text:
Export face groups as paths(vectors)
I need to export the colored face groups below as vectors so that I can import them into photoshop.
My first approach was to use different colored shadeless materials which I could then turn into selections inside photoshop but it is not an accurate method, I have to have the vectors rendered inside photoshop.

Just for clarification: Do you want to project a 3D object into camera view and then export the face outlines as SVG?

Sounds like a job for a vectorizer, you may use Adobe Illustrator or InkScape for that. I don't think Blender's Freestyle feature supports this well. For simple models, it should be possible to write a script that turns the vertices and edges into 2d, but you need some 3D math and Blender Python experience.

maddin45: that is precisely what I am talking about

I don't think blender has native tools for that. You could maybe script your own tools in python, but you would have to deal with hidden faces and culling yourself. I think the easiest way is to use @CoDEmanX's approach: render the image in a high resolution and use a vectorizer.

Someone recently pointed me at this, but I haven't tried it yet, so I don't know if it's suitable. http://www.geocities.jp/blenderyard/freestyle/svgwriter_b26/README.html

There is a addon which does this. It works on both meshes and curves, and has many options for coloring and shading.
Here's a setup which will output flat shaded faces with the diffuse color of your materials (click for larger image):

In cycles the viewport color is actually the diffuse color, which is used by the addon.
For flat shading be sure to turn off most of the effects and variations, as shown in the screenshot
Once everything is set, click export to export the viewport as a SVG.

The result is shown in inkscape on the left.


text:
Export bezier curves
I placed some bezier curves in a scene. This scene is getting exported as an .obj file later with a scaling factor of 11 and +X-axis as Forward and +Z-Axis as Up. as In a further project some insects shall move along these curves.
Now I need the handle and control points of these bezier curves in world coordinates so I can use these coordinates to calculate the bezier curves in my project. I wrote a script for that:
import bpy
import os

ob = bpy.context.object
currPath = os.path.splitext(bpy.data.filepath)[0]+".txt"
file = open(currPath, "w")

for curves in bpy.data.curves:
    for splines in curves.splines:
        for x in range(len(splines.bezier_points)):
            file.write("p ")
            handle_left = ob.matrix_world * splines.bezier_points[x].handle_left
            handle_left *= 11
            co = ob.matrix_world * splines.bezier_points[x].co
            co *= 11
            handle_right = ob.matrix_world * splines.bezier_points[x].handle_right
            handle_right *= 11
            file.write("%.3f " % (handle_left.x))
            file.write("%.3f " % (handle_left.y))
            file.write("%.3f " % (handle_left.z))
            file.write("%.3f " % (co.x))
            file.write("%.3f " % (co.y))
            file.write("%.3f " % (co.z))
            file.write("%.3f " % (handle_right.x))
            file.write("%.3f " % (handle_right.y))
            file.write("%.3f " % (handle_right.z))
            file.write("\n")
    file.write("n\n")

file.close()

The bezier curves are not at the position where they should be in my project. Is something wrong with the script?

This looks correct, suggest you don't export add curves in bpy.data.curves, instead export curves from the active scene, since its possible there are curves which are not visible in the 3D-view being exported.

The export looks right - are you re-creating the curves right in the other project? Are they randomly wrong or is there a pattern to how much they are out?

@sambler: Yes I'm recreating them in the other project. It seems there is a pattern to how much they are out. What is bothering me is the fact that I use one matrix to transform the points of all bezier curves. Shouldn't every curve has its own matrix? And another problem is the changing of the axis. Don't I have to flip some values in the script according to my export of the whole scene?

Now I have found a way to export the bezier curves in world coordinates. To do so I name all my bezier curves "BezierCurve01", "BezierCurve02",...,"BezierCurve18" and so on. I also have to make sure that the curves are in exactly this order in the table bpy.data.curves. This is achieved by simply renaming every curve. Then I can run the following script to get the desired output:
import bpy
import os

currPath = os.path.splitext(bpy.data.filepath)[0]+".txt"
file = open(currPath, "w")
i = 1

for curves in bpy.data.curves:
    idx = str(i)
    if i < 10:
      bezier = "BezierCurve0"+idx
    else:
      bezier = "BezierCurve"+idx
    ob = bpy.data.objects.get(bezier, None)
    for splines in curves.splines:
        for x in range(len(splines.bezier_points)):
            file.write("p ")
            handle_left = ob.matrix_world * splines.bezier_points[x].handle_left
            handle_left *= 11
            co = ob.matrix_world * splines.bezier_points[x].co
            co *= 11
            handle_right = ob.matrix_world * splines.bezier_points[x].handle_right
            handle_right *= 11
            file.write("%.3f " % (handle_left.y))
            file.write("%.3f " % (-handle_left.x))
            file.write("%.3f " % (handle_left.z))
            file.write("%.3f " % (co.y))
            file.write("%.3f " % (-co.x))
            file.write("%.3f " % (co.z))
            file.write("%.3f " % (handle_right.y))
            file.write("%.3f " % (-handle_right.x))
            file.write("%.3f " % (handle_right.z))
            file.write("\n")
    file.write("n\n")
    i = i + 1

file.close()

This only works for 20 curves and has to be adjusted properly for more.

thanks for your work so i decide to post my work here....
now it will exports all bezier_points in all curve(the data will be used in a three.js project
import bpy
import os

currPath = os.path.splitext(bpy.data.filepath)[0]+ ".curves.js"
file = open(currPath, "w")

file.write('var curves = {\n')
for ob in bpy.data.objects.values() :
  if ob.type == 'CURVE' :
    file.write( '"%s":\n' % ob.name)
    for spline in ob.data.splines :
      if len(spline.bezier_points) > 0 :
        file.write("[")
        for bezier_point in spline.bezier_points.values() :
          handle_left  = ob.matrix_world * bezier_point.handle_left
          co           = ob.matrix_world * bezier_point.co
          handle_right = ob.matrix_world * bezier_point.handle_right

          file.write("[[%.3f, %.3f, %.3f],  " % (handle_left.x, handle_left.y, handle_left.z ))
          file.write("[%.3f, %.3f, %.3f],  " % (co.x, co.y, co.z ))
          file.write("[%.3f, %.3f, %.3f]],\n  " % (handle_right.x, handle_right.y, handle_right.z ))

    file.write("],\n")
file.write("}\n")
file.close()

source: Stack Exchange

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

sort: votes


text:
Vertex normal issue after separating and re-merging
Hey fellow Blenderers,
I created an asteroid mesh, bisect cut it 3 times (for each axis) to get 8 parts out of it. I need these parts later for animation purposes. After cutting and separating these parts into individual meshes I remerged them, because I only need the parts separated from each other (no connecting faces).
The issue I discover now is a different normal on the vertices at the cutting edges as you can see on the image. I think it's normal behavior?  Idk.
So my question is either "how can I fix the normals to appear the same" or "how can I cut the mesh in parts without influencing the normals"?

Thanks so far

Hard to tell what is going on from this image alone, but sounds like you ended up with very bad topology and ngons after you blindly cut your geometry with a plane.

First off:
Yes this is normal behaviour.
When you split a parts off of a mesh, then you get more vertices. Those new vertices have their own normals and the normals of the old vertices change a little.
Why? Because vertex normals are calculated by averaging the normal for all adjacent faces of a vertex.
You can see the change of the vertex normals in this image:

You use tangent space normal maps so you'll have a problem in your game engine, because tangent space normal maps change the normals of your mesh based on the existing normals. Maybe it still looks ok in your engine, the difference of the normals is not that big, then just leave it as it is.
If it doesn't look ok and you can see a sharp edge, then you have these options (that I know of):

Rebake the normal map to the new split mesh (that's probably going to be complicated because projections are also based on mesh normals ...)
Use the Normal Edit Modifier and create a vertex group and an object to point the normals to for every single vertex you need to adjust (hopefully your exporter accepts the info correctly, because applying the modifier doesn't work and you will not see any changes on the normals in edit mode)
Use the Data Transfer Modifier to transfer the normals from your old, unsplit mesh to your new split mesh (check "Face Corner Data" and "Custom Normals" and hope that your exporter accepts the info correctly, because applying the modifier doesn't work and you will not see any changes on the normals in edit mode)

I know that Maya allows manual editing of individual vertex normals and 3ds max has smoothing groups which is a weird way to almost set vertex normals manually, but not quite (and it wouldn't work in your case).
Sorry to leave you with bad news. Good luck!

Try to go into Edit Mode, select a geometry you want to "fix" and press CtrlN to Make Normals Consistent. That should fix it.
You can also try to Recalculate Normals in the 3D view, N to open the left panel > Shading/UVs tab.

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


text:
Blender 2.80 - Select Multiple Objects Not Working
I tried to select multiple objects using in select box mode, but it is only selecting the active object (the one that the origin point mark is showing).
What will be the cause? Is that bug or is there something that may be I did wrong with the setting?

I think I have the same problem. Did you manage to solve it?

@Ripityom No. I even submitted bug report and still no one know the solution.

Can you provide a link to the report @KeepMove?

@brockmann Here you go https://developer.blender.org/T59741

I have this same problem - I just use lasso instead.

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


text:
Glossy reflection using Principled BSDF is much rougher, why?
Here's an example with the simplest possible node setup:

For some reason, all glossy materials using the Principled BSDF are super rough when viewed in a mirror.
I'm using Blender 2.79. Have I encountered a bug or am I completely missing something else?
I'm using the Cycles Renderer with a GTX 1070.
The blend file is here: https://i.peterwunder.de/mirror_test.blend

What do you mean by "viewed in a mirror." ?

I have added the information above. I couldn't share the original file since it was well over 400 MB, so I created a new one that exhibits the same problem.

Too much Glossy Filtering
As said in the manual:

When using a value higher than 0.0, this will blur glossy reflections after blurry bounces, to reduce noise at the cost of accuracy. 1.0 is a good starting value to tweak.

