Loop cut & Slide cutting through I work in cancer research and I want to illustrate a multi-leaf collimator for a conference.

I was using loop cut and slide to create the independent slabs from a block, and they look good. But unfortunately they are not independent, so I can't move them. Watch 5 seconds of this video to get the idea of what a multi-leaf collimator is: https://youtu.be/eZS6DVGBx0k?t=115

Anybody can give some advice? The real challenge is to create them simultaneously so they are all of the same width.

I would just create a few thin squares that you want to animate and copy/paste (shift + D) them side by side.

Be careful with an array modifier because you wont be able to animate the middle part. I would just use an array modifier for the end parts to fill the screen.

The non moving parts are an array modifier. The animated parts are seperate squares (leafs).


Rendering flipped textured backface I have a scene where I render many falling tickets which consists of a textured plane with some text on. Currently, since it is a single face, the text on the backface is flipped. Is there any way to render both faces un-flipped? Or is the only option to have two faces?

The Geometry node provides a Backfacing value that indicates whether the front or back face is being rendered. By using this to mix between the normal image coordinates and coordinates which have been scales by -1 in one direction we can effectively flip the image for the opposite face, "unmirroring" the image so that the same image is shown on the front and back.

This can be achieved with the following nodes :

Note the Mapping node with the Y-scale set to -1. The Mix node selects which set of input coordinates (Generated or the 'flipped' generated) are used to drive the Image Texture.

Additional...

This only works 'as-is' due to the Image Texture being set to 'Repeat'. The 'unflipped' coordinates vary in the Y coordinate from 0.0 to 1.0 and so the mapping node is translating this to 0.0 to **-**1.0 - ie, the opposite to the usual coordinates. Since the Image Texture is set to 'Repeat' this isn't a problem since the image repeats in all directions.

In order to allow this to work with 'Clipped' images you can simply use the Location settings of the Mapping node to offset Y by 1.0 (set 'Y' Location to 1.0). This will translate the 0.0 to -1.0 values to 1.0 to 0.0 (ie, reversed).


How can I create a realistic floor water fountain I am trying to create a water fountain (as shown in the image). But for some reason after baking, all my inflows (UV sphere) are being interacted with each other ending up in a mess just like shown in the image.

the inflow velocity used was z 100m/s and I have used a plane as an obstacle.

I tried a few possibilities by increasing the size of the cube(domain) or by setting the parameters such as subdivision and generate particles to different values (I'm not sure if they really play a role in this part), but it didn't really work out. May I ask for suggestions on how to overcome it.

enter image description here

Your water is hitting the domain cube. Gravity is 32 feet per second square which is less then 10 meters per second. I don't even think fire hoses have a velocity of 100 meters per second. You are putting out way too much water, and it is hitting the top of the domain and flowing down the sides. You want it to shoot up and fall back on gravity without hitting anything.Try 10m/sec Z velocity on your inflow.


Transform one object to another with animation basicly I have one object its curved text and I would like to transform it to not to be curved text in animation, they are two separated objects I cant you shape keys, How I can easy do this

Edit: They have same amount of verts. they can share same obj. data

This is what I mean in my third comment, ie: if you can use "text" objects (not letters meshes), you could also start from the "straight" text and use the "text on curve" setting, using a curve to achieve the same effect, then you could animate the curve from arc to linear to get the desired effect... basically it's always easier to produce the curve and then reverse the effect in animation...

here the text object is "deformed" by a "flattened" curve.

You can simply animate the curve deformation in reverse...

If you have text meshes instead, you could use shape keys like this:

And even here you could just animate the shape key values in reverse...

In the end, about other solution I suggested in comments above:

deforming the whole object is not feasible: letters will be distorted
separate single letters and try to animate each from rotated to straight is feasible but extremely difficult, complicated and, imho, not worth.

I would use one of the methods described above, instead.


How to convert different contrast parts of image to curve? Suppose I have this image.

and I want to convert it into curve for this animation Curve animation

Watch from start to 0:03
I can do it by Bevel Factor in Blender.
But i Have to make the curve by "Draw Curve" Is there any simpler way. Please Tell.

Go to this website

Right click on the image and click Save page as (The download file will be in svg format)

Import File

File -> Import -> SVG (If svg is not enable, enable from the addon)

Now u need little cleanup.

Delete the unwanted parts (scale,etc)

Go to edit mode and select the outer edge and delete vertices

Now you have a clean India Map with the curve

If you need to download separate state download here. Color the different state and place it.

How to Bevel

Go to the curve tab

Change the shape from 2D to 3D

Add a curve circle.

Select the Map curve and in the bevel object select the circle.


What is this ghost plane that appears with Multi-View Stereoscopy? I just set up a rig of six cameras, and for some reason, after enabling Stereoscopy > Multi-View a plane appears that seems to be some sort of a guide, but the reason for its positioning is not clear.

Selecting different cameras in the Viewport doesn't make it change. Neither does selecting different cameras in the Stereoscopy list.

I would prefer not to have to tolerate this awkward plane off to right side of my cam rig (the active camera in the screenshot is the "Forward" cam). So if anyone knows why the plane is there or how to change its positioning/appearance, please share.
Other observations: Disabling Stereoscopy makes the ghost plane disappear. Switching the Stereoscopy mode to Stereo 3D puts it in front of my "Forward" cam (which is a better position, but since I need to use Multi-View this is not a solution - besides, I wouldn't mind the plane disappearing altogether).
Blender version: 2.9.0

That is your convergence plane, e.g. where the L/R cameras converge. You can turn it off in the N menu under View->Stereoscopy->Plane


Setting the Render Background Colour? Hi I was hoping someone could help I want to set the render background colour to complete black as I am creating a galaxy

Right now it is set to bright grey

Any help would be great

It depends on the render engine you are using:

Blender Internal:
Properties > World Tab > Horizon Color

Cycles: Properties > World Tab > Surface > Color


Eevee: Light sources appear as bright orbs in reflections Whenever a light source is directly seen in a reflection, it gets rendered as a bright white orb. This happens with both Point and Spot and Area lamps, sun lights seem to be the only ones not affected. Is there no way to get rid of this render breaking artifact? I'm assuming this must be a known bug with Eevee / Screen Space Reflection as it's been around for many Blender versions.

I solved the issue and am happy with the results, even if this is technically working around it. The core problem was that I was using a huge light radius: You want the sphere of the point light to encompass and represent only the bulb. I set it to 0.01 instead of the default 0.25: This not only results in the correct shadow softness, but the white orb is now just a tiny speck, precisely how a bright bulb should appear in a reflection! It's also hidden behind a lamp cover so it shines even this way only when seen from the right angle.


In Blender 2.8 how do I mirror my weight painting? I am weight painting a human model and would like whatever I do to one half of the body be reflected in the other. In 2.7 it seems there was some sort of "mirror X" object but I don't see that option here in 2.8 (I should mention I just started with blender a few weeks ago and have no prior modeling experience whatsoever).

I did find a "Mirror" option in the "Weights" section of weighpainting mode, but that just seems to swap the side I was working on with the other side...

Here it is as well, select the object with weights attached ( after automatic weight addition, the standard way - - Then click here, it's not under ' Symmetry ' but, under options, in this menu - -


Is it possible to have a procedural texture radiate from the CENTER of a sphere? I know how to animate a procedural texture to make it translate, rotate and scale on an object, but is it possible to animate a procedural texture to radiate from the center of a sphere? Think of something like carbonated bubbles radiating out of a blob of water in space, going in all directions. How would I achieve that effect?

In order to have the procedural texture radiate from the centre you need to base in on the direction and the distance from the centre - you can then animate an offset on the distance in order to animate the 'blobs' moving in the desired direction from the centre.

Using Object coordinates, a direction vector can easily be obtained by using the Vector Maths Normalize node. This will produce a vector of length 1.0 in the direction of that point in the texture, in relation to the origin (0.0, 0.0, 0.0).

Similarly, for the distance you can use the Vector Maths Dot Product node - by feeding the Object coordinate into both inputs the Dot Product will produce the square of the distance. A Power maths node set to 0.5 will take the square root, producing the distance from the origin.

We can now generate the procedural texture from the Vector (X,Y,Z) and Distance (D).

In order to demonstrate this, we can use a trick used in How to animate musgrave texture? to create a texture that has more than three 'input' dimensions. This allows us to use X,Y,Z as the input Vector and D as one of the other inputs.

The node group uses vector maths to combine a pair of Noise textures to produce a noise-like output that is based on the 6 input values (X,Y,Z,T1,T2,Seed).

This new node group can be used as follows :

Note that the Add node can be varied to animate the texture so that the pattern moves outwards from the centre. This can produce the following result :

Blend file included

EDIT : Since we have a 'spare' input of the Noise5D texture group we can use a similar technique to that described in How to set musgrave to get something periodic? to make the texture repeat - to make the animation cyclic. For this we take D (the distance from the centre, adjusted to add an offset for the animation) and convert it into circular coordinates - to feed into T1 and T2 instead of just T1. This makes the pattern repeat after a specified distance (as set by the Value node feeding into the Divide maths node). By adjusting the scale of the circular coordinates (the Value node feeding to the Multiply nodes) we can adjust the scale of the pattern before it repeats.

Note the Multiply node set to 2*pi (6.283) to set a whole rotation (for the cyclic repeat). This allows the Value feeding to the Divide to set the period of repeat on the input coordinate (as animated by the Value node feeding to the Add node for the offset.

