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Beveled Plane Not Circular
I'm going to be creating a large number of 2D rectangles with rounded (beveled) corners. I was all set to use Ctrl-Alt-B on the corner vertices of a plane when I found that the bevels created are not truly circular.
By placing a 2x2 plane and then beveling the corners with an offset value=1.0, the resulting mesh should overlay an added mesh circle of the same size. This is not the case. (See image below)
Can anyone suggest a solution or an alternate way to easily create rectangular planes of varying sizes with truly circular corners using specific radii?
Thanks.

It might be caused with how you beveled it; to get circle enable Clamp while beveling with C and increase the offset up to maximum.

Make sure the bevel factor is set to a value of 0.5.
Also make sure your object's scale is applied in all axis.

Be aware that beveling a 2x2 units plane to a distance of 1 unit will likely create duplicate overlapping vertex at the edge midpoint that may cause problems down the road. It will also turn your four-sided face into a large NGon which is largely regarded as bad practice, and likely to create problems for animation and UV Mapping.

Thanks to the above commenters and to Duarte for posting as an answer. I had somehow set the Profile value to something other than 0.5 without realizing it.

A method I found that worked really quickly was just chhanging the preset.
When you bevel a corner, a pop up window shows up in Blender, and you can edit/change the bevel shape, by simply by changing the preset.
The preset 'Support Loops' will give you the rounded corner you're looking for, and the others, along with the curve editor just below it will let you manipulate it further if you wish.


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press G and move forward / away from the user?
is it possible to press G and move forward / away from the user?
I want to push & pull the face with proportional editing to create a rounded shape.

In the Transform Orientation panel you can choose View, then G and Z but you need to open a new 3D view to be able to move it as much as wanted because in frontal view it will be hard to estimate

looks like Normal transform orientation is what I looking for. Doesn't have to be projected from the user but works in similar ways. Thanks!

Oh ok so it's not from the user   ;)

source: Stack Exchange

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

sort: votes


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Fix texture UV after editing the mesh?
How to fix 'broken' texture when extruding a mesh? I want to manually move the selected face into appropriate texture image, but it got in a little weird tangling with other vertices as seen in image2.

Hello it's not clear what you are trying to do, do you mean that you've extruded your object in the 3D scene? Please show the object before and tell a bit more?

basically, I just extruded one of the faces and the texture does not automatically there, I want to know how to fill the new faces with the texture. The base object is a box.

Enable the Transform Correct Face Attibutes option, it will automatically change the UVs in the UV Editor and therefore extend the texture on your object:

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


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select bones from the keyframe / select keyframe from selected bones at a specific frame?
select bones from the keyframe OR select keyframe from selected bones at a specific frame.
is there any way to do these?


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How to erase weight paint of grease pencil?
Tried to lower the strength to 0, but it just does not work.
Any ideas? Is it a bug?

Hold ctrl or shift while doing it, i think it's control. But make sure you have the strength to .5!

A strenght of 0.0 means that the brush will have no influence at all. Leave it to 1.0 and set weight (target) to 0.0, then use the brush to erase the weight from the strokes.
Another method is go to edit mode, select all points, go to Grease Pencil Properties, Vertex groups tab, select the vertex group and click "Remove".


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How to get uv map for mesh faces?
This may be an unusual case, but I have an equirectangular image that I am wrapping onto a cylinder mesh using an environmental node on a bsdf material tab so that the end caps line up properly. The image wraps perfectly which is great. But I want to export this which apparently means I need a UV mapping but I cannot figure out how to make the UV mapping since there is no unwrapping of the mesh that matches how the image is wrapping to the shape.
I thought that perhaps if I could get the faces from the rendered mesh then they would map to the default unwrapping of the image (two circles and a rectangle) but what I currently get is a rectangular image in the UV plane with the cylinder shapes randomly on top of it.
Has anyone got experience with this?

Related https://blender.stackexchange.com/a/160974/15543  in particular the warping of a 2 x 1 rectangle grid into a sphere. (an equirectangular projection) this way the pole faces are collapsed quads not triangles, but on the other hand the sphere is non manifold with holes at the poles.

In the properties editor, in the mesh tab, UVs panel, you can manage UVs of your mesh as well as creating several UVs.
Note that one UV map in the list has the camera incon turned on: it means that UV map is used by default by your image texture nodes and by your Texture Coodinates nodes.
If you want to manually select a particular UV map from your shader, you will need to use the UV Map node.

Thank you, I did not know that but my problem is more about getting the uv map that relates to what I am seeing on my object. The moment I try unwrapping the mesh then the image no longer maps correctly and I cant find any combination of settings that gets me back to the original projection of the image on the mesh


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Export model with Enviroment Texture and Texture coordinate
I have built a simple model where I project an equirectangular image to a mesh using an environment texture. Sometimes the image is not centered correctly so I do this by linking the image location to another mesh using a texture coordinate node (which fixes the distortion). The setup in the material tab is shown here

My challenge comes in exporting this in a format that I could use in a web browser. I have tried to export to glTF but the material is not exported with the model.
I tried an alternative method using an image texture instead and this material does get exported but the texture coordinates are still lost and so the material maps incorrectly.
Has anyone had success in exporting this setup before?

Does this answer your question? Using UV Mapping on an Equirectangular Projection


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Projecting multiple equirectangular images inside mesh
I am doing a project where I have images taken from a panoramic camera inside of a physical object that I have modelled in Blender. I can project these onto a simplified object without problems using an image texture.
The object is a bit more complex and so will need multiple images taken from inside. Is there a way to project these images radially from the locations where the camera would have been? I know I can connect the image positions to an object, but it is not clear to me how the image is tethered to the object position.
If this is possible, how do I manage the overlap areas?

Possibly related :
https://blender.stackexchange.com/a/71334/29586,
https://blender.stackexchange.com/a/121372/29586,
https://blender.stackexchange.com/a/80007/29586 (although this last one won't cater for overlap, since you'll have aditional light from the lamp)


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Why objects reflected in the mirror are darker than original, as they were not receiving light
The curtains are dark in the mirror image, as they were the original object but not receiving the light of a point lamp that i used nodes to define color and strength (blackbody and ies texture). The mirror shader i got from one answer here to "realistic mirror", but the result is the same when I use a simple glossy bdsf, GGX (or others), white (RGB=0.8,0.8,0.8), roughness=0.000.
The other problem is that the translucent light that comes from  the window is different too...using "realistic mirror" it is brighter, and the simple glossy it becomes green! (I'm using cycles, an HDRI map for world and a point lamp)

For one you have shader output going through a color input of a glossy shader. What is in the node group? Your material is broken it seems, and you likely do not have enough have enough light in the scene.

You seem to have a (diffuse?)BSDF shader plugged into a glossy shader, this is not allowed by blender. Instead, add a mix shader, plug them both into it, and then plug the output into the material output.
This is just an example:

For more info on the meaning of the colors for the node sockets read:  https://blender.stackexchange.com/questions/33915/what-is-the-meaning-of-the-color-of-the-node-sockets-in-the-node-editor and https://blender.stackexchange.com/questions/102520/cycles-shader-nodes-inputs-outputs-what-are-the-exact-data-types

Yes, the problem isn't the mirror material (since I still have a problem, with a simple glossy bdsf linked to material. But the curtains material, I got from some youtube tutorial, it has a light path node, wich controls the fac of a mix shader. When i cut the link between add node and the fac mix shader the mirror works fine.
I dont have enough light in the scene because i didnt included all the lamps i'll need...i had this problem first. The mirror base color is pure...at least when i use the simple glossy shader.
Thanks for the answers!!!

Maybe the base color of your reflective material isn't pure white? Because that influences the appearance. A red mirror for example would also tint its reflection so a greyish mirror essentially just darkens the reflections.


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Apply static bump map to normals in Blender 2.82
I'm new to Blender and graphics. I'm trying to apply a bump map to a mesh and export it in OBJ format, but I have two problems:

The .obj file nor the .mtl file contains any information about the bump map, in fact by reimporting the obj in blender the mesh doesn't have any bump mapping applied.
By looking into the obj, normals are just very slightly modified and there's no map_Bump entry in the mtl either.

If I undestood well the bump map needs to be computed and applied each time the mesh is imported in a software, using the bump image.
Is there a way to apply "statically" the bump map to the normals, so that the normals are modified just once using the bump image and saved with the mesh? So that I do not need to keep the image and recompute the bump map each time.

Thanks.

OBJ exporter is very basic. It's a format optimized for readability and compatibility. I don't think the Blender exporter checks for bump maps, it's fairly basic. In my test it did look for the diffuse map, but it mapped it like this: (inside the .mtl file) map_Kd G:\Libraries\Textures\CIMG2124.JPG So if we copied  it to your machine, the link would break. If at all possible, use .fbx, it's more versatile and better maintained.
Bump maps can't be "applied", every ray hitting your surface will take the normal map into account, meaning calculating its effects in realtime. The trick is to add detail without geometry. To bake the bump map, to your mesh (the opposite of what bump maps are for) you'd have to add tons of vertices. It does not modify the normals, it adds to the direction of the ray that's being reflected, depending on the pixel's color.


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Backlighting causing flickering

I am animating the camera to move forward through this DNA strand. It is backlit with a spotlight. I am using eevee in 2.83
I am getting very bad flickering in the backlight highlights in the image.
Does anybody know how to stop this?
Thank you

This is due to how the Eevee renderer actually functions. Eevee doesn't act like the real world. That's what cycles is for (raytracing). Eevee only works with direct lighting and reflectoins (such as on the dna strand) are 'guessed' by Eevee. It's hard to explain, but if you want to know more about why such artifacts happen in the Eevee renderer, check this video:
Next-Gen Ray Tracing Demo using Blender 3D - How Will It Work?

Thanks very much.


