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frame rate for a video texture of an object
Hey I'm not familiar with Blender, but for a university project I have to use Blender... I created an object and inserted a video as a texture, but now the video runs very slow and laggy. I tried to change the frame rate to a higher fps, but nothing has changed. I watched this tutorial but his video plays normally: https://www.youtube.com/watch?v=E1COCnMUIhQ&t=252s
Thanks in advance.
here are my video settings :

240 FPS seems a bit extreme. 120 FPS is already quite a high framerate.
Anyway, you can try changing the Playback Sync mode from "Play every frame" to "Frame Dropping". The video won't run smoother, but will play at the target FPS, so at the correct timing.
This setting can be found in the Timeline Editor, under the Playback menu.
Timeline documentation
Keep it mind that this only affects the Viewport, so it's more confortable to work with. After you render the frames to a video format like FFMpeg, the exported video should run smoothly anyway.


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rig breaks when importing back into blender (fbx)
There is probably a simple fix for this, but I'm pretty new to blender and what I found online didn't work.
When I import the model into a new project, the armatures used for posing the model turn back into the default bone model, making it pretty much impossible to pose the model.
rig in original blend file:

rig after importing into new project:

I have tried simply copying and pasting the model into the new project, and have tried exporting it as an .fbx and an .obj file, but this result is the closest I've gotten to success and want to see if there's an easy fix.

Thoose kinds of rigs use a lot of Blender specific operators that cannot be stored into a generic format like Fbx.
If you want to import your rigged model into a new .blend file this is the suggested procedure:

open the Source file; if not present, create a new collection and move everything related to the rig and the model into this new collection. Name it in  a recognizable way, save and close.

open the destination file or a new file, go to Header Menu > File > Append, navigate your hard drive to the source file, double click on it, double click the "Collection" folder, double click on the newly created collection. All subcollections contained in the main collection will be imported.

Be aware that the Append operator will import everything that it's connected to the rig and/or the model by parentship, constraints, assignements, ... even if they aren't placed in the choosen collection.
The "Link" operator is similar to the "Append" one, but it's more complex, and it's useful when dealing with larger projects and teams, when different workstations with different people work on the same project, search on manual and tutorials for more details.
Use Fbx only to import/export from Blender to others applications, knowing that some informations and structures will be lost in translation.

source: Stack Exchange

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

sort: votes


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How to make a crochet plush
How can I achieve a realistic knitted texture for a crochet plush in Blender, ensuring it is suitable for 3D printing, considering that sculpting mode is challenging for this purpose?

Here's a pattern but 3D printing this may be challenging
https://youtu.be/P3aNRRswE5Q?feature=shared  also
https://youtu.be/gY-_CsSl1VI?feature=shared also https://youtu.be/QDB1wmQIsqE?feature=shared

I’ve tried all this methods! But for my case I want a physical texture that can be 3d printed!

Since you tried those methods. It might be helpful to people trying to help you if you uploaded an example blend file of what you have to the site https://blend-exchange.com and add that link in the question.  After that you can use the 3D Print Toolbox to check and export the mesh as an STL to test with.  https://youtu.be/0rgrLWFUjlk?feature=shared

all_licenses: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


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Rendering Animation Video
I am new to Blender. I tried making a simple animation of a bouncing ball just to get the feel of it, and now I am trying to render that animation. In the video tutorial I am following, it says to make the file format an FFmpeg and the container an MPEG-4, then click "Render --> Render Animation". But when I do that, I get a blank screen in the rendering window:

I then tried to follow this thread's advice and export the images as PNGs and then use the video editor to compile them but 1. That seems incorrect as that would be so timeconsuming and 2. I am not seeing my exported images in the editor, although they do exist in the folder:

Here is an image of my settings when I tried to render the animation as a video:

Any ideas why I can't render the video?
I am also running this on a Fedora system so I am wondering if it's somehow incompatible with that?

You cannot render the animation as MPEG-4 because you have disabled Saving > File Extensions in your Output Properties (usually this is enabled by default):

This should result in an error message "Could not open file for writing" in the bottom status bar when you try to render the animation, but it is only shown for a short while:

The images get rendered, but are missing the PNG extension. So when you try to import them in the Video Sequencer or Compositor they will not show up, because trying to add images opens a dialogue box automatically filtering for Image Files (you can see it in the drop down menu of the funnel symbol, i.e. the filtering options). Of course you can disable filtering to see the files, but it would be best to simply enable the extensions.

By the way, rendering as an image sequence is not "incorrect" if you want to render an animation. For just a quick simple animation you can directly render to a video file, but most people prefer to render image sequences for longer animations and especially projects where rendering a frame takes a while and Blender might even crash for whatever reason - with an image sequence, you are usually able to carry on where it stopped and just render the missing frames. A video file always has to be rendered completely from start to finish. If it crashes or anything goes wrong, you will always have to start rendering on frame 1 again.

Thank you, that was helpful! I was able to get it working with the advice above and in addition had to change Video Codec from H.264 to MPEG-4: https://i.sstatic.net/LiukW.png

Just a quick addition to your comment about using seperate PNG files being time consuming. This is not correct. You just select the whole sequence of png files in the file selector when importing in to the video editor and they're imported very fast. Similarly creating the final video file is fast because the images have already been rendered and just have to be added to the output file.

@JohnEason Well, about time consumption: PNG files are actually a quite slow format when it comes to saving, so having to save 100 or 500 or even more images might be slower than just saving one video file. Apart from that, rendering once and having it as a video already does not take the additional time to import the images in the sequencer and then rendering them again as a video file. So it is more time consuming. But as I explained to her in the last paragraph it still often makes more sense to render images. I guess your comment would fit better under her question anyway.

Oops. Yes. That should have been a direct comment to the original question. Overall though, it's not going to make a vast difference to the time taken and as you say makes more sense to render individual frames in case of creashes.

@JohnEason Depends on what you consider a vast difference. I personally prefer image sequences because you are more flexible with what you can do after rendering. But if your goal is just to get a video and you see no risk of it going wrong, still you would have to render twice with images, even if rendering the sequence would be significantly faster.

When comparing image rendering on its own, these benchmarks from the answer to another question might be interesting: What image format encodes the fastest, or at least faster? PNG is too slow. As you can see, PNG can be 10 to 30 times slower than OpenEXR, and when you render hundreds to thousands of frames this will make a vast difference.

Interesting posting but the OP is just experimenting with a simple bouncing ball so I doubt it will affect her in any significant way! :^)


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Tiny GUI buttons and text on high resolution monitor
I recently downloaded blender but when I run the program it is full screen but the nav bars are very small including text and icons. I don't know if its anything to do with the fact my monitor is 4K, I have tried going into resolution settings but it means eeverything else will be too big.
Any help would be greatly appreciated.

Steps ...

Go to User interface
Navigate to the System tab
Under General Section tune DPI value to fit your need.

No more issue with having a fancy 4k screen ... cheers.

This is now Display Scale on later versions.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/3.0/


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Thick Cyan lines on edges on export - import mesh?
When i enter Edit mode with my object i have thick cyan lines on every edge. I made my model with blender and the exported it to .obj without saving cause i wanted to import it in another project. Then when i entered edit mode in the project where i imported it there are cyan lines on every edges of the mesh. Here's a print screen of what's happening.

What are those? And how to get rid of them?
Thank you.
EDIT:
Ok, i tried random Things, and apparently is some "Sharp" stuff. So if you go in CTRL+E and select "Clear Sharp" it should disapear.

Those line represents the "Make sharp", there seems to be a bug that create those make sharp edges when exporting meshes. To remove them go to edit mode, edge selection mode. Hit A to select all edges. Then Hit Ctrl + E and select "Clear sharp" from the drop down list.

This is not a bug. If you set the shading to smooth and export the shape you won't notice this. Also, if you import the objects with "smooth groups" unchecked you won't see these cyan lines anymore.

all_licenses: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/3.0/


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Respawn camera relative to character location
I have a side scrolling platform game. I am animating the camera from point A to B and my character has to keep up with the camera's FOV to reach the level's objective. I would like my character to die if he slows down to a point where the player falls outside the FOV of the camera.
Respawn
However, during respawn the character should the camera re-aligned to his spawn position (also the "death wall" object which creates the collision, off screen must also realign to the camera).
Please could I have some advice on the correct process. I am assuming it would require some Python code, but I have no experience with programming! Thank you in advance.

The death wall could just be parented to the camera. Then it would always be in the same position relative to it. Will the camera zoom in and out (do close-up shots?) and also is it orthographic or perspective, because if it is ortho you can skip the collision calculations and just kill the player when his distance from the camera exceeds a set value. Or I suppose you could flip it around and kill him when his proximity to the death wall (on the horizontal axis) reaches 0. This is all theoretical, but I don't see why these approaches wouldn't work.

I didn't plan on having any movement on the camera other than a linear motion on a single axis. The death wall is currently parented to the camera movement and it is working fine except for the issue of the death wall and camera resetting in line with the character after losing a life and being brought back to a re-spawn.

its okay, by using scene changes transitions and collision boxes i can now move multiple objects to certain positions on the design and reset accordingly. problem solved.

Nice! Glad it's working for you. I'd be curious to look at your setup if you're willing to post a .blend, and possibly answer your own question.


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Failed to render in blender on Mac OSX
When i tried rendering in blender a message says :"could not initialise streams probably unsupported codec combination"
I tried rendering with different files.
I'm using a macbook, what can I do?

Is it possible to attach a simple .blend file using http://blend-exchange.giantcowfilms.com/ link , so we could probably spot the problem? Do you have a camera in your scene? Also include the blender version you are using and also the engine you are trying to render from ... eg. Blender render or Cycles?

Not all video output options work on OSX. I'm assuming you're using a video format? You'll have to experiment to see which ones work on your machine.