Animating the 'offset' with linear interpolation over the set range can now produce the following cyclic result :

Additional blend file included


BGE: Orbit script seems to work, but motion is not applied I want to orbit the camera using a script without centering the cursor. So I wrote this script:

import bge

# get this controller script
cont = bge.logic.getCurrentController()
# get sensor named MouseLook
mouse = cont.sensors['MouseLook']
mousePosX = mouse.position[0]
mousePosY = mouse.position[1]
# get old mouse coords
obj = cont.owner
if not 'mousePosOldX' in obj:
    obj['mousePosOldX'] = 0
    obj['mousePosOldY'] = 0

# velocity
velX = mousePosX-obj['mousePosOldX']
velY = mousePosY-obj['mousePosOldY']
# get the actuators
moveH = cont.actuators['MoveH']
moveV = cont.actuators['MoveV']
# apply movement
moveH.dRot = [0, 0, velX*10]
moveV.dRot = [velY*10, 0, 0]
print('velX: {0}, velY: {1}' .format(velX, velY))

# save old pos in obj properties
obj['mousePosOldX'] = mousePosX
obj['mousePosOldY'] = mousePosY

Using this setup:

-OrbitH
    -OrbitV
        +Camera

And this game logic:

Unfortunately, nothing moves! The script seems to work, because I get valid values in the console from the print.
When I directly connect the Sensor to the actuator without the script, the movement is applied (of course just with these constant values, which I don't want).
So script alone works, and the movement along works too, where is the bug?

Ah, found it. Apparently, one have to add:

cont.activate(moveH)
cont.activate(moveV)

to actually apply the motion


Blender denoise node producing black image To be clear, the denoise node has been working wonders for me, but sometime over the last week or so it has stopped working in all of my project files (including ones that worked).

I have a single denoise node connected between the render layer and the composite and viewer outputs. The image is shown if I remove the denoise node. No errors are produced in the console during the rendering or compositing.

I wonder if this could be a file permission issue. I'm running linux, and when I started using Luxcore Rendere, it's denoiser couldn't run because the denoise program wasn't marked as executable. Doing so fixed the issue with luxcore.

I'm experiencing similar issues on Blender 2.83 on Arch. I believe it to be related to a bug in OpenImageDenoise (oidn) or in the way Blender is trying to link it. I was able to fix the issue on my system by downgrading to openimagedenoise 1.1.0-1.

I'm currently investigating as to whether this issue is documented in the appropriate project, and will update this answer once I have a bug number for it.


Is it possible to have multiple seperate node editors in one project? I want to do a project where it is necessary to use multiple green screen videos on top of one normal video, is it possible to have more than 1 node editor per project? I don't want to render my video every 5 minutes so that I could just add another greenscreen video to another part of the base video. (Picture is just for a reference, for example, is it possible to make the right node editor empty and independent of the left node editor?)

http://imgur.com/X9OHSlq

AAAAAnd I figure out how to use scenes to get different node editors in half an hour, what are the odds? (Just add a new scene whenever you want to do different effects in node editor in the same project and then add those scenes to the VSE)


How to limit the rotation of knees, feet, ankles and similar joints? Is there any trick to prevent bending of the knees, ankles and alike so they stop at a certain rotation point, let say 45 degree angle?
I have a character that I'd like the joints to stop rotating "naturally" so it doesn't look weird. The same goes for the knees, feet, ankles, arms, etc ...

See ref imgs and attached .blend file:

.blend file is 37MB and maximum limit is 30MB on blend-exchange.giantcowfilms.com so here's the link: http://we.tl/TFb1T7WNoV

No python scripts please. I'm a total noob.

Edit:
In looked back at this old answer and realized you were using an IK rig. To limit this, there is an inverse kinematics section to the bone properties.

Select the bone you want to constrain, and make sure you are in posed mode. There should be a bone constraints window:

By check boxing 'limit' you can set a bone to only bend so far in IK mode.

_________________________

  Old Answer

You can add a "limit Rotation" constraint, as you can see set up there.
It also has other bone limitations; go ahead and mess around with it.


UV/Image Editor - renders both cameras... depending. Is this normal behaviour? While trying to figure out why my glass texture was not right I discovered an unexpected behaviour. Ref image:

I have two cameras in the scene - 1 active and 1 other.
Depending on where my cursor/pointer is when I hit the render key (F12) I get different results, which are:

A. Cursor over top window = render result as image above. Active camera.

B. Cursor over either bottom window = render image from inactive camera....

Is this normal behaviour and therefore I'm missing something about the UV/Image Editor window that I should be looking into?

Blender 2.76

Note (edit): when I first entered the UV/Image Editor window, the other camera was the active one....

This happens if you lock a camera to a viewport.

To lock a camera to a specific viewport, go to the specific 3D viewport's header and deselect the camera lock button on the right side of the layer buttons. Then press N, go to "View - Local Camera" and select a different camera.

To deactivate the view-specific camera, just enable the camera lock and the Render will show the view from the active camera again.

If this answer solves your problem, please vote and mark it as "accepted"


How to keep particles moving around inside an invisible box I'm trying to create a kind of mystical shadow thing, made from black particles of varying size. Essentially, I'm using a shape (I've tried it with several things: A cube, a custom shape I made, a cylinder, a sphere, etc) as the outline, and trying to have a bunch of particles surrounding the edge of the shape, or else filling in the inside without going out, or much out.

I can get it to work for a still image by just having the start and end frames set to 1, but for an animation, how would I get them to constantly move around (not just bounce off the walls like when I tried having an invisible collision shape) inside the volume of the object?

I think "brownian motion" is probably what you're looking for.

The setup for this example includes two cubes: one as the emitter, and one (slightly larger) as a collision object, so that the particles don't wander too far.  These particles are emitted from the volume and I gave them a very slight starting velocity from the normals, but most of the motion comes from the Brownian force  under "Physics".  It is important to give the particles a small amount of drag and/or damp, otherwise the Brownian motion will keep adding up and the particles will increase in velocity over time.


How can I sub divide an equilateral triangle into many smaller equilateral triangles The title just about sums it up how can I sub divide an equilateral triangle into many smaller equilateral triangles. I need all of the faces to be the same size and shape. Like a 2D pyramid made of many smaller 2D pyramids.

I could not yet figure out how to do it procedurally or in a non destructive manner. In the meantime you can easily do it by hand.

There is an addon shipped by default with Blender called Add Mesh: Extra Objects that can activated in the User Preferences dialog

Start by opening File > User Preferences > Addons then search for Extra and activate the Add Mesh: Extra Objects addon.

Then in the 3D View press Shift+A > Add > Mesh > Math Function > Regular Solid.

By default it should already create a Tetrahedron, if not just pick it from the pulldown preset menu.

The just enter Edit Mode, select all faces, press W > Subdivide. Adjust Subdivision Number from the operator properties in the Toolshelf, or pressing F6


Integrate an external application What I'd like to know is, would it be possible to display the output of an external opengl application inside Blender?

As shown on the image the left part is the standard 3D viewport, and on the right would be the output of an external renderer or game engine that would be displayed inside Blender directly.

A use case for this would be to use Blender as a level editor and seeing the edits being replicated live in the game engine.

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

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


Baking only light maps in Cycles I was super excited to see that baking functionality has finally made it into Cycles. But I'm a bit confused about its usage. There are a lot of options in there. I'm able to get baking working just fine I think, but I'd like to back just a light map. There doesn't seem to be an option to combine bakes (except for one big combination of every thing). So I'm guessing I need to bake multiple maps and merge them in Photoshop. I'm just not sure exactly which ones I need. I'm guessing it would be Shadows, AO, Diffuse Indirect, and Diffuse Direct? Am I missing one? Is there some way to have Cycles bake those four together at once?

As a side question, just because I haven't tried it yet, if I make a second UV channel for my light maps (say one using Lightmap Pack in the UV tools) and set the image that I light map on to use that one while keeping the actual materials on the first one, will that give me the results I want? I don't want my materials to go wonky when I create the second UV set but I've never worked with multiple UV channels before. Certainly not in combination with baking in Cycles.

We are doing the exact same thing, although my approach to the problem is slightly different.
Like you I created a second UV channel for the lightmap while handling the other materials on the first one. Once I unwrapped the object to the second UV channel I duplicate the entire object, remove all the materials from the clone and add a simple white material to it.
Then things start to get a bit complicated. Let's say there are several objects, for example a wall, a floor and a ceiling. When I bake the wall, I activate the clone of the wall, while hiding the original wall object. The original floor and ceiling objects stay active while their clones are hidden. This way you can retain the bounce light data that comes from the unchanged original objects.
It is basically the same procedure as having a second node tree in the materials except that you're switching on and off objects instead of node trees in every material on the scene.
I'm not sure if this is the smartest way to do it, but I don't have to bake several passes this way...


BGE script error: Invalid Syntax I've been dabbling in Blender's Game Engine, so I thought it was time to take it to the next level and use scripts to control my game, but now I have a problem; I keep getting this error (only printing error message):

mainScript.py, line 28
   if PlayerControls.playerMain['isInCover'] == 0
                                                ^
SyntaxError: invalid syntax
location: <unknown location>:-1

My code:

def toggleProne():
  if PlayerControls.playerMain['isInCover'] == 0
      PlayerControls.playerMain['isCrouched'] = 0
      PlayerControls.playerMain['isStanding'] = 0
      PlayerControls.playerMain['isProne'] = 1
  return;

Removing the if-statement and adjusting the indentation (as a result of the removed if-statement) allows the code to be compiled - until it finds the next if statement and errors out.

To write an if statement in python you need a colon at the end of the condition then the rest gets indented.
Like this

if a == b:
    print("yep")

So your code would be like this.

def toggleProne():
    if PlayerControls.playerMain['isInCover'] == 0:
        PlayerControls.playerMain['isCrouched'] = 0
        PlayerControls.playerMain['isStanding'] = 0
        PlayerControls.playerMain['isProne'] = 1
    return;

Personally, I would use a var for PlayerControls.playerMain, it would save you from having that whole thing four times.


How to set set Screen type with python Found nothing in Python API to set Screen type (other than "Default").

Is it possible?

My need is to set it programmatically, with python script !

bpy.context.screen is a shorthand, but read-only.

You can set a screen via the Window object, which actually holds the screen reference:

bpy.context.window.screen = bpy.data.screens['UV Editing']

http://www.blender.org/documentation/blender_python_api_2_70_release/bpy.types.Window.html#bpy.types.Window.screen

There's also an operator to change screen by a number, relative to the currently active screen:

bpy.ops.screen.screen_set(delta=1) # select screen after current from list

This is what CtrlLeft and CtrlRight trigger (with a delta of -1 or 1 respectively).


