntopo, there is a common workflow in Blender where one
temporarily adds a Solidify modifier to the main mesh. The reason
for this is that the Solidify modifier simulates the existence of
both an outer shell facing and an inner shell facing, which includes
the simulated behavior of face normals. By having a Solidify modifier
in place, then when going into Edit Mode, the inner shell on the opposite side of the object
behaves as if it were an outer shell instead. This tricks
Blender into ignoring those faces during selection, effectively
giving you backface culling in Edit Mode even if you can't get it any
other way.


How can I attack to different portions of the screen? Often times in video games that use melee combat, there are three or four preset animations that play through when you swing your weapon; however, the higher end games have different strokes that play depending on which way you are moving your mouse or have recently moved your mouse, effectively giving you the ability to control where you attack, and requiring more skill.

How would I implement this in the Blender Game Engine? I want to play a different animation or attack based on which direction my mouse has just moved.

After trying to solve this problem by myself for almost my entire blender career, I stumbled across a solution. This is a no python approach.

The basic idea is to have an empty, offset from the player, and "slow parented" to the player that two specialized bones track toward. By animating a normal downward chopping motion, as well as the influence value of the track-to bone constraint, we can cause the player to chop across in his upper arc.
This comes at the expense of variation as the player can't chop up from a downward position or thrust.

Step 1

For you basic setup, you will need to create three extra bones: one for each shoulder, and one that control those two so they don't point inward. You will also need to create a "plain axis" empty that the control bone tracks to.
Add a track to bone constraint on the control bone and set it's target as the empty, which will need a slight upward and forward offset (see figure 1). Parent it to the player and give it some slow parent value.

figure 1

Step 2

Animate your chopping motion; it should provide all the functionality you'll need. note: do not animate the shoulder bones as this might interfere with the essential tracking.
Also animate the influence of the track-to constraint, starting at 1, staying at 1 until shortly before the end, and then moving to 0.

Step 3

Switch to the logic editor and add a mouse-click sensor, an AND controller, and a Action actuator, set to play mode and with the chopping/turning of the shoulders action.

Viola! looks a bit awkward, but hey, that's the cost of beheading people.

(edit) you will also need a run-armature actuator


My car's topology is messing up as soon as I attempt to move a group of vertices along the y-axis I am modelling a car and am using edit mode to position the trunk. Whenever I move my string of vertices along the y-axis, the topology gets really strange, and it looks like one of the edges (with one of its vertices selected), is not being affected by the movement of that vertex. I do not know why this is happening. I removed the only modifier (mirror) I had on the car, and tried removing doubles. It told me it "Removed 0 vertices", and the problem is still there. Please help me!

Okay, I fixed it. I had to delete most of the vertices in the middle of the car and then fill in the edges and faces. It was tedious, but I did not know any better way. The only question I have now is will using the loop cut/slide tool cause bad topology again? That is what I used and it messed up my topology, so I am wondering whether or not I should continue using that tool or if there is a better way of adding more vertices. Thanks for your help!


Realistic plane glass outdoor scene with cycles and hdri I'm modeling a house, and trying to get realistic glass in a plane glass. I've seen a lot of tutorials but they used spheres and Suzanne applied the material. The result I want is light in the image (we have no reflection) where the main light shadows hit the glass, and them it's more transparent, where in the other areas it's more reflective. I still want to see the artificial light inside the room.
I've tried different values of IOR, and I'm using AlphaBlend and AlphaHash in glass material. Glass thickness = 1cm

Here, try this setup. I'm posting pictures of the same setup in both EEVEE and Cycles so you can see that the shadow is in the same place, just much more pronounced in eevee.
Here is EEVEE:

Now the same thing in Cycles:

You can see the shadow is there, just a bit muted. I could have played with the settings a bit more. I had to up the brightness of the spot light to make it stand out properly, and I have a rather bright light inside the building, which could be adjusted to make things look better. For the record, The glass in my picture is a separate object (plane), extruded to be 0.01m thick. Here is the final render (low sample - not de-noised). I think it at least shows the shadow, reflection, refraction and specular lighting. To make it look more like "clear glass", you can try increasing the fresnel value, or adjust the slider on the mix shader controlling the mix with the Transparent BSDF, or both. See what works best.
Rendered image (Cycles):


how to make an hole into my object? I have an 3d skull face and I got my eyes and nose merge into it. But I can't an hole into my face like carving my nose and eyes. I think it's because I fill my skull face with the beautify grid before merging element. Anyone have any idea how to do this? And with the beautify grid it didn't cover up all the face of the skull do you guys know how to fix this ?
Here's a gif of my skull and what i try to achieve:

Thank you!!

It looks like you could use a Boolean Difference modifier to cut a hole into your main object.