You are using a value of 4.0, that means you are strongly using the filtering for glossy bounces.

Use a lower values to lower the strenght of the blur applied.

That said, actually the principled glossy shader behaves quite differently in comparison with the mere glossy shader in the sensitivity of the filtering.

I would never have guessed that this was the culprit. Thank you!


text:
How do I join the output meshes of the Cell Fracture addon?
I have a simple, unsubdivided plane mesh with a particle system that I want to apply Cell Fracture on, following this step-by-step guide: http://blendersushi.blogspot.de/2012/07/vfx-voronoi-cage.html
But I'm stuck at the part where the author writes

For the purpose of creating Voronoi Cage, I actually just need the "wireframe edges", so I join the Shards back into a single mesh (CTRL+J).

, since there is nothing to join.
Here's a screenshot of my Cell Fracture settings:

And here's what Blender looks like after applying Cell Fracture:

Selecting the original mesh named "Plane" and hitting Ctrl+J yields "No mesh data to join", while selecting any of the new "Plane_cell*" meshes and hitting Ctrl+J does nothing, not even displaying some error message.
I'm certain that I'm missing something crucial, but I can't figure out what.
(Sorry for the uninspired tag choices, no other tags looked appropriate.)

Your fractured objects are on the second layer. The original object is kept unmodified on the first layer.
The following is a good, detailed video tutorial on the subject: https://www.youtube.com/watch?v=GTq9sLQOiVs


text:
Smoke Domain Recolors Render
I am using Blender v2.79 Cycles and have tried computing with both GPU and CPU, the results are the same.
(Edit): So there is the domain of the fire + smoke is overlaying a blue tint(the color of my fire) in the volume it takes up, but my material nodes seem to be "Correct". Also, I know it has to be the smoke domain since the rectangle disappears when I disable it while rendering.
The rendered picture(partially rendered)

Here are the Material Nodes

In case it would be helpful: here is the border of the domain

I'm not sure what we are looking at here. What is your question? Could you explain the issue?

Nevermind...I solved it...
There wasn't anything wrong with the smoke, but the light was going through a transparent shader mixed with a diffuse shader which was blue, projecting the blue tint on the surface of the Earth

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


text:
Help with 3D modeling
So I'm new to blender, but I've gone through the Blender Guru video series and did all that fun stuff.
So I've set out to make a mod for Fallout 4, but I've run into a couple of issues with my mod that I'm hoping someone here can help with.
So my goal is to overhaul all the bullets, cases, and cartridges with HD versions and so far it's going good, but there are a couple of aspects of my meshes I wish to improve on.
So first off, how would I go about making the type of crimp goorves seen in this bullet? I'll add a comparison of my high poly mesh as well for comparison. The crimp is very complicated and I'm not sure what method I could use to replicate it in my mesh.

Please keep only one question per post. Make as many as necessary.

Sorry, edited the post.

Is this to be baked back to lo-res?

The mesh will have to be low res using the Normal maps to add any extra high poly details.

Create a black and white Displacement Map in image editing software.

Add six Edge Loops CTRL+R. Then select the two inner Edge Loops and Scale them in press S and then SHFT+Z to keep them from moving on the "Z" axis.

Using Cycles create a new material and bring the Displacement Map in to the Image Texture Node (Set this to Non Color Data).

UV Unwrap your bullet using Cylinder Projection. Open your Displacement image then Scale and position the UV Map to fit the image.

Added the .blend file with packed Displacement image.


text:
Pull target not working
My pull target isn't working properly. I was expecting my lower leg pull target to be able to control the position of my knee on the x-axis, however it only controls the rotation of the leg bones...I've checked from side view, the upper/lower leg bone aren't straight. see attached.
Thanks in advance.

I'm not sure about your problem, it seems to work fine, the Pole Target is supposed to control the orientation of your knee, not its position in the 3D space, to move your leg you need to have a controller behind the foot and choose it as the Target in the IK Constraint. To be complete, this Target controller needs to be deparented, you must disable its Deform option in the Bone menu, and you need to parent the foot to it.


text:
Algorithm of Blender's Proportional Editing- verts outside radius
Hi anyone knows why vertices outside the radius get influenced too during proportional editing? The .gif is in right ortho with smooth falloff. Note: Verts outside the radius are the bottom left vert connects to 5654, the vert on the right of 5887,the vert on the right of 5881, the vert on top of 5827, the vert on top of 5928.

A single vert selection only shifts other verts within the radius  It is only by choice that your selection in image is within the radius.  Suggest the radius of influence applies from each vert.  Simple test on grid eg select two verts outside circle, appears to confirm this.

@batFINGER The bottom left vert connects to 5654, the vert on the right of 5887,the vert on the right of 5881, the vert on top of 5827. Those are outside the radius but  transformed in proportional edit.

Suggesting in your mind draw the radius around each of all selected verts .. that  is the area of influence.. Eg select two verts that are that far apart neither are in the circle and see what it does.

@batFINGER 1. The radius is already shown in the .gif. 2. Your suggestion is an extreme case. If you select two verts not too far apart from circle and see what it does, you'll likely get the same thing as the .gif.

What you will get is that verts within the radius of each will move. It is not a global only verts in the circle move. Its an indicator of how far from each vert selected is influenced.

@batFINGER Hold on, are you saying the radius is the radius for each selected vertex? So blender is only showing one circle to simplify the visualization?

Yes!!!! ended up answering to explain lol.

The radius displayed is an indicator of influence from each of all selected.

A single vert selection only shifts other verts within the radius  Suggest the radius of influence applies from each vert.
Simple test on grid eg select two verts outside circle, appears to confirm this.
Notice with two verts selected on grid, both outside the displayed radius of influence, move verts of within the radius of influence of each.
Each vert that moves is within the radius distance of a selected vert.
In your question image no vert is being moved that is not within the radius of another selected vert.

ok now it raises another question. For vert within multiple radius, how does it determine which radius does it belong? Or is there some math behind it that it has the same distance to all radius it falls into? https://imgur.com/a/rLQODfE


text:
Reuse frames from normal speed animation to save time rendering slow motion
Let's assume I rendered an animation at 30 fps. Then I wanted to make it 60fps.
How would I make a script to tell blender to render only the in between frames that haven't been rendered yet?
I would also need to batch rename files for the image sequence to be correct but I guess that's something else.
Edit: Found "Advanced Rename" which works fine for this last part!


text:
What's the difference between alpha over and add?
When compositing something in the node editor, what's the difference between the alpha over node (Colour -> Alpha Over)  and the add node (Math -> Add)?

The alpha over node chooses between two colour values, the mixRGB node mixes two colours together.
The Fac value is a scale between the two output options, 0.0 being 100% input one and 1.0 being 100% of the calculated output value.
The output of the alpha over node will be between the two input values, while the output of the mixRGB node will be between the first input and the combination of the two inputs. The different blend types in the mixRGB node choose how the two inputs are combined.
So if you had one input with 0.2 red and a second with 0.4 red, then the alpha over node will output a red between 0.2 and 0.4 - the two different input values - while a mixRGB set to add will output a value between 0.2 and 0.6 - 0.6 being the two red values added together.
The math node is meant to be used with single numeric values, like the Fac input. If you do use a math node with colour inputs, the input value will be calculated as the average of the three colour channels. So if the input colour was R:0.1 G:0.0 B:0.0 the input value used in its calculation would be 0.333. If you connect a math output node to a colour input, you will get the same result value for each channel. Similar to the mixRGB node, the operation chosen will decide how the output value is calculated.
Notice the colour of each socket on a node, while most will attempt to work with each other, you should connect matching socket types.

Ah, thanks but I didn't realize that there are two types of "add" nodes. I was talking about the Add node under Math. I'll edit the question.

@daloonik the result isn't too different, you just don't get the fac value to scale down the mix effect and it works with an average of the input.

ok! i'll mark this as answered in that case.


text:
What's up with the shading?
My shading on my chinook is really bugging me. I have put an edge split modifier on my model and this has elimated the majority of my issue but it still persists. As far as I can see, there are no existing ngons.

I want the beveled edges to have no shading issues. It should all be beveled. no sharp edges (anything that looks irregular is not what i want)

Could you indicate where you want your edges to be sharp, and where you want them rounded?

Added screenshot.

Are you subdividing? If so, this sort of topology works...

I'm avoiding subdivision, I don't want polycounts to be too high. That does work though. I'm still looking into it.   It looks fine when rendering. It's just object/edit view,

That's funny, I thought lo-poly shading by OpenGL was pretty indicative.. you've got me looking, now..


text:
Perpetual motion machines
Out of pure curiosity, after seeing a few really awesome perpetual motion machine ideas on youtube, I decided to try it out in blender as an exercise.
In addition, I thought, that would be cool to have a rigid body system driven by one of the perpetual motion ideas, instead of existing "motor" constraint or animated object.
Of course, I understand that perpetual motion is impossible in real world, but, I believe, it can be achieved in computer simulation, by (cheating) tweaking some properties, friction or gravity for example.
So, I am trying to recreate the examples from here https://youtu.be/jsxroTt9IhY?t=91,
 and from here https://youtu.be/1hYYdmjuDac?t=146
However, both simulation does'n work as expected and it seems, the system balances itself even, no matter how hard I'd try.
Here are my test blends:
Ball & Levelers

Rolling Ball Wheel

Is that possible to achieve that in blender simulation at all ?
Edit: just found this example https://www.youtube.com/watch?v=1KeQc-vH46U
Thanks,
Michael

please add some detail about what you tried and a specific thing not working... also use http://blend-exchange.giantcowfilms.com/ to upload your .blend files (free, permanent, integrated) then past the provided link editing your post.