Adjusting Freestyle in the Blender compositor Can anyone tell me if it's possible to adjust freestyle in the compositor?

I'm using it in my short film and its a drag to actually render the whole thing every time to see the changes I made.

Thanks

Yes, it's possible. I mostly render my freestyle stuff on a separate Freestyle-Renderlayer and recombine it with the ordinary one in the Compositor. If you just want to rerender your FreeStyle strokes you can just render the Freestyle Renderlayer.

I've only done it in Cycles so far, so the following is only for Cycles.

To separate it:

Activate Freestyle in Render Settings > Freestyle.
Tick "Transparent" in Render Settings > Film to have the background transparent.
Create a new Renderlayer (eg. "FreestyleLayer").
Create the Freestyle settings you want.
Override samples with 1 (for example).
Turn off "Use Environment", "Use Surfaces" and "Use Hair" in the Layer panel. That way basically nothing gets rendered except the Freestyle strokes.

In the ordinary RenderLayer:

Delete the Freestyle LineSet so you don't get any strokes here.
Activate the "Environment" pass, so we can readd the background if we want to (because we just made it transparent above).

So far for separating. We now have a renderlayer that's transparent and only the Freestyle stroke will be visible.

To recombine it, do it like this in the Compositor:

Note that the Environment Pass is also readded here. This can just be left out if one doesn't want it.

Hope this helps.


How to thicken/enlarge certain areas of a model? How can I enlargen the fins and ribcage of the fish below?
I need to 3D print the model but currently at the moment the peices are too small to print or they snap off after being printed!!!I just need to make them thicker so that this wont happen.

You might use Displace modifier with vertex group to enlarge the delicate part.


Temporarily join objects while animating When I animate the iron sight and my gun separately, they kind of separate; the iron sights come off the gun (pictures below). What I want to do is join the objects together such that I could still move them separately (they would still be objects), but they would be able to be transformed together.

Parenting is the way to go, but then sometimes basic parenting can be too rigid, especially when animating. When permanent parenting gets in the way you can use a Child Of Constraint, which allows you to animate the influence that the parenting has.

In the following example the gun has 100% influence by the righthand while the lefthand has 0%. The yellow shading indicates that the influence value is keyframed so you can animate the influence to have the gun follow the lefhand at any given time. Within the game environment you could use python to turn the influence on and off.

For a game environment this can also help with different scenarios, eg pick up a bayonet and clip it to the barrel, then unclip it for hand to hand combat, pick up a silencer and clip that on, then turn off the parenting to leave it behind.


link or maybe separation problem I have the following problem. at the beginning, i duplicated the "wheelbox" via duplicate link. first all was ok. but now i am coming to the point where i want to work on the inner/outer part of the object. but unfortunately, i cannot select Inner / outer wall. when i select (like u see here in the image) the outside wall of the right box it select also the inner wall of the left box. how can i separate this link?

Internally, when you create a linked duplicate, blender does not actually duplicate the object, but it has another reference to it, thus, when you edit the objects, you are editing all linked duplicates the same way. You need to break the link  between the two if you want to edit those elements separately.

Since I am pretty bad at explaining these sort of things without demonstrating, here are two helpful links about duplicates and linked duplicates.

I would advise you to look at these two links How to unlink a linked-duplicate? and Duplication -- Blender manual.


How to increase the "Strength" of a normal map procedurally, Before the "Normal Map" node? There are some "Normal Map" textures that have a limited strength, even putting the input of the "Normal Map" node at maximum 10.
I was wondering what would be the best solution, using nodes, to accentuate the strength of the Normal map, before entering the input of the "Normal Map" node, so as to better adjust the strength.

You can separate the RGB channels, amplify them with a Map Range node (say, 0.4 to 0.6 mapped to 0, 1), and then recombine them.
However, amplifying normal maps like this should never be neccesary. Normal maps do not alter geometry, unless it is not being used for normals: in the case that Cycles is using them to displace the existing vertices through a displacement material output. Changing the normals of a mesh will never change the mesh itself. I think you are mistaking for weak normal maps what is actually an inherent disability in faking light interactions.


Creating a Soft Body Surface that Responds to Different Masses of a Rigid Body Object Dear Blender Community,

There's quite a few posts discussing the interaction of rigid body objects with cloth and soft body objects, but I haven't yet found one that provides a satisfactory answer to the following question:

how do you set up a cloth (or a soft body object) that responds differentially to the different rigid body parameters of an impinging object?

Here's what I'm trying to do. I'm trying to set up a scene where an object drops onto a cloth in such a way that the mass of the object makes a difference in how deeply the object sinks into the cloth. A quick, excellent tutorial in Cinema4D was enough to achieve this effect relatively well.

My simulation in Cinema4D begins like this:

and ends like this:

the only difference between the left and right being the masses of the balls.

I've yet to find a technique that does this nearly as well in Blender, but I would infinitely prefer to use Blender over Cinema4D.

I'd be much obliged to any good samaritan out there that would tell me how to obtain a similar effect with good old Blender.

My thanks in advance.

Edit: Here's a GIF of the full simulation:

To do this: You would need one plane to serve as the cloth, and one UV Sphere to serve as rigid body. You would have to give the plain a cloth simulation (as soft body isn't what you want), and then the the UV Sphere a rigid body and collision. I am assuming that you know the cloth and rigid body settings, as I am not going to go over that.

Then, you would subdivide the plane as many times as the quality that you need/want.

For the next step, you would need to place the UV Sphere directly over the plane. Then, you can change the mass of the UV Sphere in the Rigid Body Simulation, and then when you play your animation using Alt-A or the Play Animation button, then the plane will deform accordingly.

Then, select the plane and the UV Sphere with Shift-Right-Click, press Alt-D, and then place them wherever you want the second DIFFERENT set to be. Next, in the Rigid Body Simulation tab, just change the mass accordingly.

Hope this helps!!!

Note: If this doesn't work, then remove the Rigid Body Simulation, keep the Colision though, and insert keyframes on the start and end of where you want the UV Sphere(s) to start/end.


How can i see if my flickering light is working right without rendering the animation? I have a flickering light using f-curves. Is there any way to judge the strength of the flickering without rendering the animation over and over?

Have you tried going into to texture display? It shows a crude representation of light intensity and placement. Eevee is another option that would allow you to visualise your lights easier.


Need help with rigging leg of animal I've tried moving the bones around and weight painting, but no matter what I cannot get this dog leg to shape right. I don't understand what's wrong. Could somebody please look at the blend file and tell me how it could be fixed?
File:
https://blend-exchange.giantcowfilms.com/b/Exeq9Lbv

For some reason (bad weight painting?) the parenting is bad but, if you redo it, it will work fine.
First delete the bones on the hidden layer so that they are not taken into account:

Also, deactivate the Deform option for the controller bones:

Then parent With Automatic Weight again and it should work fine:


Easy way to remove faces occluded by other meshes? My model has a mesh with faces that are occluded by other sibling meshes:

Right now I've been manually removing the occluded faces to reduce vert count and prevent skinning artifacts during animations.

Is there some sort of tool or plugin that can help me remove occluded faces more easier? I'm open to purchasing paid plugins, if necessary. I have to do this work for ~30 models.

Or if I instead had all of the meshes merged into a single mesh, would that enable me to use any other tools to remove occluded faces?

Thanks!

Maybe give the Mask Modifier a try.

Add a vertex group to the body named "mask",
Assign the verts you want to be hidden to this group
Apply a Mask Modifier, & select the vertex group in the modifier settings.

( If the modifier hides the opposite of what you want to see, be sure to click the double arrow icon next to the vertex group field in the modifier )

Here is a video example : https://youtu.be/AYVNNT_IeSA?t=1246

Dunno your situation, but this is probably the least time consuming and least destructive option.

Hope this helps, and good luck!


Transparent shadow catcher under HDRI lighting in Cycles? This question and its answers give nice ways of creating plane shadow catchers that make the CG objects "interact" with the HDRI world.

My question is very similar, but different in the sense that I don't want the HDRI world ground to catch my shadows. Instead, I want a transparent plane to catch my shadows. Something similar to this short video tutorial, which succeeds under lamp lighting, but fails to do so under HDRI lighting.

A Hacky way to do this is by using a few render layers and object or material IDs

For a scene like this, where the object is lit exclusively by the environment (no lamps on the scene)

Make a copy of all of the objects, move them to a new layer and set new layer to use a single white material.

Set the render layers so that each render layer corresponds to the layers for the scene and excludes the other layer.

For the Layer that will hold the shadow only make the objects invisible to camera, so that the only information on for the layer will be a plane and the shadow. Make sure you enable material Index for the first render layer.

Give the object on the first render layer a material ID:

In the compositor set the Render layer with the shadow over white using alpha over. This will become the base image to use for whatever compositing you want to do.

If you combine it with the Material ID/Index Pass you can then create an alpha channel with the object and the shadow, to be used to key the original image.


Plane is not smooth when I render at 400 sample I added a colored plane below the orange terrain,the plane look weird when I rendered it. I was expecting a smooth surface without weird black lines or dots

How can I solve this please?

You are dealing with Coplanar faces, or surfaces that are parallel and/or overlap.
They should be separated; otherwise you are going to get Z-fighting errors, Where the render engine cannot discern what is in front and what is behind and randomly renders one or the other.

Like in the real world two surfaces cannot share the same space.
If the planes are coplanar and slightly separated, but not enough for the render engine to pick up the difference, then you are dealing with precision on the depth buffer, to fix that you need to adjust the clip distance of the camera (and the viewport) so that the depth of the buffer encompasses your scene and nothing else. In other words the close clipping distance should start at the distance from the camera to the first point in the geometry, and the end of the clip distance should be at the farthest point of the objects not any further.
Use the viewport display>show limits option to visualize the clip range.