In the gif it looks like the face you selected is connected to the object that is going to be used to cut a hole. In order to select the whole cutter object, select the face shown in the gif and press Ctrl+L. Then press P and separate it from the main object. Once separated, press TAB and go into Object Mode and select the object that is going to be cut. Go to the modifiers panel and add a Boolean modifier to the main object. Change the Operation to Difference and for Object select the object that is going to be used to cut the main object. Then press apply and there should be a hole in your main object.


Modelling with Simple Deform? After giving 2 days of failed attempts to model this image (of a lamp) using Simple deform modifier; can any one help me to model it (preferably with simple deform tool)?

Here's the result I've achieved in few steps.

Add an Empty and a mesh representing the lamp's profile.

Being in Object Mode add the Screw Modifier and set Empty in the AxisOb window. Change the number of Steps to define the number of the strips (for example if your lamp consists of 12 strips, you should set the number of Steps to 24). Then apply the Screw Modifier.

Select every other strip and delete them.

Add a Simple Deform Modifier, set its type to Bend and change the Angle of a deformation a bit.

You may also use the other method to achieve it. In Edit Mode select the top vertex and snap the cursor to it. Enable the Proportional Editing Mode (O). Set the proper Proportional Size using Mouse Scroll and move the vertex horizontaly a bit. You can make the lamp shape look less regular using the same method.

You may now add Subsurf, Solidify and Edge Split Modifiers to make the strips look more smooth and give them some thickness.


why isn't volumetrics showing up in the viewport in cycles x? volumetrics isn't showing up in the viewport. Can anyone try it their self to view any volumetric object in blender 3.0.0 alpha(cycles x)

Create cube -> object -> quick smoke -> works


How to use Texture Coordinates, Mapping and Gradient Texture nodes to generate a black and white mask? Basically, I'm trying to understand how to generate a procedural mask. I'm trying to make an eye and I wanted a mask to make a difference between cornea and sclera, but the problem that I have is that I don't understand any of this as my eye ball just goes from solid white to solid black.

I can't seem to find or locate anything to make this mask for my eye.

How do people use these nodes to generate masks on objects? I really don't understand them.

If I understand correctly, you could use Gradient Texture for that.

Add Gradient Texture set to Linear (default)
Use ColorRamp to control it.
Done


Rendered imaged has weird shadows I've got a sphere with a texture and a material and I'm using blender render. This is how it looks in material view.

[]

And this is how the rendered image looks.

[]

What am I doing wrong?

Heres my .blend file : http://www.mediafire.com/download/gly7535pswrnryj/problem.blend

Note : Im posting the blend file because I've got an integrated graphics card and I've heard blender has got some issues with these. So maybe it works for you, and its just my computer.

There are 2 spheres on top of each other - one textured, one pink.

To move them apart select 1 vertex in edit-mode and then select all connected to it with CtrlL. This will select only 1 sphere so they can be separated.

You can also hide selected with H and unhide with AltH so you don't have to move the mesh.

Delete the one you don't want(pink probably).

The 2 spheres were there probably because it was a game-engine model with single-sided polygons - so the textured sphere was for outside and the pink for inside surface. The renderer will render surface from both sides and they are z-fighting.


How do I make text wibbly wobbly with animation nodes? Only, I wish to learn using Animation Nodes for future motion graphics. Any assistance is appreciated.
You can do your own way of wobbling the text. I am not too exact as to how do you do it or what font style you use. I am only just keen on learning nodes for wobbling text for future projects. Thanks in advance.

The characters follow the path of a sine-like function, so we should position and animate on a sine wave. We will be using the same technique described in this answer. The y position of each character should be the sine of its x position, which is trivial to do. To orient the characters along the sine wave, we will compute the angle that that the curve makes with the x axis by computing the arctangent of the derivative of the sine function $\arctan(\frac{d \sin(t)}{dt}) = \arctan(\cos(t))$:

We can change the frequency by multiplying by $f$ and the amplitude by multiplying by $\alpha$ to have the function $\alpha\sin(ft)$ which has an angle $\arctan(\frac{d(\alpha\sin(ft))}{dt}) = \arctan(\alpha f \cos(ft))$:

Lets animate the scale and the start value of the progression to get:

Finally, lets animate the y position of the characters such that it becomes zero at the end of the animation. We can do this by multiplying by the inverse of a sharp exponential interpolation:

This concludes the first effect. To achieve the second effect, try adding a noise vector to the locations of the characters:

Fine tune the amplitude and speed to get the feel you are after.


Why does the difference modifier not work on objects with many vertices, but will on a subset of those vertices? I'm trying to create a template for  a rubber stamp mold as in the following figure

The idea is then to import an SVG curve which will be given a Z-dimension, and placed inside the template as in this figure:

Then, the SVG mesh will be subtracted from the template using a boolean modifier. However the difference modifier does not seem to work, giving the message "Cannot execute boolean operation". At first I thought this might be due to conflicting normals, but I have checked this. I have also made sure there a no non-manifold faces.