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Pip not working in blender 2.83.5
I am trying to install pil. I am using Windows10 blender 2.83.5 I get ImportError: cannot import name 'PackageFinder' from 'pip.internal.index' (C:\Program Files\Blender Foundation\Blender 2.83\2.83\python\lib\site-packages\pip_internal\index_init.py)

Can't reproduce, installs fine in 2.83.5 on Windows 10. How exactly did you try to install it?

https://blender.stackexchange.com/search?q=%5Bpython%5D+pip

I went to the python folder and with command python.exe -m pip install pil


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Smoothed surface shows odd lighting
I made this table for a game and it happens to have this weird lighting on the surface when I apply smooth shade.

Smooth shade on a low poly object will always fail (why do you even want to smooth shade it? what do you expect from the smooth shading?)
If you want to bevel angles, you need (in addition to smooth shading) to add subdivision modifier and then add as many supporting loops as you need (that's a lot to learn btw).


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

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

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

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


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How do I retexture two objects so they look like one?
I'm editing pants model with ivory/white .dds texture which consist of two overlapping objects: upper legs (selected with vertices) and groins. Problem is that because the texture is applied differently on these objects groins stand out - they look kind of like pampers.

I'd prefer the texture to be applied more smoothly like in the original version:

I tried googling but 3d modelling and actually any kind of graphical work is rather alien to me, I'm not even sure what's the industry name for this problem (seaming?), but I guess it's not uncommon so should be relatively easy to fix?
I'm using the newest stable Blender version (2.82) and .nif format.

I'm not an expert on UV unwrapping, but I suggest doing some research on the fundamentals of unwrapping organic models, because it is never a straight forward answer I think. The solution is always very model dependent. If you understand the fundamentals of unwrapping you should have no problem with something like this. I can't really give you a straight answer to this. I also suggest uploading the .blend file so somebody can have a look at your specific model and help you accordingly.

@Hendriks3D Thanks for hints, but now I have a feeling I might not be modelling it the right way to begin with, isn't it a better practice to join the vertices of two objects at their edges, rather than shoddily inserting one object into another (which causes overlapping)? Maybe when objects are joined gracefully the textures would look more naturally automatically?

I didn't know you hadn't merged the meshes. Yes, that's absolutely the better option. Overlaps are always going to look bad unless you model clothes over them.


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Array Fit to Curve not working
I was following Derek Elliot's car racing tutorial [1]. I want to put a fence along the track. I have applied scale and rotation to the fence object and the array modifier is working fine but the curve modifier is not working. It generates the  fence array separate from the track and both sides of the fence seem to be drifting away from each other. I have also attached a screenshot from the tutorial video to give an idea of what I want to generate [2] and what is being generated in my case [3,4]. I have also attached the blender files [5] for reference.

First, select the path and apply its Rotation & Scale with CtrlA, otherwise it will make your object rotate. Go in Edit mode and in the N panel, bring back its vertices radius to 1 to correct the applied scale (and Tilt to 0 unless you want one).
Put the object at the same position as the path's origin: Select the path, ShiftS > Cursor To Selected, then select the object, press ShiftS > Selection to Cursor.
In the Curve modifier, find the good Deformation Axis, which seems to be X.

I can't find the vertices radius in the N panel, but Mean Bevel Weight under the Vertices Data.

I'm talking about the path, not the object

Oh, my mistake. Thanks a lot, man. You are a life saver.


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One-material Gradient between two objects? (Object Node/Manifold complications)
TL;DR AT BOTTOM
(To preface, I know I made a similar question in the past, though this one is much different in required execution.)
Hey all, I found myself in quite a bind this time as I'm attempting to have a seamless gradient between two separate objects.
The main idea is to get the fur pictured here to have a consistent gradient effect with the torso:

Though either I can't achieve the effect I want through a single material or end up with manifold problems when merging the objects in an attempt to unionize the gradient effect.
Below is what happens when I merge the fur and the torso together (Its worth noting that both the "top" fur and "bottom" fur are separate objects from one another)

It seems that trying to merge at all is not going to work since recalculating normals of any manner yields no results, and there is no chance at all I'm deleting any part of my meshes, which also eliminates the need for trying to boolean. (I tried too)
That leaves a gradient that I can't seem to use as seamlessly as I thought.
The goal is to have a non-disjointed gradient along the entire torso. Below is an example of how the gradient begins darker in two different areas on the Torso.

For reference, the entire torso region would share one gradient, and the entire leg region would have it's own as well.

My current node setup would be fine if it weren't for the fur being disjointed of course, so I hope at this point to use the object node in some fashion to refer to origin points as where 'new' gradient stretches begin.
I saw this video -> https://www.youtube.com/watch?v=rmUfNw6luWI
which I thought instantly solved my issue though the gradient effect demonstrated is applied overall to an object, not 'linearly' or how one expects a gradient to work.
*I left my gradient setup at the bottom.
***So after ALL that context, I ask now if I can use the Object Info node or another setup to achieve shared gradients and separate gradients based on object's origins? ***
TL;DR: 1. Need a seamless gradient between a torso and "arm-piece".
2. Legs must have separate gradient at the same time.
3. Must all be in one material.
Object Node might lead to what I need after watching -> https://www.youtube.com/watch?v=rmUfNw6luWI

If, for rigging or some other reason, it's inconvenient to place the origins of the parts in the same place, you can put the fur's gradient in the Object Space of the arm .  Select Object texture coordinates, as you have done, but select the arm in the  'Object' dropdown at the bottom of the node, to tell it which object (as opposed to the default 'this object').
Alternatively you could put both gradients into the space of a helper, say, an Empty, which opens possibilities like conveniently tweaking shadows independently of light/apparent light direction.
(Love the shading, BTW)

I really like like that 'null object' idea to manipulate them! I might end up doing it depending on how awkward the gradients might get during keyframing. Appreciate the complement!

I found out what I needed not even ten minutes later lol.
What I did was set the origin points in the same places of objects I wanted to have a shared gradient, and where exactly it was set would be the start of a gradient.
Then I used the "Object" output from the Texture Coordinate node instead of "generated" in my setup to actually refer to the aforementioned origin points.

You can't even tell the fur is a different object!


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Easy mesh curves? (Eyelashes)
I'm trying to do mesh eyelashes at the moment and can't get an easy outward curve for them in any fashion.
Right now, they're straight stiff and need to be curved as seen in the second image:

Whatever else I tried so far didn't help without sloppy results, like the curve not moving the whole mesh smoothly, or the lash roots being moved as well.
Any easy ways to curve a mesh like this?


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Filling Curves never work; Apply Rotation useless
As the title implies, I can't ever fill a curve of mine.

I try to align the rotation with "Scaling + 0", closing the curve with "Alt + C", and applying the rotation via "Ctrl + A" yet nothing ever works. It keeps crushing it ala this user's mesh:
Fill Bezier Curves

Yet when they apply rotation themselves, it works for some reason as opposed to mine.
Is it because my curve has too many verts?
I want to fill with this method yet I can't find anything that works. I'd appreciate any help I can get.

Found that the mesh needs to be aligned ALONG the X and Y axis, as if it's lying on the ground for the fill to work.
All the sources I saw didn't clarify that, only that it "needs to align with the X and Y axis", so I took it as having a value of zero for the alignment in general.


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Does the Bone Selection Set Addon exist for Blender 2.8?
The Blender Manual makes reference to an addon I desperately need, but can't find or load in the addon section of Preferences in Blender 2.82a.
https://docs.blender.org/manual/en/dev/addons/animation/bone_selection_sets.html
It's occurred to me that it might be an out of date doc, and that this addon might be something that existed in 2.79 at the time of the doc's writing. Does anyone know if an updated version of this addon is around? Or if there is another addon that does the same thing?

The answer is yes. But the reason I couldn't find this add-on in the Preferences window is because I unknowingly had the Enabled Add-ons Only box checked, meaning that searches that I was performing in the filter field weren't finding the add-on I was looking for. How funny is that?


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Tie camera location/view to texture appearance?
my last question was too difficult so this hopefully this will be easier to answer :p
Is there a way to use a camera view or location data to determine whether or not a color/texture appears?

I plan to use a node equation that takes a blue color channel, and the higher the blue value, the easier the texture would show.

My end result would be looking like this, except the bright areas would be moved my the camera/view, rather than light rotation.
https://i.sstatic.net/3UJ9G.jpg
The setup is easy to replicate so I don't see the need for a .blend file, you could just texture paint certain parts of a sphere or cube blue to get the same result.
I hope this isn't too complicated since I have a tendency to ramble in my questions, I'd be grateful for any help!

It seems that you are looking for a channel which describes the angle of a surface with respect to the camera view. This is achieved by the Layer Weight and Fesnel nodes, found in the Input node category. The mixing can be controlled using the facing or IOR values of the Layer Weight and Fresnel nodes as well as a Color Ramp or Map Range node further tweaking/contrast. See the following node setup:

Omg, THANK YOU. It always ends up being a simple solution to my shader problems lol, this is exactly what I needed.


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Creating a Specular using two color channels?
I've been attempting to recreate a game's cel shading and am currently stuck on making speculars function.
The main issue is that the speculars are done manually using both the red and blue channels of a specific texture, and that the Red channels determines "Intensity of Specular Highlight" and the Blue Channel determines "Ease of entering highlights".
Here's how it looks in the game in question with a model reference and the texture used for lighting:
https://i.sstatic.net/4yKAu.jpg
https://i.sstatic.net/S1HJU.jpg
https://i.sstatic.net/TYjCM.jpg

Not really sure how to go about this now, considering the lighting is not natural and actually tracks the camera in-game, though I thought I should plug the camera in last after the actual calculations are done first.
How should I go about this? Can I somehow "factor" the Blue with the Red somehow like a Mix RGB node?

I think I might have an idea about how you could set things up, but before I write a 3 page report, it would be really helpful if I could see what's in both the red and blue channels. Any chance you could post pics of what the images in those channels look like (connect to basecolor or something)?