Maybe, probably, but for physical accuracy I would give it up with Blender. Check this, it's my favorite: https://www.youtube.com/watch?v=oyjE5L4-1lQ :) The last example you've posted was made in BGE, it's physics system was quite different as far as I know. So in my opinion - don't bother with it. It will be hard and frustrating as hell.

Wow, the video is actually from 2012, and looks very nice!

Can you add some pictures/gifs of what you have?


text:
What am I doing wrong with my rigged body?
I just started "playing" with blender after realising that I have to be able to design my own objects to make my own game without keep on using someone else's work/Unity Asset store prefabs. I never designed anything so, yeah, I can say I'm pretty horrible at it.
Everything was going somewhat fine but I don't know why my character's body is not moving smoothly at all. Could you tell me if I'm doing something wrong please?
Here's a video showing the current issue (I know I can use the paint brush to correct the distorted shapes when I rotate the figure but I'm pretty sure I screwed up somewhere with the armature movement part as it lacks smoothness)
EDIT: Here's a download link if you want to see my file:

please share your file so that we can see

To share your file please use http://blend-exchange.giantcowfilms.com/

I just posted a download link from wetransfer (main post), is it ok like that or do I have to go through that way @Dontwalk ?
Also thanks for the answers, but either I'm blind or I don't really know which kind of dependency I'm missing...

@ 4ever an Amateur - It is best to use http://blend-exchange.giantcowfilms.com/ so it will always be associated with your question for people searching for answers in the future.

Done, @Dontwalk . Thank you for letting me know. Post updated.

Deactivate the Snap option (magnet icon on the horizontal bottom bar of your 3D view).

Don't tell me it was this easy...I'll check it out once I get back home. Thanks for the comment, @moonboots


text:
Reflection on an semi-transparent object
I'm trying to create projection of objects in my scene onto one specific object (in my case a sphere). In theory it is simple, by giving the object a reflective surface but here is my problem, the sphere has to be semi-transparent. Meaning it should be reflective and showing the other objects in the scene clearly but at the same time then parts of the sphere not showing any other object should be semi-transparent.
I'm trying to get this working with cycles (cycles is a must) but no luck so far. I'm open for any ideas.
Update:

I created a small test case containing my sphere and a cube with a marked corner. The reflection of the cube is on both sides of the sphere but I want it to be only on the side pointing towards the corresponding object. Additionally, the Mix Shader of the Glass and the Transparent BSDF turns the reflection grainy (for lack of words).
Update 2:

I found a way to remove the unwanted reflection but this results in the reflection that I want to only be visible from the direction of the reflected object. I can not see the reflection through the sphere, which is the reason I want the sphere to be semi-transparent.

do you have a picture (real photo for example) of what you want?

I can't post a real image, since the goal is to render an image of the scene to visually explain the concept of spherical camera, but I posted my test case if that helps.

You may find the compositor helpful here. You could do it with 3 render layers: one with a completely reflective sphere, one with a transparent sphere, and one to make a mask of how you want the two spheres to blend

I found this link about a similar use of the compositor. Any idea on how to do the masking?

You could apply a different non-reflective material to the back faces of the Sphere. Select Vertices in Edit mode and Apply the material.

I tried that as well, but the reflective and non-reflective parts render in different color because of the glossy of glass shader. The reflected color aka the background color will mix with the color of the transparent part showing a clear border between the two.

As I understand it you are trying to illustrate a spherical camera using reflection on a sphere. But your main problem is that the reflection is relative to the position of your (the viewer) perspective.
As you rotate around your sphere, to eventually seeing the backside of it, the reflection of the square gets distorted. For example, in the image below (fig 1) I have positioned a NURBS path to go from the center of the cube to the center of the reflection on the sphere.
Yet as we move around the workspace, we see that the distortion causes the reflection to change its position on the sphere (fig 2):

If you wish for the "reflections" (if we can even call it that at this point) to be mapped to the sphere regardless of camera position, then you need baking. (animated gif):

How I accomplished this:

First I set up my scene: added a background, the sphere, some props from the archimesh addon and a cube with black lines around it.
I selected the sphere and went into edit mode, turned on orthographic mode, and snapped to front view via numpad-1.
I unwrapped the sphere using "sphere projection" (u key) and opened the node editor and the uv/image editor.
I created a new "blank image" in the image viewer, and set up the material for the sphere, like so: Note how the Image node is not connected. It is also important that the image node uses the new blank image, and that the image node is the selected node.
With the sphere selected I go to the render panel, under "bake", select "glossy" and click the bake button:

As you can see in the image editor, the "blank new image" is no longer blank:

Then I reconfigured the sphere material to use the baked image, taking into account the transparency you asked for, etc

After this, it works! However, there are some caveats:

Because it's a baked image, it doesn't work well when the environment around it is changing. To get by this you would have to bake an image sequence of it per frame or take advantage of the equirectangular uv mapping and somehow pipe a camera into its texture (not sure if that's even possible).
It's annoying to have to rebake every time you change something.

Good luck and happy blending!


text:
Problem with normal map ans smooth shading
When I use normal map shading on part of my handle doesn't have smooth shading.

I'm afraid I can't see the problem, can you circle the problem area in your reference image?

Normal map strength of 2 is extreme, try something below .5

@Nascent Space If you  look at the handle on engraving part you can see it.

@AllenSimpson it helps a little bit but not enough

Is there a duplicate mesh intersecting with the bottom of the handle?

@AllenSimpson no

If this is a high-to-low baked normal map, or if it was made in something like SP, you want the normal map to have a strength of 1.0 and nothing else.  The normal map contains the difference between the low poly and high poly normals, and setting it to anything other than 1.0 will show you differences between the two that you didn't want to show.

@Nathan As a said changing it to 1 didn't change much

@Zinek Then think about linking a file, with packed images.  Preferably, demonstrating exactly how the normal map was created as well (high poly?)

@Nathan I've just found the problem, my model had no uniform scale.


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Making a six-part mould- Cutting by planes
I'm new to blender and hope someone can help. I want to make a six-part-Mould. Therefore I created three planes exactly shaped as I need them to be. Now I have problems creating the Mould-parts using boolean modifiers. Please see the images attached. Am I on the right path or is there a much better way to cut the cube into pieces then by adding the right selection of boolean modifiers?
My goal is to first cut the cube into six pieces, the filling of the cut surface has to be in the exact shape of the plane. Next step would be to cut out the object out of each cube. What I have then should look similar to image 1, on every cube.
What I tried exactly:
unsuccessful one (image 3)

Boolean - Intersect with axial Plane (B-Mesh)
Boolean - Intersect with second plane (Carve)
Boolean - Difference with object I want to cut out (B-Mesh)

Successful one (image 4)

Boolean - Difference with object I want to cut out (B-Mesh)
Boolean - Difference with axial Plane (Carve)
Boolean - Difference with third plane (carve)

So I do not really understand what happens, why one works and the other fails.
I would be very happy if someone responds to my problem. I could also upload the blender-file. (is there a way to upload it in this forum?)
Thank you in advance!
Image 1: Two-Part Mould I made yesterday (to give you a better understanding about my goal)
Image 2: The cube with the three planes
Image 3: Unsuccessful part
Image 4: Successful part

Sorry, I don't understand the "succesful" part of the 3rd image. Maybe I din't understand what you're trying to achieve.

I just edited the my question. In image 1 you see now what I'd like to have in the end. Does that help? Thank you for your time!

I tried to give you an answer... Hope it's what you're trying to do. If you don't understand, just ask! :-)

The question is simple but the answer is a bit complex.
How does boolean modifier work
The boolean modifier can do 3 boolean operations between 2 solid objects.
They are simple and fully described here.
The point I want to focus to is that they both need to be solid. They cannot be a cube and a plane, because the operations (union, difference and intersection) operate on volumes, not on faces/edges/vertices.
In my example the situation is simple, because I'm going to use only one plane. To do it in your case you will need to repeat this instructions recursively for every cut.
Extruding planes to give them a volume and using the Boolean modifier
This image shows a cube and a plane.

I want to use the plane as a "blade" to cut the cube in two parts.
So I select the plane and go to edit-mode:

I extrude it to have a volume that completely covers one of the two parts of the cube:

I go back to object-mode, hide (presing H) the extruded plane, I select the cube and add a boolean modifier to it.
In the modifier settings i choose the extruded plane as the "Object" I want to use to do the boolean.
As "Operation" I can choose "Difference" to obtain one of the two parts:

...or the "Intersection" to obtain the other part:

To have them both I need to duplicate the cube and apply the "Difference" boolean modifier to the first and the "Intersection" to the other.
You'll need to do this steps with the first part to divide the first object in two, and then to repeat them recursively on the pieces you obtained to divide them again, until you have all the pieces.
I know it's a struggle, but I don't know other ways to do this.

Thank you so much! Extruding the plane was key! Wow, you saved everything!

So with Cutting the planes, everything works perfect. But with cutting out the object, there arose other problems. Should I edit my question or ask a new question?

I think you should add a new question.


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Can someone explain how this glowing cube was achieved?
First Post! I'm talking about the glowing cube. Pic taken from a video tutorial and they used a theme to get the result, but what I don't understand is how they got this in blender render and achieved this. can anyone help or point me in the right direction? I've been trying to get this for hours now.

hello, you can use the Glare node, or another kind of filter, in the Compositor

blender 2.9x  ... https://blender.stackexchange.com/a/164940/2214 ... or enable "Bloom" under Eevee engine Properties.


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Merging two blender addons
I'm trying to merge two blender addons as the meshes I'm trying to import are around 300 meshes, and the meshes need a special addon to import. I want to merge a bulk import addon with the mesh import addon. If anybody got any advice or if someone would help I would be happy.