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Is it possible to determine emission shader value by other lights?
Is it possible to take a lamp/sun/point light and use it as a value on the scene to tell materials that are not affected by the light source to emit their own light?

This is photoshopped example of effect that I want to achieve. Ball + particles with diff/emit shader is lit from left by sun, the darker it becomes, the more light is emitted from particles.

If you want to drive the material emission strength with light emission strength then yes. Drivers can do this. Can you clarify the question a bit please? If you want to determine which materials are illuminated by lights and which not, then no. You would have to bake a lightmap and influence the materials with this map in a second pass render.

! (http://i.imgur.com/XirQMPd.jpg) This is photoshopped example of effect that I want to achieve. Ball + particles with diff/emit shader is lit from left by sun, the darker it becomes, the more light is emitted from particles.

That looks like a transmittive material.

If you would call shader that is reacting to light rays like that, then it is indeed. Can it be build using nodes/drivers though?


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materials won't properly add to faces in blender 2.81
Adding material to a face causes the face to disappear and something comes pointing out.

Please attach your blend file via https://blend-exchange.giantcowfilms.com

Try it in an older version of blender. This could happen because the graphic card might not have supported the new version of the blender.
Update of driver might work.

works fine in 2.80 drivers up to date newest versions of 2.81 & 2.82 card ATI RADON 5570 drivers up to date

works with updated driver


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2d Animation Stuck on First Frame during playback
I'm new to blender and can't figure out how to solve this.
I've been working on an animation for a couple days in greasepencil with audio. Everything was going ok but I'm not sure what button/setting I pressed, but now when I play my animation it only shows the very first frame of my project. the audio plays as normal, but all that shows is the first frame. Even when I drag the blue bar across my project, no other frames/keys appear, almost like there's nothing else, even though all the keys are clearly still in the timeline.
The only way I can view the other frames that I've found is to delete my first frame. then the second frame appears, but its the same issue with it not changing to show the other frames when played/skimmed.
Another problem I'm having is that when I draw a new stroke, a key no longer appears automatically.
I worked really hard on my project so far and I really hope someone can help. I couldn't find anything online, I would appreciate any help!

You may have accidentally hit a little checkbox in your timeline. Do all boxes have a check in them (see picture)?  it causes the frame you turned it off at to be held on for that layer (also autokeyframe stops).


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How can Tris be used to an advantage?
Tris are things you would avoid when it comes to shading, and good Topology, so do Tris do any good?
Also I am currently working on Game Asset Creation and I would like to know if Tris are actually something I want definitely to avoid.

Not sure this is a duplicate? The other question is relating to character animation.

Not a duplicate IMO, highly related yes, but that question is asking about the problems with tris. Not the potential advantages.

i'm not sure either anymore, but it seems that the answers and links on the proposed duplicate cover most (if not all) that can be said ( even outside of the character animation scope)

Related https://blender.stackexchange.com/questions/99369/i-thought-you-should-never-use-triangles https://blender.stackexchange.com/questions/2931/why-should-triangle-meshes-be-avoided-for-character-animation https://blender.stackexchange.com/questions/89/when-should-n-gons-be-used-and-when-shouldnt-they https://blender.stackexchange.com/questions/36270/how-can-tris-be-used-to-an-advantage/

There's a big misunderstanding regarding tris. A lot of people say that you should never use tris, and they're somewhat right. But the main reason behind not using tris, is because they can be harder to work with, and they can cause issues with deformations. Although, before exporting/baking your model for use in games, it's advisable that it's triangulated anyway.
The thing is, people tend to go to overly extreme lengths to avoid tris, when in reality, adding a tri is a lot better than trying to work around having one.
One other thing to keep in mind, is that all faces are converted to triangles at rendertime anyway. You aren't speeding up rendertimes (If I'm not mistaken, some of the optimizations that are being added to blenders viewport are actually for quads only) but by using tris, but you are controlling how the faces are cut up (this is the big thing that effects shading).
Tris also cut off edge loops. So if you do something like this

and then you try to select one of the edges,

it will stop at the triangle. The same thing happens for both Tris, Poles, and N-Gons.
So, advantages to using tris

Can keep topology simpler in certain situations.
Much more effective at controlling shading on low poly models
Stops edge loops
Controls how the surface will be cut up, instead of allowing it to
be randomly done at render time.

Disadvantages of tris

Can be harder to work with at times
Can cause issues with deformations and subserf
Stops edge loops

In games however, There is a stage in the process where triangulation is often unavoidable and should be carefully embraced.
There is a point in the video game workflow where your game model should be completely triangulated, because most game engines will robotically do this for you if you don't, with often undesired results. Some concave surfaces will become convex and vise versa, while some unwanted/useless loops form from the resulting triangulation. You'll want to triangulate it before you export, and DEFINITELY before you bake normals. Here are two big things that can go wrong if you don't.
surface/color baking, especially normal baking, where you transfer details from Hi-res objects onto low res objects are very dependent on how a model has been triangulated. Rays cast from the high res surface to the low, virtually filling in low res gaps with information. So that if you export a model and it's map out to a different program, the triangles may be automatically cut differently to how they were in the other program, resulting in unwanted artifacts.
Surprising deformations/shape, The way that you animated/modeled the       object may appear different because of the engine's method of triangulation, 'what you see is what you get' should be the aim. (this may need a better explanation.)

the bit in your answer, about Tris giving the user control of how a surface is cut up, in my opinion, is a major advantage, and belongs in your summary of advantages.

They are also not handled well by subsurf (though they're not as bad as n-gons).

Agreed. And as for an advantage to tris, I have found cases while modeling rocky terrain where quads made the terrain look too grid-like and fake, but tris on the other hand made for more natural-looking mountains, etc. Since terrain isn't something you'd deform (except in maybe large-scale disaster special effects) there was no reason not to use tris. The geometry subsurfed and displaced in a less uniform, less predictable way, and looked much better.

Tris can also be a benefit to make sure all faces are the exact same. For example, today while sculpting, I started from a cube, blender automatically triangulated the faces when I clicked "dynamic topology", and, unfortunately for me, it didn't triangulate them symmetrically. When I was dome with my sculpt, looking over to make sure everything was symmetrical, look at the error that one little misplaced tri turned into! the entire side of the head is different (it still looks cool)

Now, I plan to re-topo this before using in a game, so it won't cause me much trouble, but you can see the potential error that could have been avoided by manually dividing the faces into tris before I sculpted, rather than leaving it to the helpful, but clueless blender.

We don't use quads because they are easier to work with.  I mean, they are easier to work with, but we do a lot of things that aren't easy to make things look good, and if tris looked better (when tris look better), we would (we do) use tris.
Nor do we use quads directly because they deform better.  They don't.  They deform exactly the same.  Now, their normals don't deform exactly the same....
We use quads for two reasons.  The first and most important is Catmull-Clark subdivision, which is a mathematically proven standard in 3D modelling that we use all the time, but which is mathematically proven only for the case of quad meshes containing only 4-poles.  (Never mind for the moment that there's not really any such thing as an interesting mesh containing only 4-poles.  We say, hey, it looks pretty good where that's true, and we'll try and put the other poles somewhere nobody notices them, or where they're planar enough that C-C subdiv doesn't do anything terrible with them.)
The second reason we use quads is for the calculation of smooth shaded normals on cylindrical shapes, where normals change smoothly, but differently, in 2 axes.  The use of quads to calculate our face normals, and hence our vertex normals, gives us normals that interpolate more appropriately to these shapes.  Our modelling abounds with shapes that are similar enough to cylinders for this to matter: cylinders and toruses, yes; also pipes and cables; also arms and legs.
These two issues are big enough that whenever we can take advantage of them, we don't want to use triangles.  That's why most people just say "All quads!" even though they don't know why.  However, there are cases where we're not using C-C subdivision, and where we're not modelling something with normals that change in two axes, or where we're don't even care about smooth shaded normals to begin with.  The first case is routine with game engines, where the fact that dynamic tessellation is expensive enough that we rarely code quad support into the engine anyways, and that's the first place where we're going to see triangles all the time.  (Would quads be better?  For purposes of deforming normals on some shapes, yes, a quad engine would be nice, but it would cost performance as well.)
So, what kind of shapes don't have normals that change smoothly in two axes?  A good example is a sphere, whose normals change smoothly in any axis, and we have the icosphere as a reasonable choice for spheres:

The singly-unsubdivided cube sphere on the right has more verts than the icosphere on the left, but the normals are not any better, and the silhouette is worse.  (It should be said that the cube sphere may have other advantages however-- it's much easier to seam and unwrap a cube sphere than it is an icosphere, and it's easier to join the cube sphere to other topology that might have normals for which we want to use quad faces.)
What's an example of a mesh where we don't care about smooth shaded normals?  Probably the most common is an emission mesh, where normals don't play any role in the shader whatsoever.
So let's say we have an emission mesh, for which we know we will never be using C-C subdivision.  We could still use quads, but are there ever any situations under which triangles are better?  Sure, when automatic triangulation of non-planar faces can lead to an uneven silhouette, we're best off triangulating the mesh manually:

Every mesh gets triangulated eventually along the rendering pathway, it's just a matter of when.  Here, by triangulating the meshes on the right manually, I can control how the silhouette looks.  And because I'm just using an emission shader, I don't care in the least that my normals will only be calculated from triangles instead of quads.  (Honestly, my normals would look like dog poo here anyways.)
Okay, so what about deformation?  People say that quads are especially important for it; then they turn around and say sometimes you want to make tris specifically for deformation purposes.  And now I'm saying, deformation isn't a direct factor.  What gives?
There are a few things that give.  First, when we deform triangulated quads, we're not calculating face normals from the same faces as when we deform untriangulated quads.  On shapes like cylinders-- again, think arms and legs-- this will give us some mildly apparent diagonalization in our normals.  On a static cylinder, we could compensate for that with custom vertex normals from a quad version, but on deforming geometry, we can't-- there are going to be some vertices that play into some face's normal on the quad version, that don't on the triangle version, and that's going to be apparent when we deform the mesh.
Lets think about the vertex normal of the central vertex here.  On which vertices does that vertex normal depend?

