text:
How to distribute / align objects in a line or grid with even spacing?
Very often, when importing multiple objects from an asset kit they are all centered in a scene and need to be manually distributed, so it is easier to work with them.
I was trying to find an option for this in blender, but couldn't get close to any good solution. Hence wanted to ask here if it is possible to somehow select all of these objects and automatically distribute them in a line (say on x axis) or even better some sort of grid (rows and columns) with even spacing?
For example, how to get from this (multiple objects centered together)

To this, objects evenly distributed in a grid (or line). I did this manually, but ideally this should be automatic?

Hello :). Blender can't distribute objects right now. You can use the Oscurart Tools addon or the Distribute Objects addon

Maybe enabling "snap to grid" and grabbing them by hands can be fast enough?

You can actually use Python and do it programmatically

There's an ol'-school method to distribute your objects on a grid made for the purpose, here with 'Faces Only' deleted:

Add  or link your assets to a collection.
Give your display grid a particle system, set to emit [ its vertex-count ] particles, all at frame 1. Non-random, from vertices, particles with a long life.
Particle Physics : 'None'.
In the system's 'Render' panel, set to render the collection, scale 1, no randomness
In the (collection-context) 'Collection' panel, check 'Object Scale' and 'Use Count', with default (1-per-item) setting.

In the grid's modifier stack, you can convert the particles to real instances.

With a bit of fiddling with Mesh > Sort Elements on the grid,  you can even order the instances rationally, as you wish, in the 'Count' panel

For your purposes, this ought to work:

Select all objects.  Use a randomize transform operation (which I use the search function to access.)  On the operator box (f6 or f9, depending on initial setup settings), adjust the Y and X values to something appropriate to your scene-- for the four objects shown in your pic, let's say 5.

Optionally, snap selection to grid, which I access from the shift-s snap menu.

This isn't perfect.  There's a chance that objects will occupy the same space.  That chance goes down as you use a larger random transform.  Not all grid spaces will be occupied.  It's just, something fast and easy to do in order to distribute a bunch of stuff so that you can see it.

You could do it programmatically in Python.
Here is how to generate equally spaced pillars.
You can adapt it by creating an array of references to your existing objects.
import bpy
import math

pegboardDiameter=100
pegboardHeight=3

pillarDiameter=1.85
pillarHeight=2

pitch=5

gridSize=14

for xi in range(0, gridSize):
    for yi in range(0, gridSize):
        xPos=-(gridSize-1)*pitch/2.0+xi*pitch
        yPos=-(gridSize-1)*pitch/2.0+yi*pitch

        bpy.ops.mesh.primitive_cylinder_add(
            radius=pillarDiameter/2.0,
            depth=pillarHeight,
            location=(xPos, yPos, (pegboardHeight+pillarHeight)/2.0),
            scale=(1,1,1)
        )


text:
What is this group that applies transforms onto objects?
I downloaded an asset kit which when imported into blender places objects inside some sort of group (screenshots below). On their own objects have incorrect size and rotation, but when placed within this group, they appear as they should.
I want to cleanup this asset kit and remove these "transform" groups so I am just left with my objects, I can do this, but it seems like very manual work (I need to delete transform group and then manually apply its changes onto an object). Perhaps there is an easier way?
So, this is how it looks in outliner, group I am asking about is one with icon that has 3 branches

This is transform that this group has, which actually makes object look correct

And this is transform that object itself has

That's an Empty, you could parent objects to that empty and that will become the new world zero for the object. Your object has keyframes (that's why is green) and probably that's the reason for the "incorrect size"

source: Stack Exchange

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

sort: votes


text:
How would I combine hard surfaces and soft surfaces for rigging a robot?
I've been struggling for awhile now to rig a robot with a "rubber covering" over the midsection while the chest and waist stay solid, unbending or moving while the rubber portion bends and stretches to connect to both parts. Is there any way to manipulate the mesh/armature/weight paint to make it work properly?