Can't smooth my retopology correctly My second attempt to make a retopology and it's killing my nerves again.

smoothing vertices

result

also tried to recalculate normals

same problem

Please send help, i don't know how to continue studying uv, texturing etc.

So, finally i just applied subdivision surface, removed the shrinkwrap and got the result. Still don't understand the problem with smoothing vertices tab, but i have my retopologized guy already!///. Thanks for such a quick feedback! Love you Blender!

Yaaaaaay!


How to correctly merge two objects in blender I am trying to merge two close boxes into one single cuboid, from the GUI I am able to successfully create the two boxes and set a boolean modifier to the first box to unify(UNION) with the second box before deleting it.
But when I run the following script

import bpy
import ast

def delete(obj0):
    bpy.ops.object.select_all(action='DESELECT')
    obj0.select = True
    bpy.ops.object.delete()

def Merge(obj0,obj1):
    bpy.ops.object.select_all(action='DESELECT')
    obj0.select = True #selecting obj0 so the bpy modifier is constructed for it
    bpy.ops.object.modifier_add(type='BOOLEAN')
    bpy.context.object.modifiers["Boolean"].object = obj1
    bpy.context.object.modifiers["Boolean"].operation = 'UNION'
    bpy.ops.object.modifier_apply(apply_as='DATA', modifier="Boolean")
    delete(obj1) #deleting obj1 since it's no longer needed
    return obj0 #returning obj0 which shoulda become the cuboid just incase a future need arises to merge with another box

def AddBox(x,y,z,width,height,depth):
    bpy.ops.mesh.primitive_cube_add(location=(x, y, z))
    bpy.ops.transform.resize(value=(width, height, depth))
    return bpy.context.active_object

#creating the two boxes and naming them
box0 = AddBox(0,0,0, .5,.5,.5)
box0.name='box0'
box1 = AddBox(0,1,0, .5,.5,.5)
box1.name='box1'

#merging them into a cuboid
Merge(box0,box1)

I get the following exception

TypeError: bpy_struct: item.attr = val: BooleanModifier.object ID type does not support assignment to itself

Need to set the active object.

The issue here is that operators work on the context.object to set an object to "active state" use both

in 2.7x

context.scene.objects.active = ob0
ob0.select = True

in 2.80

context.view_layer.objects.active = ob0
ob0.select_set(True)

Then when you run an operator it sees ob0 as context.

Just setting ob0.select = True is not #selecting obj0 so the bpy modifier is constructed for it

Without the above, because you added ob1 last, it was still context.object and hence you were trying to set its union object to itself.

An object can be active but not selected, selected but not active.

Again from  a previous answer https://blender.stackexchange.com/a/133292/15543 I showed how to add a modifier using api methods to get its reference IMO this is far simpler than using an operator.

Surely

bool = ob0.modifiers.new(name='booly', type='BOOLEAN')
bool.object = ob1
bool.operation = 'UNION'

is more readable (, and simpler) than

bpy.ops.object.select_all(action='DESELECT')
bpy.context.scene.objects.active = obj0
obj0.select = True
bpy.ops.object.modifier_add(type='BOOLEAN')
bpy.context.object.modifiers["Boolean"].object = obj1
bpy.context.object.modifiers["Boolean"].operation = 'UNION'

Soapbox TLDR:

Recommend getting out of the habit of always addressing via bpy.context.foo.bar.blah  For example in test code if the line context = bpy.context is added at the top, removes the need to use bpy.context.... every bloody time, if later we choose to copy paste our code into operators or panels then the context matches the argument context  in draw and execute methods etc.

Or after adding modifier with operator

bpy.ops.object.modifier_add(type='BOOLEAN')
mod = obj0.modifiers[-1] # it's the last added
mod.object = obj1
mod.operation = 'UNION'

Here I've referred to the newly created modifier as a variable  "mod",  over obj0.modifiers["Boolean"] and definitely rather than the long winded bpy.context.object.modifiers["Boolean"]


What settings affect the final number of samples in Cycles? I'm having some problems with cycles. No matter how small the number of samples I input, it always scales that up.

I thought there was no anti aliasing configuration for cycles. What option may be causing this huge number of samples on my scene?

The reason your samples are so high is because you are using Square Samples. So instead of 12 you are using 144 (12x12) samples.

The square samples feature allows you to increase the sample numbers very fast.

This is how the author of this feature describes it on blenderartists.org

Basically brings Cycles more in line with Arnold. Noise in a path tracer takes longer to clear the longer a render goes on, which maps fairly closely to a n^2 curve. So basically, using squared samples allows every increase of 1 to equal a meaningful amount of noise reduction, and it allows an artist to have a very simple table of values stored in their head to clear noise for various common scene types


Extrude a mesh by Region using Python script I've got a flat mesh resulting from a previous script (How to draw a PostGIS Polygon with holes into Blender using Python) :

I'd like to extrude this mesh by Region using Python (This can be done from Blender, in Edit mode, selecting the entire mesh, then from the mesh menu: Extrude --> Region)

Typically, i don't want to extrude individual faces showing the internal edges of the polygon like this :

Below is a script extruding the active mesh, but unfortunately it's using individual faces, and i couldn't adapt it to extrude Region :

import bmesh

o = bpy.context.active_object
me = o.data
bm = bmesh.new()
bm.from_mesh(me)
faces = bm.faces[:]
for face in faces:
    r = bmesh.ops.extrude_discrete_faces(bm, faces=[face])
    bmesh.ops.translate(bm, vec=Vector((0,0,-3)), verts=r['faces'][0].verts)
bm.to_mesh(me)
me.update()
bpy.context.scene.update()

Is there a way to adapt this script to extrude Region instead of individual faces ?

This should do the trick, and no need to create a bmesh object to extrude all your mesh's faces:

import bpy

# Go to edit mode, face selection mode and select all faces
bpy.ops.object.mode_set( mode   = 'EDIT'   )
bpy.ops.mesh.select_mode( type  = 'FACE'   )
bpy.ops.mesh.select_all( action = 'SELECT' )

bpy.ops.mesh.extrude_region_move(
    TRANSFORM_OT_translate={"value":(0, 0, 3)}
)

bpy.ops.object.mode_set( mode = 'OBJECT' )

Often you can find hints about how to call operators from the info panel, and of course the tooltip. In this case they give contradictory hints but both can get be beneficial:


Curve modifier doesn't follow curve in the correct axis Apologies If I am not using correct words and names for the modifiers. I tried to follow a simple blender plant creation tutorial but in the last section I came across a problem that I cannot solve. I created a bezier curve for the sake of adjusting plant's stalk, but when I added curve modifier, my stalk changed it's position. According to the tutorial, I should simply choose 'deform axis Z" but when I click it, plant's stalk is still in an incorrect place. Please see images below. Any solutions? I tried to look for answers but didn't come across anything quite the same.
Thanks in advance!

Apply the rotation of your curve (CtrlA)
In Edit mode, right click and Switch Direction so that the normals go from bottom to top
You’ve keyframed the Curve modifier's Deform Axis, not sure why, so maybe delete the keyframe, and find the right axis (which seems to be -X)

Your stalk doesn’t completely follow the curve but it’s because it is not originally completely straight,  it’s already a bit curvy before you give it the Curve modifier


UV-Mapping not correct on 3d model but in UV-Editor Recently I started texturing parts of my model and came across a problem I cannot figure out a solution.

I unwrapped the model as I liked and created a simple transparency map to not use any modifiers to cut out windows and so. As soon as I connected the map to see the first result the texture was slightly off on the 3d model. I looked in the UV-Editor but there the mesh is correctly unwrapped as it should be, however on the 3d model it is not. Do you have some advice for me or a solution?

In the last picture, you can see it's not only a problem at the rear door but also with the sunglass-look at the cockpit windows.

Here is the link

Do you have some advice for me or a solution?

Not allowed to comment yet. Just a hunch, but do you have a not-unwrapped duplicate of this plane that is rendering on top your unwrapped plane by accident? This is what it looks like from your screenshot and I've made the same mistake.

Turn off the renderable option in the outliner for anything you don't want to render.

EDIT: If that is not the problem, overlay the texture on your UV editor and make sure your UVs line up with the texture itself.

GOT IT: Problem is that the scale of your X axis in your shader's mapping node is set to 1.100 instead of 1.000. Fix that and it renders like this:


Slime effect material I know the normal + glossy effect but I want the yellow to red color effect by light.

thanks

this is what I got so far. It kinda looks like the picture but the sss is not emitting the yellow light.

Any thoughts?

Final:

You can also make it with Principled Shader only if you like to keep things simple.

Node setup:

As mentioned above, add Principled Shader, set Subsurface Scattering to around 0.2-0.3, tweak Roughness and you are ready to go.

Scene setup:

For this setup (and reference image) you will need some strong directional light in front of your object. I've used Area Light, scaled on X axis.


How to add mesh primitives in Blender Python using data blocks In Blender Python I can add a lamp by doing the following:

DataBlock = bpy.data.lamps.new(name='HemiA', type='HEMI')
ObjHandle = bpy.data.objects.new(name='HemiA', object_data=DataBlock)
bpy.context.scene.objects.link(ObjHandle)

I want to do the same for mesh primitives such as Suzanne. There is an operator for this: bpy.ops.mesh.primitive_monkey_add(), however there doesn't seem to be any way to create a mesh primitive data block.

I am not sure if there are functions which return mesh primitives as a data block in the Blender API. But you can create a Suzanne data block by using a bmesh and bmesh.ops.create_monkey(bm, matrix) which you can then convert to a mesh data block

import bpy
import bmesh

bm = bmesh.new()
bmesh.ops.create_monkey(bm)

# Create mesh data block from bmesh
mesh = bpy.data.meshes.new('Mesh')
bm.to_mesh(mesh)
bm.free()

# Create object and link object to scene
obj = bpy.data.objects.new('Object', mesh)
bpy.context.scene.objects.link(obj)
bpy.context.scene.update()


Randomized color with array modifier I'm learning Blender, and I want to make keys for a keyboard with RBG lights incorporated inside them (final render will be an image, not an animation).
I created a low-poly key, with 2 material : 1 for base color, and a second one for the random color.
So here is what I did

But now, i simply want to make an array to fill the keyboard. But the colors is not random at all, it stays the same.