On all of the vertices I have selected.  On adjacent vertices.  And if I deform the vertex at pos 1,1, it will affect the central vertex's normal on the left, but not on the right.
Okay, but what about when we want tris for deformation?  Again, this has to do with the silhouette.  Those emission cylinders I made above are artificial as anything.  But when we start deforming meshes, we really don't know what we're going to get.  We're going to get concave faces, faces that are way out of plane.  Our animator isn't inspecting every face to make sure it doesn't do anything weird.  We might start with a quad and end up with this:

Once non-planar, does the quad perhaps create some concavity in its surroundings that shouldn't exist, just because of how it gets triangulated?  By manually triangulating that quad, as we do on the far left, we can prevent that from happening.  And so that's why you'll sometimes see triangles made specifically for deformation purposes, so that the modeller can control how they get triangulated under deformation.
I feel like I have to add one caveat here, which is that there are no rules, only guidelines; what you should do depends on what you want.  If you want to render a mesh that looks like

then what you should do is make a cone and give it a single level of C-C subdivision.  Don't worry that there are tris, an ngon, and a megapole.  It does what you want.  Don't try to make it out of quads and 4-poles.  That'd be dumb.
Instead, when we talk about smooth shaded normals or C-C subdivision doing what we want, we're talking about what we usually want.  What we usually want is smoothness.  What is smoothness?  It is continuously changing values along any geodesic-- a graph of positions is continuous, a graph of normals is continuous; and, the derivative of that is continuous; and, the second derivative is continuous-- etc.  That's usually what we want, that's not necessarily easy to get, and that's what we're talking about when we talk about "good" topo.  If you want that subdivided cone look, then it doesn't matter that the rest of us are usually chasing smoothness, and what we say about good topo doesn't matter.


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How to swap camera angles?
Consider a cube, a wall and two cameras (A and B).The cube moves toward the wall and crashes through it. Camera A tracks the cube as it moves toward the wall at which point the camera view / angle swaps out Camera B which records the cube crashing through the wall after which the view angle is again passed back to Camera A which shows the cube proceeding forward after the crash. I set up multiple cameras and switched them in different strips of the Video Sequence Editor, however, the playback freezes after playing the second strip.
How do i fix this? Or am i doing something wrong here?
Also, how do I render this video considering the above and the fact that the wall is on another Layer.
UPDATE :

How is this different from your other question? http://blender.stackexchange.com/questions/72277/how-swap-views-between-multiple-cameras

@RayMairlot  'cause, I'm able to add multiple 'strips' effectively changing the camera angle, but when the slider reaches the third strip the video is just frozen, doesn't play beyond that point ... also, I'm looking to extend / slow down a camera's output

Then I suggest refining your question as most of it seems to be focused on asking how to do it as opposed to what you just explained to me.

@RayMairlot how's this?

When you added the VSE scene strips was the scene the same length as it is now that you've finished animating it? If you added a scene strip THEN changed the length of the 3D scene afterwards, it will be the wrong length and will freeze at the end. To fix this just delete the short strip and add it again.

@3pointedit I see


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How make a specific color have a different shader
So this is my output and material node setup:

As you can see I want the marked portions to have a glossy shader.
There is another question similar to mine which has been answered here :
Using an RGB map to assign various shaders in a material
But, I don't know how to integrate that solution into my shader as I'm using a Color Ramp.

It's the same exact problem. The solution starts right after the color input (in your case the ColorRamp node, there is the Image Texture) and it's not related to the nature of the input. Here's another related question where it's used a ColorRamp as in your case: How can I use colours to separate texture node treatment?


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Glitchy-looking transparent alpha channel PNG when imported as "Image as Plane" in Cycles
I'm following this tutorial, and when I import the reference image I get a glitchy plane:

(the one on the right is the Image as Plane, while the one on the left is an Empty with an image)
I have made sure that the image, found online, was transparent, using Photoshop:

In trying to troubleshoot this, I have looked at this question, but it doesn't help me, as I can't reproduce the steps given in the answer.
Basically, I'm stuck looking for parameters for this object. There's nothing in the Object Data panel, I tweaked Viewport Alpha in the Material tab but still nothing...

The question was solved, but just to answer your comment, it's the same image that the user who made the tutorial uses - one of the first results for the "palm tree" image search on Google: http://pngimg.com/upload/palm_tree_PNG2489.png

When you click import images as planes and the file browser opens, in the lower right, under 'import images as planes', you need to check the  use alpha checkbox, or you will get bizarre alpha junk.  Why this isn't a default I have no idea.

As an alternative on the UV/image editor press N to bring up the options window and enable "Use Alpha"

Good to know, thanks! The answer of the question this is a duplicate of was really good as well.

Ok, that works, open the properties panel in the uv editor and check 'use alpha' can be used after importing without alpha enabled.


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Clothing won't work with armature
I've given my character a meta rig & I have successfully got the body to move with it, however when I tried to link the clothing to the armature it doesn't move. I've tried transferring weights & weight painting the clothing but it still won't work. Can someone help please :)

Here is my blender file if anyone wants to have a crack at it :)

Welcome to Blender Stack Exchange. Unfortunately no one will be able to effectively answer your question until you provide more details. You need to consider that while you have likely been working on your project for a while, we haven't and know only what you tell us. Please provide more details (perhaps screenshots/diagrams of the dilemma and the settings that you have tried or a .blend file for us to look at to better see your problem. If you can add sufficient details, ping me with @pycoder, and I'll remove my down vote and look at your Q again.

@pycoder Hi I added an image of the problem. I would add more but this is the general problem. : )


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What is "1D strand texture coordinate" and "trail position" in Strand/Particle Coordinates
From the manual on the blender internal texture page it explains

Coordinates: Strand/Particle
Uses normalized 1D strand texture coordinate or particle age (X) and trail >position (Y). Use when texture is applied to hair strands or particles.

While as I understand, particle age is mapped along X, what is the "1D strand texture coordinate" and "trail position" ?
Thank you.


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How create a map based edge wear shader?
So basically what I have done is made a high poly bake in blender, now using said bake, I want to add edge wear. That is have procedural texture detect the height in the maps and shade the maps "edges". [For reference : This feature is found in substance painter]

Normal maps only contain light reflection angles, not height information. If you're going to attempt an edge detect on an image texture, at least start with a height/displacement/curvature map.

@ChristopherBennett so there's absolutely no way to use normal map? ok cool...i'll edit the question, so can you show me how to use a height map instead?

The only way I know to do anything like this is to take the heightmap into the Compositor (I connected it as an emission, aligned the camera and rendered to get it this way - choose whatever method works best for you). The next step is to take the difference between a blurred version of the image and the original. Anywhere with a "sharp cutoff" will be highlighted (assisted by a ColorRamp). It isn't perfect, as you can see from the photos. I picked a "noisy" texture on purpose to how many non-edges I could eliminate, but it's still rather noisy. The success will depend on the "cleanliness" of the original heightmap.
Here is my node setup in the compositor. The original heightmap image is on the left.

Here are just the nodes (for easier viewing). You will have to adjust the ColorRamp to your needs (it can be rather finicky finding the correct range).

From here, it's just a matter of saving your image and using it as a mask for your material. Here's my original material without and with the whites of a Noise Texture added to the "edges" using the mask I made (color channel only).
Without "edge wear" mask:

With "edge wear" mask:

As you can see, it's not perfect. It's still a bit "noisy", however it is obeying the "rules", so to speak. The areas that are highlighted are the ones that have the harshest cuttoffs, it's just that I picked a "bumpy" texture to begin with. Hopefully your heightmap will be a bit cleaner (as I said, I picked the noisiest one I could find), and you will have more success.
Here's an example with a "clean" heightmap (keyboard):

Again, here is final material without "edge wear":

And here it is with the edge wear. Note- I know noise is not a great texture to emulate wear - I just used it as a quick way to get some distortion to the white.

I'm not sure if this answer your question, but since typing "edge wear" moves us here I'm thinking this solution may be interesting to some (note also that it works with normals baked from another high-poly).
Basically, just compute the dot product (in "vector math") between bevel and the normal (geometry). If you get your normals from an external file, replace the geometry node with your image as shown in the above video.
Warning: you must use cycle for that (EEVE does not have a working bevel). If you plan to use it later on EEVE, bake it to an image first using cycle and then import it from EEVE.

Interesting ... Hmmm... If I may asks question on your solution, what exactly does the dot product node do? Better yet, what's the difference between dot product and cross product nodes?

So first, note that it's not my creation, as I explained I took it from the video. Now, I think I can explain how it works: the "bevel" node will bevel (i.e. smooth the corners of) the shape. Now, when you take the normals of the bevelled shape and compare it with the actual normals of the body, you can easily see that they always match when the shape is flat because the bevel did not change anything (so the dot product will be maximum since the dot product quantifies how close/aligned are two vectors: when the vectors have norm 1, the dot product is just the cosinus of the angles).

Now, when you are at an edge, the bevel normals will not be aligned anymore with the normals of the object since the edge has been flattened, so the dot product is smaller. The "invert" node is just used to turn into white the small changes and black the large numbers.

Finally, about your question on cross product nodes, cross products are quite differents (cf wikipedia for precise definition), notably the cross product between two vectors is a vector, not a scalar like for dot product. Moreover, the length of the cross product vector is the sinus of the angle between the two angles, i.e. it is small when both vectors are close, and large when they are far (which is the opposite of the dot product).


