Is there a way to array an object along multiple curves without having to duplicate the object for each curve I am currently using array and curve modifiers to array a vertex along a curve and then instancing an object to that vertex in order to avoid the object getting warped or rotated while following the curve. For an example see image:

The current project has over 30 edges that require the object to be arrayed along them and I'd while I could simply duplicate both the object and vertex and repeat the process for each curve, I'd prefer to avoid having 30+ identical vertices and objects as well as having to link all the objects so that it would update all of them when I update the mesh of the object. I'm hoping there's a way to either array the vertex along multiple curves or instance the object over multiple vertices so while I'd have a vertex for each curve It would still leave me with a single master object that I can edit and have the rest auto-update.

Edit:

I've figured out how to do most of the things I was trying to do, the only thing I'd like to figure out is if there's a way to permanently link modifier data so that if I remove the subsurface modifier on the master pillar it removes it on all of them. other than that I've figured out a way to have pillars array along multiple curves but maintain a separate object that I can edit so that it applies to all of them.

For anyone interested or confused about what I was doing, I have attached a blend file.

Finally, I want to thank @atomicbezierslinger for their patient help despite my lack of understanding on account of only having been learning how to use Blender for about a month.

Particle System above.  Objects are emitted from faces. All the particles can be changed with a single GUI entry. Non faces are ignored.  Carefully duplicate the settings.  The number setting should be suited to your case. [Particles/Face] <-- 1 and [Random] <-- False. Particles can conveniently represent a sequence of items.

Suit to your needs. You can arrange the faces with no connection to other faces.  My presentation was done with speed in mind.

Particles use collections.  The arrow in the image above.

Particles can efficiently reuse/instance mesh data. I would change your representation to a mesh with Particles.

Group instances bound to an [empty] can also efficiently represent your visuals.  More instances.

Both techniques can be searched here at BSE or the website that rhymes with NooNube.

.

Sharing a mesh data block. See the edit history if this interests you.


Cut BMesh with python Goal:  Efficiently cut out (holes) or trim off regions of dense meshes defined by editable polyline or bezier curves which are snapped to a mesh surface.

Uses:

My narrow use is to cut teeth out of scanned model data.
Cut meshes data into articulating parts to print models larger than 3d print volumes
Cleaning boundaries of 3d scanned data
Cut holes in meshes (see the 10 or so related questions here)

Related Topics:

Standard Knife tool:
Cons:  No way to edit cut path once clicked, slow on dense meshes, sometimes skips faces.
Knife Project:
Cons: Doesn't always work if not a good view path or on dense triangle meshes.  Here you can see the result with a bezier I manually paced on surface (visualized with a thickness) and the cut from knife project.

Grease Cutter:  Cons:  Uses boolean
Sculpt Trim:  Cons:  Not implemented, cut not editable

Progress

I have written a simple user interface for defining the desired cut path.

The segment intersections are calculated and previewed.  Segments which failed to successfully cut are displayed in red, so the cut can be altered.

I now have a list of edges in the oringal Bmesh, and corresponding intersection points.  And to finish "cutting" I need to split those edges at the intersection points (create new verts), connect the new verts with new edges.  Optionally, split the new edges to actually separate a piece of the mesh.

Problem

This method has been extremely slow.  >2 minutes.  Calculating the cut locations for this example was instantaneous.

    for v, ed in zip(new_cos, ed_map):
        ed_pcts = {}
        ed_pcts[ed] = .5
        geom = bmesh.ops.bisect_edges(bm, edges = [ed],cuts = 1,edge_percents = ed_pcts)
        geom['geom_split'][0].co = v
        new_verts += [geom['geom_split'][0].index]

    for i in range(0,len(new_verts)):
        bm.verts.ensure_lookup_table()
        v_pair = [bm.verts[new_verts[i]], bm.verts[new_verts[i-1]]]
        ed_geom = bmesh.ops.connect_vert_pair(bm, verts = v_pair, verts_exclude = [], faces_exclude = [])`

using mesh.ops.bisect_edges and passing in all of my edges, and then simply passing all of the new vertices to bmesh.ops.connect_verts vastly improves the performace, however I have not been able to get the edge_percents argument for bmesh.ops.bisect_edges to work. It seems to be completely ignored.  Cut's really fast, but doesn't cut in the right place, it just bisects the intersected edges at the midpoint.

This code snippet assumes some existing variables which were pre-calculated

'''
bme     : blender BMesh
ed_map  : all the edges to be bisected into 2 edges
new_cos : desired positions of bisection, in same order as ed_map
'''

geom =  bmesh.ops.bisect_edges(self.bme,
                               edges = ed_map,
                               cuts = 1,
                               edge_percents = {})

new_bmverts = [ele for ele in geom['geom_split'] if isinstance(ele, bmesh.types.BMVert)]

#assign the locations to the new vertices, which were automatically
#placed at edge midpoints
for v, co in zip(new_bmverts, new_cos):
        v.co = co

#connect the new vertices, to cut across the individual faces
ed_geom = bmesh.ops.connect_verts(bme,
                                  verts = new_bmverts,
                                  faces_exclude = [],
                                  check_degenerate = False)
new_edges = ed_geom['edges']

#optionally, split the new edges, to make 2 separate mesh pieces
bme.verts.ensure_lookup_table()
bme.edges.ensure_lookup_table()
bmesh.ops.split_edges(bme, edges = new_edges, verts = [], use_verts = False)


Why is my cloth material not rendering properly? I'm trying to get a background material (flag) to move with the wind and whenever I render a specific frame, it's OK.  But if I render as a video (xvid), it stays completely still.  Any idea why this might be?  Attached is the .blend file.

Thanks

Sorry for the misunderstanding - you meant that the flag does not move. I thought you meant the image. It is good habit to cache all physics simulation before rendering, so the renderer has all the data needed to render the animation. Go to the Physics pane with the flag selected check 'Disk Cache' and after that hit 'Bake' in the Cloth Cache tab. After completing the caching process you can render and everything works just fine. It should look similar to the image below before rendering


Cutting a circular hole in a hollow cylinder without distorting the cylinder Whenever I try to cut out a circular hole in either a cylinder or sphere the polygons around the circular hole always have distorted normals after smoothing. Is there anyway to fix this. I've tried using the remesh modifier but wind up with some pretty ugly results.

you could use the Knife projection (in front mode of the circle )

select your cylinder and your circle  go into edit mode of your cylinder
and click while you are in Edit mode  in the T-panel on Knife Project


How to pause a video animation in video editor I am trying to create a technical animation where i require a video to pause at specific intervals to include explanation texts. For example, in the image below i require a cut to be done exactly where the blue line is:

I am aware using keyboard shortcut "K" allows for me to split strips where i can split the video, followed by splitting the image apart from the video as such:

However, when i scrub to the portions where the portion is black no video will be playing.
Tl;dr: How do i easily pause an animation such that i can add other edits in the other channels while keeping a still frame in the original video.
(the only brute force method i can think of currently is duplicating that still frame that i cut [2nd image] for the whole duration of the blank space.)

You would have to split the strip using Shift+K, then ...
just grab the right end of the left strip with your cursor and move it to the right. Then the last pic will be shown as long as you dragged the right edge.


invalid boundry region to join faces Please note that I'm new to Blender.

I was watching tutorials on YouTube. In the second tutorial I watched, there is part about modeling the default cube. It says to put the cube in Edit Mode then key X for the Deletion Pop Up Menu and select Dissolve Verticies. However, when I select dissolve vertices, I get the error message Invalid boundary region to join faces. That message is not shown in the tutorial. How can I fix this?

That is because the vertices you are located on more than one axes.
All the vertices have to be on a single axis.


Can you make a bump map texture emit light in Cycles? So I thought if I can use a bump map to create, uh, bumps on a surface... I thought I could somehow make it glow/emit light?

Is there a node for that, or maybe there's a method to do that?

You can use an emission node, with a mix shader node (use the map map for the factor input). Now your object will emit light based on the bump map.


Creating a corner bevel joining 3 edge bevels How can I get a correct bevel on a corner joining three existing bevels? Is there something to do before creating the edge bevels?

The whole object in an earlier state:

See also my previous question.

Information

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

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

Construction of the Base Mesh

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

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

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

Beveling

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

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

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

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


How to add same texture to multiple objects How do I give all selected objects the same texture without manually applying the texture to each and every object? I am trying to get some sort of box texture onto all of these cubes:

Any steps on how to do this?

Apply texture to one of the cubes, then select all the cubes and the textured cube as last, then use Ctrl+L shortcut and select Object Data from the menu.


Blender 2.8 Eevee depth of field "geometry clipping" issue I have a problem with strange depth of field artifacts in Eevee on my Mac Pro (tech specs on the pictures below). It looks like everything is what it should be.  defocused is cliped by the camera (but its not the case of wrong camera parameters). Render is transparent in this areas. Sometimes even if the viewport shows me the proper Depth of Field, the render has still the same issue.

Thanks for any help!

Maciek S.

Screens are from Blender build 2019-02-12.

Yes in Cycles everything looks ok. I found some workaround using defocus node in post. Enyway the bug is still there.


What is a good approach to reduce the number of faces on this chair model See the model below. I first scanned it with a 3D scanner and then remodelled every part of it. I used the subdivision modifier a lot. Resulting in a smooth surface. Sometimes a surface is completely flat, like the top of the seat for instance. I used the subdiv modifier here to get a smooth curvature on the edges.

Is it good practice to reduce the number of faces on flat surfaces? I am thinking of modelling for VR environments for instance. What is a good approach to reduce the number of faces on this seat, for instance.

You can reduce the number of quads on a flat surface without generating Ngons with edges poles in red, by doing something like this (I don't know the name of that specific kind of retopology)

High poly is useful for boolean operations or deformation, to reduce the number of polygons, and keeping detail you can use for baking.