Cycles
You can use parameter Random per Island
"A random value for each connected component (island) of the mesh. It is useful to add variations to meshes composed of separated units like tree leaves, wood planks, or curves of multiple splines."

BTW For "rainbow" ColorRamp you can set just a two colors (Red-Blue) with HSL > Clockwise.
Or for your full ring - Red-Cyan-Red. https://imgur.com/XUFqIju


How to setup particles rotation to follow the camera? I'm struggling to adjust the rotation of particles in a particle system as desired.
What I intent is to make my particles follow the camera so I have attached a constrain to the main particle_object (which is to be instanced) and used the particle rotation for particles_(of particle system), still no luck.
I have also tried many combinations of the track contain buy nothing is doing the exact thing.
Any help will be appreciated.
Here is the link to the blend file:
https://drive.google.com/file/d/10JzWAvpLUdNhW2EUrcfuiFxf4kw-7t9B/view?usp=sharing
Here is a screenshot of the project:

Issue resolved. I am attaching the new file for details also adding some words and screenshots for faster resolution.

Check the Advanced tab under particle settings. It will open the
Rotation tab between Velocity and Physics.

Check that Rotation option and tweak the Orientation & Phase to get the desired result.

Use the "Track to" constrain for the mother particle with the
Camera. (no other tracking constrain has that much flexibility.)

**don't forget to set the origin in the right place for the mother Particle (for the cat image it's at the bottom middle where the 3d cursor is in the 1st image.) To set the origin in Custom places you must go into Edit Mode the select the corresponding vertex/edge press Shift + "S" then select Cursor TO Selected. get out of edit mode select the Mesh and right-click >> Set Origin >> to 3D Cursor.
***setting the cursor to the selected edge will place that at the middle of that edge. If you want more freedom make a loop cut at the exact point you want to place the Cursor/origin and select only that vertex in the edit mode. Then do as previous.
Screenshots-

Here is the link- >>>>>>>> https://drive.google.com/file/d/1Os-NCiLtDF0AkZP4hDP5Qc6NGPT3yC1s/view?usp=sharing.


Print specific coordinates of keyframes? So i want to print each coordinate of XYZ individually along with the rotation and location. I found some code online structured like this for printing key frame data but i'm not sure how to get it to print individually.

    def get_keyframes(obj_list):
        keyframes = []
        for obj in obj_list:
            anim = obj.animation_data
            if anim is not None and anim.action is not None:
                for fcu in anim.action.fcurves:
                    for keyframe in fcu.keyframe_points:
                        x, y = keyframe.co
                        if x not in keyframes:
                            keyframes.append((math.ceil(x)))
        return keyframes
keys = get_keyframes(selection)
selection = bpy.context.selected_objects

This defines the keys. So lets say i want to define each coodinate as a variable:

for obj in enumerate(selection):
    XRot = round(keys.rotation_euler.x, 3)
    ZRot = round(keys.rotation_euler.z, 3)
    YRot = round(keys.rotation_euler.y, 3)
    xloc = round(keys.location.x, 3)
    yloc = round(keys.location.y, 3)
    zloc = round(keys.location.z, 3)

    EachKeyFrame  =  [key for key in keys]

    for keys in enumerate(EachKeyFrame):
        print(str(ZRot))

I've tried this although it gives a "AttributeError: 'tuple' object has no attribute 'rotation_euler'" error.

I've also tried ints like this but gives the same error.

for obj in enumerate(selection):
    XRot = round(keys.rotation_euler[0], 3)
    ZRot = round(keys.rotation_euler[1], 3)
    YRot = round(keys.rotation_euler[2], 3)
    xloc = round(keys.location[0], 3)
    yloc = round(keys.location[1], 3)
    zloc = round(keys.location[2], 3)

    EachKeyFrame  =  [key for key in keys]

    for keys in enumerate(EachKeyFrame):
        print(str(ZRot))

Avoid the enumerate, change keys to object as Doyousketch2 mentioned.

import bpy
import math

selection = bpy.context.selected_objects

def get_keyframes(obj_list):
    keyframes = []
    for obj in obj_list:
        anim = obj.animation_data
        if anim is not None and anim.action is not None:
            for fcu in anim.action.fcurves:
                for keyframe in fcu.keyframe_points:
                    x, y = keyframe.co
                    if x not in keyframes:
                        keyframes.append(math.ceil(x)) #(math.ceil(x)))
    return keyframes

def print_details(obj_list):
    XRot = round(obj_list.rotation_euler.x, 2)
    ZRot = round(obj_list.rotation_euler.z, 2)
    YRot = round(obj_list.rotation_euler.y, 2)
    xloc = round(obj_list.location.x, 2)
    yloc = round(obj_list.location.y, 2)
    zloc = round(obj_list.location.z, 2)
    print(obj_list.name)
    print("X Rot : ", XRot, '\t'*2, "Y Rot : ", YRot, '\t'*2, "Z Rot : ", ZRot)
    print("X Loc : ", xloc, '\t'*2, "Y Loc : ", yloc, '\t'*2, "Z Loc : ", zloc)

print("-"*25, "starting","-"*25)
for key in get_keyframes(selection):
    bpy.context.scene.frame_set(key)
    print("key : ", key)
    for obj in selection:
        print_details(obj)
print("-"*25, "ending","-"*25)

refer to example How can I get the location of an object at each keyframe?


Smoke+Fire Simulation Fire Not Rendering I've googled endlessly regarding this issue and can't seem to figure it out. I made sure that all my nodes were set up to emit both smoke and fire, and I have selected the correct option under Flow settings. It shows up in the viewport fine, but only renders the smoke as you can see.

Any ideas?

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

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

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


Reduce Curve Deformation Currently I am working on an animation that requires a scroll opening up. I added a Curve Modifier with a spiral curve to both parts of the scroll mesh, then I added another Curve Modifier with another curve to the mesh.
The result is this when it's only a bit open (good):

The result is this when it's halfway opened (bad):

How would I keep the wrapped-up part to stay circular like in the first image? Thanks in advance!

I've never had much joy combining two curve modifiers - not even sure what your set is - perhaps curve following path? As curves do essentially modify, they work fine with things like cables and planes, but will distort objects especially around tight corners.

The example below I set up with a Nurbs curve with three Hooks: One to hold the centre form and the other two to animate. There is not much animation just a bit of rotation and placement. If you wanted the scroll to open more, you could just scale it on one axis.

Maybe not the answer you were looking for but think it could be usable...


armature copy rotation weirdly flips the direction I am trying to make an animation of closing/opening of a Book. For this I'm using bones to control the same. I have added the bones as shown in the image, the closing of the covers are controlled by a controller bone on top. But I have an issue in completing the animation with the constraints.

Process followed to achieve it:  (Note: Careful with the naming of the bones, check the image)

The bones are parented as shown in the image. And then the Cover.L, Cover.R, edge.LRoll and edge.RRoll , I have added the bone constraint of "Copy Rotation" in the local space. The middle two bones (edge.LRoll and edge.RRoll) take the rotation from the controller and the side two covers take the rotation from their opposite edges (i.e Cover.L takes from edge.RRoll). (I have named the bones in the picture and also represented the parenting with the yellow arrows)

Basically this should help in coordination of the rotation of the covers with respect to the rotation of the edges, when the controller is rotated. Now I added "Limit Rotation" to the middle edges so that they don't rotate more than 90 degrees in local&World space respectively for R and L edges. Everything works fine till now as constraints for middle edges works well.

Now I want to constraint the rotation of the Covers from 0-180 degrees in World space and added the same to both the covers.

THE PROBLEM:  As I added the constraints of limit rotation to covers, the Cover.L works well in its boundaries, but the Cover.R weirdly flips its direction the moment it nears the 180 degrees. SO I want to fix this issue

Here is the constraints I have added (May be useful before opening the blendfile)

So, I am unable to understand what is wrong with this. Please guide me how to fix this issue?? Im I doing wrong somewhere? or is it a bug?

WHAT I HAVE TRIED
 - I have tried limiting the rotation with respect to the local space, changing the limit angles but this doesn't give proper limits.
 - I saw somewhere that the "roll" of the bones can sometimes cause rotation issues, so I even kept all the rolls to Z axis.

Btw: I am new to the working on Armature, that is the reason I might have been asking very basic issue. I have been following this tut https://www.youtube.com/watch?v=hjZa-h_f5Ts&t=6s

My blend File for further investigation: https://pasteall.org/blend/2b57b74d8746407ba12897f0c5d9559b

After researching this issue, I get the impression that there is something problematic about how Blender calculates rotations internally which makes rotation constraints reset bone values to zero whenever exceeding +/-180 degrees. It turns out that Blender continues calculating rotations even within ranges for which constraints are currently limiting rotations, and that these internal rotation calculations can continue after passing the constraint thresholds. What I find particularly baffling is that unchecking the For Transform checkbox for a Limit Rotation constraint stops "out of bounds" rotation values from being reported in the Transform panel, yet this doesn't actually stop the calculations themselves, which will still go on to create flips when transforming past +/- 180 degrees. This leads me to wonder what changing this setting meaningfully, operationally achieves, because it doesn't do anything to change this insufferable behavior.

I noticed in the video that the author doesn't seem to have your issue. But then again, I don't think he ever rotated the control bone far enough at any point to tell me for sure that his rig wouldn't have done what yours is doing. So it's not clear that his rig would behave differently than yours if pushed past +/- 180 degrees.

Some elsewhere have suggested creating drivers to address this problem, which seems to me like a very labor intensive workaround for something that shouldn't even be a problem. I noticed that the author creates drivers toward the end of the video, and I don't see any drivers in your file. I don't know that adding these drivers would have solved your issue, as I only skimmed the video. But I found it of possible interest that you didn't have any drivers set up before reporting this issue.