Here is a 'robot' that has a chest, waist, and mid section.  It's fairly simple, but it does for exposition:

I'll explain the loop cuts in the middle section below.  The top cube serves as the 'chest. The middle cube as the 'mid section' and the bottom cube as the 'waist'.
I added an armature.  It's very simple and the parent hierarchy is also simple.  The chest is the child of the upper mid section. The upper mid section is the child of the lower mid section. The lower mid section is the child of the waist.  Notice that I named the bones to match their roles.

Also notice the position of the head and tail of the bones.  They match the center of the horizontal planes that make up the parts of the robot.  This will matter in how well deformation works.
In object mode, I parent the robot to the armature, selecting "with empty groups":

You could try automatic weight painting, but since this robot is simple, I decided to populate the groups by hand.  To do this I select the robot, then shift select the armature and then type CTRL-p to bring up the parent menu.
This is where I differ with the first answer to this question:  The vertices of the shared planes should go in vertex groups for both of the bones that meet at the plane.
The next four steps involve selecting vertices and adding them to the vertex groups that were created by parenting.  First I select the robot and go into edit mode.  Next, I select a vertex group from the Properties editor -> Object data properties -> Vertex Group list:

Notice that there are four vertex groups and each one has the same name as one of the bones.
I make sure the weight is set to 1 and then I select the relevant bones.  Since I selected the chest vertex group, I pick:

I click assign in the vertex group list to add those vertices to the Chest vertex group.
Next I pick mid section upper and the bottom of the chest as well as the upper half of the mid section:

I click add to add these to the mid section upper bone.  The other two bones are
mid section lower

waist:

To see why I placed some vertices into more than one vertex group I select the armature and in pose mode, I rotate the chest:

As you can see, and as you should expect, the middle part of the robot has deformed as a result of the chest movement.
Now look at this pose where I rotated the mid section upper:

It shows a rather bad deformation at the middle of the mid section.  This is where fractional weights come into play.  That bone should also gently deform the next part of the mid section as well.  This is where weight painting becomes important.
I also said I would explain the extra loop cuts.  As you can see this robot doesn't deform very smoothly.  The more loop cuts you add the better the deformation will look but the harder that weight painting will be.
Unfortunately this answer is very long already and there's really a lot to weight painting.

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


text:
how to fix jagged vertices
I've been having trouble with jagged vertices happening in more detailed parts of my sculpture. I've tried just selecting those jagged areas and subdivided so I could just using the smoothing tool, but they don't divide, the other areas around will though. I've also tried just smoothing the area then trying again, but because its all one area, it comes up together and is all jagged again. The only other option I see at this point is to subdivide the whole sculpture, but I'm afraid if I do that once or twice again I feel like that will create to many vertices and crash the program forever, this is what happen to my last version of this project. If you have any solutions, please let me know

A similar problem happened to me 1-2 days ago. I feel like making your settings lower so Blender doesn't crash and then subdividing the whole sculpture might work. But that's just a guess so it might crash it forever as you said.

Hey I'm new to blender, what exactly does 'making my settings lower' mean and how do I do it? Also thank you for answering for my question in the first place.

Like, lower your graphics settings so it doesn't lag much and doesn't crash.
I don't exactly know how else to explain it.

Thoose jagged artifacts are happening because you're trying to push the geometry over its natural boundaries: the mesh should remain evenly spaced, manifold, without overlapping and intersecting geometry.
This can be reached with more subdivisions and an accurate building of the strokes.
3k vertices is extremely low for a sculpt, this level should be used only for defining main planes and forms, further details need lot more geometry, it's usual to go up to 100K for a mid detailed model, and more than 1 milion for a full detailed one.
Make some experiments to check which is the number of vertices your machine can handle without crashing or lagging, and make use of Dynamic Topology, which adds geometry only where you sculpt.
During learning process, I find it useful to turn on the geometry viewport overlay, to better see the effects of strokes and dynatopo.
Be aware anyway that fixing the problem with so little geometry is simply impossible.


text:
How to make beveled hole without boolean
I am trying to make a hole through my object without using boolean, but my hole is beveled. It looks something like this:

Is there a way to do this without boolean?