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How to make / generate the trailing effect?
If an object is moved from Point A to Point B using the Follow Path constraint, I want it to leave behind a trail of color behind it.
Note : I have enabled Freestyle under which i have unchecked Use Surfaces / Solid in the Layers Tab -- NO TEXTURES are a set to the object.
This is what the render output looks like:

UPDATE : Since, freestyle has it's limitations, I was thinking of parenting a ribbon at the bird's tail, that would give a similar trailing effect, however, I want the ribbon's Freestyle Strokes to fade away long it's length. Also, what is the most suitable cloth modifier preset to simulate a ribbon?

Like a particle system trail?

@pycoder think, like the bird is trailing a rainbow

I can't fully get you reference to your freestyle setup, but a simple way could be using a mesh deformed by and also following the curve, using a blend texture influencing the mesh alpha.
This is a single color example, but it should be possible use a rainbow style texture...

you could combine such a trail with the freestyle based animation, perhaps... maybe using different render layers.
edit: since you asked here is a possible similar setup with cycles (renders a bit slower)

edit: since you asked, here is the .blend related to the last example (cycles)

Note: the animation is not done with follow path here, but animating the Y location after setting a curve deform modifier... the effect is similar, though.

Can the same be achieved in Cycles Render? I am neither comfortable nor remotely familiar with using Blender Render

Yes, I think so. It should be just needed a node based "colorband" texture, see this post: https://blenderartists.org/forum/showthread.php?248307-How-to-use-blend-texture-with-Cycles-I-have-no-color-inputs&p=2207589&viewfull=1#post2207589

I added a cycle example above.

could i have your .blend file to experiment on?

sure, there you have it now :)

How about dynamic paint to bring in a material in the trail? Not putting this forward as an answer... just wanted a way to post an image with the suggestion....

Freestyle did not recognize the trail, but I was using paint rather than a mesh deform, which it might.

Nah, i need the scene to render in Freestyle exclusively as a project requirement.


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How create realistic semi gloss paint shader?
How do I recreate the green surface shader?
Just the green parts, not the decals. I tried mixing a green diffuse and glossy shader with a layer weight node as the factor. Yet, I'm not able to get that surface.

**UPDATE : **
 using @LukeD 's solution I got it to this stage but it's not dark enough.

Maybe you would be Interested in these Videos from BlenderGuru.
He shows how to make PBR Shaders for Dielectic and Metalic Materials(Metalic = part 2). you can download his version of the Shaders or build them yourself while watching him.
I would recommend the second.. you know what each part of the shader will do afterwards.

Final:

Overview:
Material itself is pretty simple even without using complicated PBR (but you can try it of course - look for CynicatPro) but the devil lays in details which are Bumps in this case.
You should work on them, as they are different for different parts of the Tank. Also Roughness map would be a good idea. Some parts are shinier then others.
This setup is just Diffuse mixed with Glossy by Fresnel and with procedural Bump Map.
You can try to use texture for bumps, same goes with roughness map.

I tried your method, but I got odd results

Check node setup carefully. I'll upload blend file later. It's impossible to have so much differences.

it was the HDRI, I set it at a higher brightness value, my bad XD


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High sample renders appear transparent / blank
So this is my scene :

When I render it using 128 samples or less, the final image is visible:

However, when I  increase the samples greater than that, the image is visible while rendering and then disappears after the composition is finished.After seeing a few posts on here, I found that turning off the sequencer allows it to render. But, the result was the same:

This is my compositor node setup:

I'm using Blender 2.79, could this be a bug?
Edit: Ok, so when I tried to render the scene again, it seemed to be successful to the 99% mark but then fails and becomes blank or black when it completes.

Compositor nodes :

Update: I tested the scene further and apparently it's the cloud layer under the islands that has been causing all the problems. I rendered each layer separately, and they rendered fine, except for the cloud object layer, which initially showed signs of rendering and then disappeared as soon as it finished.
This is the object's shader:

It is just a simple plane with these modifiers:

Any ideas what could be causing this and how I could fix it?
PS: When I say "cloud layer" I mean the cloud object, not any render layer.

@cegaton hang on

@cegaton I'm running another test render, but the compositor nodes are simple as of now, he render result is connected to the composite and viewer outputs... no other nodes are connecting them

@cegaton I added the compositor node setup too

@cegaton nope, I haven't set any render layers

@cegaton I updated the details after testing out a few things, please have a look

Could be that you're running out of system resources, although an error should pop up in that case. Try increasing the step size or decreasing the max steps in the geometry panel in the render tab and render again with the same samples.

@cegaton I have 16GB

Looks like the compositor is making your whole image transparent somehow when it applies the post processing effects. Try disabling the compositor to see if that fixes your issue. Have you changed anything other than the samples between renders? (New to Stack Exchange so can't comment this)

One way to probe and troubleshoot this is to add viewer nodes at points along the composite flow.


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cycles material light changing
I want a material where the side that is facing the light is glossy and the other side is some other shader like glass or something. What sort of nodes should I use? I've been searching around the internet for something related to this but I got nothing. I've actually been searching for many months but didn't realize I could just ask myself.

Use a Geometry Node to control the Mix factor between two shaders in a Mix Shader node. Use the Backfacing socket to set one shader to the backface of the plane, and the other is set to the front face.

if im using a sphere it doesn't work

@SpaniardsFromheaven it does work, though the other material is only be visible from inside the sphere

Might want to edit your question to explain that then. I haven't an idea on that one, and a specific use case like that needs a specific answer.

In Texture Coordinate node, you can use the eyedropper to select your light object, and maybe then plugging 'Object' coordinate to mix factor might work.


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can't import gltf with khr_materials_variants

trying to import glb file with khr_materials_variants i installed these extensions

but still can't import it, is there any extension i need to install too?

Looks like you've got an old version there (glTF Import/Export v3.2.40 is displayed).
I just tested (using the shoe) with Blender 3.6.1 (which ships with glTF I/O v3.6.27) and material variants are supported directly in that version (without the need for an additional add-on).  The add-on preferences page has a checkbox for "Material Variants" that enables some extra UI to support this.


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Is it possible to move an object, vertex, light. camera etc by a set amount?
Sorry for the very basic question, it's my first ever.  Have used 3dsmax for ages and am really keen to transition to Blender but I'm finding it a steep learning curve.
In 3dsmax I was always able to move/rotate/scale something using typed in values in the 'Transform Type' dialogue box. This would enable you to precisely transform almost anything either by typing in a value for let's say the x co-ordinate in world space or by moving it relative to its current position (which they call offset:screen)
I can't work out how to do both in Blender though.
Say I add a cube to the scene.  Then move it 6000mm along the x axis.  The cube is then at 6000,0,0. All good.
In max, if I then want to move the cube incrementally, say 4mm further along the x axis, I could just type 4 into the x box of the offset:screen bit which would move it along 4mm to 6004,0,0
Is there an equivalent to 'offset:screen' in Blender?
Closest I can find is 'Delta transform in the object properties.  typing 4 into the x box will move the cube 4mm along which would put it at 6004,0,0 but the huge issue then is that Blender says the cube's x location is still 6000 rather than 6004.  This would cause all sorts of confusion.
Is it possible to upload a screenclip to demonstrate what I'm trying to achive?
Thanks

g x 4 enter.  Or, enter values in transform (look in properties/object, or sidebar/item.)  You can use math in fields: click in there, type "+ 4", enter.  Or, open the operator panel after a move operation and adjust fields there.  "Is it possible to upload a screenclip" You can include .GIFs in your question if you want, same as any other image; I drag-and-drop into the editing box to do so.

To get a similar behavior in Blender:

Double-click the transform field
Type in the value you want to add (+2,-2, whatever number)
Hit Enter

Thanks so much. That's really useful. I can now continue my journey into Blenderworld!

Happy to help, good luck with your project :)


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Can someone with no drawing/art skills make really good 3D models with Blender?
My son has a 3D printer that he and I enjoy very much. We just print things we find on the Internet, because neither of us know how to do any 3D modeling. I am trying to decide whether to learn 3D modeling because I have a lot of ideas for things I'd like to make and print.
Here's the thing: I can't draw worth a hill of beans. There's no way I could on paper draw a picture of what I would want to make a model of. I can see it in my head, but I can't translate it into a drawing, just like I can see Bugs Bunny in my head but can't draw him worth crap.
I'm asking this of everyone, but especially anyone on here with no drawing talent: Is it possible to become a good 3D modeler with Blender (or anything else) if you can't draw on paper? Do the tools you learn to use in Blender help you overcome your deficiencies with a pencil? I know you can instantly create circles and other shapes and put them together and make all sorts of adjustments. Is the skill involved with that different than the skill of drawing? Could a person that cannot draw a 3D view of a car on paper succeed in making a 3D model of a car on Blender (once they've learned all about how to use the software)?
I sure hope I'm conveying this right. I don't want to waste my time learning any sort of 3D modeling software if I'm just doomed from the start due to my poor artistic skills.
Thanks!

Yes you can be a bad illustrator but a good 3D modeler, but you can also be bad at both   ;)   you need to test and you'll quickly see

The site it for questions about Blender software, opinion based posts like this one is considered off topic. Try blender on reddit or blenderartists site to get a proper discussion with the community

https://blender.stackexchange.com/questions/126822/should-i-just-quit-blender-when-after-two-weeks-of-learning-and-watching-tutoria/ https://blender.stackexchange.com/questions/215856/i-cant-draw-but-i-am-super-creative

I could literally mess up a stickman. I fell in love with blender because I was finally able to express myself and my ideas with no regard to my total lack of drawing talent. It felt like the artist inside finally had a way to express himself. So, TLDR is that would be a big YES from me - Not only can you be a 3D artist with no drawing ability, in my opinion, it can even compensate for a lack of drawing ability with regards to artistic expression. - It's like a picture that you can tweak over and over to your liking, and even use some cheats (modifiers) to do some of the hard work for you.