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Bevel Modifier: apply before or after UV unwrapping and texturing (especially on Substance Painter)?
Say I made something in blender using Hardops and BoxCutter we got nice bevels, no overlapping, normals are correct. Then I apply all the cutters for UV unwrapping and texturing in Substance Painter and then I come across the Bevel modifier...
Choices:
A) Should I apply the Bevel modifier? (set at 3 levels) then tediously mark seams and UV unwrap? Or is there a better approach to this?
B) Mark seams and unwrap ignoring the Bevel modifier, then texture stuff in Substance Painter and go back to Blender and reapply the Bevel modifier? Will the textures be fine by that? (especially edge scratches or grunge or anything sensitive to the edge?)

I believe, the bezel modifier will change the shape of your faces and add more (when applied), thereby changing the way the faces align with your UVMap. You may get lucky and find it works, but the more complicated the model and textures, the more change the bevel makes and the more likely you will need to adjust the UVMapping if not the source image. When you tediously mark seems, look up how to "Select more faces" and "Loop selection", you may also consider saving specific vertex groups so you can select one point and then "Object Properties" > "Vertext Groups" > [Pick your Group] > Click "Select". Ok, now the best part, once the Vertex Group is created, before you bevel, the bevel operation will include all the new vertex in the Vertex Group and you have a way to select all by Vertext Group ;) Now, UVMap and texture and if you have to edit the texture/vertex again, you only had to do the tedious part once


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How can I add 3D glitch effects to a model in Blender
How can I create an animation like the example below with Geometry Nodes, or is there an easier method using other tools in Blender?
The model is cut horizontally into 3 or 4 parts (tearing), and then random glitch effects are added to the parts (voxelized, randomly monochrome colored, strange texture, shifted to the left or right).
Full animation: https://www.shutterstock.com/tr/video/clip-1078984763-3d-glitch-david-head-on-pink-background
Screenshot 1

Screenshot 2

Screenshot 3

I guess this effect is easier done in the compositor than with Geometry Nodes because, as in the real world, it is the camera/signal that is glitching, not the model (=image <=> geometry).

It seems like every glitch is made with geometry

yes, you're right, the geometry is glitched. It's better visible if you just look at single frames. That's why you should add screenshots to your question ;-) --  It looks like the model is sliced horizontally, and then random effects are added (voxelized, random monochrome colored, weird texture, shifted to left or right)


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How to combine low and high poly mesh
I split my head from my body so I could remesh it with a higher density. What is the best way of merging them together again, after I'm done with the head? (same for hands and legs)
Or I'll maybe ask this differently, what's the best workflow for making the high detail mesh which will later be baked onto a base mesh?
Added to that I can't sculpt on a more than 5mil faces mesh without Blender lagging. So I somehow need to split things like the head into separate objects so Blender doesn't start lagging.

Why not remesh the whole model? Do you want to 3D print the model or could you use normal maps?

If I would remesh the entire model it would have a way to high poly count, if I would want to keep it on the level I used for the face

You could merge the head and the body with the boolean modifier. The remesher creates (topology-wise) an ugly mesh. And the merged result won't be pretty either. That's why I've asked what you plan to do with the model.

I'll maybe ask this differently, what's the best workflow for making the high detail mesh which will later be baked onto a base mesh. Added to that I can't sculpt on a more than 5mil faces mesh without blender lagging. So I somehow need to split things like the head into separate objects so blender doesn't start lagging.

If you just want to bake a normal map and keep the polycount low while you sculpt the details there is no need to combine the high poly with the low poly mesh, is there?
First, try if the Multires modifier works for your whole model. It can handle high polycounts very well.
If the performance is still bad

UV unwrap the model
duplicate it
separate the head, hand/arm, and legs at the seams
add Multires modifiers to each part and sculpt the details for the parts
bake the normal map for the parts. The first time when you bake (for example the head's normal) leave the [X] Clear Image checked. For the next part (the hand for example) uncheck the checkbox. This way the normals for the hand are added to the image and the already baked normals for the head will not get deleted. Repeat this for all parts.
use the baked normal map for the original low poly mesh

I'm actively using the multires, but the uv thing is quite interesting, thanks


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UV Map or topology correction needed?
See screen captures for issue (below).
Question: In order to have the wood grain texture follow the frame direction without the oddness evident in the detail (image below), do I have to (1/2) or can I (3)...

Create a UV Map?
Correct something in the topology of the object?
Do something really simple (in the texture panel perhaps) that is eluding me right now?

NOTE: The object has been created via Spin.
Thanks, as ever, for the guidance - always appreciated...

Most likely to create UV map. In Mapping section you use UV, so it tries to map the image accordingly; if you're fine with generated coordinates, use Generated or Object although for more control unwrap the mesh and use UV.

You need to create a UV map, it is the best way in this case.
Simply select the front faces of your model in the 3D view and press U to unwrap, then select the back faces of your model and unwrap again.
Or select everything and press U to choose Smart UV Project.

Thanks for this - no easy way out - UV it is. I've given it a quick whirl and though daunting, got a reasonable result straight-off with 'Smart UV Project' - the faces in the resulting layout were separate and I could rotate and move them individually. Intuitive. Thanks for the heads-up on that. (U > Unwrap seemed to create something with faces that weren't separate so a level-up in knowledge I don't have right now. Skidaddled outta there for now)


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VSE isn't multi-threading
Whenever I render a video using the blender video editor only one core is ever used at any time. I have an 8 core CPU(FX-9590) yet regardless of whether blender is set to auto detect or a fixed 8 threads only one core ever sits at 100% at any given time. The rest of the cores sit and really low usage as if blender is completely ignoring them. I'm running blender 2.77a on Linux. I'm using Theora as the codec with an ogg container and Vorbis audio. How do I get blender to use all my cores?

I don't think that any work has been done to allow the VSE to take advantage of multiple CPU cores. Not sure if anyone has started or is planning to start working on that.

@sambler oh really? I would have thought it would be multi-threaded. That's kind of annoying especially seeing that I have an AMD CPU so my single threading performance leaves a little to be desired.

Where is your question?

@Samoth I added it. I forgot that stack exchange likes you to give an exact and specific question.

First and foremost, there is a significant difference between multi-threading and multi-core. Depending on the task that needs to be processed, multiple threads are also possible on a single core.
Blender VSE got some improvements during the Gooseberry Project, unfortunately most of them were just cosmetics and multiple threads on multiple cores was not on the roadmap. AFAIK there's nothing planned to change that in the near future.

You can use Pulverize to do multi-process rendering from Blender's Video Sequence Editor:
https://github.com/sciactive/pulverize
Pulverize will render multiple parts of your video in separate processes, then concatenate them into one video file using FFMPEG. It uses the Blender command line to select frame ranges for each render.

Good find, but please avoid link only answers here, these are discouraged because if the link goes down your answer becomes empty and invalid for future users. Please edit your question and write something providing some details about what the addon is, what it does or how to use it.

Done. :) I added a short description of how Pulverize works.

There is a Python script that splits video then renders it on mulitple cores and then stitches result.
https://github.com/mikeycal/the-video-editors-render-script-for-blender
Author says it is cross platform.


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Moving my camera around an constructing object
I recieve a little program in which i have some cubes which are constructing like a crystal. I try to render it , but i have two problems:
1. i did not know how to move my camera around to the crystal
2. i did not know how to move away my camera in order to see my crystal perfectly , when he becomes bigger (100-200 cubes ).
Thanks for your help !
P.S. - in the last for i amplified my iteration i with 2 because i didn't know how to set a radius of 0.5 at my object
This is the program , so enjoy in helping me :) :
import bpy
from itertools import product

mesh = bpy.data.meshes['Cube']
objects_scene = bpy.context.scene.objects
objects_data  = bpy.data.objects
actions_data  = bpy.data.actions

def create_cube(name, location ):
    obj = objects_data.new(name, mesh)
    objects_scene.link(obj)
    obj.location = location
    return obj

def create_animation(obj, time):
    obj.animation_data_create()
    obj.animation_data.action = action = actions_data.new("Action")
    fcurves = [action.fcurves.new(data_path) for data_path in ("hide", "hide_render")]
    for fcu in fcurves:
        fcu.keyframe_points.insert(   0, 1, {'FAST'}).interpolation = "CONSTANT"
        fcu.keyframe_points.insert(time, 0, {'FAST'}).interpolation = "CONSTANT"
        fcu.extrapolation = "CONSTANT"

n = 7
time = 1
for i in range(n):
    for indices in product(range(-i*2, i*2+2 , 2), repeat=3):
        if sum(abs(j) for j in indices) == i:
            cube = create_cube("Cube", indices)
            create_animation(cube, time)
            time += 1

this is a picture with what i want to create , but in this the camera is no moving . I want that my camera to move around the construction :)

Possible duplicate of How can I animate the camera in a perfect circular rotation around a fixed position?

I don't know much about Python if that's what you're asking, but if you aren't and want to zoom the camera out through your animation, try moving the timeline cursor to the first frame, keying "I" and choosing LocRotScale. Then move to the end of your animation and repeat.
If you want to rotate the camera around the object, follow these instructions: How can I animate the camera in a perfect circular rotation around a fixed position?
I'm not sure if they work together, but they might. If they don't, look into camera focal length.
Hope this helps and happy Blending!