I can't find any problems with the rig itself, but I could have missed something. I have found other links to similar questions which either go without answers or explicitly report that there is no solution.

I would really like to see a satisfactory solution presented, personally.


my model is in magneta color My model is magneta color (MakeHuman model) and I can't put it back.

I tried to change the material and texture but it is still like this.

The magneta  color is everywhere.

I read the others answers but I have this problem

This Pink Material shows that you added an Image-Texture without adding an Image. Go to Node-Editor and check your Material properties (Added Image correctly? Connect all Shaders and Outputs?)

Use the small Button in the corner down on the left side and choose node-editor.

I made an example for how the "Node-Tree" should be although you should choose the "UV" output from "Texture Coordinate" if you've wrapped your Mesh (Not Generated as I did).


Blender Eevee how to render Bloom effect when using transparent background I need to render Bloom effect while using a transparent background, I need to save PNG sequence with RGBA, when I do this, the Bloom effect is being removed by the transparency since it falls outside the geometry.

This is the effect I'm after but with transparent background.

This is what I'm getting out of the box when enabling transparent.
My question is: How can I keep the Bloom effect overlay while rendering with a transparent background?

I found a workaround with composting:
1- Enable Bloom pass in View Layer before rendering

2- In Compositor, Add the Bloom pass to the Alpha of the image, use a ColorRamp node to control the bloom effect, and to convert it at the same time to black and white.

Check the original Alpha in the image above and compare to the next image with Bloom added via the ColorRamp node.

3- now we need to use the outcome as the new Alpha pass instead of the original one, for that, I used a Select Alpha node, linked the original image color pass to the color, the new alpha pass to the alpha.
You can see here how the bloom effect shows on the transparent background, now I can fiddle with the ColorRamp node to get the better result, but I find it easier to temporarily add a background in the compositor using an Alpha Over node, to see the results, then I can remove before final render. I also need to mention that I found it gives better results when I use "Ease" mode in the ColorRamp node, but this depends on the desired effect and the project at hand.


Switch from Multitexture to GLSL BGE I would like to switch from Multitexture to GLSL mode in the Blender Game engine (unless shadows work in Multitexture), but I do not know the process. simply switching the button causes a full white screen. Help?

You can press N to show the side panel an change from multi texture to gls.

If the image still white change the viewport shading shortcut Z to material or texture.


Can't Edit in Sculpt Mode After Un-Hiding Parts of Mesh in Edit Mode I'm working through my first character modeling class, and having an issue! I hid the main body (anything past the wrist) of my character while in edit mode, to work strictly on the hand. When I went back and unhid the rest of the mesh, I stopped being able to edit the mesh in sculpt mode. I am able to sculpt the hand, but when I click anywhere that was previously hidden, it won't move! At first it wasn't responding in edit mode either, but now that seems to have been resolved after "unhiding" the mesh additional times, even though it was already showing up.
I tried this in Blender 2.90 and 2.91 and neither are working.
Any suggestions? Here is the file: https://www.dropbox.com/s/5uh7100zk0rkqc4/Character%20Modeling%20Tutorial%20DIKKO%20Beth%20Model%20Hand%202.blend?dl=0
Thank you guys in advance!

It's the Mirror modifier that causes the glitch in Sculpt mode. Have a look at the modifier panel and you will see a warning message: "Sculpt: Hide, Mask and optimized display are disabled". That means the body is hidden but because hide does not work you still see it. A Fatamorgana ;-)
Press the little monitor icon "Realtime" right next to the Mirror modifier's name (in the modifier panel) to disable it in Sculpt mode and you will see what Blender sees. It's only the left hand visible.
Solution: In Sculpt mode, press Alt + H to unhide the hidden body.


How can I use bmesh vert index as vertex color index? I want to modify the vertex color by index, the bmesh vertex index value seems unequal to the colorlayer.data index, so it's difficult to draw a vert with several mesh cross.
Is there any to fix this problem? Thank you!
import bpy
import bmesh

# Set in objecte mode
bpy.ops.object.mode_set(mode = 'OBJECT')

# get current mesh
#current_mesh = bpy.data.object.data
#current_mesh = bpy.object.data

# bmesh seems imposible to set vertex color, use a substitution to work like this
current_mesh = bpy.data.objects['Cube.001'].data
current_mesh_color = bpy.data.objects['Cube.002'].data

# vert color check
if not current_mesh_color.vertex_colors:
    current_mesh_color.vertex_colors.new()

# get vertex color layer this seas to be unuseful when use bmesh and try to set color data by bmesh data
# current_coler_layer = current_mesh.vertex_colors["Col"]
# use a substitution object to cacute the color
current_coler_layer = current_mesh_color.vertex_colors["Col"]

#--------------------------------------------Bmesh data Get
# create empty bmesh, add current mesh into empty bmesh
current_bm = bmesh.new()
current_bm.from_mesh(current_mesh)
current_bm.faces.ensure_lookup_table()

# TODO: get absolute position
# get location of face (atm it relative to object origin)
# bpy.context.object.matrix_world for world position left muli

i = 0
for face in current_bm.faces:

#    #current face center coord
    face_center_coord = face.calc_center_median()

    for vert in face.verts:
        # this will loop some repetitive vertex severals times

        # get vert index
        current_vert_index = vert.index
        # get vert coord
        current_vert_coord = vert.co

        x = face_center_coord.x*0.5+0.5
        y = face_center_coord.y*0.5+0.5
        z = current_vert_coord.z

        # Seemingly look like that the vert index is not equale to the color layer index, just use a selfradd varible can work well
        # Unity use y for up direction, left hand axis
        current_coler_layer.data[i].color = (x, z, y, 1.0)