@ChristopherBennett Sure thing. Here's the blue channel visible: https://imgur.com/a/D2tmaXx This is the red channel visible:https://imgur.com/a/I87yiio And here's each respectively in an image editor, note that I intentionally made them the same value. This is the red: https://imgur.com/a/41VzynV  This is the blue: https://imgur.com/a/rdrlD11

Damn, I thought I had it, but those maps don't exactly look like what I was expecting. I guess I don't have enough experience with defining specular highlights this way. I was hoping I could drive the "Easing of specular highlights" as a factor through a color-ramp, and then use that as a mix factor for something else (possibly the intensity). However, it looks like the channel contains more data than just that. I'll keep working on it to see if I can come up with anything. In the meantime, I'll up-vote the question in the hopes that someone with better knowledge will stumble along.

One last question though, are the channels supposed to be connected as-is, or should they be converted to B&W first?

@ChristopherBennet The channels I connected look as they do for the sake of showing where they are on the model, and in the end are simply just colors at varying intensity. The intensity itself is to help determine how easily they show. I could upload the full image of the texture instead just the specific channels, but I'm thankful for your input all the same!

Ok. I was hoping one of them would be B&W only and was an obvious "mask" of some sorts. I think I get the idea - one map shows where the "shadow divisions" should be, and the other decides the intensity of the colors in those shadow areas based on the specular strength. However, how they would "prefer" to be connected is beyond me.

That's what really gets me lol. I can't decide whether which one goes first for calculations or with the camera. The process is described in this article at the top: https://www.4gamer.net/games/216/G021678/20140703095/index_2.html I had to translate it and there are things REALLY lost in translation, but seeing as how it works in-game with my own copy, I might have to have to mix the camera data with the Blue since the Specs are view-based. This vid might help in seeing it actually happen in-game; look closely at the tail at 0:09 https://youtu.be/Ccz4Q3KEpGg?t=9

Yeah, maybe try a light path. selecting "is reflection ray" plugged in as a mix factor for the blue or something.

Ok so I spent a lot of time on this last night, and I don't want to all go to waste, so I'm just gonna post it, in the hopes that you might find ANY part of it helpful. If this doesn't help you at all, let me know and i'll delete this answer - it is simply far too much to put in a comment.
I think I understand what you're trying to do, but without access to an image texture with shader values embedded in the color channels, I'm shooting blind somewhat. Hopefully this setup, or some close rearrangement, is able to give you what you are looking for. I'm not really familiar with defining specular highlights this way, so I'm doing my best to translate it to what I know.
Generally, when making cell shading, I simply drive a Diffuse BSDF through a Shader to RGB and into a ColorRamp set to constant, with three or four harsh cutoffs.

If I am trying to cell shade an existing texture, I use a MixRGB shader set on multiply and mix the texture with the result of this ColorRamp, to apply the "harsh shadows" from the cell shading to the texture. As you can see from this image, I multiplied the texture by the ColorRamp values twice so I could have an extra strong contrast for this example image. You may or may not need this.

Now, on to your specific case (to the best of my abilities)
You said the blue channel defines the "easing" of the highlights - I think this represents the shadow level cutoffs like I specified in the ColorRamp.  Here's where I'm divided though. The wording (easing) suggests the presence (or lack therof) of a gradient between the different light levels - cell shading is generally defined by the lack of a gradient, therefore I think this would be represented by the "constant" cutoff I used on the ColorRamp, as opposed to "linear".  However, I do not know how much this also includes where the light cutoff points are.
This brings me to my next issue - the red channel - the "intensity" of the specular highlight. Does this mean the brightness at certain cutoff levels? if so, does this mean that the blue channel determines where the "light level containers" are, and the red channel determines what actual "light level" they each get filled with? I have to assume that it must be something like this, because the only other use of "specualr intensity" I can think of refers to how much the specular reflection takes on the hue of the diffuse color, which generally only applies to shiny metallic items, which I don't generally associate with cell shading. Maybe that's the case here - maybe they're trying to use metallic values to drive the hue of the "shaded" area - I don't know and if that's the case, I have no idea how to do it.
So, given all that I know, and all that I don't know, here's where I am:
I was thinking some setup SOMETHING like this might get what you want, but I don't have the image with the separate channels, so you'll have to try it yourself. Maybe if you just switch up the node connections randomly you'll miraculously stumble upon the answer. I've done all I can - the more I look at it at this point, the more I feel like my eyes are bleeding.

The brief explanation is this (though keep in mind I'm totally lost at this point). I used the reflection ray to drive the mix of the shadow cutoffs based on reflection angle with the "easings" in the blue channel. I have no idea if this is even necessary. Anyway, I then used this "shadow combo" with as a mix factor between the original image (if there is one) and white "highlights" . I have no idea what to do here if there is no "original image" texture to work with.
Anyway, I then combined this "shadow+image highlight" combo with the brightness and color values of the red channel, using the shadow values as a factor (because it gets info from the reflection ray - again I don't know if this is the right way).
So that's it. Hopefully by playing with some arrangement of this setup you can come up with something at least workable.
Let me know if it works out.
Cheers

I forgot to mention that I'm using Eevee to render, and I actually found an old 2.79 file that contained what I needed to get the bare essential effect: link Now all I need is to do is make it depend on camera view instead of sun rotation, but I'd like to leave your comment in that someone can use it instead and how much you put into giving me an answer, also the fact I'm onto another problem itself lol. Thanks for sticking with me through this, I didn't think I'd get this far talking about it!

All good. Glad you got it resolved. I'll study the setup in the link so I understand it for the future.


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Shared and seamless gradient effect between two objects? [EEVEE]
I've been sitting on getting a flame gradient achieved since I didn't know how to get it to be seamless between two objects. I used very basic mapping, but of course it looks rudimentary:

And here's the screens of both the node sets for the head and the flame:

The flame is a flat plane that uses and image texture, where as the head relies on its own mesh, so I hope it doesn't complicate things.
How can I get a seamless 'universal' texture that will look consistent between both objects?
Here's a mockup to show what I'm aiming at (also ignore the fact there isn't a flame outline, it doesn't matter)

I actually now figured it out after coming back with a fresh mind.
I used texture coordinates from the head for both my image object and the head itself in the end, combined with a camera node.
Image node setup:

Head node setup:

I specifically made the axis Y to get a consistent vertical look, and made both the image object and head share the same origin.
I'm sure that's also a deciding factor to get what I ended up with.
Hope this helps anyone!

If you use the "Object" output from the "Texture Coordinates" node on both shaders, and then set the origin of both objects to the same location, the seam should disappear.
Example :

Also :


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Finger bones not moving in line with hand?
I've been rigging away at a model of mine and can't seem to get the hand and fingers to line up out of all the bones so far.
I've tinkered with the weights on the hand and fingers but can never get them to line up.
Here's the paint of the hand for reference, and the fingers not painted are of course painted in their own individual groups.

Main issue is I try to move the hand and and the finger's mesh is always lingering behind/ahead.

And when rotating...

Why is exactly might this be happening? I never had other bones fail me so far, and I've place nearly 300 of them!
What I hope is to have healthy-working bones like the ones here:

Any ideas on how to fix this? To clarify, I don't want to have to redo the entire mesh.
That simply won't do, but I'm willing to redo the entire hand and use automatic weights at least there if it means not deleting the whole rig entirely.
Thanks for hearing me out!

so this part of your hand has an influence that it is not supposed to have, hard to tell more, maybe share your file

So, it turns out I simply had two bones, that being the "hand" bone and the smaller "hand adjustment" bone overlap with identical weight values, making the overall hand mesh move 'faster' than the fingers!
I just had to remove the weights from the adjustment bone altogether and it works as intended:

To me it looks like your fingzrs are influenced by several bones more than they should be.
Each vertex has an influence vale between zero and one. Bones influencing the same vertex can share the incluence valur, i.e. 0,3 for one and 0,7 for another. The total is always 1.
If a veetex is influenced by several bones and the addotion of the influences is >1, there will be issues.
Go in weight paint mode and make sure nothings wrongly influenced by a bone that shouldn't. Also, you can use the weight normalization tools to help you keep influences ≤1.


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Relax function broken in 3.3.1?
I enabled the Mesh Edit tool add-on in my install of 3.3.1 after using 2.9 for awhile.
Problem is that it no longer works like it used to.
It seems to magnetize stray vertices for no clear reason, when it previously didn't in past blender iterations.
Any work around? I never see this brought up online. :/


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How would I animate cutting through cloth?
I'm trying to animate an object tearing through cloth (more of a banner) using the Boolean modifier. The animation in the viewport is almost workable, but baking and rendering the animation results in heavy deformation of the cloth object/simulation (see gif below).
I'm relatively new to Blender and this is my first time posting to Stack Exchange. I've been stuck on this for a week and there doesn't seem to be much information about this online, so any advice/suggestions/answers would be appreciated. I'm also posting the Blend file.

hello welcome to stack exchange, i think you should check this tutorial https://www.youtube.com/watch?v=icPQYWXhczM

@MichaelBenDavid Thank you :) Unfortunately the tutorial doesn't help with the issues I'm having

well there is a add-on (paid) for this, seems very good for this kind of effects...https://blendermarket.com/products/clothfx---dynamic-cloth-tearing-plugin


text:
Can anyone explain to me what the advantage is of the current Child Parent location is?
Almost in every other apllication that uses a coordinate system with a world origin, the basic principle of a child parent relationship is: the parent becomes the child world origin. In blender when you parent an object, the transform(position,rotation,scale) stays the same, even more against every basic logic, when you move the parent, the transform of the child object stays the same, I know there are workarounds, but for me and many others that come from other 3d packages this makes even the most simple rigs very backward and a pain to work with. So can anyone give an answer other then : "this is how blender works"
First of all, blender is awesome, but if this isn't fixed in the future then I fear blender will never become an industry standard beyond basic asset creation.