Getting rid of texture bleed from opposite edge I'm using Blender 2.76b with the internal renderer. Whenever I render a simple plane with a texture applied to it, I get a small border on the edges that consists of a mix of the expected texture color and the color on the opposite end of the texture. The same thing happens when using the add-on called "Import Images as Planes".

The texture settings I've tried so far:

Enabling and disabling repeat
Disabling Mip Map
Disabling Interpolation
Different filter types
Filter Size 0.10
Enabling Minimum Filter Size

The filter size seems to have the biggest impact but even the lowest possible value doesn't get rid of it entirely. See the example on the lower left for best visibility:

Blender files:

One way I could think of to fix it would be to add some empty space around the texture image. But since I'll be using my objects outside of Blender and I haven't encountered this elsewhere, I'm a bit hesitant about the wasted texture space. Is there any other way to fix this?

Try playing with the 'Image Mapping' in the Texture panel. If you change the 'Extension' from Repeat to Clip, the edge gets blurred with the background. Choosing 'Extend' yields a harder edge on the outside.

Extension set to 'Clip':

Extension set to 'Extend':


Unable to find the input tab to provide the path for luxrender in blender 2.74 I'm pretty much new to LuxRender engine. I was trying to install LuxRender version 1.4 into Blender 2.74. But many tutorials out there seems to suggest that you need to provide the path to LuxRender after installing the same as addon. They also showed a screenshot where you need to enter the path in Blender 2.5x but I couldn't find anything like that in Blender 2.74 . ..  Kindly help me out.

I have attached screen shot in Blender 2.5x below. . .

I have also attached the screenshot in Blender 2.74 below. . . .

You can find it in the "Blender User Preferences" in the Addons tab, under the plugin Render:LuxRender.


Mark seam to not be cut by Smart UV Is there any way to mark seams to not be cut by Smart UV? I know you can mark seams by hand and they'll be considered by the Smart UV, but I can't seem to find a way to do the opposite.

I'm trying to use Smart UV to unwrap my edges and then manually edit the seams to hide the cuts behind geometry, but I can't seem to find a way to do that.

A way to mark seams based on edge angles would suit me too, since Smart UV doesn't marks them, it unwraps directly. Then I would be able to unmark seams manually.

Thanks in advance for the help.

The top option of the Unwrapping dialogue is called Unwrap and is the best method to use if you want full control over the UV Island creation.  For this method to work properly, you must manually add seams to your model along all edges where you want a seam.

The menu shown in the image below is accessed using Ctrl+e

Using Unwrap with edges already marked with seams, you should get results something like the following.  The seams show up exactly as I placed them on the model.

For this next unwrap, I used Smart UV Project.  It's quick and easy but gives you very little control over seam placement.

If you are using Unwrap, there is a feature called Live Unwrap which helps speed things up a bit when you are still deciding how to layout the UV islands.

You can also work directly in the UV Image Editor when using Live Unwrap by marking new edges with Ctrl+e, this shortcut is different than it is in the 3D View.  For UV's there is no menu, it will behave as if you marked a seam and the Islands will be recalculated.

When you are finished you should disable Live Unwrap so that you don't accidentally set it off later when you are doing something else and are not paying attention to the UV Image Editor.  You may also want to use -> Mark Seams From Islands after using Live Unwrap from directly within the Image Editor since Ctrl+e does not do this automatically, this way you will be able to see the seams in the 3D View highlighted in red.

Once you are finished with the seams, you can disable the visibility in the 3D Views right-side panel n.


Animation Nodes: Create a custom node I have created a fairly complicated node tree in Animation Nodes. There are various parameters of different types that I set on various different nodes.

To make this easier for others to use, I'd like to create a single node, with all the inputs named, so that there's just one place to set all the input parameters. This would look similar to how you get a node group in the materials editor or compositor. AFAIK, Animation nodes does not have node groups.

Is there a way to do this?

In animation nodes, Groups are a kind of subprogram, like Loops or Scripts. To add one, press Shift + A > Subprograms > Group. Then, you can name your group and connect up your grouped nodes to the inputs and outputs of the Group. Here is a gif of this from the Animation Nodes Docs:

You can invoke your group with an Add Subprogram node.


How do I keep my texture when making my object low poly? I'm creating a character for a low poly game in adobe fuse, then importing it into blender. I just wanna know how to keep the same texture of the high poly and apply it to the low poly so it still looks human, but in a TABS sort of way. Thx

I've never used Adobe Fuse, but you can keep the high poly texture and use it to the low poly with the baking technique. After you unwrap the low poly model, just create a new blank texture in the UV/Image Editor. Make sure you have a material for the high poly with all needed textures, and another material for the low poly. In this material, add a texture image node (you don't have to connect it to another node, just create and place it) and choose the empty texture you created before.

Using Cycles, set the Bake Type to Diffuse (or any other property of the high poly's shader, if you need it) and active the Selected to Active checkbox. Click the high poly object first, then the low poly and eventually click Bake.

The texture you created before now contains information (the diffuse color in my example), and you can use it in the material of the low poly object (just connect the image texture node you created before to the shader node you need).


IK rig spins out of control I'm following a tutorial on youtube about IK rigging. So far I've set up an FK rig and am creating an IK rig. I have put an IK constraint on the left upper arm and the left forearm. But if I try to move the left hand, the whole arm goes crazy. It doesn't follow the hand like a proper IK rig should. And the movement seems random to me.

I use Blender 2.71

Blend file: https://dl.dropboxusercontent.com/u/61219663/Character_Rig_01.blend

Images of Rig:

Images of rig going crazy:

Found the solution:
You need to clear the parent of the hand_IK.L
So hand_IK.L needs to be a separate object from the rest of the chain.

Go into edit mode, select hand_IK.L and press ALT + P. Choose "Clear parent".


color glitches and weird texture in render When I look in my preview render everything looks fine (for not having finished lighting) but when i actually render it the color of my doughnut icing glitches and the texture of the table doesn't appear.

It looks to me like you have some extra lights and meshes in your scene that are hidden in the viewport. Objects that are hidden in the viewport won't show up in the preview renders, but will show up in the final renders. You can reveal any hidden objects by using AltH. Then once these hidden objects are revealed you will be able to see their effects in realtime and remove or adjust them accordingly.


Is non-normalized bone weight possible? I wand to model a 3D UI container that resize along the X and Y axes, with some border parts whose size remain constant (i.e. the 3D equivalent of the 2D 9-patch images). My target is Unity, which seems to only support bone animations.

In Blender, I made an armature with 2 disconnected bones, one for each axis X and Y. They are disconnected so I can move them freely on each X and Y axes. Then I assigned halves of my 3D model to each bone, horizontally and vertically. I was hoping that it would work as intended but I have a problem : the part of my 3D model which should have been translated by the 2 bones at the same time on X and Y are only influenced at 50% by each bone.

I was hoping this part to be influenced by 100% of each bone in an additive fashion. It seems that there is an automatic normalization of the bones weights on each vertex. Is there a way to avoid this normalization in Blender?

Alternatively, is there another animation technique in Blender that allow for additive deformation whilst being exportable as bone-based animation?

Instead using bones, try to use hooks. It hasn't normalization at all.


Keyframing driver location results in unwanted movement of armature and animation first time posting here! I've reached a bit of an impass. Ultimately I want to hide an object for all animations except one.
To do this, I am attempting to use a driver, OutsideOrbDriver to control the material value Fac for NightOrb_outside. I have mapped OutsideOrbDriver's X location value to Fac so that when I adjust the X location value from 0 to 1 of OutsideOrbDriver the Fac value of NightOrb_outside shifts from 0 to 1. Working as expected.
The problem comes when I attempt to animate the Object OutsideOrbDriver. First note that when I select OutsideOrbDriver, I see the actions for the entire armature even though OutsideOrbDriver is not a part of the armature.

Further, when I move the location of OutsideOrbDriver and keyframe with i > apply location the entire armature moves to the position of OutsideOrbDriver. I would expect this if the armature was linked to the object. But it isn't. I am dealing with two separate objects.

Could someone explain to me why my entire armature and animation is moving to the location of the OutsideOrbDriver. Is there a way to prevent this?Thank you for the assistance!
Blender File:

The OutsideOrbDriver and the armature are sharing the same action:

Then when you move the OutsideOrbDriver, and with "auto keying" on:

the movement impacts all the elements inside the action.


Eevee - Mesh light illuminating scene from within glass (i.e., light bulb) I'm trying to light a scene in Eevee using light bulbs. I have a filament (emission object) within a glass object. Basically, I'm able to see the emission object through the glass, but the light is not escaping the glass to illuminate the scene. Here are two renders. In both cases, world lighting set to 0, no other light except the emission ball in the middle. Glass ball has a small solidify modifier to make it empty inside.

Emission ball outside of glass ball. Note you can see through glass ball, and emission ball illuminates scene.

Emission ball within glass ball. No exterior illumination.

Note light probes are used for illumination from the emission mesh, and the reason the cube within the ball in the second one is not illuminated (even within the glass ball) is because there is no probe within the glass ball.

Tons of references on glass shaders, but nothing specifically on this question as far as I can find. Only one reference I've found to this is "turn off any glass during baking". Is that the only option? Is Eevee not capable of what I'm trying to do?

Blend file: https://drive.google.com/file/d/1276SA_p_O1R8LkjM41ZtZCjCPKUJCvr0/view?usp=sharing

Couple of things to note here.

Mesh lights do not work in EEVEE the same as Lights (mainly they do not cast shadows). I've pointed to it here: In Blender 2.8, how do I light an EEVEE scene with an HDR?
You can use Point Light to have effect you want without baking anything. Use Radius and Strength to manipulate it.
You need to turn on Screen Space Reflections with Refraction for your scene:

For the Glass material you need to properly set below options to be able to see light source and allow it to light the scene:

Keep Solidify modifier on the Bulb object. What is strange is that even with value 0 it is working fine :)


Was quick switch between mesh and armature removed in Blender 2.8? In Blender 2.79 I was able to quickly switch between mesh and armature in Pose Mode with right click on them. Same thing worked for switching between 2 different armatures. But I can't do that in Blender 2.8. I can't quickly select mesh and, for example, go to Edit Mode and do something. When I press the mesh while being in Pose Mode it doesn't switch to it. And when I have 2 armatures and one of them is in Pose Mode and another one is in Object Mode I still can't select Object Mode one. Is that a bug or a new feature?