I want to manage this from python , but thanks you for your help:)


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How does the Attribute Sample Texture node work?? I'm a beginner at Geometry Nodes
Okay, I'm not entirely sure how to phrase this question but I'll give it my best shot.
I've just started learning Geometry Nodes and today I tried out a course in which I learned how to make grass appear to sway with the wind. In doing so, I used the Attribute Sample Texture node.
My question is: What does the "Result" mean? In the picture below, the 4th node from the left, the Attribute Vector Math node takes the position attribute, then adds each position vector with another vector.
Here's what I understand: say for example one of the points is [1,1,1] then I add it with [2,4,0] to get a vector [3,5,1]. This new vector is then stored in the custom attribute "mapping". Then I use the mapping attribute in the Attribute Sample Texture node... then I'm lost. What happens to each vector? How does a cloud (for example) texture affect the vectors?
Also, I've checked the documentation and I still do not understand: "The Attribute Sample Texture node evaluates a texture for every point and stores the resulting colors in a new attribute. The mapping attribute can be anything that can be converted to a 3D vector. Typically, either the name of a UV map or the position attribute is used"

Blender 2.93
The Attribute Sample Texture picks basically an RGB value from the given texture at the given point. The Mapping determines how the point in the texture is calculated.
The texture space is going from 0 to 1 by default in the X and Y direction. Then it repeats by default. That is, (0.5, 0.5) is the same as (1.5, 0.5).
In this example, we have an image with the 3 colored letters R, G, B. And a plane with Geometry nodes and 5 subdivisions. It's located at (0, 0) the world origin and has a size of 1m x 1m. The Scale and Location must be applied for the plane (Ctrl+A in Object mode)
This way the geometry points are in the range of 0 to 1 for X and Y. Z is always 0. Now we can use the position for a 1:1 mapping. The sampled color is separated into red, green, and blue attributes.
The cube for the point instances is scaled along the Z-axis depending on the red value. The black cubes have a Z scale value of 0 and are flat like a plane.

If you change the position to UVMap which is the default name for the UV map then this is used. Open the UV Editor and rotate the UV island and you get the following (blue is used here):

In your example, the position attribute (which is the location of each geometry point) is shifted by a vector (the one with the purple driver) to make them virtually wander around. This shifted position is mapped to the texture and the picked color is stored in the wind attribute which is used to rotate the geometry points.
Update: Blender 3.x and Field Nodes
Blender 3.0 introduced the fields system and many of the 2.9x nodes became legacy nodes. Then in Blender 3.2, these old nodes, including the Attribute Sample Texture node, have been removed. A replacement is the Image Texture node.
Here is example from above in Blender 3.4. It uses the new 3.4 Sample UV Surface node to map the image to the points. You need to subdive the default plane first because the node requires geometry with faces.

i dont know why i wasn't notified about this answer, completely missed it. Thank you so much i understand it better now

The Attribute Sample Texture node was removed from Blender 3 geometry nodes. Do someone knows how to sample textures in GN in Blender 3 instead?

@ChristophWerner You can use the Image Texture node. The early Blender 3.x versions don't have the Sample UV Surface node yet and you probably have to calculate the mapping on your own. In Blender 3.4 and higher, you can use the new Sample UV Surface node. I've added an example above.

@Blunder Thank you a lot! Great hint.


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Rigging/Animation Question (Eyebrows and Eyelashes)
Ok... SO I am but a humble noob in Blender though I am an old, old man. I'm a musician who still writes and records so I've begun to teach myself After Effects and Blender 2.93 in order to make visuals for my songs. I've noticed that there's more chance of getting my stuff heard by a wider audience if there's something to look at.
To that end, I've created a character based vaguely on the 1930's style of animation with which I am quite pleased so far. As I was having some problems getting the eyebrows and eyelashes I wanted I made the eyebrows in a separate mesh which I copied and flipped and then I made the eyelashes using greasepaint that I then converted to a mesh.
Along with the eyeballs, I parented all those to the main body mesh and then started farting around with Rigify to begin the process of learning how to animate.
My problem, though, (one of many) is that even though these other bits (eyebrows etc) are parented to the mesh they don't move once I've got my armature set up nicely and generated the rig. Obviously, there's something basic I haven't done correctly.
Could someone with a bit of patience take some time to explain what I need to do? Speak to me like I'm a four-year-old if you will; I can be a bit slow on the uptake.
Many thanks!
Robinson

Oh thanks Ron! That makes a lot more sense to me! I still don't understand constraints or weight painting yet but I'll do some research. So would I parent the eyelashes, for example, to the bones of the top eyelid? Can you parent something like that to a collection of bones? I guess you'd do the same too for teeth and tongue which I haven't gotten onto yet.

Don't parent your eyebrows to the mesh... parent them to the head bones of the armature! I prefer "Child of ..." object constraints.
Even better, you can also add an armature modifier to your eyebrows and weight paint the parts to the armature as well. An armature can drive more than one mesh at a time, and not all meshes need all vertex groups.

In the screenshot you can see an example of my workflow. The Dork (P4 Business Man) is in his own collection. All the mesh parts are parented to the armature, and all the mesh parts have an armature modifier pointed to the main armature.

This is Posette, she is sad because her original rigger used shape keys for her expressions, and now there is no bone to parent a lip-ring to. She really wants a lip ring.

To solve that issue, we went into edit mode and selected a single vertex to be the parent of her lip ring. We assigned that vertex to a new "LipRing" vertex group.

We then put a "Child of ..." object constraint on the LipRing object and carefully lined it up with the vertex group. Now Posette's new lip ring will follow the geometry no matter how big and dorky her smile becomes!

@MarkRobinson a Child of... Object Constraint is a simple way to parent an object, they tend to be more visual than the traditional way of setting up a parent-child relationship. If you have eyelid bones you can certainly set your eyelashes to be children of one of those bones. If you have several eyelid bones on each side, armature constraints and weight painting are going to be the best way. Add vertex groups to your eyelashes with the same names as the eyelid bones, and assign the appropriate vertexes of the eyelashes to each group.

@MarkRobinson I realized I never mentioned vertex groups as a parent target. They can come in handy sometimes (see expanded answer)

What is this LipRing object?

@Blunder, the LipRing is just a simple torus. I used it as an example of how to use the 'Child of ...' constraint to parent to a vertex group?

OP asked about rigging eye lashes to eyelids, vertex groups could be a viable way to do that.

Oh, thanks for the hint. Now, I see it on the last screenshot. On a mobile phone you have to zoom in to see it. Now everything makes sense :-)

Thanks for all this info @RonJensen Still getting the hang of commenting etc in this forum but I'm grateful for all the time you've taken! You're a good man!

@MarkRobinson You're welcome. If I answered your question, you can click the green checkmark.


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skin Suit modelling for a super hero . Need some workflow
 Guys, I am trying to make Black Adam in Blender. I have made the body. But I don't know how to make the suit. I have tried using the cloth physics with stitching but that was very laggy.
Please suggest me some workflow to make the skinsuit. Also, I am just 2 months into Blender so pretty much I am a noob. Therefore I have just applied a material directly over the body and my model is looking weird. So please suggest to me some workflow to model the suit after modeling the body.

you should use the skin as the suit, shouldn't you?

So what do you exactly want it to look like, maybe a reference image to what you want to get would really help.

Is this a final render? What are these squares on his suit? Where are they coming from?


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Texture Mapping issue in blender
I am having a problem mapping a texture.
I am new enough to texturing so excuse me if this is a simple question
I am trying to texture a modular wall part. I am not using uv mapping, I am mapping the textures using Generated Coordinates.The problem I am having is as follows:

I can get the texture to look ok in the zx plane but not in the zy
plane.  In the zy plane the texture is blurred and not sharp.

The original texture png is file attached for reference. screen shot of the mapped texture also showing the mapping settings is attached.
Is there any way of improving this mapping so that both planes are equally sharp?
The model is a plane (for a wall) with the wood face extruded in y+ve  direction, The strange thing is that if a insert a separate cube and scale it in edit mode along the z axis, the textures map fine. See attached image for details
What am I doing wrong?
I managed to figure out the logic of transforming the image, but thats not helping
Any help would be greatly appreciated
Thanks
chris

I would recommend using UV mapping, as you have more control (and can easily fix things like this).

Thanks for that answer. I tried UV mapping, but when I unwrapped the wall the plaster section and the wood section did not keep their proportions. The model sizes are specific with the wall being 128*256 and the textures for the wall being 512px. Is there a Way I can lock porportions on uv unwrapping?
If I could then I could still use the tileable effect of the textures. I didnt want to have to squash the textures in gimp to get them to fit manually to the exported uv map.

One technique that may help with UV unwrapping:

Select all the faces you want to unwrap
Ctrl-E(menu) Mark Seam
'U'(menu) Unwrap

If you then look at the UV/Image editor with the faces still selected, you will notice that they are all laid out with the proportions of the original polygons, but without regard to topology.  This is bad for some situations, but it does prevent any of the distortions that are necessary in other situations.  You can then drag them around and scale them however you like.
There is also an icon at the bottom of the UV editor whose tooltip says "Keep UV and edit mode mesh selection in sync" which makes it easy to pick a face in 3D edit mode, then adjust its position or scale in the UV window.

Well, unless you're sure you've done so, I'd check to make sure that the scale and rotation were applied to the object. In object mode, select the object, and press CTRL-Akey.

If you're using nodes in the cycles render:
ShiftA > Vector > Mapping
Place the Mapping node between the Texture Coordinates node and the Image Texture node. This will allow you to scale and relocate the image in various ways. You may also try changing the input from the Texture Coordinate node from Normal, to Generated, to UV, etc., until you get the look you want.
Remember also that in cycles the "materials" view will look different than the "rendered" view.


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How to draw a single graffiti over the multiple objects?
For some reason, I have a table made from separated wooden planks that shared the same material, and I'd like to draw something on this "surface". How do I do this dynamically, without ripping the overlaying texture apart and manually assigning chunks to each plank?
What's the correct name of this problem/technique?
Rough example with window-mapped texture, just for demonstration:

you can plug a b&w mask into the factor of a Mix Shader or the alpha output of the image if it has transparency

@moonboots, sure, but how to map the image over the different meshes? Ofc, I can join them into the single mesh, but it doesn't look like a good solution.

You could use Object coordinates of the Texture Coordinates node, specifying the same object mesh (the Object property on the node is is meant for this exact kind of thing). This way you’re referencing each part of the image using the same coordinates.