The answer to your question is going to be the answer to this question: What were the Blender Devs thinking? I don't know. You might want to ask them. From what I hear, they're quite accessible compared to the devs of other 3D software programs. So far as I can tell, Blender seems to want you to construct everything at the worldspace origin. If you're adamant about doing that, you can get similar functionality to what you describe from other packages by simply applying the transforms of the child object. That is, provided the parent object is at the worldspace origin when you do it.

The coordinates you see that are "not changing" are the local coordinates.  Can assure you the world matrix of child objects ob.matrix_world  changes when transforming parents.   To parent an object (let's say the default cube at identity) to the lamp or camera if you choose the without inverse option when parenting, the cube will move to the transform of the parent.  The world matrix calculation can involve  constraints. Editing a constrained objects matrix world could produce unexpected results which among other things may explain the global option not being available in the transforms.

there are 2 types of assigning a parent you might be interested in:

regular one:

and keep transform one:

as you can see both have a 0.1 vector transform but they are not positioned the same from the parent.
read more about it here:
https://docs.blender.org/manual/en/2.79/editors/3dview/object/properties/relations/parents.html

It would be great to have the option of setting 'keep transforms without inverse' as the default parent behaviour when using the outliner.

Please don't add comments in the answer field!

This does not really answer the question. If you have a different question, you can ask it by clicking Ask Question. To get notified when this question gets new answers, you can follow this question. Once you have enough reputation, you can also add a bounty to draw more attention to this question. - From Review


text:
Offsetting positions of instanced objects allong their local axis in geometry nodes
I think my problem is very simple but I can't get the solution right.
I've instanced objects on a grid. the grid is animated with a noise texture to create a
wavy movement, the objects are aligned with the grid deformation using the normals of the deformed grid. Now I want to offset the instanced objects along their local z axis based on the 0 to 1 value of the noise. normally it's just adding the normal vector to the position of each instance, where the normal value is multiplied with the values of the noise map. it kind of works but It keeps offsetting it in world space instead of local space i seems.
I can't make this work properly
Any help would be appreciated.
Tx
Karel

Translate Instances, check Local Space

If your question has been solved, please be so kind and mark the answer that contributed to the solution as "Accepted answer" so that this question will not continue to be displayed as unsolved. Thank you! Here you can find more information: What should I do if someone answers my question?. If you still haven't gotten a solution to your question, please be kind enough to address it.

To move instances along their local axis once created, simply use the Translate Instances node after instantiation and check the Local Space checkbox.

(Blender 3.1+)

Thank you for the reply, 1 day after I posted this question, I stumbled upon the Translate instance node, but much appreciated anyway.

@KarelDobbelaere You are welcome!


text:
What is this RGB color map for?
So I found this coloued map from some game files, It appears to be for highlights or refelction in some way. As the yellow/red areas would be shiny and the lighter blue areas should reflect more light than the darker blue. Other option is that its a height map in some way,but I doubt that as the blue cross on the button would be higher than the button itself.
I am wondering:

What type of map is this?

How to use this map or at least a point in the right direction.

It looks like it might be a world-space normal map of a texture atlas, but it's hard to tell. The patch around the eye seems "blocky" and out of place for a map like that. Then again, I have no idea what the texture is supposed to look like,

That might be the case, I have also heard that each colour channel might be a different map, Blue seems to be for height/bump, the red and green might be for roughness and something else. The sharp green area is covered by the button for her eyes. And the buttons are shiny in game.


text:
Is It Possible to Have Hotkeys which Automatically Change when Choosing Different Workspaces?
(In Blender 2.82a)
I want the spacebar to play and stop animations, but only when I'm in the Animation workspace. I want the spacebar to select the different sculpting brushes, also, but only when I'm in the Sculpting workspace. The spacebar has been given a lot of work to do in Blender, but in my view, the solution to it having so many expected functions was not to require modifier keys to be used so that all of those expected functions could continue to be preserved (leading to a user experience which I find clumsy when involving such a physically large key, and therefore error prone). Rather, it was to incorporate something like what I am proposing: Workspace specific shortcuts. But apparently, that wasn't done.
So how do I do it? Probably with scripting. But I know nothing about that.

See the __init__.py of workspace Related https://blender.stackexchange.com/questions/152673/new-default-file-template   Somewhat related https://blender.stackexchange.com/questions/144655/how-for-blender-2-8-to-set-hotkeys-for-specific-screen-space-workflow-editor


text:
How can I Merge Two Adjacent Face Sets into One Single Face Set?
Apparently, face sets cannot be selected directly. So to isolate them, all other face sets must be hidden. That's easy enough to pull off if you only want to work with one face set, because you can just press SHIFT + 'h'. However, if what you actually want is to combine one face set with another face set to end up with one single face set, it's no use to isolate one face set by hiding all the others. You need two face sets to remain unhidden, so that you can then select them both in Edit Mode and choose "Face Set from Edit Mode Selection" in Sculpt Mode to turn them into one single face set. So the only way to get two or more face sets to be the only visible ones is by manually hiding all the other face sets, one by one. This can't be the expected workflow. There simply must be a way to select face sets directly, and to combine two face sets into a single selection of faces, so that you can combine them into one face set.
If there's a different workflow for achieving the consolidation of face sets, I don't know what it is.

I have no idea how to select more than one face set, so the only way to do it - or at least how I would do it if it is just a small amount of face sets you want to combine, like two in your example - is this, let's say I want to merge the two on the right side, the khaki and petrol colored ones:

Hiding the first face set with H

Then hiding the second one with H

Choose SCulpt > Invert Visible (no shortcut, but of course you could assign a custom one)

Merging the two face sets with Mask > Face Set from Visible

Thanks. That is probably the best workaround. What your solution helps me see, also, is that the way to proceed when the number of face sets to combine is relatively large could theoretically be the same as what you describe here, except that one would then start by hiding the face sets which are NOT to be combined instead of by hiding the ones which are.


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Python: Selecting objects in different scene results in EXCEPTION_ACCESS_VIOLATION crash when baking
Im trying to create a script that bakes the ambient occlusion of an object to a texture map. For optimal performance, I want only the selected objects to be part of the bake process. That's why I decided to do the baking in another scene. I am however experiencing some issues regarding the context, since the active scene doesn't redraw until the python operator finishes. I've been able to circumvent this by using context overrides, but since baking needs the object to be selected, I've not yet been able to fix this part.
What goes wrong:
The code crashes blender, it started crashing when I added the select_set line (near the bottom) with a specific view layer. The error log is linked below, it's a EXCEPTION_ACCESS_VIOLATION.
When I remove this line, the baking will not start since it needs a selected object to start baking.
Here is the code:
def bake (self, context, active_object, context_objects):
    #hard coded for now, will free later
    bake_samples = 4
    res = 1024

    old_scene = bpy.context.window.scene
    active_object = active_object
    selected_objects = context_objects

    #this does not work yet, but is not that imported
    if not active_object:
        self.report({'WARNING'}, "No object selected")
        return

    #check if scene exists, otherwise create it
    try:
        smr_scene = bpy.data.scenes['SMR_Bake']
    except:
        smr_scene = bpy.data.scenes.new(name='SMR_Bake')

    bpy.context.window.scene = smr_scene

    #set some render settings
    smr_scene.render.engine = "CYCLES"
    smr_scene.cycles.samples = bake_samples
    smr_scene.cycles.bake_type = "EMIT"
    smr_scene.render.bake.margin = 2

    #check if the baking material exists, otherwise append it
    try:
        bpy.data.materials['SMR_Bake']
    except:
        blendfile = context.scene.SMR.SMR_path + str(Path('/SMR.blend'))
        section   = str(Path("/Material/"))
        filename    = 'SMR_Bake'
        filepath  = blendfile + section + filename
        directory = blendfile + section

        bpy.ops.wm.append(
            filepath=filepath,
            filename=filename,
            directory=directory)

    #set the baking material as override
    smr_scene.view_layers['View Layer'].material_override = bpy.data.materials['SMR_Bake']

    #link the objects to the new scene
    for obj in selected_objects:
        try:
            smr_scene.collection.objects.link(obj)
        except:
            print('{} already in collection'.format(obj.name))
    #this are external functions returning material data and creating nodes in the right places
    mat, nodes, links = get_mat_data()
    node_name = "SMR_Bake_Texture"
    check_node(node_name, 'ShaderNodeTexImage')
    node=nodes[node_name]

    #checking if the bake image exists, otherwise create it
    image_name = "SMR_Bake_{}".format(active_object.name)
    try:
        image = bpy.data.images[image_name]
    except:
        image = bpy.data.images.new(image_name, width=res, height=res)

    node.image = image
    node.select = True
    nodes.active = node

    try:
        l = node.outputs[0].links[0]
        mat.node_tree.links.remove(l)
    except:
        print('no links to remove')

    override = bpy.context.copy()
    override['scene'] = smr_scene
    smr_scene.objects[active_object.name].select_set(state=True, view_layer= smr_scene.view_layers['View Layer'])
    smr_scene.view_layers['View Layer'].objects.active = smr_scene.objects[active_object.name]
    bpy.ops.object.bake(override, 'INVOKE_DEFAULT')
    bpy.context.window.scene = old_scene

This is the important part:
    override = bpy.context.copy()
    override['scene'] = smr_scene
    smr_scene.objects[active_object.name].select_set(state=True, view_layer= smr_scene.view_layers['View Layer'])
    smr_scene.view_layers['View Layer'].objects.active = smr_scene.objects[active_object.name]
    bpy.ops.object.bake(override, 'INVOKE_DEFAULT')

Anyone know what would fix this?
Wetransfer to the crash file:
https://we.tl/t-pXheJmGPTJ

I dunno why it happens But looking in the log seems what i happened when some objects was on sculpt mode with "Lock Objects mode" Off
i turned it on and touched the objects back and it worked and then turned off
maybe that can help


text:
why are my faces in the cloth simulation going haywire
i was following the blender guru couch tutorial , but as soon as i started sculpting the cusion the cusion went haywire , can anybody tell me the solution

i solved it , i had not applied the modifyiers


text:
Not able to set Follow path constraint
i am trying to pan my camera around my Falcon 9 , but the follow path constraint's Target is not listing the curve visible in the photo

Did you add a Bezier Circle, or just a circle? What I mean is, is your "curve" an actual curve, or did you add a circle mesh instead? I ask because I see a circle mesh in your scene collection, but no curve.