You might be looking for Lock Object Modes, which you can find in the 3D View Menu:

This was indeed added as a feature. For animators it is a bit cumbersome if they have to precisely click each bone during animation phase, that's why the modes are locked by default.


Unlink physics of duplicated objects in Blender Game During the game I want to create a new Object that changes its physics mesh according to a selected ID with an Edit Object actuator and a script on the added Object. I change the mesh with the method obj.replaceMesh() and it works fine.
But when I add in another of the same object ingame, now using a different ID and therefore changing to a different physics mesh, the first object changes its physics mesh as well without the script running on it anymore.
I guess this is happening because they are basically the same object, and blender does not change the physics for the generated object in the game but for the source itself, changing every copy currently loaded in the engine.
Is there any way I can unlink the objects from each other, keeping their received physics mesh?

I don't think it's possible without a cumbersome LibLoad setup.

But you can use separate collision objects as a workaround.

Code

# Assumes the visual mesh is no-collision and the collision mesh holds logic
ob.replaceMesh('visualobject')
ob['collision'].endObject()
ob['collision'] = scene.addObject('collisionobject', ob)
ob.setParent(ob['collision'])

Example blend


Rigging shft+ctrl+v does not flip animation properly This is the 0 and the 60th frame this pose.

If I copied everything (press a and ctrl+c) and then when I went to frame 30 and pressed shift+ctrl+v, then I get this.

Do you notice how the arm is not the same as the other arm on frame 0, why is this?

As I said it's a bone axis problem, so follow these steps to fix it:


How to delete 'Mark Sharp' edge properties? I have a model which I've given some sharp edges using the 'Mark Sharp' function.

Now I want to edit the model and remove all the properties of these edges.
I want to keep the edges. I only need the 'Mark Sharp' to be removed.
(note: I don't care about losing the UV-mapping data')

If you used Mark Sharp function, then you probably noticed Clean Sharp just below it. Select the edges and use it (Ctrl+E>Clean Sharp).


I Can't Create a Face from Several Circles Just like the problem appears in the image, I want to make a face triangulated around all circles. Instead, a face is created that overlaps everything I selected. What its the technique to join all of these faces? I tried fill, bridge to edge loops, and make face, but it's not turning out how I want it to be.

This is something that cannot be done in one press of a button or a click of a mouse. You will have to go through and manually create the faces you are wanting. To get triangulated faces, try making them first with quads and then use a Triangulated modifier. Or, if this does not suit you, you can do it manually. If you think about why this is happening for a bit, you should be able to understand why you are getting these results.


What is the easiest way to simulate trampoline? I've been fiddling with physics for about three hours now, I'm trying to create a trampoline physics scenario, or a stretched cloth with a pinned diameter catching a falling object.

My falling objects react with cloth, but keep falling through. Is this only possible via manual animation?

Speaking to trampoline effect (simple one) ...

falling object with two keyframes (start / end Z position) with Dynamic Effect  Elastic (T) set in Graph Editor with first keyframe selected
"trampoline" worked better for me with Soft Body sim (Mass zero, Goal > Strength 1)

To protect object from penetration try for object Collision > Outer Thickness increase value a bit or for "trampoline" increase Solver > Step Size.


matrix_basis vs. matrix_local for object parented to bone How does matrix_basis vs matrix_local work for object parented to bones?

Looks like matrix_local changes when the armature is animated?

I'm trying to get bone parenting work correctly for the glTF exporter and thinking that maybe it should use matrix_parent_inverse * matrix_basis instead for getting object's local matrix, but not sure if that would break other stuff.

matrix_basis is simply a way to access the pose-bone or objects (location,scale,rotation) properties.

This is just for convenience - so you don't have to consider if euler/quaternion/axis-angle rotation are used when getting/setting a transformation.
matrix_local is the the objects world-space 4x4 matrix, relative to it's parent, if it has a parent - if the parent is a bone or a vertex, it will be relative to the parent matrix defined by the vertex/bone parent relationship.


How to trim the jagged edges off of this solid I am a total newbie to Blender. I'm trying to make a solid model of a piece of terrain, cut into a circle, on a cylindrical base, for 3D printing.

Below is what I have so far. I got there by importing a square piece of terrain surface, then I drew a circle and extruded it through that terrain, and then I did a Boolean intersect between the two, and solidified it (inwards), so that both the top surface and the sidewalls have some thickness for the printing.

However, the solidify made some ugly jagged things protruding through the outside of the cylinder, these are probably offsets from parts of the terrain.

How can I trim these off so the cylinder is smooth on the outside? I've tried making other solid cylinders and doing Boolean operations to subtract these bumps, but the Boolean operations are always refused.

File is here.

Try applying a solidify modifier to your cylinder prior to adding your boolean modifier to the terrain object.

For me, I have better luck with the boolean modifier when there is thickness to the extracting mesh.


How to toggle header visibility while 3D aera is maximized? When areas are tiled, the 3D editor area looks like this:

I wanted to maximize this area to fill the whole window. I used Alt-F10, then T and N to get the tools pane and the properties pane back:

I couldn't find a menu/hot key to toggle the header visibility. How do I get the header back?

I saw: How to toggle the menu bar back? which doesn't provide an answer.

Alternatively, I could have used Ctl-Up to get this:

But how could I hide the infos header?

Toggle header = Right Alt+F9

Might interfere with Nvidia default shadowplay global key-bindings.

Alternatively:

Create another screen layout besides your Default layout.
Close/merge all the areas you don't want
Enter/exit this layout using Ctrl-> or Ctrl<-


Crease tool bug? No activity when I try to Crease in Sculpt mode I've been working pretty hard on this first sculpt, using all the Sculpt tools with a multires modifier on the mesh.  All of a sudden, it seemed that the Crease Tool (which had been working before) has no effect on the mesh!  All the other tools seem to still be working. What am I doing wrong here?

This is not a bug rather than expected behaviour caused by the empty texture applied as a sculpted mask:

The mentioned option is in the brush settings on the Toolshelf > Texture rollout.

Note that there isn't anything assigned to that texture so it's counted as black which means zero effect of the brush (while white is full). Probably that texture was created unintentionally when pressing on the New button accessible if texture isn't assigned to the brush.

To retrieve usual brush effect delete texture from the brush settings by clicking with mouse on the 'X' button next to the texture name (or assign an image file to the brush in the Properties editor > Texture tab).


Blender doesn't run my script unless blender crashes? I have the most unusual and frustrating issue at the moment. I've got a script, but I just can't get it to run. I've tried live edit, not live edit, using the run script button with and without the register check box. I've even tried starting a new blend file and importing everything as a proper add-on. None of them work.

BUT, if for what ever reason, blender crashes, (which it is doing quite a lot at the moment... (I'm running the macOS Sierra beta which I probably shouldn't have done), then the script updates, and runs perfectly. It's just so impossible to use right now.

It sounds like you have a bug in your script.  Run blender from the command line, and it will tell you what the error is there.

Update: I found that node in your code in the beginning of it, you have a several lines that say s_slots[0].material.node_tree.nodes['S_R_MS'].inputs[0].default_value = 0.0
I suspect that is where the S_R_MS node is.


Use 3D mouse in Blender I'm quite big on using my 3Dconnexion SpaceMouse (I use it all the time for CAD work), but using it with Blender isn't exactly plug 'n play. I can get some but not all axes of rotation to work and on the internet I can only find information that seems either outdated or somehow irrelevant. Help!

EDIT: I use Windows 10, and a wireless 3DConnexion SpaceNavigator. When I plug it in, the following 4 DOF axes work:

zoom in/out

shift left/right

shift up/down

rotate towards/away (from my perspective)

The problem is with the other 2 DOF axes: rotate sideways (from my perspective) and rotate about the object's long axis (my best description: if you model a beer bottle and rotate it about it's long axis you won't actually see something rotate, that's the axis I mean :P).

Now, according to one source (https://www.3dconnexion.com/forum/viewtopic.php?t=1497&start=30) the solution may be in: user preferences -> input -> 3D-view -> 3D-view (Global) -> NDOF Orbit/Pan/Move
but after a short attempt to make that work I concluded I didn't really understand how to do that.

Hope that helps more!

Cheers,
Caspar

I've gotten about 3/4 of the way there on this. I can move in every axis. However, you have to hold shift to Pan. While panning, you can't orbit. It's quite frustrating, but it's better than nothing, I suppose. Do the following:

Reverse all axes and crank them up to max in the 3DConnexion software.

I have the following settings in Blender:


EXR Transparency Border with bloom and glare This issue was solved by saving to EXR, however when loading that EXR into the VSE over a background a dark border appears around the transparent text that cuts through the glare and bloom.
I'm using Blender 2.92.0.
EEVEE with bloom
Render layers -> Glare -> Composite (with "UseAlpha" checked)

By default, the Video Sequence Editor operates in the sRGB color space, while the Compositor always operates in the Linear color space. (You can read more about the difference in the Color Management section of the Blender documentation.)
When you render to OpenEXR, the information in the image is stored in the raw Linear color space. This means that the colors have not yet been mapped to sRGB, and in fact there are many possible different ways that mapping could be done (as changing the View Transform and Look settings can illustrate). Although the VSE does handle images in the Linear color space even when compositing in sRGB, the compositing operations themselves still happen in sRGB, which means the image must be converted to sRGB before the alpha blending is applied.
This is fraught with potential problems, and although I sadly can’t say with confidence why exactly this leads to black fringing in your example, it seems wiser to play it safe and do this compositing entirely in the Linear space. You can set the VSE to Linear in the Scene ▸ Color Management panel:

This eliminates the fringing in the rendered result.