I was thinking about selecting all the objects and making a Project From View but Rich's solution seems better

Use the 'Object' coordinates of the Texture Coordinates node with the 'Object' property set to the same object for each of your meshes. This will use the same coordinates for each mesh so that the texture can be mapped over all of them.
Here's an example :

Each of the cubes is a separate object - all with the same material. Note that the Texture Coordinate node is set to 'Cube' (one of the cubes) for the Object. This means that the Object coordinates are always with respect to that specific object. The Mapping simply allows you to scale and position the image.
The 'Separate XYZ' and 'Less Than' nodes use the Z-channel of the Generated coordinates so that the texture is only used for the upper surface of each cube (otherwise it would also show down the sides and on the bottom).

Ahh.. I see! I thought @sleepy wanted to texture-paint.


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Does anyone know about this blur/erode effect?
I wonder how this effect can be recreated inside the Blender shader.
Animation:

This is the image:

The effect looks like Erode filter node + Blur filter node (of the Compositor). For the animation, I guess you need to do this for each frame with the filtered result of the previous frame (create a loop/increased number of applications of the filter for each frame. I have no idea how to do this).

oh, wait, of course, you can use the frame number. There is a Scene Time node that provides this information. But the other nodes have no input slot for the required... bummer. After all, you must use a driver. (example https://imgur.com/a/uLLIPIB)

Hi. Please make the title of your question specific to the problem you are having and not just the general topic, see: How do I ask a good question?. Thanks.

Can we recreate this using OSL, how?

This effect looks like Gimp's Median Blur with Percentile set to small value and some Gaussian Blur on top of it. You have to work on an Image Texture to get this effect. How exactly do you plan to use it?


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Paint stencil but not on existing texture
I'm painting this vine stencil on top of this rock object with rock texture. I understand that right now I'm apparently painting on the rock texture, which makes it so that the vine stencil is repeated just as the rock texture is.
Rather I would just like the vines to be like one single column and not "randomly" repeated, but for that to happen I have to paint in some other way than on the rock texture.
I guess this link touches on the topic, not sure https://blenderartists.org/t/stencil-painting-on-top-of-existing-texure/1146213/2
Maybe some node magic? But I can't really imagine what could be done.
This is what I've done myself - https://i.sstatic.net/dqYh5.jpg

You don't tell how you've made your unwrap, do your UVs overlap? But if I understand correctly your question, what you can do is create a second UV map that will be made of a second unwrap of your whole object (in object Data > UV Maps, create a second one, then select your object and for example use Unwrap > Smart UV Project), then use an Input > UV Map node in your material and load this second UV map

I think I follow the idea. Just that when I smart uv project, the texture is then very pixelated but seems to fix when I scale the selection in uv-editing window. However, I dont follow how I should node the UV map. But once that is figured out, I just stencil pain on this new UV then? But only 1 UV map can be shown on the object (rocks) at a time?

please pack your images and share your file, it will help to understand your current setup: https://pasteall.org/blend/

I hope this works https://pasteall.org/blend/fe47aeb4d3c447f597f9566a5d05e4e4

You have UVs overlapping, it repeats your rock pattern, if you paint over it, it will also repeat your new texture. If for some reason you want to leave your current UV setup as it is (the other solution would be to re-unwrap it), what you can do is create a second UV map:

Go into the Object Data panel > UV Maps, create a second map (you've already done it), keep it selected, unwrap your object with the Smart UV Project method.
In your material, plug an Input > UV Map node into a new Image Texture node. In this UV map node, select the second UV map. In the Image Texture node, create a new image texture that is alpha transparent.
You can plug a UV Map node (with the first UV map selected) into into the rock Image Texture node but you don't even need to: if you don't plug anything into an Image Texture, the first UV map of your list will be the one that is taken into account.
Mix the 2 Image Texture nodes into a Mix RGB node, use the new Image Texture alpha output as a factor (swap the inputs if I'm wrong).
Paint on your new image with the Draw brush/Stencil. Make sure you've selected it in the N panel > Texture Slots.

Other solution if you want to set up a different Principled BSDF for each texture, use a Mix Shader and the Alpha output into the factor of the Mix Shader:

Comments are not for extended discussion; this conversation has been moved to chat.


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Cloth on an armature are deforming with ripped edges when armature pose is changed
I have imported an FBX mesh and put it on an armature. The armature moves with the clothes but in a very unnatural way. Few issues:

when the armature is moved, there seems like an underlay or clothes which remains unmoved.
The right sleeve movement seems to rip the clothes mesh and does not fall on the shoulder correctly.

Attaching the project: Blend file (google drive)

Hi and welcome to BSE. I have added an image to your question so that people who can help you and people who have a similar problem can easily see what this question is about without having to download a 44 MB blend file right away. Feel free to add an image with your next question.

The problem is the mesh of the clothes. It's solidified (2 faces, inside and outside), and quite dense. The mesh is also separated (sleeves front & back, shirt front & back, pants legs front, ...). This messes up the weight paint and the armature can't deform the clothes properly.
For animation, you want a rather low-poly mesh with a baked normal map for the wrinkles. Bake it from the high-poly version with the cloth simulation. Already 10-15k vertices can look nice. In Blender, you can add a Solifiy and Subdivision Surfaces modifier after the Armature modifier if more geometry is needed. This will not mess up the weight paint and animation.
If you have the source for the simulated clothes in another blend file you can add it to your scene (menu: File → Append...) and work with this.
If you have only the FBX file to import it.... well, that's bad because you have to fix it manually and this is some work.
There are several issues with the clothes:

the mesh is solidified. That's the worst problem. It causes this "underlay" issue. Because of this, you would need to weight-paint it inside and outside. Fix: not sure, remove the inside manually?
it's a high-poly, dense mesh and has a Subdivision Surface modifier on top of this! This boosts the number of vertices to about 700,000! Such a high poly count slows down the animation a lot and is not needed. Fix: Remove the Subdivision Surface modifier
there are 12,399 duplicated vertices. Fix: Go in Edit mode, select all vertices (A), and do a Merge By Distance (M)
the buttons of the clothes have "threads" that consist of 2,736 loose vertices (no faces, no edges, just a heap of verts). For some reason I don't know you cannot get rid of them by using the menu Mesh → Clean Up → Delete Loose (Blender 2.92.0). Fix: But you can select them all with the menu entry Select → Select All by Trait → Loose Geometry, and delete them (X, Vertices). If you want threads you can model them easily with a few vertices (it's just an "X")

After the easy clean-up, the mesh has about 160,000 vertices. If you want to improve it more you need "un-solidify" it. For the shirt is can be done by adding UV seams at the bottom of the sleeves and the neck (in Edit mode, select the edge loops, then U, Mark Seam), then you can select the inner faces when you hover the mouse pointer over the mesh and press L. Finally, delete it.
But the pants are a pain because at the cloth seams the mesh forms a cylindric shape that is inside of the mesh. The worst is that it is connected to the outside (red on the screenshot) and shares some faces. I don't know how you can rid of this easily. Doing it manually takes a lot of time.
View from inside of the pants, at the vertical cloth seam with inner faces

Thank you for your detailed reply. I'll take the advise of going with a low poly clothing for the character, thanks!


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How to convert SpaceView3d.lens to field-of-view?
I'm trying to export data of the User Perspective Camera to a LibGdx Camera. As far as I know there's no way to get the field-of-view of the User Perspective Camera directly.
Thanks to whoever can help me with this.
Edit:
@Jerryno:
Thanks for your reply. I tried your approach, using this code.
import bpy
import math
from bpy_extras import view3d_utils

def area_view_3d():
    areas = [a for a in bpy.context.screen.areas if a.type == "VIEW_3D"]
    if not areas:
        return
    return areas[0]

def camera_angle(a3d):
    region = [r for r in a3d.regions if r.type == "WINDOW"][0]
    r3d = a3d.spaces[0].region_3d
    if r3d.view_perspective == "ORTHO":
        return
    ray_vector = view3d_utils.region_2d_to_vector_3d(region, r3d, (0, 0))
    view_camera_loc = r3d.view_matrix.inverted().translation
    look_at = r3d.view_location
    view_local_z = look_at - view_camera_loc
    return math.degrees(view_local_z.angle(ray_vector))

a3d = area_view_3d()
if a3d:
    #a3d.spaces[0].lens = 16
    print(camera_angle(a3d))

Sorry, correct is view_local_z = look_at - view_camera_loc, the vector was opposite direction so the correct angle was 180-angle. Now I tested it with empties placed at viewport camera location, center of viewport and corner of viewport with the script and measuring angle - it is now correct.

To convert focal length to field of view you need to know the sensor size. The formula is as follows:
FOV = 2 * arctan(half_the_diagonal_of_sensor / focal_length)

See this in Blender's code.
So that means your field of view is dependent on the size and aspect ratio of the 3d View window.
Best way how you could approach this is to cast a ray into the scene from one 3d window corner and measure the angle to the ray that is in center of screen (basically to the local Z axis of viewport).

you get the 3d rays like this (snippet from a modal operator - you will have to overwrite context for your application):
import bpy
from bpy_extras import view3d_utils

region = bpy.context.region
rv3d = bpy.context.region_data
pixel_coords = (0,0)

ray_vector = view3d_utils.region_2d_to_vector_3d(region, rv3d, pixel_coords)

view_camera_loc = rv3d.view_matrix.inverted().translation
look_at = rv3d.view_location
view_local_z = look_at - view_camera_loc

you measure the angle between the ray_vector and view_local_z

Another way to get the field of view of a view3d would be:
vmat_inv = region3d.view_matrix.inverted()
pmat = region3d.perspective_matrix @ vmat_inv
fov = 2.0*math.atan(1.0/pmat[1][1])*180.0/math.pi;

This actually uses the formula provided in the other answer
(would have posted as comment, but got no reputation  )

authors: علی اصغر محمدی


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Apply scale on animated character goes wrong
So I have an animated character that needs to be scaled up (For our game engine). However when I apply the scale to the armature(ctrl+a), the arms which have an IK chain, mess up.
As seen in the "scale-up apply" picture, the arms are 90 degrees instead of the animated angle. Is there a trick to fix this? Or does it come down to adjusting the animations.
Initial scale-up:

Scale-up apply:

One more thing to make clear - did you try follow instructions like in this thread, like using a group and empty ?