I decided to eliminate the solids in the object one by one, and I discovered that I could delete all of the letters except "INL" and it still wouldn't work.

However, once any of the remaining letters are deleted, the difference modifier works as expected. Why does it not work on all the letters together?

I solved my problem by simply subsurfing the cylinders I used to make the larger object.

Explanation:

In the original design, you can see that the circular faces are whole (not subdivided into quads or triangles). In search of another solution using the knife projection tool, I discovered that it does not work well on whole faces, and subdividing the face was the solution there. It then occurred to me that subdividing faces might help the boolean modifier approach. In fact it did work: the only other caveat was that the top surface of the cylinders aren't subdivided by the Subdivide command - you have to use the Subdivide Surface command first.


AlphaMasked images turning pink in Cycles I still cant seem to get this to work, I have the Image I need of a leaf and am trying to make it transparent. After all of this is set up using a mix shader and transparent shader the image is clearly found by Blender. In the Material view-port you can see the image on the plane, However in Rendered view it comes up with the missing pink colour. Please try and just chuck ideas out of how to help. Any ideas will be tested. Thanks Guys

Usually when an object turns pink it is because the original file got moved since you last opened Blender.

It is still showing up in your 3D window because that is using a different part of ram.

I would relocate the file and load it again and make sure "leaf" (leave lol) it where it is once you bring it in to Blender.


Viewport and render not looking as good as edit mode newbie here

Everything is in the title, my view port and renders dont look as good as the edit mode. I tried raising the sampling but it doesnt seem to make things better. Here are some screenshots. I also attached the blend file. Do you have a solution ? Thank you

Blend file : https://we.tl/t-PRHdaLjWLp

Viewport :

Edit mode :

Thanks to lemon, I just needed to set the clip stat at 0,2


Cannot Save Blend File Says, "Cannot open file filename.blend@ for writing: Too many open files" Today I saw something in Blender I've never seen before. It says, "Cannot open file filename.blend@ for writing: Too many open files".

Which I'm confused on. It's the only Blender project open. I pressed the close button on the window and it didn't close. I spent 2 hours trying to find a solution online and couldn't find anything.

Does anyone know why this is and how to resolve it?

If anyone can help it'll be greatly appreciated.

So I had no choice but to force close Blender and lost hours of productive work because of this problem.

I still have no idea as to how this problem even occurred but a good reminder to always save your work constantly. Otherwise, you'll lose hours of productive time.


How to render Hair in Renderman I am new to Renderman and I can't figure out how to render hair. I tried finding info but I can only find how to do it in Maya which doesn't have the same workflow. I found this tutorial https://www.youtube.com/watch?v=Bfbu6IH1XRQ&t=314s but it is in spanish. I tried following along and it seems like I did everything right, but still no luck.

Ok I guess something was going on with "IT". After restarting it works the same as Cycles.

Just a glitch.


How do i mirror loop cuts? I want to mirror my loop cuts, not the whole object. Like when you tug an edge when edge modeling. I have tried but found no solution.

You can delete the half of the mesh that doesn't have the loop cuts, and then add the mirror modifier.


Why is inverting the selection selecting all vertices? I'm very new to Blender and I'm having an issue in using invert select.

First, I selected these vertices:

Then, I used Select> Invert:

But instead of selecting only those vertices that were not selected, everything was selected:

How can I fix this?

You might have double vertices. What might have happened is that the vertices that were selected were double ones, so inverting the selection also selected the vertices that were being overlapped by them. This would give the illusion that all vertices are selected.

To remove double vertices, in Edit Mode go to Mesh > Clean Up > Merge By Distance. Any detected double vertices will be removed and a message will show up saying how many double vertices were detected and removed. If no double vertices were removed. this might be a bug.


Whats wrong with my faces I have imported an svg file for the word media, however when I add faces to it, it also adds faces to the gaps in the letters "d" and a"". Why is this and how do I solve that ? Thank you.

Amit

If you just select the whole mesh and press F, Blender won't be able to know what's supposed to be holes and what's not, and it will fill everything. So create some additional vertices and fill the faces one by one with some F, except what's supposed to be holes:


Proxy use in VSE for 2.79 Can anyone please advise on the method for using proxies in 2.79.. the usual method of choosing a desired proxy render size for playback .. after creating the proxy doesn't seem to work anymore as normal .. choosing 25% after making the proxy results in the video freezing after a few frames..

Any help with regard to this would be most appreciated .. cheers..

I believe having the same issue.

I'm new to VSE so I tried different setting in the proxy panel (resolution, timecode) and Proxy playback still not working.

Checked the Proxy footages generated by Blender and it look ok when playing on VLC.

Then tried with Blender2.78c on Mac OS10.9 which work normally.

Hope it would help.

Update 2017.11.05

Tried the Latest Build blender-2.79.0-01a3c95609 from https://builder.blender.org/download/ .
Import movie to VSE, and create proxy. Just work normally. The playback problem seems fixed.