There are other tradeoffs related to the choice of VSE color space, and the full subject is too complex to attempt to cover here. But if all you are doing is compositing rendered output from Blender itself, using the Linear color space is almost certainly a perfectly fine choice.
If you find that using the Linear color space does cause problems for whatever reason, one solution could be to use multiple scenes, one of which uses the Linear color space in the VSE, the other which uses sRGB. Then you can do your video compositing in two passes, first compositing in the Linear space and outputting sRGB video, then further processing the sRGB video in the sRGB space. Of course, if doing everything in the Linear color space works fine for you, that is preferable, since that is much simpler.


Why does auto weight paint do a poor job? I am having an issue where the auto generated weight paint does not match the bones of the model. I have looked up why this may be the case and tried a few things such as applying transformations, scales, and fixing the origin; however, none of this has helped create a good weight paint generation. I know that I will have to go though and manually fix some of the oddities, but the current auto generated paint is just so far off I fell that I have done something wrong.
I have a link to the project below. Any advice or help is greatly appreciated!
https://drive.google.com/file/d/1Q7zNqLW9FtHhBSher1wjErQTZP7kQvf4/view?usp=sharing

Thank you to @moonboots for the fix. My normals were flipped which was causing the weight paint algorithm to act funny. It was a quick fix to fix all the normals. All I had to do was select the normals that were facing the wrong direction and recalculate them using "shift + N". After fixing the normals I reparented the armature and it did a much better job of assigning weights.


Conditional else/if operator to perform different functions When the object is in edit mode, I want to execute this:-

bpy.ops.object.modifier_add(type='SUBSURF")

And if the same object is in object mode, I want to execute this instead:-

bpy.ops.object.modifier_add(type='SOLDIFY')

I'm really confused about setting up the conditional operators regarding to the context of the object(modes). How do i it ?

You can check this in the context.

mode = bpy.context.active_object.mode
if mode == 'EDIT':
    ...

elif mode == 'OBJECT':
    ...


How to select a face created with edges? I created a mesh with Cell Fractured. I then cleaned it up adding \ removing edges , vertices, faces. But now I have these black lines when I'm out of edit mode. What does it mean and how come I don't see the black edges across the entire mesh?

Also when I try to select each individual "triangle" I can't .. it selects the entire face. I tried removing doubles, but it doesn't fix it.

Those black lines are edges which are co-planar to that face, but not associated with it. If you select those edges, they can be deleted without deleting the face. If you want to select those face sections individually, you'll have to remake them first. Start by deleting the face. Then select the edges (or verts) around one of the desired faces, then press 'F' to generate a new face there. Hope this helps!


What is the max size of a scene in Blender? I created a landscape full size in Autodesk Inventor from shapes I traced using AutoCAD.  I made it from a chart of Charleston Harbor that was created in 1861.  It is about 8 x 10 nautical miles square.  I made extruded shapes and brought the file into 3DS Max so that I could export an FBX file that I brought into Blender.  The shapes seem to have come in fine, but they drift in and out of the visible space as I rotate the view.  It appears that I have exceeded the size of mesh that I can use.

Can you tell me what the limits are for importing meshes into Blender?

How would you approach this?

I intend to use in my Blender class it to get my students to recreate the "Race to Freedom" of a steamship that was commandeered by Robert Smalls a slave and turned over to the Union Blockade of Ft. Sumter in 1862.

Can you place an image into Blender that is that large?  I mean a full scale chart of Charleston Harbor.

Is it possible to scale a reference image that big and accurately inside Blender?

You need to set clipping limits for 3D view and for camera:


text renders in black when it's red in 3d view, why? I want to make this text red, which it is in the view port but when i render it out as a PNG image sequence and add it as a image sequence in the VSE it comes up black.

I've tried tickering with options such as ticking object colour, making the texture and materail colour the same, getting rid of the secular light but nothing works and im getting really frustrated.

I'll link my blend file here:

Here's my original question which this problem arised from: how do i achieve this simple text animation?

any help with the original question ive linked would be a huge help as the person who i followed the answer to before has gone silent so i'm stuck.

There's no light source in your scene. What you can do is give your text's material an emit value (in this case 1).

Or alternatively you could check the "Shadeless" option.


Set and display correct Z depth values Blender render I have an object in my scene and I wonder how I can render it so that each pixel will have the distance from the camera in metrics unit? where the the nearer to the camera it will have whiter colour and the further from the camera will have blacker colour and greyish in between. I don't want to use normalization as this will ulter the correct Z depth values so I'm trying to use the Map Value node but I'm not sure how to set the correct values where logically the pixels nearer to the camera will have smaller z values than pixels far from the camera.

This is my current status:

As seen in the below image, the z values of the closer parts is bigger than the values of further parts, I don't know how to fix this:

My .blend file can be found here:

This is the default formatting of Blender's z-buffer, so I'm not sure where you're stuck? Are you trying to get these values into the RGB channels? If so, you can simply copy them like this:

Remember to save this in a linear floating point format (such as OpenEXR). Formats such as PNG will mangle this data, as they are not meant to store depth.

I should probably add, using the Combine RGBA node here isn't strictly necessary, it still works if you connect Z directly the Image output. Using the Combine RGBA just lets you specify each channel explicitly to be on the safe side.


How to cut out a box from within a larger box by all faces of the inside box? I duplicated and expanded all the faces of the inside box, then set a boolean modifier to difference on the outside box. This was in hopes it would cut lines in the outside box that lined up with all the faces of the inside one (first picture). I hid the inside box to get a look at the result and it has created a mess of diagonal lines but I can see it kinda made the shapes I wanted (image 2). Although, it did not cut the outside box and create additional faces in edit mode like I had hoped it would (image 3). What is the correct way to achieve the cut-outs that stay true to the measurements of the inside box?

Thank you in advance.

(edit: Image 4, shows all the unwanted diagonal lines in edit mode after applying the difference modifier)

I can think of a few solutions, but the booleans and extrude came to my mind first. I would do it like this:
insect face -> extrude -> add edge -> delete faces -> cap the inner box with face -> cap the outer box -> dissolve edges after insect -> box inside of a box!


Is there a way to auto-save generated python code in Blender? Newbie here. I'm looking for a way to record or save the autogenerated python in the info editor (shown below)

I'm aware of the way to copy the required lines and then save it as a python file through the text editor.

The thing is I believe these lines of code are persistent only for a session and are not found in a saved .blend file. If there is a way to store/export these lines of code, it would make the job of re-creating the scene through code very easy. TIA.

An Addon

There have been some attempts (notably: Macros Recorder )
to make an addon that can record the commands to a textfile. But nothing built in like you might be familiar with in programs like ZBrush, which lets you record a session from start-to-finish.

The info log panel itself

You'll find a lot of repeated commands, and some ommited commands, and some commands that won't work when purely executed from a Text Editor. So even if you get all the output saved, unfortunately, I don't think it will do what you want.

Copy them to Text Editor

You can store a massive amount of data in bpy.data.texts, which you can access from Blender Text Editor. When saved that data will persist in the .blend until you manually delete it.

With the mouse cursor inside the Info panel and when you have the desired lines selected:

copy them to clipboard ( Ctrl + c )
open Text Editor, press + on the UI to create new Text File
Paste ( Ctrl + v )
Help your future self by giving the text file a good name.
save the .blend

If all you want to do is get an idea about the operators you called during the modelling process, then I think those steps are the literal answer to your question. I don't recall seeing an addon that does that, so I made one.


Projecting Texture onto surface from point I am wanting to know if I can use blender to project a texture (from a plane, UV Sphere, object, etc) to another object in a silhouette style?

I have tried to accomplish this with transforming texture coordinates as the attached image shows.  (the attached image shows the cycles shader used on Suzanne)

What I would like to do is project the plane onto Suzanne (given here as a reference) so that it is projected from a point (the circle on the right).

I know there are powerful remapping and baking features in Blender, however I am a bit stumped with this one.

Basically I want the rays to hit Suzanne, from a single point, then I can bake them into Suzanne's texture.

I want to do this so I can generate a Matte from a 360º photograph onto a surface.  So that I can then composite effects to that surface. Such as crumbling etc.  I know that I can accomplish this with texture painting in overlay mode, however I don't think that works with equirectangular images yet.

In the example shown I was thinking I could use an empty as a reference point for the projection, (hence using texture coordinate - which allows access to object) but this isn't working.

I have experimented with UVProject, but this doesn't look to handle 360 textures? http://blenderprops.altervista.org/blender-cycles-double-texture-uvproject-example/

Any help would be most fantastic!

You can project an image from a point onto a surface using Vector Maths.

Start with two reference points - one for the source of the projection (L) and another for the centre of the plane (O).

The reference points can be defined in the material using a couple of Combine XYZ nodes to generate each as a Vector (representing the position in relating to the world origin). In addition, a third Combine XYZ node can be used to indicate the orientation of the image used in the projection. You can use Drivers to automatically set each of the XYZ elements of the vectors based on the location of an Empty positioned within the scene. In this way you can easily change the reference points simply by re-positioning those reference Emptys rather than having to manually adjust the vectors.

For each sample point on the surface we need to determine the vector of the ray from the projection source, through the image plane and to the surface. This can be achieved by subtracting the vector representing the source of the projection from the point on the surface. However, in order to calculate the vector of the ray we need to ensure that each of the points are in the same 'space'. The two reference points are in world space whereas the sample point Object output from the Texture Coordinate node) is in Object space. The Vector Transform node can be used to translate from Object space to World space and we can then simply Subtracting the vectors to calculate the vector of the ray.

Note : You must use the Vector Math Subtract node - not the Math Subtract node - for this.