Yes, I have tried that option. The initial scaling goes fine, however when I apply the scale it messes up.

I had a problem before with bone scale relating to IK. Here's the link in case it helps.

Thanks for the reply @Mentalist , The rig should be fine "I guess", I have some experience with IK and made sure the "helper/bone" wasn't parented.

authors: Николай Ребека


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How to animate an image (with motion blur) above a video (via bpy/python script)
Assuming I have a movie clip in a sequence and a smaller image loaded (as below), how can the image be animated horizontally or vertically across the video?
mc = bpy.data.movieclips.load( movieFilePath )
img = bpy.data.images.load( imagePath )
...
se = bpy.context.scene.sequence_editor_create()
se.sequences.new_clip( "the_clip", mc, 0, 0 )

You're wanting to do this with python? (it doesn't require python unless you're doing this for a more complex script). Motion blur requires some cheating though...

I have some requirements that mean I can't interact with the GUI. What kind of cheating for motion blur?

Okay. Well, there are ways to cheat it in the VSE by layering video clips with different offsets, although that doesn't give the best results. The other ways is to use the 3D viewport and cycles to render out the motion blur.

Could you elaborate on using the 3D viewport? is that something scriptable?

It's scriptable, but it's all a big hack. You might have to use some workarounds for to script it properly. The other thing is that the frames won't play back in realtime (except for a preview without the motion blur), they'd have to be rendered out which can take some time. Have you looked into seeing how this would all be done without python? I find it helpful a lot of the time to just try things in Blender step by step before I script them. This makes it easy to come up with a workflow and to figure out exactly what operators I need.


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How to add raised text to an imported STL file for 3D printing
I'm new to modeling and 3D printing and have a long way to go... but 1 of the reasons I got a 3D printer was practical/functional use at my family farm.  What really caught my eye was the ability to print cattle ear tags.  I found a design
https://www.thingiverse.com/thing:2950135
and all I have to do is edit and update the name and number on it, but struggling with that part. From the online help, I thought it was under
Mode
Edit Mode.
Menu
3D Viewport ‣ Text
but I can't find the 3D Viewport - Text part.
Can someone help give me a little nudge on this, please?
Thanks
Jim

Shift+A choose Text

When I do shift+A i get a Mesh Menu and if I move mouse it menu goes away.  I also tried selecting the existing text also and doing that, gives me same results. Thanks again for the help

You are probably in edit mode. Switch to object mode with TAB key than use Shift+A

Ok, that got me to the menu, but when I went to object mode, it didn't show/see the existing part.  double click on "sketch 2". A dialog will appear. Leave this dialog on the screen.
move cursor over the text until highlighted, right click and select "edit text". (Each line is a separate entry).
replace text with your own and click on the green tick.
when all lines of text are edited as you want, click on the green tick for sketch 2.
In the "Parts" list, right click on "Cattle ear tag" and select "Export..."
Select "STL" in the Format drop list.
The rest should be self explanatory

it might not be just text, it might be a "raised" piece of the tag.

What are you talking about?  You are following tutorial for online app OnShape? How does this relates to Blender? Please edit your question to be more clear what do you want to achieve in Blender. If you need just edit text how OnShape online app.

Sorry for the confusion.  No, I have not used OnShape, can't afford $1500 a year for that.  So I'm just trying to translate those steps to Blender so I can change the info on the tag.

I would suggest to you share your file so we can see what are you dealing with.

Is there a way to attach it here in this?  Here is the url  https://www.thingiverse.com/thing:2950135/files    on there Maxi_179.stl is the file I'm using

Proper way to attach a blend file is via https://blend-exchange.giantcowfilms.com given code place into your question (not a comment) via "edit" link.

As I wrote paste the code into your question (the main text on top not into a comment like you did it right now ... Thank you

:-) Thank you.  On the front of that, there are 3 lines that kinda stand up/out.  The first DALBY, I would like to edit/change that.  The second one, the 412 number i don't need.  Then I want to change the 179 number.

When importing STL change Scale to 0.001 to get proper size ... right now your Cattle has a dimension 73 x 99 m.

Now add a Text object ...

... that becomes big by default so scale S it down

WIth Tab switch to edit mode type your text. Add Solidify modifier to get thickness of letters.

Search for Convert to Mesh, hide this object in Outliner Editor. Select Cattle object add Boolean modifier kind Union and as Object select your Text object.

Before export use again Convert to Mesh (or apply modifier under arrow down icon) to make manifold object. ready for 3D printer.

I would suggest to you check some tutorial for beginners to get friendly with blenders UI first.

Thank you, I plan on doing those, we are just in calving season and needed the tags, I know I have a lot to learn, was just trying to print these out to use.

I'm not asking you to become a master, just watch a few simple videos to get familiar with interface (3x 10mins) seems to me effective at the beginning than be a "blind" :) Good luck with your work. BTW if you are in a calving season you have to have very fast 3d printer ... :)

yes... we normally don't have calves this early, but family circumstances pushed us this year.  Want to get tags in calves ears before we put them out on the pasture.  Thank you again for all your help. :-)


text:
How would I make a wave pattern onto a wall?
So I want to make a wall that has a type of wave pattern, and I cannot figure out a way to do it. I read somewhere saying I could use an image as displacement but that didn't seem to work for me.
This is the type of texture/look I want ^
If anyone can give me some pointers, that would be highly appreciated!
I did kind of manage to get a wave mesh, but whenever I tried to boolean it into the wall, even if I used the default cube, plane, etc. It just wouldn't work... It either just made the cube vanish, or it didn't actually cut into it. It just left the "shape" of the wave as if I used a knife into it... I'm fairly new so I'm sure there is something I'm missing or just am not aware of, but my god making this wall is turning out to be a major pain...thanks in advance for the help!

So I may have found a way of doing it, using the wave texture , so with how i set it up it looks 3D. However id love to know a way I could do it with actual geometry since i want you to be able to see it from the side

in order to make this kind of texture you can play with wave and noise textures as well, here is an example:

Result:

You can twek the settings for the texture pattern you are looking for, I hope it helps you.

Not a huge problem with poky machines, but noise is quite expensive? Maybe just one 2D noise, split out R and G from its colour output, manipulated, to use for rotation and scale of the texture-space.

add a wave modifier and then with sculpting use grab and you get something like this:

I don't know what brush this is, but it's not the grab brush, because the grab brush is highlighted in green.

@R-800: not everybody uses the default color theme. It is the grab brush. Maybe you should think before you write.... ;)

I found this on Instagram, may help you https://www.instagram.com/p/CIfpOzTjcC4/


text:
PNG to solidified render (geometry nodes?)
I used to use Blender years ago ~2.8, but since then I've become a programmer so I'm not really up-to-date. A friend asked me if I could help batch-processing pngs to become these solidified renders. I attached a crude example below which I made quickly manually.
I'm not sure if this would be possible with geometry nodes. I want to create a template for my friend so that they could just drop in a png image, hit F12 and save the render. It it's not possible from a png, possibly they would provide an svg / png pair, so that the model could be extruded/solidified from the path while the material would use the image texture.
My other idea was to write a plugin for it but I don't do python so the whole thing is probably out of scope.
Any ideas, recommendations, pointers are welcome.
Thanks, cheers!

The image above is a render that I did in Blender. I imported an SVG (cutout of the cat), UV-unwrapped it, applied a texture (image texture of the cat), and a material, then put on a Solidify modifier and rendered it.
This is the process I'd like to "automate" so that it doesn't have to be done manually every time, instead, the user just drops in the image and can render the scene.

It definitely is possible to import SVG's as curves... not sure how exactly you could then fill in the faces and extrude while keeping the texture in the right spot though... definitely should be possible I reckon.

If you want to get a full 3D scene from a single image, it isn't possible natively in Blender. It's slowly becoming possible with AIs. What PNGs are you talking about ? What do you mean "solidified renders" ? What is this image you showed us ? Could you show us your input PNG/SVG and an example of what you want to get exactly ?

@Lutzi The image above is a render that I did in Blender - I imported an svg (cutout of the cat), uv-unwrapped it, applied a texture (image texture of the cat), and a material, then put on a solidify modifier and rendered it. This is the process I'd like to "automate" so that it doesn't have to be done manually every time, instead the user just drops in the Image and can render the scene.

Could you provide your Blender file using https://blend-exchange.com/ ?

I managed to solve it with geometry nodes as suspected. The way this works is that the grid node produces a vertex grid of desired resulotion, then the delete geometry node deletes unneeded vertices based on the alpha map from the png. The rest is straightforward stuff, transforms, face triangulation, extruding, UV generation and so on. Input png has to be of 1:1 ratio. Here's the node setup for geometry:

and here's to one for the shader:


text:
when I'm moving the any rig controller of my character, Blender crashes
I can't do animation in Blender. When I'm moving the any rig controller of my character , Blender crashes
This is only  happening when I try to move rig controller.

Please clarify your specific problem or provide additional details to highlight exactly what you need. As it's currently written, it's hard to tell exactly what you're asking.


text:
BVH importing what's going wrong?
After look to a couple of tutorials about import .bvh files on Blender I came across with a weird thing on my imports.
I've captured some movements with a motion capture system, It exports a .bvh file as usual but whenever I import them on Blender, it creates a enormous bone and the 19 points of motion capture along it.
Here's a screenshot. In it, you can see the T-position (the points, and the big bone)
BVH added: http://www.pasteall.org/66043/c (as c for whatever)

Thanks

Can you provide a link to the bvh (pasteall.org) file and also in a screen shot with the rig selected an image of outliner expanded to show the bone structure ?