You can use the Knife Project tool but why don't you want to use boolean in this case?

@moonboots Because of topology, I wanna use quads

Is your object flat or is a cube? do you have a reference image? maybe share your object?

Yes, I am trying to recreate this charger hole into my iphone model  https://imgur.com/a/J509vJk

boolean is not necessarily a problem, nor tris and ngons, also if you plan to use a Subdivision Surface you can use less vertices

It may be not a problem to use tris for example, but if you want quads only you could go the other way around, extrude your shape:

Then flatten its edges to have your square:

Note: Boolean is not necessarily a problem, nor tris and ngons, also if you plan to use a Subdivision Surface you can use less vertices. Topology with tris:


text:
Prevent overlapping using distribute points on faces node in geometry nodes
I want to prevent overlapping while I'm using distribute points on faces node, I have no idea

I'm definitely interested in this as well.  To prevent overlap it needs to read in a bit about the geometry of each instance.  I have a similar issue where the geometry being instantiated on each point has random sizes within a range and I'd like to prevent them from overlapping as well.

The only option you currently have with Distribute Points on Faces is to use the Poisson Disk option, and set the Distance Min value accordingly.
Here I instantiate circles with a radius of $0.1m$, so I set the Distance Min value to $0.2m$.

Mine node looks a bit different, I don't have distance min option

@Eneary You would need to switch the node from Random to Poisson Disk. Here is the documentation: https://docs.blender.org/manual/en/latest/modeling/geometry_nodes/point/distribute_points_on_faces.html

Didn't see this one, my bad, thanks


text:
Delete vertices with the same position in a one geometry in geometry nodes
Here I have a simple node tree which result has vertices with identical location. There are 8 point and 2 pairs of them are at the same spot I need remove them. I tried to do so with my transfer and capture attribute nodes according to position node

I have no idea what you actually want to do here, and judging from your comment on the existing answer, your question also seems to be worded a bit fuzzy, but you could replace the node Split Edges with Convex Hull. Another possibility would be to select the vertices to be deleted by index or by their position.

You are talking facts, but that is not what I will be able to do if a have several of these

Then please be so kind and describe a little more precisely what you actually want to do here, because I honestly don't quite understand it either, which is why I wouldn't write an answer here yet.

I have a castle, it is  ready and works well, but there is an issue that I just can't figure out: castle has peaks at the top, they are distributed using vertices on edges, the problem is I can't delete that middle edge which creates unnecessary peaks which I want to delete. Since the castle is procedural it can be having any shape normal castle would have.
If I want to delete these I need to have an access to every pair of edges that have the same position and then delete them using position node somehow.
I separated edges on purpose to implement this idea

Not sure of what you will do with that, so it may not work for your case, but it seems to be working fine to me.

This node tree will delete all points that share the same exact location, like the ones produced by the Split Edges node:

You can also change the domain of the nodes to Edge to delete edges in the same position:

$$\text{Explanation}$$
When transferring data from the nearest, when there's elements in the same position, the nearest element will be the same despite the existence of two or more elements equally distant. (Not sure if that happens in all cases)
We can use this behaviour to identify elements that share the same position if we transfer the index using the same geometry as target:
Here the highlighted elements share the same position:

We can see that the transferred index is the same for the elements in the same position. These are the elements that should be deleted, but for that a selection of all elements that have a repeated transferred index is needed.
To get the selection we first accumulate $1$ using the transferred index as Group Index, then we check if the total accumulated is greater than $1$, if it is, then the element share the position with another element.

EDIT: Using the Sample Nearest node for more recent versions.

This one still assumes that the index returned by the Sample Nearest node will be the same for all points that share the same position.
Also, there was no need for using the Accumulate Field node, just compare the nearest index with the current.

That totally works, it is exactly what I wanted except I actually wanted to delete edges, but that's my mistake, thank you so much

Has anyone a node setup doing the same in 4.0 nodes, since the transfer attribute node doesn't exist anymore?