To determine the point in the image texture that would be projected onto any particular point on the surface we need to be able to measure how far the ray travels in specific directions - in the Y direction of the image plane, in the X direction of the image plane, and also the distance travelled perpendicular to the image plane.

The vector between the two reference points (LO) can be used as the 'centreline' of the projection and this will be perpendicular to the image place. It can be calculated simply by subtracting one vector from the other.

The X and Y vectors need to both be perpendicular to the 'centreline' and to each other - to ensure they are independent (ie, at 90 degrees to each other, in the same way as for the the usual X,Y,Z axes in World or Object space). These can be generated by using the Cross Product Vector Math node; the Cross Product takes two vectors and generates a vector that is perpendicular to both of the input vectors. Passing the 'centreline' vector and the Orientation vector into a Cross Product will generate the X vector. Passing the generated X vector and the 'centreline' vector into another Cross Product wiil generate the Y vector.

Passing the X and Y vectors through a Vector Math Normalize node ensures they are of unit length (important to ensure the projection is not distorted).

To measure each ray we use the Dot Product to determine how far the ray travels in the direction of each of the 3 reference vectors (X,Y,centreline). ie, To measure the distance to the plane where the ray intersects the mesh we can combine the ray with the 'centreline' vector; in the X direction we combine with the X reference vector; in the Y direction we combine with the Y reference vector.

All that remains is to scale the measured distances based on the relative distances between the source, the projection plane, and the plane at the intersection of the mesh. ie, if the distance between the source and the plane (L->O) is 1/3 the distance from the source to the plane at the mesh (L->Q) then the vector in the texture plane (O->t) will be 1/3 the length of the equivalent vector (Q->P) at the mesh.

This can be achieved using maths nodes to calculate the ratio (the Dot Product and first Divide) and applying the ratio to the measured coordinates (the other Divide nodes). The results are combined into a Vector.

The resultant coordinates will be centred around 0,0 but the texture space is from 0.0 to 1.0 - so an additional MixRGB node set to Add is used to add 0.5,0.5,0.5 to the vector to adjust. The result can be used in a Texture node to apply the actual image to the projection.

The final material should look something like this :

In the attached Blend file, move the empties to move the reference points of the projection.

The material can be used to drive the surface for a surface projection as shown above, but can also be used to drive Volumetrics which can show the path of the projected rays.


How can I manipulate the properties of a pattern as a fabric using Blender? I have seen tutorials on creating a plane as a cloth that reacts to objects. What I would like to do is to create various patterns (such as the mesh below) and manipulate that pattern as a cloth (fold, roll, pull, etc).

How can I accomplish this using Blender (I'm not interested in creating an animation)?

well.. there is Blender. But depending on your need, Blender could be a little overkill, possibly. It is a steep learning curve, but a very, very powerful programme (yes, it is free and opensource).

I am sure there are other, intermediate 3D programmes out there, but as a bottom line, I think Blender is worth the effort. It might be overkill for this job specifically, but it will probably pay off in longer term.

Edit I: I would also say that the reason why you want to do this is important. What is the goal? In professional 3d programmes, you have a plethora of alternatives for a plane  and polygons to act in different ways. You have cloth-effects with predefined constrains (thickness, cloth type, colour, substance). This might be useful, as you could make polygons of various shapes, and then "drape" the cloth over it, and it will act as a twisted mesh. Just a thought.

Edit II: I am not well versed in autodesk, but here are some examples from Blender (Blender is the open-source cousin of Maya):

This image is taken from this tutorial.

An explanation of how it works here.

Of course, you do not have to make it that clothlike. You can set properties to be a stiffer material (i.e. fewer vertices, thicker material), and what shapes you choose to drape your mesh over will of course define the resolution.


How to make a "rope" like object with even width throughout the whole object? (image inside) I'm modeling a cord, but I've run into a problem. Basically I modeled it by starting with a cylinder and rotating the final edge, then extruding that to the next sequence. However, this will cause the width to shrink where the edge turns. It's only by a little, but I would like even width throughout. Truth be told, when I add the subdivision surface modifier it becomes indistinguishable to the naked eye, but I would still like to do things "the right way" if there is such a way.Here's an image of my cord minus sub surf modifier.

Probably the most common solution to this problem is to create a Bezier curve and use another Bezier curve (often a circle) as the Bevel Object (in the Bezier > Geometry properties).

https://en.wikibooks.org/wiki/Blender_3D:_Noob_to_Pro/Bevelling_a_Curve has detailed documentation.

Your question is almost a duplicate of Make a 3D tube with a Bézier curve? .


(BGE) How to have a random font for each character in a text object? I have made three similar, handwritten fonts. I'm trying to figure out a script (assuming this requires scripting) which would not only turn the player's input string into the text object's text - I already have this part - but also randomly select a different font for each character of the string in real time, so that it looks like handwriting, with convincing human errors/variations. But I just don't know what to do, or if it's possible. Help!

You have to add a separate text object for every character of your string.

Put a text object for every font you have on another layer, add a text game property to all of them and name them something meaningful. Then add an empty to the point where you want the text to start. The letters will be spawned there. Lastly execute this script:

import bge
import random

scene = bge.logic.getCurrentScene()
string = "string"
fontList = ["font1", "font2", "font3"]
empty = scene.objects["Empty"]

for character in string:
    font = fontList[random.randint(0,2)]
    object = scene.addObject(font,empty)
    object["Text"] = character
    empty.worldPosition.x = empty.worldPosition.x + 1

The variable string is the string you get from the user's input. The items in fontList are the names of the text objects on the separate layers. The object empty is of course your empty so you have to use its name.

Then you go through your string letter by letter and generate a random number. This number can't be higher than length of fontList, so in this example it's 0 to 2 (3 items). A random text object (the one you just generated, so in case of a 2 it's the object "font3") will be added at the empty's location, the object's text will be changed to the letter and the empty will be moved (you should of course adjust this movement for your needs) so that the next letter won't be added on top of the other one.


How to render individual objects (one per frame) I have a quick question for anyone who may know...

I have in my scene multiple objects and I want to render each of them individually.

Is there any possibility to render each of them individually without putting them one by one in another layer and rendering it?(I have 58 objects...)
I want to make an animation in 58 frames where in every frame there will appear just one of them.

I've put a unique index on every object, and I want for example... in frame 1 to display just the object with index 1 and so on..

If anyone knows please tell me, thx :D

You can easily do this by assigning an Object ID index to each object that corresponds to the frame in which you want the object to appear.

Then in the compositor, you set the alpha channel using the IDMask node. The trick is to then add a driver to the Index value so that it uses the frame number as the Index value on each frame change.

To add the driver, right click on the Index field in the ID Mask node, and select Add Driver. Then, with the node still selected, open the Graph Editor and switch to Driver view. The default driver type is Scripted Expression, and all you need to do is enter the value "frame" in the Expr field of the driver settings. Now when you change the active frame on the timeline, the ID Mask node will update the alpha channel to filter out all other objects and just show the object with the Object Index ID that matches the current frame number.


Print Rotation Matrix From Variable? So i have these variables that search for the active object's coordinates.

obj = bpy.context.scene.objects.active

Xrot = obj.rotation_euler.x
Yrot = obj.rotation_euler.x
Zrot = obj.rotation_euler.x

eul = mathutils.Euler((Xrot, float(Yrot), Zrot), 'XYZ') # <--- Does not print coordinates

mat_rot = eul.to_matrix() #Convert rotations to matrix

mat = mat_rot.to_4x4() #Lets turn this into a grid!

print(mat)

However the "eul' variable does not read out the coordinates. If I also try using float on the Xrot for Zrot variables then i will get a "too many arguments" error.

I've attempted to use "int" aswell but no luck.

Your script is fine, i just tested and it work as expected. The problem maybe is that you are looking in the python interactive console, but you need to look in the system console.

python interactive console after run script:

System console after run script:

If you are in GNU/Linux os look in the terminal or run blender from a terminal.

In Windows got to:  Window>Toggle System console:

mat_rot = eul.to_matrix() #Convert rotations to matrix

mat = mat_rot.to_4x4() #Lets turn this into a grid!

print(mat)
print(mat[0])
print(mat[0][0])


prevent z-fighting between billboard particles? In an effect like blossoming flowers and many other particle effects the z order of individual particles doesn't really matter, so can I tell Blender to make them stop z-fighting and causing flickering and just assign order to each randomly, or some other solution?

Example blend: http://www.pasteall.org/blend/42258

If you would like to avoid Z-fighting you'll need to give your object at lest a small amount of difference in the location for every axis.

I would suggest to slightly increase the Velocity towards the Normal direction (e.g from 0 to 0.01) in order to not alter the overall look of the scene substantially, but at the same time, as each particle raise at different time, you'll have a variable distribution of particle location toward the camera.


How to make a sharp edge on a mesh I'm trying to model a battleaxe and I'm trying to sharpen an edge I created and so far using bevel, extruding and scaling doesn't do anything but mess it up.

Is there anyway I'm able to make the end of the mesh converge at a sharp angle?

Woah there! that subdivision you did is what is holding you back at the moment.

You'll want to change the edge flow in order to be able to fix the curvature in the way you said.

It should look more like this:

However, there is a way to give this mesh the shape you want, even in its current state.

Step 1: select all the faces that will be starting the edge.

Step 2: hit E, right click and then Alt+S then drag your mouse until you like how it looks, then left click.

Step 3: select the angular edges that you want to get rid of.

Step 4: hit X and select dissolve edges.

Here is an image explaining the process:


Obstacle on path does not interact with fluid When I animate the obstacle with keyframes and in the animation the obstacle goes through fluid, it interacts. When I do the same with obstacle following the path, it does not interact. Am I missing something? Thanks

And here is the Blend file:

In case anybody else will need this, Export Animated Mesh under Physics tab -> Fluid worked for me when applied to the obstacle. In Blender commented "only use if really necessary", but it worked. One disadvantage here - it is not possible to set the Slip Type.