You can't use a mesh, it has to be a curve. They are different kinds of objects. You can, however, convert your mesh to curve. Select the circle mesh and in the menu select Object> Convert  to> Curve from Mesh.

okay i will try that , i had added a mesh , sry


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How to apply Sub-surf on cloth sim
i was trying to make a room art and was making a sofa , but when i appplied the subsurf , this happened

how to fix this

The modifier tab doesn't show the subsurf modifier, did you apply it to the cloth?

yes i applied it

it was because you applied the subsurf before the cloth simulation. See the error message saying "Applied modifier was not first. Result might not be as expected". To confirm it I recreated the same and got somewhat similar result


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how to reduce the TRIS and FACES from a Displace modifyier
i made a billboard from an image texture but the problem is that i was following the Blender gurus texture tutorial using photoshop but the Displace modifier adds 3.3 Million tris , quads and verts , this hangs my pc significantly , so how can i reduce these things , can a bake help

it depends on the sort of mesh and on what you want at the end, the Decimate modifier / Planar mode can do a nice job, or the Remesh modifier or Remesh tool, etc... you also have an addon called Instant Remesh

actually the fact is that the displace modifier isn't bringing anything special to my table , its a side object in my Isometric Room Art , so shouldn't i just remove it

if it's a very rectangular object, maybe try some tools like X > Limited Dissolve, or Ctrl E > Unsubdivide, or as I said Decimate modifier/ Planar mode

@SHikhaMittal please add pictures to the question, so that someone else but you can know what kind of shape you are dealing with and what settings you are using for the modifiers.


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How to make some value sliders of a node in a node group display on the group node
I made my first node group , now i want the node group to display some fields inside it on the node itself , how do i do that.

Does this help ? https://blender.stackexchange.com/a/176247/86891

Use some nodes with sliders (for example a Map Range Node) on it and connect it to the hollow group input or node as seen in this screen shot.

After that use the N-Panel to set up the minumum and maximum slider range.
The Result looks like this:


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how to get detailed smoke without increasing resolution divisions
i am making a smoke simulation , but the smoke isn't detailed so i increased the resolution divisions , bu then after making it 200 , the device started hanging , i have a i5 8gen hp 4gb ram laptop , i know the specs are not that high but is there a way to increase the resolution so that there is enough detail without freezing , also i cannot see any high resolution tab which is there in one of the tutorials in the physics tab


text:
How to get more caustics
i was following Blender gurus most recent tutorial , and was working on a glass plane which had the following node setup

This is exactly what blender guru had shown in the video and is showing results as expected but i want more caustics , i want the reflection in the plane to be more vibrant , how should i do this

Cycles cannot render caustics, and it tries to fake it instead which doesn't look that well. You'll need to figure out a way to fake it yourself in the shader. I followed this tutorial which I was pretty happy with: https://www.youtube.com/watch?v=mmk09JJNKJU

For caustics try a different render engine like LuxCore.

@EricXue write that as an awnsere


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How to include normals in my obj export
I was making a game in Java and lwjgl.This type of game development needs Vertex positions and normals to render a model , along with texture coordinates and indices. Now i exported a simple obj file from blender and opened it in Notepad++.The file has information for Vertex position , and Texture Coordinates but i don't have normal data which causes an error , so the question is How to export Normal data in OBJ file
PS : i have enables Write Normals in export settings , but there is no normal data in the file

I think the problem was i was using a very simple model , a cubelike model , which didnot have any normals but the 90 deg so i tried to export the monkey model and it worked


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Can I "Set Active Object as Camera" without also forcing the 3D view to change position? (Blender 2.82a)
What I want: To align one of several cameras in a scene to the current 3D view, regardless of which camera is currently active, and without leaving the 3D view.
How I am approaching this: I start by selecting a specific camera in the scene. Say I have three cameras, camera1, camera2 and camera3, and none of them are presently aligned to the current 3D view. Only one of them is active, of course. Say, camera1. I select camera2. Now, camera1, is still active, so I need to make camera2 active before I can use the "Align Active Camera to View" option. I know that I can manually change the active camera in the Scene Properties, but I want to do it from the 3D view. No problem. I simply press Ctrl-0 to make camera2 the active camera. But when I do, the 3D view switches to the view of camera2. As a consequence of this, I no longer have the original 3D view available. So I can't now press Ctrl-Alt-0 to align camera2 to the 3D view, because the current 3D view is now aligned to camera2's view, instead of the other way around.
What I'd like to know: Is there a way to make the selected camera the active camera--while remaining in the 3D view--without the current 3D view being changed as a result? This way, I could then press Ctrl-Alt-0, and get the now active camera to align to the current 3D view, which is what I want.
Part of the reason for this difficulty is that there would appear to be no UI-based means to align SELECTED cameras to the current view (or indeed, to anything else). Only ACTIVE cameras can be so aligned. If selected cameras could be aligned to the current 3D view, then the troublesome step which I have described above, where the 3D view is being aligned to the newly activated camera when I don't want it to be, would be a step that is avoided entirely. This would also mean me needing to perform one fewer steps in total. But that's a discussion for another day.
I am aware that several questions on this forum discuss the issue of camera alignment. But so far as I have seen, none of them specifically address the exact issue stated here, which is that pressing Ctrl-0 forces a change in the current 3D view, and I don't want it to do this.

There's no need to look through a camera to make it active.
Simply click the green camera icon and go View > Align View > Align Active camera to view.
The shortcut Ctrl + Numpad 0 automatically looks through active camera, which isn't what you want here.

Your demonstration wasn't working for me at first, but then I figured out why. I was always clicking in the Outliner on the top-most camera node, not the nested one, which always remained collapsed. It never even occurred to me to uncollapse the nested node, let alone click on it, to change which camera is active. Thanks.

Happy to help :). You can do this with most objects (useful for selecting a mesh directly)


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How to set an objects rotation to default rotation after applying it to something else
I have a rocket model which i rotated to a certain angle and then (By mistake) applied the rotation,the situation is that i cant undo my actions :) so now i cant rotate my rocket back to the default rotation. Please help

please put some pictures and explain more about the situation

So wanna know the answer!! :D  I've had this issue too!

@RBlong2us u meant u have the solution , i actually solved it but that was luck , all the components of the rocket were parented to an empty and i cleared the parent to snap them to original position and rotation , but i would love to know the answere

I did not know the solution, but I found a youtube Video that looks like it has the answer!  Check it out: https://youtu.be/dP9nFMvH6ms


text:
Python : Why does removing active object from a list of selected objects return none later
What I'm trying to accomplish is to determine the order of selection of 2 objects
so if i have 2 objects , the list of selected objects looks like
[bpy.data.objects['Cylinder'], bpy.data.objects['Cylinder.001']]
But when i use this code
target_obj = bpy.context.active_object
cutter_obj = bpy.context.selected_objects.remove(target_obj)
print(cutter_obj)

It prints none
y would this happen

I don't believe the python remove method actually returns the modified list only performs the modification. As such cutter_obj = bpy.context.selected_objects.remove(target_obj) is being assigned the value of None from the method completion. Instead consider my_non_act_objs = [obj for obj in bpy.context.selected_objects if obj != target_obj]

@Ratt silly me
Thnk you for that

@Ratt can u also tell me how do i add a modifier to an object if i have its name or the object in the form of <class 'bpy_types.Object'>

Please edit your question for a full reference of what you are attempting to accomplish or post a new question so that future users can search for a complete question and answer without reading through all comments.


text:
Python : How do I edit the property of the recently added modifier without using its name
I have this Boolean operator which adds a Boolean to the active object and adds the second in order to the object property
but this wont more than once because the second modifier added wont be dif
it would be dif.001
How do i automate this name issue
class BoolOp(Operator):
    """Quick Booelan Operation"""
    bl_idname = "extorctools.boolop"
    bl_label = "Bool Op"
    bl_options = {'REGISTER', 'UNDO'}

    def execute(self, context):
        target = bpy.context.active_object
        lis = bpy.context.selected_objects
        cutter = []
        for x in range(len(lis)):
            if len(lis) == 1:
                raise Exception("2 Objects must be selected")
            elif not lis[x] == target:
                cutter.append(lis[x])
                break
        try:
            target.modifiers.new(name = f"dif" , type = 'BOOLEAN')
            target.modifiers['dif'].object = cutter[0]
        except:
            pass
        return {'FINISHED'}

What i want to be able to do is to do something like this target.modifiers[the.most.recent.modifier.of.type.BOOLEAN].object = cutter[0]

obj.modifiers.new(...) returns the modifier. Use new_mod = obj.modifiers.new(...)