        print(current_vert_index)  # DEBUG
        i+=1

# current_bmesh back to mesh
current_bm.to_mesh(current_mesh)
current_bm.free()
#--------------------------------------------
```

Vertex colors are not stored on a vertex, they are stored on a loop (loop = corner of a poly). This means one vertex can have different vertex colors for each poly it is part of. So you would need to index into mesh.vertex_colors["Col"].data using the loop index.
However, if you're using a bmesh, you can set the vertex color for a loop with loop[layer] = (r, g, b, a) where layer is your_bmesh.loops.layers.color[your_layer_name].
Try this:
import bpy
import bmesh

bpy.ops.object.mode_set(mode = 'OBJECT')

current_mesh = bpy.context.active_object.data

current_bm = bmesh.new()
current_bm.from_mesh(current_mesh)
current_bm.faces.ensure_lookup_table()

# TODO: get absolute position
# get location of face (atm it relative to object origin)
# bpy.context.object.matrix_world for world position left muli

# Get first color layer (create if needed)
if not current_bm.loops.layers.color:
    current_bm.loops.layers.color.new('Col')
layer = current_bm.loops.layers.color[0]

for face in current_bm.faces:
    # Current face center coord
    face_center_coord = face.calc_center_median()

    for loop in face.loops:
        # get vert coord
        current_vert_coord = loop.vert.co

        x = face_center_coord.x*0.5+0.5
        y = face_center_coord.y*0.5+0.5
        z = current_vert_coord.z

        # Unity use y for up direction, left hand axis
        loop[layer] = (x, z, y, 1.0)

# current_bmesh back to mesh
current_bm.to_mesh(current_mesh)
current_bm.free()

Tested with Blender 2.90.


Map an image file to a UV dome post-version 2.8 Version 2.92.
Created a UV sphere and lopped off half, so a hemisphere remains.
At present there are by default two panes in the UV Editing tab screen--UV Editor and 3D Viewport, side by side.
After Edit Mode!UV!Unwrap in the right pane (in the 3D Viewport), the UV Editor (left pane) changes from a square grid and a cursor in the lower left, into a round grid that can accept a round map--where I've thus done so:

Meanwhile the 3D Viewport (right pane) contains the dome perspective, but it's still gray.
I want to map the .png in the left pane onto this dome in the right pane.  But how?
UPDATE:
Here is something in the "Base Color" field for Material Properties:

I have seen the pic you have provided and it is pretty clear that you haven't set the material to Image texture. Please change it to image texture and then try UV mapping it, then it should work.


How do I assign a material to an Archipack object? I use Blender 2.79 and am still pretty much a beginner.

I tried both Archipack and Archimesh. Archipack seems a bit more comfortable but I don't know how to assign a Material to it or change it from the default grey to something different. In Archimesh that is easy. I would like to use the Principle BSDF Shader and Cycles.

I cannot find documentation on either of those addons either... just a long thread in a forum.

Archipack can take advantage of a predefined material library.
If the default material library is missing, you get dumb white materials assigned.
Please take a look at https://github.com/s-leger/archipack/wiki/Materials in order to setup your default material library.
The aswer of @light-pankakes remains still valid when it comes to setup new materials.


Strange artifacts in mesh These beakers look fine in wire frame but they show odd shadows in solid view that persist when the scene is rendered. How do I fix this?

.blend file: https://drive.google.com/file/d/0BxQSzlIf4gF6M1VlSGZzSUl5SXc/view?usp=sharing

It looks like you have duplicated the mesh without moving it. Try selecting all vertices in edit mode and pressing W to bring up the specials menu and selecting remove doubles. You may also want to recalculate your normals after doing this from the shading/UVs tab on the toolshelf of the 3D View.


Sun Beams node. Where do the rays come from? Creating Sun Rays is always a struggle.
Today, I am trying to create rays coming from below around silhouettes produced with transparent PNGs - reusing several tips I found on here.

And it seems that the rays are going down rather than up...

In this setup, the light comes from an emission plane, above which are silhouettes.

The World Compositing setup.

The Volumetric environment.

Unfortunately, when I render the rays seem to come from above and mask part of the silhouettes! On this render, it is obvious that the emission is way below the silhouettes.

How do I make the rays come from the Emission object?

Sun beams node works with normalized screen space coordinates, where (X0.5; Y0.5) is the Camera's midpoint.

Your current point (X0.7; Y1.1) is way out of the screen. Try something like (X0.5; Y0.25) - it will be lower part of the screen, where is light coming from.


How do I connect these two vertices by extending them along its edge util they reach each other? How do I connect these two vertices by extending them along its edge util they reach each other?
Since the left edge is parallel with the Y axis, it is easy to move the vertex down the Y axis, but how do I move the vertex of the bottom edge since it is not parallel with the X axis?

Edit: grilled by Mr Zak  ;)
You can extend the 2 edges so that they overlap: slide GG and C to extend. Then enable the TinyCAD addon, select all and right click > TinyCAD > XALL Intersect, it will create a vertex at the intersection. Remove the rest.

Or, as mentionned by the Great Robin Betts, don't slide, just select all and choose VTX Auto, it will intersect automatically, you'll just have to dissolve the remaining vertices with CtrlX:


How to add images from selected folder via Python In my Panel class I use:

col.prop(context.scene, 'path')

I also have:

def register():
bpy.utils.register_class(PBRGROUP)
bpy.utils.register_module(__name__)
bpy.types.Scene.path = bpy.props.StringProperty \
  (
  name = "Folder with textures",
  default = "",
  description = "Select folder with images to import",
  subtype = 'DIR_PATH'
  )

def unregister():
bpy.utils.unregister_class(PBRGROUP)
bpy.utils.unregister_module(__name__)
del bpy.types.Scene.path

The above gives me:

How to add all images from selected folder to my .blend file?

I know how to create a button, but I don't know how to add files from directory.

You can add an adapted version of this nice generator to your code to find all images in a given folder (such as the ones you keep in your Scene.path property):

import bpy, os
def path_iterator(folder_path):
    for fp in os.listdir(folder_path):
        if fp.endswith( tuple( bpy.path.extensions_image ) ):
            yield fp

Then you can iterate over the images and do whatever you want with them, for instance to add them to the list of images blender can use for textures and other purposes:

for imgPath in path_iterator( bpy.context.scene.path ):
    fullPath = os.path.join( bpy.context.scene.path, imgPath )
    bpy.ops.image.open( filepath = fullPath )


Toon node with indirect lighting? Trying to make a cellshaded shader in eevee which will also show blue light which comes from emissive blue objects next to it. Before I switched to the shader I made (screenshot) I was able to bake indirect lighting. Now it only shows as bright space on the color ramp. I'm kinda clueless about nodes so help is greatly appreciated!

Just run your setup back through a Diffuse BSDF before connecting it to the Material output.


Why does inserting a new keyframe effect previous keyframes? I'm new at the Blender animation thing and having a problem where my objects will move without me telling them to.

I start at 1, adding all my objects to the first keyframe as a starting point.

Then I rotate a few objects, and make a second keyframe at 25.  I use the timeline editor to play the animation, and everything works great.

So I move on, rotating a few other objects, and making a third keyframe at 50.  This is where everything breaks downs.  The keyframe at 50 looks great, but when I go back to 25, everything has moved.

And this is rewound back to 25...

All the objects are suddenly way spaced out from each other.  Why would creating a third keyframe ruin the first 2?

I am guessing, but here's one problem. Have you parented the objects properly so there are object origins or, ideally, empties where the rotations take place? Because I guess you haven't just rotated stuff, you have also moved it even though you didn't mean to.

Blender doesn't remember around what you have rotated objects. Sometimes it rotates around the cursor, sometimes around a common selection center. For key frames, that is irrelevant. Key frames only care about the object origin mostly. When you rotate more than one object, it's almost always also movement.

If you don't use armatures, put empties where your box is supposed to fold and create a hierarchy of parents and children. That way you can rotate the inner part around the empty and all other parts will follow, even if they're not animated.

An example:

The sides of this unfolded box are 6 separate objects, similar to your setup. I just used a lot of empties as well.

Boss is the main empty. If I move that, all others follow.
e1 - e4 are all parented to boss and e5 is parented to e4. If e4 is rotated, e5 behaves as if glued to it.

That's also the reason why my top flap does a 180° turn. I made e4 turn 90° and e5 turn 90° as well and it adds up.

The empties may be invisible, but they're handy pivot points and all the faces are parented to the empties, so they move with them. That's the result when animated:

You could achieve the same with bones. Then you could model your box out of a single mesh and deform it by posing the bones. But empties are fine, too.


Is it possible to animate settings of primitives? In Blender, when you add a primitive (cube, cylinder, etc.), you get some settings at the bottom left corner of the screen, for the number of cuts, the type of cap, etc. However as soon as you perform any other operation, as simple as moving or scaling, those settings are gone for good. I want to make an animation of a cylinder with the number of vertices animated from 3 to say 32, but there's no way to do that with the primitive settings prompt at the bottom left at all. In Cinema 4D, primitives remain primitives until you convert them into a mesh object, and all the settings for primitives remain accessible even after transformation, and even animatable. Is it possible to do the same thing in Blender?

You can't access this kind of history in Blender. But you can use the modifier stack to suit your needs.

Then add keyframes to animate it :


Manually Adjust Bevel Values I'm new to Blender and want to be able to precisely adjust bevel values for faces, edges, and vertices by entering numeric values. Is there any way to do this?

Just hit ctrl-B to bevel, and then you can set a number value for however much you want it to bevel.  You probably would want to keep it under 1 to avoid the mesh overlapping itself, but it depends on the mesh.


How could i make a cartoon flower type of shape Almost like a star shape but with the points rounded off. I used this node setup to make a star like this, but I can't figure out how to round off the edges. I would like to be able to customize the number of bumps.

After some quick experimenting, I actually figured out how to get this outcome. If you put an rgb curves node after the ping-pong node (I also got rid of the add and divide nodes because i realised that they weren't necessary) and give the rgb curve a u shape, you can get this outcome. The less than node controls the size and changing the height of the u shape changes the height of the bumps


Separate stl into two stl's based on size of chunks-for 3d printing I always fear that this is a noobie question, I'm sorry if it was.

I have an stl file that represents a chemical structure:

The small spheres being one type of atom, the larger spheres being a different type.  My goal is to split this file into two files, one stl which includes all of the larger spheres, one stl with the smaller spheres.

My goal being to load these two files into my 3d printer software where I can assign a material to each stl for different colors or transparencies.

While still in Blender, how do I separate these two stl's based on object size?

In edit mode, separate the spheres by loose parts by pressing P >> Loose Parts. Now you have each sphere as a separate object. Put all of these objects in a group by selecting all of them and pressing Ctrl+G.

Now, in Animation Nodes, we will create a loop that only returns one type of sphere based on the vertices count. We first get the vertices count of any of the objects, lets say the first, then we loop over the objects and only return the ones that have a mesh with the same number of vertices as the vertices count we just computed.

Now, hide those objects we just computed using the Object Visibility Output Node.

Select those objects and export them using the Selection Only option, delete those object, unhide the other objects and export them. You now have two files each have only one type of spheres.

Notice that if the two spheres have the same number of vertices but different scales, then, similarly, the volume of the bounding box can be used to filter the objects.


How to modifiy interface font size? Absolutely new of Blender, I do have great difficulties to follow tutorials, because the size font appear on my screen 3840x2160 too much small, and I (myope) have to unwear glasses and approach the screen to read.
How I can change the font size of the interface ?
I couldn't do by the usual Windows screen Tools.....

Many thanks...
Bruno

Just go into User Preferences [CTRL+ALT+U], then select the Themes tab, and then Text Style on the sidebar.


Instance from collection controlling in render layers Is it possible to disable an 'instance' from a collection in View Layer?
I don't see the option there.
Right now, my instances stay visible in all my rendered layers.

Instanced collections are actually empty objects acting as a proxy for another  collection.

They behave like all the other objects in relation to view layers, so you will have to put them in their own sub-collection to exclude them from a view layer.


How to load/import a PNG image as plane via Blender's Python API? I have the following snippet to load an image as plane; however, this seems to be obsolete in newer versions of Blender such as 2.79.

bpy.ops.import_image.to_plane(use_shadeless=True, files=[{'name':file_path}])

I need to import a local PNG image as plane that will always face camera. What is the new API to do so in version 2.79?

The error I'm receiving in the console is:

Traceback (most recent call last):
  File "C:\~~~~\Text", line 17, in <module>
  File "C:\Program Files\Blender Foundation\Blender\2.79\scripts\modules\bpy\ops.py", line 189, in __call__