Maybe I just missed some settings, but without that I couldn't make it work.

I also thought it may has something to do with the original position of the obstacle (before constrain to path added), which doesn't change, but this is just guess, not sure what is behind that in Blender's core.

This did lead me to the solution - Gimble answer

And here is the Blend file:


Displacement modifier breaks mesh I am trying to add texture to a logo using the Displacement modifier and a Subsurf modifier as is being done in this tutorial at around 6:30.

The logo is made from a .svg curve to which I added extrude and depth effects before converting the curve to a mesh.

When I add the Displace modifier to the mesh, it instantly breaks.

Applying location and scale and rotation helps fix this but there are still large cuts and crevices in the result:

Is there any way that the mesh won't break?

I tried subdividing a few times, but this didn't really help.

This is because your mesh is splitted into Flat parts (Probably because you used an Edge Split Modifier).

To combine it and have it not "Break" you can enter edit mode, select all vertices and press W then Remove Doubles.

Not related to the question:

I would recommend you remesh your object to get a better toplogy using the Remesh Modifier


blurry textures on fullscreen in blender game engine So I made a basic scene composed of point lights and a plane to test my textures in the blender game engine along with a basic fps camera.
the problem that i have is when i play the game using the embedded player, textures look fine (diffuse, normal and specular), when i use the standalone player it works fine too but when i use fullscreen mode in the standalone player the textures are the only thing that looks blurry. i tried changing resolution, using diffuse texture only, updating blender but non of that worked.

Im using GLSL shading btw

this is how its supposed to look like:

but in fullscreen mode (using the standalone player) it looks like this:

(the monkeys are there to see that the blur does not affect game objects, only textures).

does anybody have a solution, it would be really helpfull.

thanks.

You need to activate anisotropic filtering in Blender's system settings.

Hit Ctrl+Alt+U, go to the System Panel and change the settings under Anisotropic Filtering to 2 or higher.


For what its used dyntopo and why this artist did two sculptings (dyntopo and multiresolution sculpting)? i want to know why this incredible artist used two ways to sculpt and what its the diference of them https://www.youtube.com/watch?v=Nc3cRVG3me4 that i know multiresolution its needed for sculpting, i though before that subsurface subdivision does the same work but isnt the same modifier. by the way i also need a link of more good sculpting brushes for blender 2.78a

Multires sculpting is more traditional for a production (e.g. cinema) pipeline because it uses quads (much safer & easier to work with). Multires is superior to SubSurf modifier for sculpting because Multires stores topography data at each tier, whereas Subsurf discards data when subdivision value is decreased.

Multires is much less efficient because every single face is being subdivided (2 > 4 > 8 > 16 ect) across the entire mesh. Poly count gets out of hand VERY quickly.

DYNATOPO is a technology originally created (I think?) by Pixologic for Zbrush, integrated with Blender 3-4 years ago as I recall. While in sculpt mode, enabling Dynatopo TRIANGULATES your mesh (divides 4-vertex faces into 3-vertex faces by splitting them in half). Tri's are capable of MANIFOLD subdivision, meaning some areas can be more detail-dense than others, thereby allowing you to create detail in areas that need it while leaving flat areas with a relatively low poly count. Changing your mesh from QUADS to TRIS is destructive, and often requires retopology (painstakingly rebuilding the mesh with a tool like RetopoFlow).

So there's your answer. I won't give you a link to good sculpting brushes—you'll have to do your own footwork, but Jim (James) Morren is an expert on the subject. Look for what tools he's created or recommended.


Help with Modeling Shotgun Handle I've been trying to model a sawed-off shotgun and have run into a wall on how to model the handle. The general shape isn't too much of an issue as I just extruded a plane based off of a reference image (the second image), but there are sections that I don't know how to model.

For instance, the handle transitions from a circular base to a more squared-off shape. Also, on the sides there is a raised, triangular portion that I've found is tricky to model.

Any advice on how to go about modeling this would be greatly appreciated.

Reference Images:

What I've tried so far:

I'm lazy, so I'd let Blender do most of the job.
Make the rectangular part and the round part, and let Blender make the transition for you.

A nice final render (to boost my ego)

Project blend file for your inspiration:

01) Square part
- Start with a basic cube, add loopcuts, extrude it and stuff...
- Use proportional editing (I used Sharp profile)
- Use subsurf modifier

Use proportional editing for those tapered edges

02) Round part
- I used a basic cylinder and extruded it.
- Just make sure the number of vertices (and edges) is the same as in the open loop of the square part.
It's 24 vertices (and edges) in this case.

03) Bridge Edge loops
- Select and bridge the two edge loops (Edge > Bridge Edge Loops)
- Both loops need to have the same number of vertices
- Both meshes need to be in one object (you can join them into one with Ctrl+J)


keep body mesh from poking through clothes mesh when posing with armature i've made an armature for my character and parented it to both the shirt and body mesh of my character, but when i pose the character the body mesh pokes through. i don't particularly want to add any physics to my clothing as i'm not going for realism but if there is indeed some physical property or modifier i could use to prevent this, i would love to know. i tried shrinkwrap modifier with .001 offset, but the result was about the same.

the file, if needed: https://pasteall.org/blend/eed85f2ab37944bb804b230529c633df
thank you in advance!

You can hide/delete the mesh which is not visible due to clothes or you can adjust the clothes by going into edit mode such that body isn't visible


Decimal places in RGBA values of Python-generated image? I wrote a Python script to generate several image textures for use in Image Texture nodes. All the calculations yield values with many decimal places (some being on the order of 1e-7).

Printing the results of the calculations themselves to the console shows the values in full (or at least sufficient) precision. Printing the RGBA values of the generated image pixels for the image texture node, however, shows only one decimal place—with minuscule values being reduced to 0.0.

For this particular image texture node, this precision is not just a matter of display on the console. It really does seem that the RGBA values are 0.0. I say this because scaling the output of the Image Texture node by 1e7 has no effect (on color strength, which the node serves to control); yet, adding a 1e-7 to the output and then scaling suffices to get a nonzero color strength.

I figure that somewhere between the calculations themselves and the storing of the results in the generated image pixels, something is happening. This seems true: printing the RGBA values of the pixel entries in the generated image itself shows 0.0s instead of the small numbers I saw when printing the calculation results.

I'll post more detail if needed, but does anyone know why this might be happening? I should note that this kind of rounding doesn't seem to be happening for a different image texture file (whose values have many decimal places, though all are sizable fractions between 0 and 1, as opposed to being on the order of 1e-7).

Thanks in advance!

Images are usually created and packed as PNGs as 8-bit sRGB format. This severely limits the precision of the RGBA values stored. To improve precision you need to force the image to be stored in a format that supports 32-bit float channels such as EXR format.

To use a simple example, storing as an 8-bit image would be limited to steps of 1/256 or approximately 0.0039 - any value below around 0.002 would be rounded down to zero and any value from 0.002 to around 0.006 would be rounded to 0.004 (or 00000001 in binary). The actual values used for each 'step' is further complicated by the sRGB color conversion (which stretches the color space in order to produce a more practical range of colors for display on a screen - see Wikipedia sRGB

Examples of storing images in 32-bit float EXR format can be found in Creating and packing a 32-bit float image and Capture object properties to use in a Cycles material


How can i remove verts in specific Group in VertexGroups via python? i use Blender v2.76 and i try to remove vertices in specific Vertex Group via python ?

my specific group is atm "Test123" (only example), i try now via python to remove the selected vertices from the Group without index selection. is it possible ?

Find verts in group, then remove.

Methods to find vertices in vertex groups.

Finding vertices in a Vertex Group using Blender's Python API

Once you have the verts in a group can remove them from their vertex group with

obj.vertex_groups["Group"].remove(index)

where index is the vertex index.


Set edge as axis for surface rotation Before making a dodecahedron animation I want to construct the lower half as a static object. In my screenshot you see the initial, flat construction, for which I've rotated five pentagons around the vertices of the central pentagon in order to have their edges aligned to each other. The next step would be to set those edges as each pentagon's individual axises and "fold" the pentagons, compared to folding a paper, upwards, so the neighbor edges would align, too, at a certain angle.

How do I set edges as axis for object rotation?
How do I define the meeting points of two edges?

The pivot point of selected pentagon on inner edge, the modifier's local axis is not aligned with the edge.

To rotate the faces around a specific edge, change to Edge Selection Mode, select all the edges of the face you want to rotate and select the edge that the face will be rotating around as last.

Set Pivot Point as Active Element and change Transform Orientation to Normal.

To rotate the face around that edge hit R button, then Y button twice, then type rotational angle and hit Enter.

For dodecahedron faces to meet the rotational angle should be around 63.5 degrees (arccos(1/√5)) from the grid floor.

To use the function for precise rotation, after hitting R button type:

*180*acos(1/sqrt(5))/pi

To change the angle to negative or positive use Ctrl+- buttons


How to smooth camera animation to have fluid feel? When dealing with camera motion, its very sensitive to any movement discontinuities. Is there a way to easily achieve natural looking motion when dealing with complicated motion paths and timings?

Follow path animation feels too robotic unless I adjust all the keyframe easings carefully and this has to be re-done everytime the animation changes (the automatic bezier type just doesn't work).

A way to achieve camera motion with fluid non-synthetic feel is with softbody camera rig. This will do automatic easing of any motion and will save some graph-editor work.

Create a filled Circle with 3 vertices, subdivide it and delete the middle face:

Create new empty vertex group, don't assign any vertices to it, leave it empty:

Add camera to the scene and parent it to the 3 inner vertices (select Camera, select Mesh, enter edit-mode, select vertices, Ctrl+P):

Add Soft Body to the mesh object. These are the settings to take care of:

Friction: higher will be more lazy smoother camera
Damping: less means more camera jiggle and more overshoot

Its good to hide the Soft Body modifier visibility when animating. Always bake the softbody cache. This is a result of a simple linear-interpolation animation with just 2 keyframes, you can see how the soft body smooths everything:

Best it's in combination with follow path animation to smooth any paths and timing discontinuities. Use the Follow Path constraint on the softbody to animate the location (animate evaluation time under the curve) and Track To constraint or just keyframes for the softbody rotation.