@Gorgious works like a charm
you can write that as an answer
btw i had a question
how do u get along these details
like this function returns what

you can find it in the api - reference of blender: https://docs.blender.org/api/latest/bpy.types.ObjectModifiers.html#bpy.types.ObjectModifiers

@SHikhaMittal Yup, it's not funny to study the API docs but the more you dive into it, the easier it will be to get things done in your scripts :)


text:
Using Multiple Python Files in an Addon
Im not THAT experienced in Blender Python but i think this is something confusing.c
I want to use multiple files for an addon and im not able to.
I dont understand what am i supposed to do
Am i supposed to just import the class in init and do nothing with it and register it in the same file as the class , or am i supposed to register the classes in the init
even if i do one of them , the relative import doesnt work
if i do from .AddCube import *
it says ImportError: attempted relative import with no known parent package Error: Python script failed, check the message in the system console

Speculate you are running from the text editor ie __name__ = "__main__"  to get this error (as opposed to not having the relative submodules?) Have mentioned a work around to this here https://blender.stackexchange.com/questions/183773/trying-to-make-a-menu-using-multiple-modules/183817#183817  using absolute imports based on your addon name, to make testing in text editor possible.   See also https://blender.stackexchange.com/questions/158775/having-trouble-creating-an-addon-with-multiple-modules

@batFINGER thankyou , that was absolutely what i wanted


text:
Artifacts in Render which actually don't exists geometrically
I have a plane which had a Boolean with a text converted to mesh.
This is the render
There are visible imperfections in this which i think are called artifacts but i can be wrong

These imperfections don't exist in the geometrical form , which means there is no geometry there , just a flat plain
All modifiers on the planes are applied
im using the Cycles rendering engine

Also visible there are no other objects in the scene causing any interceptions , so how is this happening.
Imerfections are also not visible in the render mode in blender

Even Jedh's answer is correct ... I just tried your typo with different font ... and I don't have the normal issue. Is it possible your plane is not precisely flat? Before applying modifiers, ensure your plane is flat select vertices and Scale on Z axis to zero.

These artefacts generates usually Smooth shading, so switch to Flat or enable Data Properties > Normals > Auto Smooth

This could come from having to little geometry on your plane.
Basically Blender shows you editable points which we consider geo but uses triangles to compute the mesh. (not the most accurate description but oh well...)
Your boolean creates very long triangles which aren't displayed in the viewport but create problems in the render.
To fix this you can just subdivide the plane a bunch of times before applying the boolean.
Hope this helps :)

@SHikhaMittal Right ... by default boolean generates a BMesh (n-gon - face with more than four corners) just for rendering it's triangulated. Aalso you can actually preview them if you add Triangulate modifier.

Or wireframe node in the shader editor


text:
Is there a Way to Automatically Select Every Bone That Is Part of a Single Action?
After creating multiple actions, each of which contains the channels only of specific bones of a rig, I find that I want a way to instantly select all the related bones of whatever action I'm working with currently. Mainly because I tend to have a lot of such bones per action, and also because I don't have a picker panel for the rig. So this would be a good alternative option, I am thinking. I would simply hit whatever button, and all of the bones controlled by the currently active action would be instantly selected, and ready to receive keyframes. That would be really neat-o.

I created a short script where you can select all bones regarding to the selected action.
https://www.mediafire.com/file/efn6yw129lnwfed/selectAllBonesFromAction.py/file


text:
Using the Draw Tool to Create a Grease Pencil Fill Will Result in One Adjoining Segment Which Cannot Be Subdivided
While in Draw Mode, using the Draw tool will allow you to use a lasso-like freehand action to create a grease pencil fill. Blender is set up to know that whenever you release the mouse during this draw operation, the fill should auto-close and auto-complete. Unfortunately, the adjoining segment that is produced as a result of releasing the mouse is not exactly like the other segments that make up the resulting fill, because, unlike those others, it cannot be subdivided. This issue doesn't arise if any tool other than Draw is used to create a fill (such as box or circle). Only the Draw tool has this issue. Is this a bug? If so, I imagine a workaround could be to never use the draw tool if I want my fill-based segments to have even subdivisions.

As @TheLabCat explained, the line between the Start and End point isn't a "real" edge. There is a few different ways to make it behave like a regular one, in Edit mode:

Close the stroke: Select the stroke and press F to close it. This will automatically set the stroke to cyclic and add a whole bunch of new point in between the Start and the End.

If that's too many points for your taste, you can:

Set the stroke to cyclic: Select the stroke then in the "Stroke" menu click on "Toggle Cyclic". This will create a new "real" edge that you can then subdivide by selecting both ends and pressing W (change the number of subdivisions in the pop-up menu).

If you don't want to set the line to cyclic for whatever reason, then:

Shrink the fake edge: Select the End point then press E to extrude it and position it as close as possible to the Start point. You can now subdivide that new line like in the previous example.

Regarding your first suggestion, I believe I understand your meaning. However, I would assume you intend for the extruded vertex to be merged with the destination vertex. Otherwise, the "problem" segment has only been vastly shortened, but not eliminated. Well, I can't seem to get the extruded vertex and the destination vertex to merge. Moreover, I can't get them to vertex snap together either, as vertex snapping seems not to work with grease pencil objects. I used the 3D cursor to do it, and still can't merge the points. What was your thinking on how your first suggestion should be attempted?

Your second suggestion is much better, so thank you for it. It brings a less than satisfactory workflow, however, because after using the "Cyclic" option, the segment in question still must usually be subdivided to be of much use in any sculpting efforts that follow. But subdividing can't be done on individual segments, only on the stroke as a whole, meaning that a Simplify action must be performed after subdividing, which seems a rather tedious workaround. One wonders why segments cannot be targeted as if they were poly edges, which would likely be any user's standard assumption.

For my purposes, the extra points created in your third suggestion are ideal, and not at all excessive. At least so far as I can see. Thanks for providing three different options. It allowed me to find the one that worked best for me.

It turn out I was wrong about lone segments not being able to be subdivided. With a segment's end points selected, subdivide will be performed only on what's directly between those selected points.

@R-800 Probably would have been better if I'd listed the options in the opposite order... soz :)

@R-800 okay, I tried to make the answer clearer and changed the order to be more useful

This is actually because that last segment is faked: it’s just a “return to base” instruction, as the stroke must have a start and end point. See this in action using a build modifier on a cyclic stroke.
I was frustrated too by this one, and I hope there is a workaround soon.


text:
How to Restore "Keyboard Shortcut Focus" to the Viewport Camera after Selecting and Repositioning a Render Camera
We can use the numpad keys to constrain the Viewport Camera to specific orientations when viewing the current scene. Numpad 1 is the front view, Numpad 3 is a side view, and Numpad 7 is the top view. I recently became interested in getting a very specific view of the scene, and to do it, I needed to use some of the other numpad keys. After using a complex combination of Numpad 2 and Numpad 8 to tilt the view along one axis, and the Numpad 4 and Numpad 6 keys to tilt the view along another, the next step was to get my render camera oriented to the same view as the Viewport Camera, so that I could render this newly acquired view. No issues there. After hitting CTRL + Alt + Numpad 0 I was able to render the scene. The next step was to continue from where I left off, and further adjust the scene's view, moving it further in the same direction using the already relied upon numpad keys. That is where I ran into a curious and unexpected problem. Apparently, this can't be done, possibly due to some kind of a loss of UI focus. Once the Render Camera is selected, which it must be before it can be oriented to the same view as the Viewport Camera, it is no longer possible to make adjustments to the Viewport Camera using the Numpad 2, Numpad 8, numpad 4 and numpad 6 keys. That is, UNTIL one FIRST presses either the Numpad 1, Numpad 3 or Numpad 7 keys. This, of course, means that the meticulously adjusted view previously achieved is lost as the Viewport Camera snaps back to one of these more standard orientations. And that is not what I want. What I want is a way to continue from the existing Viewport Camera orientation as a basis for making further view angle refinements, with a way to take render snapshots along the way. But moving and selecting the Render camera makes use of the "non-standard" numpad shortcuts impossible afterwards.
What is the solution to this problem?

This issue is not about camera OBJECTS (which can be selected or deleted), but about the 3D View, and how it appears when not interacting with camera objects. It can be orbited without interacting with camera objects. In fact, it can be orbited with no camera objects in the scene at all (as well as reoriented with numpad keys). This is because the scene is being viewed through what I'm referring to above as the Viewport Camera, as opposed to a camera OBJECT, which I'm referring to as a Render Camera. Apologies if my terminology is imprecise. I'm not clear on the proper terms.

What's more, as it turns out, not even an active camera object, even when viewing the scene through it currently, can use the numpad keys to reorient it. Using those numpad keys exits the camera object and returns to the viewport camera, leaving the camera object at its existing orientation in the process. If it was possible to use the numpad keys in the way you suggest, there would be a possible workaround where we simply use a camera object exclusively to do all the render snapshots and view adjustments, with the Camera to View option checked under the View tab in the Properties Shelf.

If you have a camera in the scene, and you use and of the commands that align your view with a camera's view, then the 'nudge' mode numpad keys (2, 4, and 8) are "locked out".  To be able to resume using them you can use numpad 0 as a toggle.
In 2.93 and later you can enable the 3D Navigation built in add-on

This adds the 3D Navigation tab to the View tab of the sidebar:

Here you can use the View Camera button to accomplish the same thing.

The Numpad 0 toggle did the trick. Thanks.


text:
How to make the hole and bevel in the hole without effecting the geometry
I have been struggling for hours now trying to figure out a way

I have made a separate object for the shape of the hole. But I don't know how to go further.

You may want to see [boolean modifier] with  difference selected, to cut out one object from the other.  This site BSE or the famous website which has a name that rhymes with noonoob has tutorials on the topic.  There are many examples here on BSE for you to find.  So maybe you will see some hard surface example .  You can also see face example where they shape the eye or mouth.