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is there a way to extrude a B&W 2d video into a 3d object?
I know you can do this with vector images and SVGs and extrude them to 3d, but I wanted to make a black and white video displace fluid and was wondering if I could use a black and white video to create a negative subtraction from the object (I.e if there were a black circle in the video I would have a cylinder in Blender and if it morphed into a square in the video I would have a cube in blender)

You can do that with geometry nodes using video as a texture, or you could use a video to displace geometry, but it will not delete parts of it then. As you would probably need quite dense geometry for any of this, it may be quite slow. It would be better if you provided some context. It may lead to an answer that is better suited for what you actually want to achieve.

replying to @Martynas Žiemys "It would be better if you provided some context. It may lead to an answer that is better suited for what you actually want to achieve."
I wanted to use a 2d video as a displacement for a fluid sim to have the water in the render be pushed around by the video, (you know the "bad apple" video? I need to make something in blender for a school project and thought that having that video but made as a fluid sim would be funny, so that the water would flow to the darker (or lighter, depending on what I want) parts of the video


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Multires Not working correctly
I am trying to make a character And i plan on using multires to make it smooth however when i try to do so, it dissolves the character like it has been cut and turns his/her face into something butt like

In editmode try selecting everything and pressing W->RemoveDoubles. This is just a guess so it might now work. If it doesn't, could you please give some more information? Maybe a screenshot or two? Thanks!

Did not work how do i screenshot

Hit the printscr button just beside the Scroll lock button on the keyboard if you are a windows user like me. A copy of your screen is captured ... you will need to open an image editor like photoshop or gimp and paste the image with Ctrl + V or just go to the menu of the photo editor and choose paste.


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How to UV unwrap a circle?
I am modeling an alarm clock and they say to go to mesh UV unwrap then unwrap in my face for the clock. I have to giant circles I just want one.

please try to [edit] your question so that it is clearer what is going on. A picture of your object and the UV layout would be a good start.

Your question isn't clear enough to be understood. Could you be more specific, add a image or 2 to describe where you are stuck or even better attach the file you are working on so that others could look at the file directly ... you can upload the file using this link... http://blend-exchange.giantcowfilms.com/

1: Are you following the  “Blender for beginners: Alarm clock 1 of 2” tutorial.    https://www.youtube.com/watch?v=Ay7fgeQC1WI   ?
2: When UV unwrapping the clock face at 11:40 are you saying that you have two circles showing up in the UV space instead of one big one?
Two circles unwrapped instead of one means that you have two circles selected in the 3D edit window before unwrapping.
You need to go back to the 3D edit window and check out why two circles were selected instead of only one.
Perhaps you have the the glass lens selected instead of the clock face?
If you still don't see how two circles are being selected then I suggest you add your .blend file to your post
https://blend-exchange.giantcowfilms.com/
then someone can take a look at it for you.

Meanwhile I can show you how it's done at least how I prefer it, if I was unwrapping a clock.

Create a circle object.
Hit Tab to enter edit mode
Select the face you want to unwrap ... in this case the circular face.
Switch your view to top view if your clock face is facing Z axis ...
Or switch to left or right side view if your clock face is facing X or Y axis.
Hit U and select "Project from View"

You should now have that face unwrapped nicely into the square texture Grid space.


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Glow behind reflective text
I have a reflective ( Mirror Surfaced ) text on a dark background / Wall so it's barely visible. Backlighting does not light up the scene too much, the text is reflective and would only pickup the backlight on the wall. What I needed is to make glow effect behind the reflective text.
How could i achieve this effect?

The best way to do such an effect is to make sure your dark background is not totally 100% black. What I would do is to start with a mid tone gray RGB (128,128,128) and apply a emission material on the rear side of the 3d text. Adjust the lighting and the gray material until it satisfy the style I am looking for. Will try to create a file to show case it.

I have attached a scene for your reference.

Basically, the scene is straightforward.
A text "G" with reflective and emission material & a wall with white material. Make sure you turn off ambient occlusion in your World Tab as it will throw false lighting in the scene. The wall material is almost completely white, due to the lack of light in the rest of the scene only the backlight is visible.

Hope this helps and is what you are looking for.

This may be an average answer to a bad question, but it looks awesome. ♥

Yeah the problem is that people sweep these sort of questions away too quickly, sometimes new users don't even know how to ask the right questions ... it takes patience to understand these sorts and it can help countless others who are just starting out. I hope the commmunity is less critical and more compassionate.


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Object appears mottled in views and renders
Anyone know why my object appears corrupted and spottled after decimate? I tried flipping normals, deleting uv's and adding a material, to no avail.

Would it be possible to attached the said model so that someone can look into it as there could be more than meet the eyes. I suggest using this link to attach the model. http://blend-exchange.giantcowfilms.com/. It sure looks to me that the normals on the said model has been messed up after the decimate operation. Seen a topic somewhere in stack exchange. Couldn't find it at the moment.

Yup found your problem it's indeed an issue with your Normal data on the model.
These are the steps

Goto Properies panel "Data" tab.
Goto "Geometry Data" Header
Select "Clear Custom Split normal Data"

That's all to it. There is a history to this thing, can't remember them at the moment may add to the answer later.

Aha! Thanks very much. Never would have guessed that. I had "custom split normals data," eh? I have to look that one up, no idea what it is. But thank you.


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UV Mapping multiple objects using same material
I have a blend file with MANY blocks that I use in a game. They are all separate objects, but use the same materials.
I have unwrapped them and then manually size the UV until the grass looks almost the same. This takes a while and is never exactly the same.

I found this material setup somewhere (I wish I remember), and although it looks fine in Blender, after exporting it to FBX and importing it into Unity, the smaller block has different look.

The smaller block is on the left. (Unity)

Is there away to do this automatically ? Change the UV size to match the blocks world size ? Or do I need to update it manually ?
Mr Zak pointed out Textools. It has a function that does exactly what I am looking for.

Texture density can be matched. So if you "apply wall paper" to a small room and then a huge room the wall paper looks the same in both rooms. I only know how to do this manually, by scaling the UV of the bigger room till it matches the small room. It seems Textools does this work for you.
I would still love to learn how to do this myself.  Like I stated I have been doing this by eye and would like to know if there is a better way.

Your shader is wrong, because you have to plug the UV to the vector of the texture to see the UV. You plugged the object into it, so the UV won't affect the result.

Hard to tell from your screenshots. I can only guess that you are using "Material View" in Blender which doesn't necessarily deliver an accurate representation of your models. You can also create a smaller version of your file with only two blocks, pack your textures with it and upload it to blend-exchange for us to check. Use the edit to update your question with the provided link.

TexTools addon is designed to equalize textl density for different objects quickly, in this example it would mean picking density from one block and applying it to another. Exporting object with Object coordinates might not work because other application has to be set up to use the same coordinates to provide the same result (if it can do that which isn't necessary).

@MrZak The "Texel Density tools" is exactly what i am looking for thank you. I still want to learn how to do this on for my self.

It is shown by the author of the addon in BA thread I linked http://renderhjs.net/textools/blender/images/demo_texel_density.gif. Generally it's just click picker button on one block and then click Apply on the other

@MrZak Im just trying to work out why I dont see the Texel Density tool.


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Solidify makes plane thicker outwards
I would like to solidify a model I am making of a plate, to give it thickness.
Here's the plate:

After I solidify, here's what I get (I increased the values to show the effect):

Solidify makes the outer edge grow, but what I wanted was just to make the object thicker (along the Z axis).
It's hard to know what to look for, but I didn't see any questions that looked like this.
Am I understanding Solidify wrong, or just using it wrong?
Here's the blend file:

Could you post your .blend? Maybe I can look at your topology and make suggestions.

I added a link to the blend file

Thanks. Although I did not end up needing it to provide my answer, it did help me to understand what sort of result you are trying for. Here is my edited version that you may find helpful - I only added two "holding edge loops", but you'll notice that it does help define the lip of the plate.

Maybe you've already got all the info you need from PGmath's answer, but I'll point out that if you add a holding edge loop near the rim and then flatten the outermost faces so their normals point along the Z axis you can avoid the extreme angle.

There's also the issue that this plate is way too thick anyway. ;-) But hopefully that explains the principle at work here.
Update
As requested, I will elaborate on what I described as a "holding edge loop". This term is a combination of "holding edge" and "edge loop".
Holding Edge: Extra edge data added to a mesh that does not alter the basic shape, but serves to fine-tune the way that mesh will deform when modified. The most common example is when we add such edges to a mesh that is influenced by a Subdivision Surface Modifier.
Edge Loop: A series of edges that topologically form a loop. Not necessarily circular in form, but considered a loop if by following the quads it loops back unto itself.
These are just my definitions in my words that I came up with for the sake of adding to this answer. They're not from a '3D Modeling Dictionary' or something.
So how do you add one?
It's really simple to add an edge loop. From Edit Mode just do a Loop Cut CtrlR and move your cursor over a looping piece of geometry in your mesh. You will see a purple edge loop appear bisecting any existing loop of faces. Left Click to add the Loop Cut, then slide the edge by moving your mouse and Left Click again to set its position.

Here is a side view comparing the geometry before and after adding the edge loop that redefines the normal angle of the faces forming the outer rim:

Thanks! Sounds good! Can you add in your answer (a valid answer) how to add a holding edge loop? Thanks!

Nope, you're not doing anything wrong, that's the way Solidify works.  You can make it solidify in the other direction by specifying a negative Thickness or by adjusting the Offset.


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How do I make a compositor filter effect affect only a specific part of the render?
So, this is my node setup and as you can see the sunbeams affect the entire image.

However, I only want it to emit out of the doorway. So I created a mask for that and plugged it into the factor input.

But the output isn't exactly accurate.

So, how do I solve this?