The resulting camera motion will be the curve smoothed, so even when the curve itself is not C2 smooth the resulting animation will be. This can't be done in graph editor or with smoothing the curve with smooth modifier (it follows the un-smoothed curve)


How to split mesh into several smaller ones with respecting UV map? I am trying to split my low poly terain mesh and UVs into smaller pieces.
My mesh liiks like this:

image 1 http://c2n.me/3AHCXzB.png

I am looking for automated way to split it in several parts like this:

image 2 http://c2n.me/3AHDc3d.png

I assume thet this will be really easy but I am not artist and my experience with Blender is really low. Is there any easy way to make it (script could be better)?

I believe I have a way. This is what I did, and it worked perfectly.

Shift + A > Mesh > Plane.
Go to the Properties panel > Object Modifiers tab and add a Subdivision Surface modifier. Use these settings:

Key Tab to enter Edit Mode, U to open the Unwrap menu, and select Unwrap.
Split the 3D Viewport and make the new panel a UV Image Editor. Open your image in the editor.

Tab out of Edit Mode.
Add a Displace modifier. Click the new texture button. Use these settings:

Go to the Properties panel > Textures tab. Load in your image from the dropdown menu.

       You should now see your texture displayed on the plane in the 3D Viewport. Note that you
       may have to adjust the Displace modifier > Midlevel: value for your texture to sit right near the
       origin point. I have to use 0.836.

Tab into Edit Mode. Key W to open the Specials menu and select Subdivide. Key T to toggle open/close the Toolshelf. Change the Number of Cuts to 3.

In the UV Image Editor, key S, then .25. Additional UV Editing may be required, but this should start you.
Key Ctrl + Tab to open the Mesh Select Mode menu and either key 2 or select Edge.
Select these edges:

Key V to Rip the edges.
Select these edges:

Key V to Rip the edges.
Key Ctrl + Tab to open the Mesh Select Mode menu and either key 3 or select Face.
Key A once to select everything.
Key P to open the Separate menu and select By Loose Parts.
Tab out of Edit Mode.

Note that one reason the separated planes may not look the same as one intact planes is that the separation provided each plane with an additional two subsurf levels, effectively. You would have to turn down the subsurf to 4 on each midget plane to get the midget planes to look the same as one large plane.

Here is the .blend file:


Where is the UI menu option for "Separate by loose parts"? After APPLYing an array, P doesn't load it for me, rather in Object mode it brings up the "Set Parent To" menu, and in edit mode it brings up the "Make parent?" menu. I've tried to create my own hotkey using this function "bpy.ops.mesh.separate(type=loose)" or "bpy.ops.mesh.separate(loose)" but firstly, there's so many hotkeys I can't be sure whichever one I choose (Shift + 9) isn't being overridden by another one, and it won't show me any error if something isn't setup correctly either. Is there a UI or menu or button that can be accessed without hotkeys with "Separate by" options?

Preferred answer sequence:
1. Yes, the menu is here (no hotkey involved)...
2. You are doing it wrong. This is how...
3. Here is how to create your own hotkey to do it (that won't be overridden by another hotkey)...

Thanks guys!!

Make sure that you're presing P in edit mode, not object mode.
If that doesn't work you can find the separate action here (Mesh > Vertices > Separate > By loose parts):

You can check if the configuration is right on File > User Preferences > Input and search for "separate" and look on "mesh":


How to position/scale custom bone shapes in same position as original mesh? I'm trying to make some custom bone shapes for my armature control bones. I've made the custom shapes in the location I want. However, whenever I set the 'Display -> Custom Shape' property to the object I made, it appears in a crazy orientation and scale relative to the bone's position (not in the position of the 'real' mesh, as I'd expect).
I've applied the rotation and scale to the original mesh I want to use as the shape (using CtrlA) but am unable to get it to work in place like I'd expect.

I've read that the bone size and orientation are applied to the mesh shape key (I'm assuming the size and rotation relative to the parent?). That seems like it's terrible, is there some way to turn it off or position the original mesh so it lines up?

I found a plugin ( http://wiki.blender.org/index.php/Extensions:2.6/Py/Scripts/Rigging/Auto_custom_shape ) that seems to do what I want - but it doesn't seem to work with the newer version of blender I'm using (2.73).

I don't want to just randomly flip and scale my original mesh around in the scene until it looks right - that seems like it's just going to be confusing down the road if I need to change the shape (as it will be in an arbitrary orientation in the scene someplace). There has to be a way to set this up nicely - I can see that rigify puts it's WGT-* bone shape meshes in the world in a way that lines them up with the bones they're applied to.

Anyone have a good solution for this?

For solving this issue I use a script called orient_custom_shape_V2.py I found here:
https://developer.blender.org/F207430

After installing and activating the script in User Preferences select a custom shape as you do normally (Pose Mode -> Bone panel -> Display section). Then you have this new button called Orient Custom Shape beneath the custom shape options. It should bring the representation of your bone to where your custom shape mesh is. Which is what we want.

It works fine for me (v.2.77). Though I know people experienced issues with scale and orientation for some bones using the script.

And as to scale I recommend having bone size equal to one if possible (this should not scale your custom shape at all).


How to move objects to new Render Layer? This question has been asked several times before, but one thing is not clear.

There are Render layers. Each Render layer itself seems to have Scene and Layer slots. It's not clear what each is. Pressing M and choosing the slot seems to move the object to a new Scene slot of the current Render layer of the object. Is that right?

It doesn't seem to move the object to another Render layer. How is the latter done?

The way this works is indeed quite confusing.

TL;DR: M moves objects between layers, which are independent of the many layer visibility settings.

Long answer:

There are 20 layers and several independent places where they can be visible or hidden:

Scene layer visibility

These are the layers which are visible in all 3D views with Lock Camera and Layers enabled in 3D view > Header:

Changing the visible layers in any 3D view will change the scene layer visibility and thereby change the layer visibility of any other 3D views with Lock Camera and Layers enabled.

Note that despite being in the renderlayers panel, this setting is global per scene and not unique between renderlayers.

Viewport layer visibility

These are the layers visible in that particular 3D view. If Lock Camera and Layers is disabled, this can be set independently of the scene layer visibility.

Render layers

Unlike layers, of which there are always 20, you can have an arbitrary number of renderlayers.

A Renderlayer contains a layer visibility selection which specifies which layers are visible in that particular renderlayer:

Note that only objects in the active 3D view's visible layers will be rendered. In case of multiple 3D views, the active 3D view is the one under the mouse cursor.

This means that the behavior of the final render can depend on mouse position.

This also means that if all your 3D views have Lock Camera and Layers disabled, the Scene layer visibility doesn't do anything.

This wasn't always the case. In 2.69 scene layer visibility was used instead of viewport layer visibility, which IMO makes a lot more sense..


Cycles Convolution Matrix (Kernel) According to this post:
voronoi cracks fac

Is it possible to refactor the texture and use it from outside the node group?
So it would be possible to have an Convolution Matrix Node.

P.S. Why are the 2 nodes muted?:

The 1st set of nodes (add and subtract nodes) are used  for offset the coordinate .. it is 3*3 convolution filter ..so it can use 9 voronoi/image texture ..so if you adds 0.5 in one of the add node , 1 texture will offset  0.5 unit scale..
If you add/subtract 0 in those node that means that node will not offset .there are 2 add node because 1 is x axis and other one is y axis.
So if you mute those 2 add node it doesn't matter cuz it is not offseting anyway...soorry for my bad English


Does anyone know how to get rid of the automatic HDR on Blender 2.8 Hey so I'm new to Blender 2.8 and am creating an eye ball.
I just got finished with the outer eye and created a glass BSDF material for it to give it that shiny/glossy eyeball look. The only problem is that instead of the outer eye being transparent so that the inner eye is visible, the glass shader is reflecting, like a mirror, the HDR that automatically comes with Blender 2.8.
Does anyone know how to get rid of this HDR?

You can get rid of the hdri by using the rendered viewport mode or switching it with a different hdri in the user preferences.

In order to make glass transparent and refractive in eevee you have to enable screen space reflection and check the refraction option.

Then you have to go to the material settings and enable SSR there as well. I found that the alpha hashed blendmode works best.


problem with deformation of curve modifier i was want to make cylinder with holes i make this plane
and then i add array and curve modifier as shown :

you can see the mesh is not connected even when merge is enabled
so i apply the array modifier and then merge them manually in edit mode
but the problem when i want to change the size of the mesh by scale the curve
the merged vertices that i connected them (merge) deformed in strange way unlike other vertices    :

so i know it should scale before apply array but i just want to know why this happen  it just  a merge ??

It's all about the order of events.

'First and Last' merging in the Array modifier doesn't work because the Curve hasn't happened yet. (It's only really useful when the rotation is performed in the array)
Modifiers operate on the mesh as handed to them by the stack. But edits on the mesh happen before any modifiers. So you have merged vertices on the strip in its uncurled state. If you switch off the Curve modifier, you can see:

One way of merging the ends of a cyclically-deformed array is to put a Weld modifier below the Curve. Then you can leave all your modifiers live.