On the right side of this web page are suggestions... titled [Related].  You may also want to see tutorials on the site mentioned above.


text:
How to loop an animation and also incrementing one transform to make it look continues
Assume i have a walk cycle , and i have someone walking in it , wont it be too strange that the person goes back to where he started 1 sec ago every time , so how can i make this animation loop and make him go forward at the same time?

you need to make a "still" walk cycle so that it looks like the character doesn't move forward, then use the Follow Path constraint so that he follows a curve

The answer moonboots provided was good  , to make a "still" walk cycle so that it looks like the character doesn't move forward, then use the Follow Path constraint so that he follows a curve


text:
How to remove this seam effect
I am working with a shape which was a primitive cube , made into some geometry , but now the problem is that i have 3 modifiers , Mirror , Subsurf and Bevel in this order but i am getting this type of seam effect Q: How to get rid of this

In the bevel, set "limit method" to "angle"

So simple  @lemon

@lemon write that as an awnsere

Bevel will add bevel to all edges if not limited.
So to keep flatter parts untouched, limit it to "angle".


text:
Cant change color space of image texture
i just baked a moon texture on a new texture but the problem is now for the displacement , i cant change the color space to non colour this leads to some problem in the displacement , as you can see the color space option is blured

Try saving the image to a file.

that made it work

Its not my awnsers it belongs to @scurest , i saved the image as a png and it worked


text:
importing multiple Fspy cameras messes existing perspective
I was trying to build a jet, using a reference image imported through fspy but when im done modelling using the first reference and want to import another fspy perspective, doing that changes some parameter of the first camera which misaligns the first perspective.
The perfectly aligned view.
The view after importing a second camera.

I'm not familiar with fspy but I reckon when you "import another fspy perspective", it either imports a new camera object into your scene or changes the properties of your scene's active camera.
In the first case, maybe what you see isn't your original camera's perspective but the new one's. You can select any camera and press Ctrl Alt numpad 0 to set that camera as active and set the viewport to its viewpoint.
In the second case, you can probably add a new camera before importing, set this one as active via the above shortcut, and then import.

The Fspy adds another camera to the scene with the positioning + FOV adjusted to a particular reference image. The issue is that the moment I add another camera through fspy, the first one changes in some way which disturbs its alignment. This isnt an issue about active camera.


text:
How to determine which NlaStrip is being tweaked
When working in the NLA Editor, there are multiple NlaStrips you can edit. You can go in and out of tweak mode to make adjustments to existing strips.
My question is, how to find out which exact NlaStrip is currently being tweaked while in tweak mode. I want to find this out programmatically, with Python.
As far as I can tell, this whole tweak mode system is pretty poorly documented (and similarly poorly designed), so I had to make some guesses based on experiments I've run.
What I've found out is the following:
Whenever you go into tweak mode, the action that is being tweaked is now the active action on the relevant object. You can have at most one action being tweaked per object.
The action which was previously active will then be stored in the action_tweak_storage field of the object's animation data.
Once tweak mode is exited, the action in storage is made the active action again.
But with only this amount of information, it is unclear which NlaStrip is now holding the action which is being tweaked since multiple NlaStrips can hold the same action.
Is there a way to find this out?
A follow-up question would be, if there is a lower-level and more performant way to enter and exit tweak mode without using the ops commands bpy.ops.nla.tweakmode_enter and bpy.ops.nla.tweakmode_exit?


text:
Different behavior of bpy.ops.object.shape_key_transfer() different inside blender python console and outside independent python script
Greetings to our awesome community.
I'm having one doubt in my python script that copy all the shapekeys from source mesh to destination mesh.
The below script is working perfectly when running inside blender python console after selecting the source mesh first and then the destination mesh,
import bpy
def copy_all_shape_keys():
    if len(bpy.context.selected_objects) == 2:
        source = bpy.context.selected_objects[1]
        dest = bpy.context.active_object
        for v in bpy.context.selected_objects:
            if v is not dest:
                source = v
                break

        print("Source: ", source.name)
        print("Destination: ", dest.name)

        if source.data.shape_keys is None:
            print("Source object has no shape keys!")
        else:
            for idx in range(1, len(source.data.shape_keys.key_blocks)):
                source.active_shape_key_index = idx
                print("Copying Shape Key - ", source.active_shape_key.name)
                bpy.ops.object.shape_key_transfer()
copy_all_shape_keys()

But I want to run it from outside blender using python interpreter having bpy module.
So,modified the above script like below,
import bpy

def init_scene():
    bpy.ops.object.select_all(action='SELECT')
    bpy.ops.object.delete(use_global=False)

def import_obj(filepath):
    bpy.ops.import_scene.obj(filepath=filepath,split_mode="OFF")
    bpy.ops.object.shade_smooth()
    # For some mysterious raison, this is necessary otherwise I cannot toggle shade smooth / shade flat

def import_skeleton(filepath):
    bpy.ops.import_scene.fbx(filepath=filepath)

def copy_all_shape_keys(shapekey_model_path,target_model_path,output_path):
    init_scene()
    import_skeleton(shapekey_model_path)
    source1 = bpy.context.selected_objects[0]
    source1.select_set(True)

    import_obj(target_model_path)
    dest1=bpy.context.selected_objects[0]
    source1.select_set(True)
    dest1.select_set(True)
    bpy.context.view_layer.objects.active = dest1
    print('test1:',bpy.context.selected_objects)
    if len(bpy.context.selected_objects) == 2:
        source = bpy.context.selected_objects[1]
        dest = bpy.context.active_object
        for v in bpy.context.selected_objects:
            if v is not dest:
                source = v
                break

        print("Source: ", source.name)
        print("Destination: ", dest.name)

        if source.data.shape_keys is None:
            print("Source object has no shape keys!")
        else:
            for idx in range(1, len(source.data.shape_keys.key_blocks)):
                source.active_shape_key_index = idx
                print("Copying Shape Key - ", source.active_shape_key.name)
                bpy.ops.object.shape_key_transfer()
    print('test2:',bpy.context.selected_objects)
    print('dest shape keys:',len(dest.data.shape_keys.key_blocks))
    bpy.ops.object.select_all(action='DESELECT')
    dest.select_set(True)
    bpy.ops.export_scene.fbx(filepath=output_path, use_selection=True,use_mesh_modifiers=True,add_leaf_bones=False,bake_anim_use_nla_strips=False, bake_anim_use_all_actions=False)

shapekey_model_path='/home/my_work/blendshapes/head_blendshapes.fbx'
target_model_path='/home/my_work/meshes/head.obj'
output_path='/home/my_work/meshes/head_testshapekey.fbx'

print("Start")
copy_all_shape_keys(shapekey_model_path,target_model_path,output_path)
print("End")

This script is also copying all the shapekeys from the source mesh to the target mesh, but deformation is not correct.
For output reference,
Right one is the result I'm getting through my independent script.
And, Left is the correct result, I'm getting when running the script in Blender python console,

Any suggestion where I'm going wrong?

Just tried some modifications and it's working fine.

Just removed the split_mode="OFF" in import_obj().

Loading source and dest mesh outside the function and passing it to
copy_all_shape_keys()

Also, removed the unnecessary source and dest assignment inside if statement i.e. if len(bpy.context.selected_objects) == 2

Here, attaching the updated script.
import bpy

def init_scene():
    bpy.ops.object.select_all(action='SELECT')
    bpy.ops.object.delete(use_global=False)

def import_obj(filepath):
    bpy.ops.import_scene.obj(filepath=filepath)
    bpy.ops.object.shade_smooth()
    # For some mysterious raison, this is necessary otherwise I cannot toggle shade smooth / shade flat

def import_skeleton(filepath):
    bpy.ops.import_scene.fbx(filepath=filepath)

def copy_all_shape_keys(source,dest,output_path):
    source.select_set(True)
    dest.select_set(True)
    bpy.context.view_layer.objects.active = dest
    print('test1:',bpy.context.selected_objects)
    if len(bpy.context.selected_objects) == 2:
        for v in bpy.context.selected_objects:
            if v is not dest:
                source = v
                break

        print("Source: ", source.name)
        print("Destination: ", dest.name)

        if source.data.shape_keys is None:
            print("Source object has no shape keys!")
        else:
            for idx in range(1, len(source.data.shape_keys.key_blocks)):
                source.active_shape_key_index = idx
                print("Copying Shape Key - ", source.active_shape_key.name)
                bpy.ops.object.shape_key_transfer()
    print('test2:',bpy.context.selected_objects)
    print('dest shape keys:',len(dest.data.shape_keys.key_blocks))
    bpy.ops.object.select_all(action='DESELECT')
    dest.select_set(True)
    bpy.ops.export_scene.fbx(filepath=output_path, use_selection=True,use_mesh_modifiers=True,add_leaf_bones=False,bake_anim_use_nla_strips=False, bake_anim_use_all_actions=False)

shapekey_model_path='/home/my_work/blendshapes/head_blendshapes.fbx'
target_model_path='/home/ujjawal/my_work/meshes/head.obj'
output_path='/home/ujjawal/my_work/meshes/head_testshapekey.fbx'

init_scene()
import_skeleton(shapekey_model_path)
source= bpy.context.selected_objects[0]

import_obj(target_model_path)
dest=bpy.context.selected_objects[0]
print("Start")
#copy_all_shape_keys()
copy_all_shape_keys(source,dest,output_path)
print("End")


text:
Why are all the correct axis's are blocked on my follow path?

why the only time my character is in right position it is on a blocked axis? I have tried changing the offset. I have tried every combination of forward and up. I have tried unfollowing the curve and following it. My goal here is to make him walk across the path. I haven't made the walking animation yet but I figured I would do this first. Is that the right way to go about it? Because I just wanted to make a walk loop and didn't want to have to animate across the whole road.

the best help we can give is, if you provide your blend file....

here is the link https://drive.google.com/file/d/1-_DwS42nHfwJwyg7Vki2tQe3uNrv7mMJ/view?usp=sharing

The forward axis and the up axis can not be .... the same axis or [-axis].  So your picture could be improved by showing two legal axis.  The red color is showing modifier is inactivated with illegal combination of two entries.  What you call [correct] in the title has no meaning for Blender.  It will help you to drop that notion.

Hi Ricky, please use https://blend-exchange.giantcowfilms.com/ to show your blend file. and if you provide another link, it should at least not be with "request access". Thanks.

chris im sorry this took so long but that blender site wont take my file because its too big. Here is a dropbox link https://www.dropbox.com/s/xxxcod3102tpixx/Road%20Scene%20Project%20File.blend?dl=0

select your armature
apply all transforms
object -> set origin to geometry
move your armature to the beginning of your path
armature -> follow path -> change settings to this:

and you get this:

when i do this this is the result i get. https://www.dropbox.com/s/7vhw1di5nmgesy4/2021-01-20%2006-35-43.mp4?dl=0

ok, provide your corrected blend file...i'll check it out

here is the new one. https://www.dropbox.com/s/xxxcod3102tpixx/Road%20Scene%20Project%20File.blend?dl=0 thank you so much


text:
How can i light my scene better?