You might start by centering the sun beams on the door a bit better...there isn't much of the effect by the door anyway.

@JakeD alright, how do I do that?

I think the mask is limiting the addition to the doorway itself and not anywhere outside it. Can you show the mask?

@RonProctor I just added the mask above, have a look

I see the mask now. You could use the mask to darken the rest of the picture, pass it through the sunbeam node, then add the result to the base picture.

@RonProctor Thanks! That worked like a charm. By the way, is there any way the sunbeam and the light source can have the same color? as it is now, the light is yellow/orange colored whereas the sunbeam is white colored.

Yes I think so. I'm working on an example for you.

@Tejas The sunbeam node has (x,y) parameters at the top. Adjust those to move its source around the image.

@JakeD so is X the height? Or is Y the height?

@Tejas x is left/right, y is up/down (directions: +x >, -x <, +y ^, -y v). As in the Cartesian coordinate system: https://en.wikipedia.org/wiki/Cartesian_coordinate_system#/media/File:Cartesian-coordinate-system.svg Try playing with different values to get a feel for how it works.

The mask was limiting the result of the sunbeam node to the doorway itself. You can multiply the mask against the image, then run that through sunbeam and add the result to the original image.


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Curved texture on a low poly model
Is it possible, without adding vertices to the model, to more accurately shape the uv of an object to match the curvature of a texture?
Example

This is not possible without adding some vertices. Looking at the screenshot you provided I'd say you'll have to add two more vertices along the curvature. You could also adjust your texture to fit the model better. It depends on what you're going for.

Also, it depends on what you need to achieve, if that curve line is sitting on a flat plane then you wouldn't really need to add any more vertices. If those 2 different areas has considerable height differences then you cannot do it without adding more details


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How to not slide off the stairs in game mode?
How I can stop in the middle of the stairs without sliding off ?
With the current setup the collision mesh which my camera is parent to slides
down the created stair ramp object whenever I stop halfway up the stairs.

sorry, I find it difficult to explain in English because I use g.translate, I hope there who understand the intent of the question in my image.
thank you

Friction in the material physics panel?

May I suggest you switch it around. Instead of adding a mesh along the stair's geometry you could just make your character's collision mesh with a chamfer. In that way you don't have to create extra meshes for your stairway.
Without the ramp object the mesh will not slide down a gradient but rest on the surface of perfectly flat geometry in your scene when you stop.


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Export textures as a flat image with multiple materials
I am trying to get a flat texture image, something like this ...

instead of using multiple textures with a mtl. Is there anyway to do this?

Yes there is.

You will need to uv unwrap your model first.
Apply mulitiple material as you would previously.
Set your materials to shadeless or set the bake to only diffuse bake.
Bake the information out using your UV unwrap data into a single texture image.


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How to draw solid color in Texture Paint
I use 4.0.2 Blender and I want to draw a sharp circle in Texture Paint mode just on character's eye. But result isn't solid but diffused (see the diffused circle I drew in the left window. But if I draw in the right window I got sharp circle as I wanted. As far as I see both draw tools have the same settings. But result is different. How can I achieve my goal to draw a sharp black circle in the left window?

Hello, could you please pack your images and share the object itself?

I was helped by following steps:

Open editing mode
Select all points on my object
Press M and select "by distance"


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Swap individual material node for all materials
I have imported Google Map tiles as a single object with many materials using Blosm. By default, every material has an Emission shader applied. I would like to change this Emission node to a Diffuse BSDF so that I can better control the render output.
I know how to do this on an individual Material manually. See the image below illustrating the final node structure I want. I need to do this to hundreds of materials that have the same node structure, but different texture maps. Therefore, I believe the right solution would be to run a Python script, but I know virtually nothing about coding.

Can anyone help me modify this script I found to work? When I try to modify this code it returns a NoneType error on line starting with emmNode.
import bpy

emmNode = mat.node_tree.nodes.new(type="ShaderNodeEmission") # creates Emission shader node. Store the node in a variable. By default Emission value is 1
origNode = mat.node_tree.nodes["Principled BSDF"] # store original BSDF node in a variable.
OutputNode = mat.node_tree.nodes["Material Output"] # store Materil Output node in a variable.

origCoordinates = origNode.location # get location of the original BSDF node and store it in a variable
emmNode.location = origCoordinates # set the coordinates of new emmision node same as the original BSDF has

for l in mat.node_tree.links: # for all links
    if l.to_socket == origNode.inputs[0]: # if link destination is in THE BSDF node
        inputNodeOut = l.from_socket # store into variable Base Color input socket
        mat.node_tree.links.new(emmNode.inputs[0], inputNodeOut) # re-link original input socket into new Emission node

mat.node_tree.links.new(OutputNode.inputs[0], emmNode.outputs[0]) # creates link between new emission Shader and Material Output
mat.node_tree.nodes.remove(origNode) # deletes original BSDF node

Any help or insight would be greatly appreciated!

Try this, it modifies the materials on all selected objects. Save beforehand just in case.
import bpy

def swap_emission_for_diffuse(mat):
    if not mat.use_nodes: return
    nodes = mat.node_tree.nodes
    links = mat.node_tree.links

    # Find all emission nodes
    emi_nodes = [n for n in nodes if n.type == 'EMISSION']

    for emi_node in emi_nodes:
        x, y = emi_node.location

        # Record sockets connected to the emission node so
        # we can recreate them on the diffuse node
        in_sockets = []
        out_sockets = []
        for link in links:
            if link.to_socket == emi_node.inputs['Color']:
                in_sockets.append(link.from_socket)
            if link.from_socket == emi_node.outputs[0]:
                out_sockets.append(link.to_socket)

        nodes.remove(emi_node)
        dif_node = nodes.new(type='ShaderNodeBsdfDiffuse')

        dif_node.location = x, y
        for soc in in_sockets: links.new(soc, dif_node.inputs['Color'])
        for soc in out_sockets: links.new(dif_node.outputs[0], soc)

for ob in bpy.context.selected_objects:
    for slot in ob.material_slots:
        if not slot.material: continue
        swap_emission_for_diffuse(slot.material)

Incredible. Worked perfectly. Thank you very much! I've been battling with this all morning.


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Varying measurements from measuring tool and using the overlay panel to display the length of a side

As you can see I'm getting too VERY different measurements (24.1397mm and 222mm) on the same side, the 222 is measured by the "edge length" measurement overlay and the 24~ is from the measuring tool, why are they different and which one should I trust?

Hello, Fish, I think it's fair to call this a duplicate.. as the linked answers suggest, one of the measurements is in World coordinates, the other in Object coordinates, When you scale in Object Mode, the coordinates are scaled along with the object, so object-space lengths are invariant under that operation.


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Platform unsupported
I installed Blender 4.0 and it says that my graphics card is not supported.
Intel(R) HD Graphics 4600
20.19.15.5126
1-21-2020
OpenGL 4.3
Build 20.19.15.5126
DirectX 11.4
How can I use blender? Does my PC support blender? Which version should I install?
Thank you.

Which Windows version do you use? Blender 4 requires at least Windows 8 or Linux. The GPU should work. Have a look here: https://www.blender.org/download/requirements/

Thank you for your response, I use windows 10.


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Invisible Lines Splitting Faces

Looking for a tutorial on how to solve these very faint lines cutting across the faces of my model. I see the problem, I've got seven vertices all connected to one vertice, creating this faint crease.
Without knowing what to call this problem, it's been difficult to google a solve. What is this type of crease called? Any help would be appreciated.

GPUs render various primitives like points, lines, voxels... But when you render a surface, it will be rendered using only triangles.
So when you have a quad or "n-gon" face built on more than 3/4 verts, it still will be rendered using triangles.
In other words, quads and n-gons are Blender abstraction to make it easier to work with a mesh (e.g. loopcuts don't work on triangles, because when you enter a triangle, you don't know which way to go next, in case of a quad it's the opposite edge).
Upon rendering (also in viewport) or exporting to formats that support only triangles, your mesh is triangulated. What you see is the boundaries of the resulting triangles. You can control this internal triangulation in various ways:
How to fix inconsistent behavior of two quads defined by the same corner vertices?
Edit face triangulation without actually adding edge
However, your problem is caused more by how smooth shading works. Try 'hardening' your normals:
Why do I have this weird shading issue?
or add a buffer of quads, so that all n-gons are surrounded by quads with the same normals, and therefore there is no normal interpolation within the n-gons:

Above you can see a buffer of quads between the holes and 3 big n-gons, but the n-gons still touch the edges of the silhouette of the object - so there should be additional edges like so:

And then keep in mind if you use Subdivision Surface + Smooth Shading, then ideally you want a buffer of 2 layers of quads, because one such layer will be moved by the Catmul-Clark algorithm and so it will no longer be co-planar with the quads…


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how to make the edges appear in a line evenly while uv unwrapping
I am a noob to blender. I am working on a project which involves getting precise dimensions of a 3D object and for that I am practicing UV Unwrapping.
All the UV unwrapping tutorials I have watched have even edges on the objects they unwrap. As you can see in the 2 pictures below.

However, when I imported a 3D model ( it is a .obj file) to practice unwrapping, my edges look something like this. Can someone nudge me in the right direction on how can I make my edges line up evenly. I would make marking the seams whole lot simpler.

I'm not aware of any silver bullet answer to this issue. What this model needs is re-topologising, or re-modelling from scratch with this used as a template or base to ensure good topology like what you'd need. There are techniques for retopologising in Blender, but I'd sooner to back to where you sourced this model and see if you can get one that's more tidy. It looks like it may have been photoscanned?

This mesh is not quad-based, and looks like it is non-manifold. I don't think it is really salvageable. I wouldn't waste my time practising UV unwrapping using this, there is no real world scenario where you would want to manually UV-unwrap such a mess IMO :)

@Onyx yes, this model was created using photogrammetry. I sourced it from this 3D scanner app called KIRI Engine and this is for practice. I am planning to use the same app to scan the actual product (Camera) that I want dimensions for.