Python copy animation from armature to another armature different rest pose I have two armatures with different rest pose I wonder if there is a proper way to copy the animation from on the other as shown in the image.
Here is an example of the blend file https://ufile.io/7h1l48gv

this the code attempt for one frame but it didn't work as expected .
pos_bones = bpy.data.objects["Uncorrect"].pose.bones
pos_bones1 = bpy.data.objects["Correct"].pose.bones

for bon in range(0,len(pos_bones)):
    bone = pos_bones[bon]
    matrixPoseOrignal = pos_bones1[bon].matrix
    matrixLocalChanged = bpy.data.objects["Uncorrect"].data.bones[bone.name].matrix_local

    bone.matrix = matrixLocalChanged
    mat = matrixPoseOrignal.inverted() @ bone.matrix
    bone.matrix = mat

Make constraints to visualize, then convert.
Not at all sure how the code in question is going to even be close to what you wish to achieve.
Would look at doing something akin to answer here.
PoseBone local rotation values to global with axis changed
The last example of which shows how to run thru pose bones, convert space, change the alignment and convert back.
Create pose from existing armature
This one has two armatures with two distinct rest poses, (the one with animation is an abomination)  To create the animation on t pose rig from other have added constraints to copy the transforms from source to target, then loop thru and create the animation.
For your example since the bones are not using same axes, could instead copy location to but "Incorrect" bones heads at "Correct" bones heads, and use a track to constraint.
Script to constraint target pose bones to source.
import bpy
from math import pi
context = bpy.context
scene = context.scene

source = scene.objects.get("Correct")
# Incorrect (sp)
target = scene.objects.get("Uncorrect")
target.animation_data_clear() # remove any ad

for pbc, pbi in zip(source.pose.bones, target.pose.bones):
    # clear  for testing
    while pbi.constraints:
        pbi.constraints.remove(pbi.constraints[0])

    # locations

    cl = pbi.constraints.new('COPY_LOCATION')
    cl.target = pbc.id_data
    cl.subtarget = pbc.name
    cl.owner_space = 'POSE'
    cl.target_space = 'POSE'

    # rotations

    tt = pbi.constraints.new('TRACK_TO')
    tt.target = pbc.id_data
    tt.subtarget = pbc.name
    tt.owner_space = 'POSE'
    tt.target_space = 'POSE'
    tt.head_tail = 1
    tt.track_axis = 'TRACK_X'
    tt.up_axis = 'UP_Z'
    tt.use_target_z = True

Script to convert constraints to keyframe animation
import bpy
from math import pi
context = bpy.context
scene = context.scene

remove_constraints = True

source = scene.objects.get("Correct")
# Incorrect (sp)
target = scene.objects.get("Uncorrect")

action = source.animation_data.action

f = action.frame_range.x
# add a keyframe to each frame of new rig
while f <= action.frame_range.y:
    scene.frame_set(f)
    context.view_layer.update()
    r2 = target.evaluated_get(context.evaluated_depsgraph_get())
    for pb in target.pose.bones:
        #pb2 = rig1.pose.bones.get(pb.name)
        m = r2.convert_space(
            pose_bone=pb,
            matrix=pb.matrix,
            from_space='POSE',
            to_space='LOCAL',
            )
        if pb.rotation_mode == 'QUATERNION':
            pb.rotation_quaternion = m.to_quaternion()
            pb.keyframe_insert("rotation_quaternion", frame=f)
        else:

        # add rot mode checking
            pb.rotation_euler = m.to_euler(pb.rotation_mode)
            pb.keyframe_insert("rotation_euler", frame=f)
        pb.location = m.to_translation()

        pb.keyframe_insert("location", frame=f)
    f += 1

for pb in target.pose.bones:
    # clear  for testing
    while pb.constraints:
        pb.constraints.remove(pb.constraints[0])


Problem to render sterescopic anaglyph So, I have rendered anaglyphic images before but now when I try to do it the final image will not be cyan and red combined, it will just be two images from different angles, no cyan or red at all. I have it set to Stereo 3D, Anaglyph, red-cyan under Output and views format. I also have it set to Stereo 3D in "Views". I render the image and in the render view I see an image with red and cyan, but once I go F3 and save it as an image, then the final version, in the selected folder is two images with the R and L suffix (completely without red or cyan).

Anybody what this is all about?

When you are saving the image, in the save dialogue options, do you have by accident "Individual" checked instead of "Stereo 3D"?


How to render with transparent background in Eevee? Is it possible to render with transparent background using Eevee renderer?

When using 2.79 you can find it on the right side in the properties section, go to render settings, scroll down to the film area and open it. In it, there is a dropdown box called alpha, and currently selected will be sky. Select transparent, and there you go!

In 2.80 the option has been changed to a checkbox and renamed to Transparent as shown in the image below.


How to successfully transfer one .blend to another computer and keep everything intact? Okay, here's what's going on. I have one of my biggest animation projects yet that I will be sending to another computer to render. I have packed the image textures so as to make sure that they will not be lost. Now, the project contains audio files in the VSE (music and sound effects) and it also contains an image sequence. These are the ones I'm concerned about. It is my understanding that Blender does not pack audio files and image sequences, correct?

If that is correct, then that means moving the .blend to another computer will result in lost audio and a lost image sequence. Is there any way to keep everything in the .blend file, even if it means blowing up the file size?

This problem may be resulting from messy organization on my part. Consolidating everything into one folder at this point (in order to make the paths relative and therefore move the entire folder with no issues) would take a while and become tedious quickly.

Video files and image sequences are not packed as part of the blend file.
Why? because they would create an impractically large file.
No video editing program stores the media and the projects on a single file.
The way you transfer the project is you bring along all of the files that are linked to the project. If you want a single file to transport/upload, then zip the folder with all the elements and the project.
But it is more practical to put your files in an external drive and plug it in to to the new computer and re-link.


Where can I find the "Film" Option in Blender 2.80? In the latest Blender 2.8 version I just realized that the Film look on color management is gone and everything is on filmic color management.

I haven't opened up Blender in a while so I don't really see any difference for now, but it would be nice to at least know why it got removed.

Edit: okay, so nobody knows what I'm talking about.

I'm talking about this:

when i open up blender 2.8, this is all i get.

You can find it in the Render Tab of the Properties panel.


Delete/disable constraint during animation I have a rope made of rigid bodies with constraints in between each one to connect them and I would like one constraint to be disabled during the animation so that the rope splits in the middle.

How can I disable or delete the constraint so that it connects two rigid bodies at the start of the animation but then disconnects at another point in time?

So instead of deleting it outright, I would like it to be removed at a specific point during the animation.

(Note that I'm still a beginner at Blender)

You don't have to delete the constraint - its' also not possible to animate this way.
Instead, you animate the breakable parameter of the constraint. Set the threshold value very low, and insert keys(I key or right click menu) to switch breakable on on a frame where you want.


How to remove attached scripts files on deleting add-on? My addon is constituted by two files scripts.
when I push the 'Remove' button , one file stay on the addons folder.

How can I tell blender remove the two python files from the addons directory?

In my __init__.py file

I put this:

if "bpy" in locals():
    import imp
    imp.reload(myScript)

and everything works fine :)


broken script to bake keyframes from driver controlled shape keys I found a script on the web that is supposed to set key frames for driver driven shape keys. however its giving me an error. I need this so i can remove the drivers for the render farm I use wont allow scripts. Here is the script.

Import bpy

context = bpy.context
scene = context.scene
object = context.object

frame = scene.frame_start

while frame <= scene.frame_end:
scene.frame_set(frame)
for fcurve in object.data.shape_keys.animation_data.drivers.valu es():
object.data.shape_keys.keyframe_insert(fcurve.data _path)
frame = frame + 1

The error I get when ran is below

Just some syntactic errors (missing indents, etc.). Should work like this:

import bpy

context = bpy.context
scene = context.scene
object = context.object

frame = scene.frame_start

while frame <= scene.frame_end:
    scene.frame_set(frame)
    for fcurve in object.data.shape_keys.animation_data.drivers.values():
        object.data.shape_keys.keyframe_insert(fcurve.data_path)
    frame = frame + 1


Pixelation on my UV image text I've added my UV texture, and I can see white pixelated borders around my red text. What's causing this?
also below are the nodes I'm using, The text is supposedly going onto a screen surface. which isn't so realistic, any ideas what other nodes I can use to give it some screen surface feeling? I've seen some internet suggestions which are overkill over 10 nodes to get what's meant to be a realistic glass reflection. But I'd like a bit more minimal node composition if it's possible to get a nice result.

It's cause by your reference image, which is an png image I guess?

PNG(Portable Network Graphic) is not just a simple algorithm but an image storage solutions bucket. There are two main way to implement the thing "Transparency". And you might choose the simpler one:

If I use PNG-8 bit(paletted method) I will got the strange White border. That is actually coming from matte color since paletted method only allow one transparency value instead an alpha channel. When I choose PNG-24 bit(true color with alpha) we get a better image without border.

So you need to redo that image to make the border show as an actual color. Or you can also use your image as alpha material socket input to reduce the white border effect.


Height Map Boundary Problem ver 2.76-rc2 Win64

I'm trying to create a small landscape from 2 screenshots (of a game) that is in total 256 px x 176 px. Nothing too fancy all that's really different in terms of elevation is a pond. Grand total of 3 height changes. White for ground, slightly darker white (lol) for shallow water, and black for the pond)

I import image as plane, subdivide it to the max (A blender tutorial I found said to do 300 but for some reason it only goes up to 100), then add a displacement modified and assign the image itself as the texture. For some reason it doesn't import the whole image so I change the texture coordinates to "UV" and the whole image is imported properly.

Now for the actual problem:

By default (I assume) for some stupid reason, the borders are 1 pixel more than the actual image so that it basically repeats. It looks like this:

So on the right edge you see a line of pixels that juts out. Same with the bottom of the model. Even at the top of the model you can see a small indent as the texture is tiled.

So my question is, what do i need to do to prevent this seemingly random defect that, despite my complete lack of understanding of 3D creation or programming, should logically not happen?

It sounds like the "Import Image as plane" add-on did not UV map it correctly. If that is the case, then you can fix it by hand.

For fixing it, scale the UV map in the UV/image Editor while in Edit mode with the desired image in the editor. Or by going into top orthographic view and using the "Project From View (Bounds)" function by pressing "U".