How can i make my picture look more like the bottom one? it doesnt have to be perfect but i feel like i got the models down i just need to have a better lighting. I have a hdr in there i dont know hwy the mountains are so dark. I dont know what else to do with it

Could you either provide your blend file or show us where your lights actually are?

heres the blend file https://www.dropbox.com/s/00wid0fl8mn1c4i/mustafar%20copy.blend?dl=0

I believe https://blend-exchange.com/ is the preferred method of uploading blend files here, and be sure to edit it into your question as comments aren’t permanent

The biggest difference is almost always the type of light. Here you have a (weak) ambient light on the one hand and on the other hand the lava also emits light. You've only used volumetrics tentatively so far, and that in combination with the light from the lava creates the character of this image.

It's not just a matter of lighting, it's also the materials. They both work together. And also how you built your scene.
Materials
Your tower's material is a pure plain black base color with a bit of specular reflections. Your rocks also use a lot of black. Unless you blow up your scene with lights everywhere, that will be hard to make it not look so dark.
There is an informal rule in image making: avoid pure black/white. It's highly unnatural to begin with, and in CGI it's a pain to make it look right.
So start by giving these shaders a bit more clarity, and particularly your tower needs textures to make it less CGI. Your reference picture itself shows a greyish tower with some variations and rougher reflections, why not try to do that?

Additionally, your lava should cast a lot more light. It's literally burning hot molten rocks and metal.
Then we can think about lighting.
Lighting
You mentioned you used an HDRI, but do you think the picture you picked matches what you need in any way?

What you have here is an HDRI casting bright lightblue spots, and then some yellow and greys blue reflections. That's quite out of the subject, isn't it?
AMHA, HDRIs are good only to complement the scene's lighting, especially to provide nicer reflections. But you often can't rely just on that for lighting your scene.
A good thing for exterior is sometimes to have one big softbox-like light above the scene that casts a soft top-to-bottom light everywhere. If you think about it, it's basically what happens in real life, most of the light comes from the sky.
Sky
You are using a backplate that is quite clearly not shot with a similar camera angle, which make it instantly look like a background wallpaper instead of the actual scene's background.
You can sort of cheat it by rotating or distorting the plate to fix the depth perception and angles:

It kind of works, but this plate have birds on it. The issue is, whoever took this photo, had the birds closer than the sky behind. Here you put the plate behind, so the birds that should be close to the camera are displayed behind the entire scene. Making it look fake, and especially small.
But at this point we are fighting against assets because they are not made to be used like you want to.
In your reference, the sky is mostly dark clouds with a pink/orange horizon.
How about we try to do this ourselves?
For the clouds, you can find world shaders online that simulate clouds (like this one, but you can also make volumetric clouds or even get VDB files (I.E. this free pack).
If you go for the sky shader approach, it really depends the shader so I won't detail here. But here is what I get by using just one big VDB cloud, a slightly blue dark grey sky to tint the clouds, and a big plane light bellow the cloud to make the red horizon:

Layout
If we look at your reference, one of the things that's striking is the feeling of gigantism and landmasses spreading far beyond what we can see. We certainly got some of it back in the scene by removing the birds, but we are still with a scene where things looks small and limited to what the camera sees.
Here's an attempt of trying to give the scene more scale by changing the camera a bit, and moving/duplicating stuff around:

Atmosphere
Adding some smoke around doesn't help just with the global mood and ambience, it also helps selling the scale and believability of the scene.
You can add more smoke plates as you already started, or use shader based smoke-fakes like this one, you can also add an actual volume in the scene, or even make smoke simulations.

Final touches
Add some Depth of field  to the camera:

And some atmospheric perspective using some render passes and compositing, and some more effects to polish a bit:

can you send me that project file? its looks way better. Wow thank you!

it's deleted already X) but there's pretty much all there

You should look into the volumetrics to create the smoke effect, your mountains will appear a bit brighter, and also it will give a kind of depth to your scene. Plug a Principled Volume node into the Volume input of the Material Output, plug a Noise Texture into the Density of the Principled Volume to give it texture. You can even give it a bit of Emission Strength to make it emit light:

If you want a gradient on Z, mix your Noise with a Separate XYZ in a MixRGB:


text:
How can I add a glow to my character in cycles?

I want to add a golden glow to my character. A outline with a glow. Like the "outer glow" feature in Photoshop. It is a image to plane video with a color node and a alpha node. Ive seen alot of tutorials on how to do this in evee but not in cycles. I know they have a feature for this in compositing in the "glare" node. But that is for the whole image not just the character.

Can you post some reference image of desired result? Thanks

There are more ways to do that ... basically you need generate outline to be used as a mask.
If you have already alpha channel you can use Dilate/Erode node at Alpha socket for such mask ...

... or use Inpaint node at Image socket.

There is a plenty of variety to work with ... if you will be more specific I can extend my answer.

Since your character is part of 3D scene you have to separate it ... in this example I used Render Layers.

For that ...

All objects except character object keep in one Collection and character object in a new Collection.
In Outliner editor create a new View Layer with this setup ...
(I named it accordingly, but you can choose what ever you like.)

In compositor ...

... or it depends on your goal (that I asked for already).

Hello. that looks good but that is in compositing. How can i isolate my character in compositing because right now if i add those effects its going to be for the whole image

it says my file is too big but the character is in the scene. It is a moving video file that was shot on the green screen. It uses two image textures. A color and a alpha to get the transparency.

heres a google drive link https://drive.google.com/file/d/10n-nCSp9Lzl2kN0ORvE5oNcx62h6pZwl/view?usp=sharing

ok thank you. ive been to get this to work for awhile

If solution works for you consider mark answer as accepted, so others can see it is solved from a main list and system is not pocking up your question repeatedly. You can change your mind any time. Thank you keep this site organised.


text:
Why am i not getting depth of field in my picture
I cannot figure out why I am not getting a blurry background. I have the f stops all the way down. I have the distance set on my object. If I set the focus object to my object, Everything goes blurry with no focus. I have tried to scale up my whole scene as much as I could and still no blurry background. Does anyone know something else i could try.
video

@AllenSimpson is correct ... here just an example ...

Note: I used Cycles engine ...

For Eevee just switch to Eevee is blurred all, so some adjustment is needed...

I had to set bigger distance between objects to get effect ... so probably some limits to keep it real time ... and mainly enable under Scene Properties > Depth of Field enable Jitter Camera

Depth of Field is a camera effect.  When you turn your view in this video you're no longer looking through the camera, so it won't be present.
F-stop is the value that mainly controls the strength of the effect, but it's also dependent on things like focal length and distance to the object, and this can make overall scene scale important.
Model to real life scale and use realistic values in your camera and you should get a plausible result.  Figure out what size of a print that picture should be.  Your camera in that situation would be a literal camera with a sensor size and a lens with an actual focal length and an f value somewhere between 1.4 and let's say 16.
Recommend first that you start a new scene and play around with the camera and a couple of cubes to gain a better understanding before making drastic changes to this scene you've worked hard on.

im talking about no depth of field in the camera. I knew that there is no depth of field in the viewer. I was just moving around to show you guys the distance between the objects.

why is there no depth of field in the camera?

The back picture looks blurry in the first second of the video, but not as blurry as it should given these settings.  It should be practically a smear of fleshtone.  I'm not sure, that's why I recommend trying to recreate the scenario in a new file just as a sanity check.

@RickyBascom - Does this answer solved your issue?


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How to add outer glow in evee on a transparent object?
video
I had my outer glow set up in the compositing for cycles, but it took way too long so I switched to evee. Im trying to create a golden outer glow for my character. I added another material and I tried to use the Material offset in the solidify modifier but since my object has transparency it creates the glow around the whole object not just my character. The object has a color image node and a alpha image node to make this character.

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.

If you're talking about the bloom effect, it can only be on the whole scene in Eevee, if you want to make a specific object glow, you need to use the Compositor, either in Eevee or Cycles

what would i use in the conposistor in eevee?

Is there anything that doesn't work for you in Eevee from my answer in your previous question?

Solidify modifier is extruding geometry not textures.
If you need to generate thickness based on alpha you can fake it by using Volumetric shader (...but I'm not sure Eevee can handle it, so Cycles way).

In general ... If you think you can manage this effect with just Solidify ... you can use this Shader setup ...

The key to isolate specific material to be get into account (and only this material) by Bloom here is Bloom > Threshold.
To isolate material for bloom set shader Emission > Strength to something higher than anything in your Scene. Like here I set Strength to 10 and under adjust Render Properties > Bloom > Threshold until just a your "rim" is glowing.


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how to use compositer nodes on a render farm?
When i use sheep it it only uses one of my layers, it will not add shadows or background videos. I have done some research and figured out that sheep it does not support using the compositing nodes. So i'm wondering if i have the render of one of the layers. Can i send another one of the layers through the render farm and then combine them somehow? Maybe? Let me know

At GarageFarm.NET we support compositor nodes in Blender. they should work the same way as on your end. If you have multiple layers to render in the scene, then all of them will render and will ve combined as you set it up in the compositor.
If you wish to save different layers from the compositor for later post-production, then you can use the File Output node to export it. All the File Outputls nodes are correctly saved on our end. You can also use multi-layer EXR for your output which will have all your passes.
I encourage you to test our render farm. We offer trial credits so in this way you can check if everything works as you expected without any costs.

It all depends on the render farm.
Some will allow you to render your project as you have it on your computers, others don't.
Consult with the particular render farm you are using.