I've tried with another model and the skeleton seems to be exported fine, however It doesn't move. I'm exporting from Autodesk MotionBuilder 2010. Blender can see the keyframes but it's not playing at all. It keeps static.

bvh added to the OP

I get skeleton ok, weird rest post, no animation from link bvh.  A quick peruse of the data (line 493 and on) and it doesn't appear to change, each bone's fcurve is a flat line, hence no animation showing in blender.  In other words it's imported ok into blender, there must be some hassle with the way you are exporting from motion builder.


text:
Mirror Modifier making ugly smoothing on mirrored faces

The model is vivisected right down the middle along the z axis. The right leg is rendering funny and I assume if I can get that fixed everything else will fall into place. I tried flipping normals, changing shading types - can't think of anything else to do.
.blend FIle

Did you try recalculating normals (Ctrl+N) instead of flipping ? Related - http://blender.stackexchange.com/questions/12165/make-all-of-the-faces-flip-to-the-right-direction

Yup, this is the result after doing that actually.

Try Mesh > Symmetrize
thats how i solved this.
It's a bit late, but better late than never

You have custom normals on this model, the normals for some reason now point in strange directions.
In the mesh properties navigate to "Geometry Data" and press "Clear Custom Split Normal Data".

If you are using Blender 2.8 then another option you can try is to switch off "Auto Smooth" in the Object Data tab

Auto Smooth, Recalculate Normals and Symmetrize did not work for me. In case these also did not work for others, here is the solution that worked for me:
Select mesh, go to Edit Mode, select all faces, go to Mesh menu at top of 3D viewport in Blender 3.0, Normals > Set from Faces.
Note: After this operation your mesh may look flat shaded. It is most likely not flat shaded. Therefore, don't waste your time trying the Smooth Faces operation. Instead in Edit Mode with all faces selected, you may notice they have all been switched to Sharp sdges. To fix this use: Ctrl +  E Edge Menu > Clear Sharp.


text:
Blender Surface Roughness
I'm trying to model a cube with a rough surface on only one side of the cube, while keeping the other sides relatively smooth. I've been looking around, and so far, all I can find is subdividing and then the displacement modifier. I'm pretty new to Blender, and I'm confused as to how I can apply a rough surface ( not just textured with an image - I'd like the cube to physically have those bumps ) to the cube? I can only find tutorials for working with a plane and making it rough via subdivisions. Any help would be greatly appreciated!!
EDIT: @Carlo, yes it's because I'm unable to pick on of the six faces. Basically what I'm looking to do is to create only one surface of the cube rough, while every other side remains smooth. Does this clarify my question a bit? Sorry about the delay in response!

Welcome to Blender.SE! Could you explain why the subdivision+displace workflow doesn't fit your needs? Is it because it makes other faces pointlessly subdivided? Or because you were not able pick one of six faces in the displace modifier?

Solution is simple:

You go in edit mode and select desired face.
Click W, than select Subdivide.
Either repeat previous step multiple times or on the bottom left part of screen you will see a value Number of Cuts that you can adjust to your needs.
Select the subdividen faces and in Mesh tab add a new vertex grop and assign those objects to it.
Add displacement modifier, select the verex group under it's setting, select texture and adjust values.

Done! ;)

thank you so much! However, when I go apply the subdivision modifier to get a smoother surface, the subsurf modifier distorts the rest of my cube as well - is there any way to have it just smooth out the one side of the cube? It looks like selecting the "simple" subdivision algorithm, it doesn't distort the shape as much, but it still distorts the sides of my cube a bit?

Hm... I don't know that much. As I am a game developer, I have not paid much attention to high-poly things.


text:
Transparent backround in GE?
I am taking some screenshots in the game engine, but I wondered about something. Is there a way you can have your background of your scene be transparent? I can take the picture into a paint program and give a transparent background, but I've wondered if I can do this in the GE. Any help is appreciated, thanks!

As far as I know screenshots do not know transparency.
As a workaround you can use a chroma-key technique to determine the background. This means you use a background color that is not used somewhere else in the picture and use it as transparency. This way you can easily remove that portions in your image editor.

If screenshots don't know them, then I guess this is the best way. Thanks!


text:
"In-Animation" Property?
I have a little game I am working on, and I ran into a small issue. When i do a weapon swap, an animation plays of the gun coming out of the bottom of the screen, but you can still shoot while you are not supposed to. What a player can do is immediately swap between a sniper and a secondary and the sniper will be able to shoot as fast as a rifle. How can I have a property set to 1 when a certain animation is going on and set to 0 when the certain animation is completed?

You can do this somewhat easily by using a logic setup similar to this.

It basically works by having your button that triggers the weapon change (in this case we are using X) assign a Boolean property Playing Animation?  to be true.
When this property is true, it adds to the frame property. This plays the animation. once this is working, it is fairly easy to make it so that it will Not fire when the animation is playing. To do this simply have a property sensor detect when the Boolean Playing Animation? is false. When it is false, you can press Spacebar (or any other key) and it will shoot your projectile.
This can be seen here. When the animation is playing it will not shoot the plasma blasts.
(it is a jump animation here, but it could be anything, that includes a weapon reloading)

If we shorten the delay between pulses for the keyboard sensor, the plasma coil will fire faster.


text:
Hold down mouse click but not tap?
The title basically says it all, but not in any explanation. I have a weapon, and, for instance, it fires every 30 tics if you hold down mouse click. I am not sure how fast 30 tics is as of now, but I know I can say someone can click fast enough to shoot faster than expected and implemented. How can I have clicking also work at 30 tics in logic bricks as simple as possible?

This is very easy but you are thinking about it from the wrong approach. Instead of setting a delay between the positive pulses, Create a reload property that is always increasing as long as that same property is less than a specific amount. In this case, it is 30.

Then have another property sensor limiting the mouse's input so that it will only send a positive pulse when the reload is at 30.
When using a system like this, you can hammer on the mouse as fast as you want, but it will only fire when the reload property reaches 30. and as soon as you click, The reload property starts increasing until it reaches 30, where you will be ready to fire again.

Ah. I already have an extremely advanced recoil system I setup, and I was hoping this would we as simple as one sensor with some adjustments. Anyways, thanks!

Depending on how complicated your recoil system is, It shouldn't be too hard to just have the left click and reload equal to 30 sensors go into the controllers where you previously just had the one mouse sensor.

I mean yes, it wont be hard but it will be extremely dirty.


text:
Rigify controllers not moving arms
I used human model with human pre-made bone structure. I aligned it with my model, used Rigify and parented (with automatic weights) the created rig to my model.

Most controllers move the model as they should but there are three green circle controllers from shoulder to the wrist (that have a center green line that goes through the arm) that don't move the model if I move them, and if I move the hand with other controllers, the green line with circle controllers stay in place. Can I fix this?
blend file: https://we.tl/t-O0Z62vHN3F

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

Hi. That's normal. The green control are the FK controls. The red ones are IK controls. You can switch between them and make them snap to each other with the Rigify buttons in the side panel (N). There are also buttons to hide them. I've added a screenshot to your question that shows the buttons. The switch is called "IK-FK (hand-R)". Enter 1.0 to switch to FK. The snaps are below. Make sure to select an arm bone to see it.

For better performance and results, I would swap the Armature and the Smooth on the modifier stack of the model. The stack works from top to bottom, and you want to use the Armature modifier to deform the mesh first, and then the Smooth modifier to smooth it, not the other way around. Overall, the deformations look good, with the exception of the index finger and toes. You might want to optimize the bone layout of the metarig and regenerate the rig. Here are a few tips for the fingers: https://blender.stackexchange.com/q/258576/107598


text:
Trying to customize the T-shirt print
So, I'm trying to customize a stamp onto a shirt. I did the UV Mapping but when I upload the image in my software for it to be applied to the shirt, this happens:

Beside the shirt there's another object that went correct. It is not my object and I'm using it as reference.
This is just a draft but I want the image to appear this way on the shirt.

On my software, I upload the .mtl and the .obj. I use the OBJLoader from threejs to do this.
Can someone help me with this? Thanks!
Blend file: https://files.catbox.moe/hyynml.blend (80 MB)

Can you share your Blender project file? Instructions for sharing.

Sure, here it is: files.catbox.moe/hyynml.blend , I just couldnt upload at the mentioned site because my project is larger than 20mb. And I'm a total newbie at blender  so sorry for the mess.

It could be z-fighting because the print is a separate object and you have shrink-wrapped it on the shirt. If you switch to Solid shading mode (key Z) and zoom out a bit you will see something similar in Blender. (However, it does not happen in render mode.). I recently saw this “shrink wrap” technique being used for customizing game models. Do you need the ability to swap out the print, or would it be ok to bake it onto the shirt (texture baking)?

Hello and thanks for the help! Basically, when I upload an image into my software, it reflects at the shirt's print. I don't know if the baking could invalidate this idea. But the object beside the shirt works perfectly when uploading an image and I dont know what I did different for the Shirt not work.

Also, I tried to create a distance between both objects of the shirt and it keeps happening: https://imgur.com/wDdjhsJ

The cylinder has a lot less vertices than the shirt and it's only one object. The shirt and the stamp are high-poly (not sure if this is relevant). With the distance, it still looks odd. But apparently, it's not z-fighting. In which format do you export the models? I've just exported it as glTF 2.0, imported it into https://threejs.org/editor/ and set the Environment to Modelviewer. It looks good. You could paint/bake the print on the shirt, ignore/delete the print object (OBJ.001), and see if this works.