@Gorgious Thanks.. I looked up and it seems like what I have is a triangle-based mesh but I need a quad-based. I suppose the right course of action would be to go back and source a clean mesh or a quad based.

Photogrammetry can't output a clean, quad based mesh. You will need to remesh it using manual retopology or an automatic remesher like quad remesher or instant meshes


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Are my normals okay like this?
I just did a normal pass on my render and noticed that the colours are vivid red and green, as opposed to the light purple that I was expecting.
I was wondering why this is and if/how I should fix it. I am planning on putting this project in my surfacing portfolio and just want to make sure all my AOVs look professional and industry standard.

Hello and welcome to BSE! Can you share your blend file https://blend-exchange.com

Seems pretty normal to me  AFAIK the channels of a normal pass only represent the worldspace XYZ orientation. If you rendered the default cube, it would be full red/green/blue on the faces facing +X, +Y and +Z respectively. Your models are mostly made of flat surfaces, seemingly aligned with the world, so you don't get much color. Also Normal passes don't look like normal maps.


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How to recreate the Oppenheimer "atom vibration" FX?
I'm planning to make a small movie soon and I would like to recreate the kind of effect found in Oppenheimer (2023) with the vibrating atom (see this video for a demonstration
).
Is there a way in Blender to recreate this effect pretty easily? I would assume that using Geometry nodes there could be a way to recreate this effect, however I do not have any idea how these works.
Or maybe using curves and doing some camera and post-process work? I'm pretty stuck on how I could imagine such a set-up in Blender.
Honestly, I have thought about ways but did not do any tests inside Blender as I'm pretty sure my knowledge for this kind of work (FX) is limited.
Thank you very much for any help.

Note: I've open a new post on Blender's subreddit. No need to send me there to find the answer!

Hello and welcome. While files, images, and external videos or links may be helpful additions they should not be the only way to obtain information about your issue. Don't make understanding your question rely on downloading a file, watching a video or visiting an external site. Use the builtin tools to upload images or gifs, along with thoroughly explaining the problem in written form so it can be indexed and searched for thus helping future visitors with similar issues.

Hi, thank you very much. I'm really sorry, I was a bit in a hurry when I made this post. Should have waited to have more time on my hand, and I didn't know you could post GIFs here. Definitely going to keep your advice!

Create a circle with concentric edges, unwrap and orthogonalize with the UV Squares addon, give it a material that will be a mix between emissive and transparent waves and a gradient that will make it transparent at its periphery and center:

Keyframe the Wave Texture scale value, the ColorRamp node, keyframe the rotation of the object and put a Noise modifier to make it shake, etc...:

Incredible! Thank you very much. Have a wonderful day!

With a stretched noise there is a noticeable seam in the texture then which is not shown in the screenshot... or did you get rid of it somehow? Because I do not know how...

Oh yes I missed that, of course   ;)


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python operations without! selecting objects and entering edit mode
Is it possible to make some operatoins on curve without entering edit mode?
I am using small code in Animation Nodes:
bpy.ops.object.select_all(action='DESELECT')
bpy.context.scene.objects.active = obj
obj.select = True
bpy.ops.object.mode_set(mode='EDIT')
obj.data.splines.remove(obj.data.splines[0])

I am using many small scripts in Animation Nodes, and each time i have to take care if object is selected and context is correct.
Is it possible to use .remove without all previous lines?
like this:remove(obj, splines)

What is the need to bpy.ops.xxx and not simply use remove? Is there something due to AN in that?

I don't know.
remove(obj.data.splines[0])
AN says "name 'remove' is not defined"

But obj.data.splines.remove(obj.data.splines[0]) should work without using bpy.ops before. You should provide more details about your node setting and the way the parameters are given to it


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Geometry nodes can't access vertex group
I have one object with two geometry nodes setups. The First can access vertex groups and the second cannot. What is the reason? Please help.

The reason was that I replaced original geometry with generated one.
Vertex groups appear only when I join original geometry with generated, and I have to leave at least one vertex of the original geometry. Oherwise it will not work.enter image description here

Geometry nodes can sometimes be janky, have you tried manually typing the name of the vertex group? Also, name your vertex groups, stay organised :D


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How do i change the size of the box for my collision bounds?
My object always falls through the floor at the end of the box that shows the collision bounds. How can I adjust the size of it?

Could you be more specific and/or include a screenshot?

@ShadyPuck ok I have one

Try changing the drop down menu labeled Box under the collision bounds panel to Convex Hull, or Triangle Mesh if the first doesn't work. Also, if it is still falling through the floor, try upping the substeps from 1 to 5 under Properties Editor>World>Physics>Physics Steps:>Substeps. If none of this helps, or if it does and you want to learn more, Blender Cookie has some good game engine tips at https://www.youtube.com/watch?v=QY7iJmqsJf8
Hope this helps and happy Blending!


text:
Why won't anything in my scene rotate when I press"r", or "r" "r", or go to the rotation tool and click it?
Look at the image below please! It's weird. When I press r or rr on the keyboard or drag the rotation tool it doesn't rotate. The rotation you can see is not locked! This bone wouldn't rotate, or any other bones. It was fbx imported, but I've imported it before and it didn't work. Nothing will rotate in the scene.

Do you have manipulate origins enabled in the header?

@gandalf3 Where is the header?

@gandalf3 And where can I find manipulate origins? Thank you

The Header is the bar normally at the bottom of an Area. Did the answser I linked above help?

In the header where you can choose visualization mode(Rendered/Wireframe/Solid...) you have a button with "..." and two arrows below, that mode is causing the problem.


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Why won't objects appear in motion tracking?
I set up a motion track, then said set up tracking scene. I added a monkey, a subsurf modifier, and just a red material that I clicked shadeless on. When I render it shows up ghostlike and you can't see it good. In the 3d view it shows the image and the monkey.

@cegaton Wait I just realized! I don't have any compositor nodes! Do I need to put some on the monkey head?

@cegaton I added some new pics!


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Why are weird black lines showing on my texture?
On my model I got a material that was a solid beige image. I hooked it upped to some nodes, just texture coordinates and image texture. Then I assigned it to my feet and hands faces of my model and weird lines appeared as shown in the image below. The second picture shows the texture. The third image shows the weird lines on the feet. The lines are on the hands and the head too. I also have the nodes setup for the beige material. The last image is the foot UVS. How can I fix this?

It would be helpful to add a screenshot of your node setup, also consider uploading a.blend to http://blend-exchange.giantcowfilms.com/

@Timaroberts Well I can't do the .blend because the textures wouldn't be there for you, but I did the nodes!

You can pack them by going to File>External Data> Pack all into .blend Otherwise, check your normals (Ctrl+N in edit mode with all selected) and that smooth shading is on and see how that does.

Can you add a screenshot from your UV-map?

Don't you have a bump map applied also ?

@Yvain Do I want a bump map or not?

Hey everybody I recalculated normal and it was solved! Thanks to everyone who left a comment to help!


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Wrap curve around sphere
I couldn't find this anywhere, which is really strange, but I'm trying to wrap a curve, imported from a .svg made with a vector image program around a sphere to create the Earth.
Basically, this is what it currently looks like:

I'd like to wrap the curve of the outlines for the land around the sphere in the middle of the scene.
I don't mind converting the curve to mesh at some point in the process, but it will be beveled or extruded first.
I tried Lattice (which didn't work because I couldn't get a result that matched the sphere's shape), I tried Curve modifier with a circle curve but that only made the map cylinder-shaped, I tried Simple Deform, Shrinkwrap and Warp but couldn't get these to make what I wanted either.
When using Shift+W here's what happens:

Indeed. How do you do to always find these but I can't seem to find them before posting the question? :P

Although the one you're linking to has to do with a plane rather than a curve... Maybe that's a bit different to be a duplicate?

I still can't get it to work... the curve looks like this in edit mode

True, I just did...

Similar approach to the preceding answer, using curve, mesh deform and shrinkwrap modifiers.
The map mesh needs to be bendable. I started from a plane, subdvided and stretched to around pi.
Add also a bezier curve.

Add a curve modifier to the map and set the bezier curve in it.

Add a cube. Subdivide it in half horizontally.

Add a mesh deform modifier to the map and set the cube as deforming object.

Scale the upper and lower parts of the cube. The idea is to come close to a more or less spherical shape.

Add a sphere as target of a shrinkwrap modifier in the map.

And then adjust by playing on either the bezier circle size, or the cube geometry.

You will have a hard time doing this accurately, even with a curve based object, but  you can use a combination of a Deform > Bend Modifier + a Shrink Wrap modifier , it will need a sphere (or any other desired shape) object to wrap around to.

You will have to convert your curve into a 3D bezier first and then rotate it 90 degrees in the X axis while in edit mode otherwise the bend modifier will not work properly. The bend modifier will then create a base deformation upon which the shrinkwrap can work.

In any way it will be very hard to skin it properly afterwards. You probably better use your curve to Knife Project over a grid-like subdivided mesh first to create a "world shaped grid" object to deform over your sphere using the above method, so it will be easier to create the curved surface afterwards.


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Particle system doesn’t align hair object to assigned vertex group
Hair is giving me grey hair! I’ve been trying this and failed on several models in the past, so here’s the latest headache I’m encountering…

The selected vertex group for the top eyelashes is above the eye’s opening (seen here in orange)...

and the vertex group is assigned in the hair particle system…

…and I’ve subdivided the area before creating the vertex group, I also applied rotation, scale and location to both the eyelash (on the second layer) and the mesh with the eyelids.
And yet here we are, looking at the Frankenstein monster’s eyelids :)
I’m not sure what I’m missing, and I always get stuck at this point with particle hair systems. Every answer or help I’ve found online retraces all the steps I took for better results.