    ret = op_call(self.idname_py(), None, kw)
AttributeError: Calling operator "bpy.ops.import_image.to_plane" error, could not be found
Error: Python script fail, look in the console for now...

The use_shadeless has been replaced with shader which accepts values of DIFFUSE, SHADELESS or EMISSION.

bpy.ops.import_image.to_plane(shader='SHADELESS', files=[{'name':file_path}])

For other options, if you manually do an import image as planes and have python tooltips enabled you can find the property name in the tooltips


Turn curve into a path? I have a curve wrapping around my model and a few orbs I wish to animate around it. How do I convert the curve into a path so I can easily animate it?

I figured out how to move it along but now the ball won't stay inside of the curve and it just flys around it and it's not sold inside the curve?

In blender, I know of no difference between curves and paths.
I believe that a few things could be happening.

1) Make sure that the orbs are children of the curve

2) See that Data > Path Animation is checked

3) You might also want the Frames value under Data > Path Animation to be equal to the length of your animation.

If all of these are done, and it is still not working, please upload your .blend file.


Can't figure out what kind of keyframe this is? Can't figure out how to locate this keyframe, there's a tall yellowish green line on my timeline but I don't know what it represents tried narrowing things down by using the outliner but still can't figure it out.

This yellow-green line is set whenever using the Grease Pencil tool on the selected frame:


How do I confine a boids particle system to a volume? Is there a way to have boid particles be generally confined to a volume? For example, if I were to make a fish tank or fish net, and would want schooling fish to be animated throughout but wanted them to stay within the confines of the volume, is there a way to tell them to flock, but do not exit the volume?
I'm trying to figure a way to make a large school of fish remain in the background of a shot without letting them go all over the place. I've tried having them follow the leader and having the leader move, but it sprays fish across the camera view and all over. Once they start to flock, they just end up spiraling in a cylinder type thing. I'd ideally have them be in a sphere.

Just use avoid/avoid collision for your surrounding box. Of course you need the right values to make it work. And AFAIK there is no thing like "stay in that volume" for boids.


remapped shift key not working My shift key is not working anymore, so I remaped it on the little "2" key just under the escape key using keytweak . The remapping worked in all programs I used but not in Blender apparently .. I can't use shortcuts using shift . Thanks for any suggestions .

with autohotkey , I was able to remap my shift key and it works with blender , I couldn't find the "squared" key so I remap shift on the "left window" key .
To do it you must download autohotkey then create a new script and put in :

LWin::LShift


Is it possible to control a value in all of my materials with one click? I have a few materials that are slightly different but all have an emission shader. Whenever I want to control the strength of all the emission shaders I have to go into each object's material one by one to change the value. I'm wondering if there's a node or add on that can change all of them at the same time. Thanks for any help I appreciate it.

How to tweak values inside any material with a driver in the current scene's properties :
Step by Step :
Go into the Scene properties, expand the Custom Properties foldout and click on Add to add a new custom property.
Right click in the field, choose Copy as New Driver
Then right click into the field you want to be driven by the custom property, and choose Paste Driver
Now the purple fields get updated when you change the custom property in the Scene properties.

Notes :

You neeed blender 2.81 + to have access to the "Copy as new driver" context choice
Notice the purple tint in the driven fields. That means you can't change directly the values anymore. If you want to get rid of the driver, right click in the field then choose "Delete Driver"


Why are my hooks and sewing not holding my cloth in place? I’m trying to solve the problem detailed in

How can I make my cloth sim show tight folds?

but I’ve run into an issue where the hooks in my cloth are not holding it in place when my monkey head presses against it.

Ideally, it should be working similarly to this:

…but instead, I’m getting this behaviour…
0001-0080.mkv (13.4 KB)
…where the cloth is torn from the pinned points and blows away from the pressing object.

Can anybody explain why the cloth is not pinning correctly? Absolutely baffled here.

Blend-File:

Demonstration of Vertex Group:

While I had created Vertex Groups, I had failed to assign specific vertices to the groups.


Wiggle Vector and randomness - Animations Nodes I'm quite new to the animation Nodes concepts, and tried to follow this recent tutorial (https://www.youtube.com/watch?v=GzeP---dP1M&list=WL).
The point of the tutorial is to generate a bunch of random splines all from a first spline, and then add some moderate noise (in location) to each point from each generated spline. You get a nice cooked spaghettis effect.

Works ok, but then i tried to replace the script subprogram by a wiggle vector Node (see 6.20 in the video).
But i just don't manage to get the vector wiggle randomness (seed) independant from the Getpoints Loop. My splines stay "parallel" whatever i try. My guess is i should try to generate a random integer outside of the GetPoints loop and plug the result into the seed of my vector wiggle, but i just don't get it right.

I'd appreciate any suggestion.

It seems you are confusing some concepts. The noise function used in the original tutorial is 3D noise based, meaning it is evaluated at 3D vector locations and not seeds (Integers). The Wiggle Vector Node is 3 1D perlin noise each of which assigned to one of the channels, and it gets evaluated at a float (1D instead of 3D), this float is the evolution value you see in the node. So the wiggle node is now acting merely as a random vector generator. If you really want a similar function to the one used in the Script Node, check my answer here, which explains how such noise function can be used. Now that we got that out of the way, lets examine your node tree and try to get it to work as expected

Seed

You don't need to generate a random number to use as seed, seed is arbitrary, it only matters that it is different, and thus you can use the index directly. Matter of fact, the random numbers may repeat while the index will never, which ensures different results for each iteration. Moreover, float can be converted to integers implicitly, so you don't need the Round Node.

Spline Seed

It is true that you are changing the seed for each of the individual points of the spline, however, they are constant across splines, that's why they seems identical, what you need to do is to use the index from GetSpline loop as a factor for computing the seed in the GetSplinePoints, you can use the random number generator for this, or simply use a linear combination between the index from the upper loop and the index from the lower one. An example for the linear combination:

Lets look at an example to understand how this works. Lets say you have two splines each of which have four points. We want a different seed (integer) for each of those points in each of those splines. The simplest way of getting such integers is using what is known as a Linear Indexing Function which is a simple bijective function in the form: $f(x,y) = yn + x$, where $n$ is the number of points (4 in our previous example), $y$ is the index of the spline (which in our previous example is either 0 or 1 representing the first and second spline respectively) and $x$ is the index of spline point (Which in our previous example is either 0, 1, 2, 3 representing the first, second, third and fourth point respectively). In our node tree, $n$ is equal to the Point Amount, $y$ is the index of the upper loop and $x$ is the index of the lower loop. Lets look at the range (output) of this function:

$$
\begin{aligned}
f(0,0) &= 0\cdot 4 + 0 =0\\
f(0,1) &= 0\cdot 4 + 1 =1\\
f(0,2) &= 0\cdot 4 + 2 =2\\
f(0,3) &= 0\cdot 4 + 3 =3\\
f(1,0) &= 1\cdot 4 + 0 =4\\
f(1,1) &= 1\cdot 4 + 1 =5\\
f(1,2) &= 1\cdot 4 + 2 =6\\
f(1,3) &= 1\cdot 4 + 3 =7
\end{aligned}
$$

So you see that for any combination of $x,y$ belonging to the domain,the output is distinct and always exist, that is, the function is bijective. And it can be safely used as seed.

Wiggle Evolution

As described in the foregoing sections, the wiggle node is now merely acting as random vector generator, to actually make use of it as a perlin noise generator (That is 1D, unlike the one used in the tutorial, meaning you will not get the same results), you have to use the evolution parameter which can be the seed of the points. Take a look at the documentation for the Wiggle Nodes to have a better understand of what it does. An example would be as follows:

Spline Info

Spline info will only return the handles locations, the problem is that the points may be very few and the result of the noise may not be apparent, instead, we can evaluate more points on the spline and use them instead. Evaluate Spline Node can be used:

Replicate Spline

The use of the Replicate Spline Node in the tutorial or your node tree does not seem to be correct, you don't want to have spline that are distant as they are now, instead, one can simply input the spline as a parameter and control their amount using the number of iteration.

Poly Spline

Don't create the splines as poly and convert them to bezier after that, just create them as bezier directly.

By using all of the above, and by adding a parameter for the wiggle amplitude and by using the index of the upper loop as the seed of the wiggle, and by adding the speed as a parameter:

We get:

Which is similar to the result of the tutorial.


Object appears in Object mode but not in Render Learning Blender 2.8. Frosting with sprinkles Object appears in object mode but not in render. Any help would be appreciated.

Another note is that when I toggle to edit mode on the mug or plate I can see the object in edit mode. But when I toggle to edit mode on frosting with sprinkles. I doesn't show up in edit mode.

In the Outliner, click on the key icon to display the Render option (camera icon) and make sure the option is enabled for your object.

Second solution: if this surface is an emitter, make sure you've enabled the Show Emitter option in the Particles panel:


What are the differences between the two gamma settings What is the difference between the two gamma settings?

The first is found in the color management section of the properties window.

The second is the gamma node in the compositor.

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

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

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


Characters Move Independently In Single Text Object Objective

To use a single text object where each character of the text moves in their own unique manner.

Detail

I want to be able to use one text object to create an animation where characters move onto the screen one by one. The way each character moves onto the screen is slightly complex, so I want to premake it myself for the rest of the unknown number of characters to follow. I also want to set the delay between when a character starts its animation and when the next character starts its animation.

The reason why I only want to use only one text object is because the amount of characters that are being animated are unknown and can vary. Additionally, I want to be able to press tab to edit the text and type it in with ease where it will automatically determine how the characters are going to be animated based on the presets that I made (the animation path I made for all the characters to follow at different times and the delay between each one).

Normally if I wanted to have the characters move independently, I would need to separate each character into their own text boxes and manually copy the animations. This will be troublesome if the entire length changes.

Additionally by putting each character into their own text objects, it would be hard to judge the distance between each character (and imagine if I have to change the text).

By changing the length of the single textbox, it will also change the amount of characters needed to animated. This will also change the amount of time need to finish the animation. However blank spaces will not add any time as they have no animation and will be skipped.

Final

So can someone please help me and show me how to do this in Blender Render. It may involve Python and although I have learnt a little bit of Python a long time ago, I have no clue of how Blender interprets them and it's libraries so bare with me.

Image above showing extents of individual characters in a single Blender Text Object.

Some miscellaneous points.

For ease of expressiveness, in the not quite so long run, I suggest you animate either single letter text objects or the mesh converted objects.
You may want to search for a script which already does what you want.
Text can follow path as a whole quite easily.  Having each character follow a different path requires more work.  Link for various approaches ...How-To: Text Sliding out of a Circle 2D
Your statements lead me to believe you want characters following individual paths.

In the image above we see the Blender Python Console window.  We have probed the location and dimension of a text object.  You see the X-axis value increase as I add letters.  Subtraction required for individual character location perhaps other considerations.  I have not found a more abstract probe for individual substrings of a larger string.

In the image above is a text editor window with an executed script.  The blue balls have been placed at right side x axis of each letter.  Thus the script has some reasonable knowledge of extents in the x direction.  You can store the measurements in a Python list if that suits you.
Inspect, Verify and Improve the script.
Know that text character placement may not be as easy as placing a cube.  Text characters have their own sense of orientation and aesthetics.  Baseline for example.  If you separate characters of a text object take care to notice any adjustments to the individual origins.
If you have final placement of the single objects whether text or mesh you can keyframe those positions as final positions.  Then your animation can occur close enough to those final positions.  For example a path which gets close enough to your final position can ease out its influence.
There is more left for you to discover.