Your particle system is correctly setup, and your particles are being correctly emitted from your chosen vertex group.
There is only one eyelash particle being emitted though, I am guessing you will need more than one.
What your are seeing are Particle Children which are instanced from the parent one around a predefined radius. This radius is far bigger than the area you would want eyelashes to emit from.
Either reduce the radius, or disable children completely and increase the number of actual particles instead.
Turning off Rotation and emitting from Vertex instead might also help achieve a more tame look.

Awesome answer! It actually helped me fix about 10 different projects I was stuck with, but unfortunately I can only grant you one award! Thanks anyhow :)


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Is it possible to animate hair particle (object) size?
I am trying to create an animation where several instances of an object seem to grow out of another mesh, and slightly move (rotate) then disappear (scale back to 1 again).
In the dumbed-down version of this example, I would have the cube grow out of the icosphere in random sizes, rotate slightly/move, then shrink back to size 0.
I cannot seem to animate / keyframe the Particle Size data box.

After keying it on frame 1, it doesn't let me key a second size on frame 50.
I couldn't find help online or figure out why this wouldn't let me do it. Even if I click on "No" or "Keyed", and apply loc/rot/scale, it doesn't let me change the value. I actually have to go and delete the keyframe to modify the value.

Can this be done?

I'm getting the same result as you, changing the value after keyframing the Size property reverts to the previous keyframed value; it may be a bug or a limitation of the current system.
As a workaround, you can animate the value through the Graph Editor.
Just keyframe it regularly as you already did, then open the Graph Editor, select the object and move the curve vertex corresponding to the desired keyframe up or down according to the effect you wish to achieve.

This is an issue I found and reported about two years ago, the cause isn't obvious and was shelved as a TODO during 2.8 development as it is expected to be within an area that will be replaced with new code.
As Duarte shows, you can use the graph editor to add and adjust keyframes, it is just the properties editor that has an issue with animating hair particle settings.


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Texture and Nodes problem
I'm using blender 3.4. I'm a basic learner still trying to figure things out. I'm trying to create a landscape, I got the foundation of the ground. All I need is to put the ground texture in. So I looked up how to put the texture in and it said using the shader editor and using the nodes. I followed every video there is but blender keeps saying no images are found. I tried the Ctrl+ Shift+ T which the texture images can't be found. I put in image texture node but I can't find the texture folder. I've used different textures from 2 different sites like Poly Haven and AmbientCG. What do I have to do to Add textures to my project?

Hi. Please use a title that matches the content of the question. It should be descriptive but succinct, unique and identifying, summarizing the issue so that anyone searching for a similar problem is likely to find it. Remove anything superfluous, avoid using words like "this", "help with", "issue" or "question about", instead describe what "it" is. Remember, your title is the first thing potential visitors see, answers you get depend heavily on how insightful it is. See What is the problem of asking “How do I do this?"

Have you enabled Blender's built-in Node Wrangler addon?

can you upload your file? https://blend-exchange.com/

Basic, let's put a texture image on something-- in this case, on a brand-new default plane:

Object (plane) is selected.  I have a shader viewport open.  Click the "new" button on the shader viewport to create a material.

Drag an image file from your file explorer or whatever into the shader viewport.  This creates an image texture node referencing the file you just dropped in:

(There are other ways to do this, but that's what I generally do.  Otherwise, you have to navigate file dialogs.)
Click and drag on the dot next to the "Color" output on the node you just created, and drag it to the "Base Color" input on the Principled BSDF that came with the new material.  Switch to render or material preview to see it working:

This is, obviously, not a great texture for this plane.  It's just what I had around on my desktop.
If you have problems, typically, they're going to involve UV mapping (the "vector" input to the texture image node isn't optional, it just defaults to the active UV map, and a default plane comes with a UV map.)  We'd need more details about exactly what, how, on what objects you were trying to put a texture to give help if this isn't enough; a good way to help us help you would be to provide a file to help fill in any ambiguities in the textual description.
Edit: I'm showing you in 4.0, but none of this has changed since before 2.7.

When working with textures in the Shader Graph Editor you have to make sure your images (Image Texture Nodes) are properly set up with the correct path on your disk. Additionally, you won't see your textures on your model in the 3D viewport when you are in Solid mode for example. You have to switch to Material Preview or Rendered (for the latter you need a proper light setup).


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Blender not creating keyframes automaticly when object is in the same place
Before 4.1 when I wantend for something to be in one place for a certain time I've put this in the right place with auto keying on, and then after a certain amount of frames, I just pressed G + Enter. Then the position was saved due to auto keying, and because i didn't change the coordinates (just G + Enter) it was in the same place. In  4.1 when I'm doing it nothing happens. I need to do at least small change in coordinates to create new keyframe. I know that I can always use "K" and manually add keyframe, but not the point of having enabled auto keying.
Is there any option for this to work as it used to before 4.1? Or I just need to get used to new workflow and pressing K every time :(
The same happens with scale and rotation, I always need to do at least a small change.

What's the difference if you press G or K? You have to somehow express your intention for software to do something you want. A key press seems like minimal amount of action possible, so what's the problem?

G is just pressing G and mouse click, 0.1s action. K is taking my hand away to the right side of the keyboard, then pressing K, then choosing from the list, more to do and it is also something that I would need to get used to, where before 4.1 there was already "simpler" solution that I'm used to.

You can remap the hotkey to be double press G.

OK, double G doesn't seem to work. :D It could be something else.


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How to send motion data into blender using python API?
I want to continuously send motion data in the blender using python API. The data itself is the same as the 'MOTION' section in .bvh format. How am I suppose to transform this data to apply it in the same way .bvh does to do it in real-time myself? It seems like I'm missing some kind of transformation of rotation angles in here.
The end of my sample .bvh file:
.....................................
    JOINT chest
    {
      OFFSET 80 0 0
      CHANNELS 3 Zrotation Xrotation Yrotation
    }
MOTION
Frames: 1
Frame Time: 10
0 0 0 0 0 0 0 0 0 20 40 60

The last three numbers (20 40 60) are rotation values of chest JOINT.
I'm importing this file and depending what rotation mode I use I'm getting the angle numbers inside the Blender (rotation_euler or rotation_quaternion). The problem is that I can't get my head around these angle values. As an exmaple of transformation:
Input in degrees from .bvh file: 20 40 60
Output in Blender importing .bvh as Quaternion: (0.9396926164627075, 0, 0, 0.3420201539993286)
What kind of transformation have done that?


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Saving and accessing image using Blender API
I'm building a real-time image preprocessing pipeline using Blender API and numpy.
I couldn't find a proper way to access rendered image from the camera view without saving the image on disk. This seems to be a basic thing for me though, tell me if there is any way to get rendered image inside python code.
So, I decided to save the image as .jpg inside the tmpfs file system and then read it using PIL but somehow I got no performance increase comparing tmpfs and ext4. Here is code:
import bpy
import time

start_time = time.time()
counter = 0
bpy.context.scene.render.image_settings.file_format = 'JPEG'
bpy.context.scene.render.filepath = '/tmpfs_or_ext4_system/img.jpg'

for i in range(2000):
    bpy.ops.render.render(write_still=True)
    pil_img = Image.open('/tmpfs_or_ext4_file_system/img.jpg')
    counter += 1

print((time.time() - start_time) / counter)

Outputs for ext4 and tmpfs are almost exactly the same.
I thought tmpfs should increase IO-bound operations speed.
Am I doing it wrong somehow?
How else can I try to increase the performance?

Could you avoid to save on disk using this proposal: How to access Render Result pixels from python script? ?

Unfortunately it doesn't work if NoGUI mode used.


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Imported sculpt brushes bulging and / or distorting mesh

As shown in the picture the imported / appended sculpt brush bulges the mesh outwards or erratically distorts it, sometimes both! As shown in the picture the brush is just supposed to stamp a bolt on the mesh.
The subject mesh has :

It's XYZ scales applied
Normals aligned outwards.
The topology remeshed with a voxel size of 0.005m
No non-manifold vertices, edges or faces

Yet the issue persists, i have included the brushes in the .blend file found here:
Updated :
This issue persists with all appended or imported textured brushes doesn't matter if they are made in the current file either. I have had this problem in past blender version too and I currently use Blender 4.0.1. Am I setting it up wrong? Or is this a bug?
Please Help.

Your blend file doesn't have the brush (bolt_screw_30_height.tif) so I can't even test your issue. Maybe packing your textures works for brushes ? Not sure.

@Lutzi I had packaged it with the file... but thanks for notifying...i'll upload an edited file

@Lutzi i have uploaded the updated blend file

I'm unable to reproduce your issue, your brush looks alright for me on Blender 4.1.1.

@Lutzi seriously? the f man! you think its a hardware thing? like lack of RAM or lower GPU specs? i got like 16GB and RX580 respectively...

Highly unlikely.


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how affect all children or parent of object?
i making plataform game and want  to make a basic script that will be used to every enemy ,that look like this
if conlisionSensor.positive:   #detect player atack
    timer['time'] = 0
    own.color = [10,m,m,1]     #make the enemy red
    own['hp'] += -1            #receive damage

elif time%0.15==0:
    own.color = [1,1,1,1]      #return color to normal
if hp < 1 :
    cont.activate(destroy)

I want to make all children to  change colors when the  owner receive damage without call each one of then because i want the script to run for each of enemys without modification.

You enemies are all children of something? Shouldn't they be independent from each other?

I'm not sure if I understand you correctly, but you do not need separate code for each object that has the same behavior. You can use the same sensor/controller configuration at each of the objects.
When the enemies are all copies of the same object(s) you can assign them a group and add group instances to the scene.
This way you just configure the original in Blender and all instances receive the changes. This even works with add object when running the game.