How can you do this in 4.1? The transfer attribute is different

@Pyratae I added the updated node tree to the post.

Does the merge by distance node work for you?


text:
Fix shade smooth in geometry nodes
Is there any way to fix that ugly look created by shade smooth? Can I use auto smooth directly in geometry nodes somehow? Because it looks okay with auto smooth, but it is possible only when nodes are applied.

This can't really be avoided when extruding a mesh with Extrude Mesh.
There is, however, an approach with Geometry Nodes that will give you a correct smoothing: Curve to Mesh.
However, you would have to do it structurally a bit differently:

Here I first extrude the letters with Curve to Mesh, but without Fill Caps.
I create the caps manually by placing the letters at the start and end points of the curve along which the letters are extruded.
To make sure that the mesh is closed and has correct normals, I apply the node Flip Faces and Merge by Distance to connect the individual elements correctly.

Let's hope Normal manipulation comes to GN soon

@RobinBetts Oh yes, I think there are some important nodes on our wish list by now ;-)

I don't seem to be seeing differences between extrusion and your method. I'm bending it along a curve

I found a way to do what I wanted. I just need to make that text with auto smooth enabled and just put it as an object then I will have a nice smooth text that I can bend along the curve inside geometry nodes. Guess I can call this a semi-procidural technique


text:
Make quadrilateral curves the exact size of the faces they are on in geometry nodes
I guess that I can get an area of each face by using "face area" node but what I do not understand is how to use this information. I need each point to have the exact size of the faces they are on. These points are distributed on faces by using "mesh to points" node, then I'm telling the system that I want them to be on a certain faces and making them rotate correctly, these all work. But there is a problem, I don't understand how to make my point sized correctly, my points are representing quadrilaterals, the curves, with the size that I can control in editor.
My idea was to use "capture attribute" node and then plug it into "scale" socket of "instance on points" node, but then I realized that I can't do that, because I have the height and width of a curve and I'm just evenly scaling it, this is definitely not the right way of doing this

I don't suppose generating the items from the faces is an option?

It's an option now, I have found what I wanted, it's a "transfer attribute" node

Or... Split edges, convert to curve?

You have two options here:
Variant 1
If you have instantiated the quadrilateral curves at the faces, you only need to transfer the positions of the Face Corners of the original mesh to the points of the curves:

Variant 2
As @RobinBetts correctly mentioned, this can also be solved by directly converting the faces of the mesh to curves:

(Blender 3.1+)


text:
Rotating problem with an object going along the curve in geometry nodes
I have a problem with my object on a curve, it works, it goes along the curve, works fine except that this object is rotating around its axis, I don't want this behavior

To control the tilt, you'll need to align a second axis using the first as pivot.
You can align to the curve's normal which is controlled by the tilt of control points:

or, in this case, you can align up ($+Z$) using the vector $\left(0, 0, 1\right)$:


text:
Ngon on the top of the cylinder
Should the ngons on the top of the cylinder be avoided or not?

They're usually fine, if isolated with an inset like that. I don't know how yours got twisted, though...

As long as you know that it'll be triangulated when rendered or brought into an engine and can deal with the results, you can model whatever you want. :p

An easy way to guarantee a 'look' is to run the command 'poke faces' with the ngon selected.

@AllenSimpson wouldn't that create a star looking artifact?

At worst, yes, but the way it looks here it should be flat

As long as the ngon is planar, and planar with all of its neighbors, and convex, it doesn't matter how it gets triangulated (including via poke faces) for purposes of smooth shading or for purposes of C-C subdivision, which are the two things people generally care about when they're dealing with topo.  For vertex color or distorted UV, the ngon may not be desirable, and the poked face will probably be what most people want.

Thanks for the explanation, but I have one more question that haunts me for a week.
I created another model and it's center has a UV sphere's top look, which causes the artifact, do you know how to fix this? I simply can't rid of it, it connects everything in the model and it shouldn't be flat

Hi Eneary :). Please post your last comment as a new question. You'll have better chance to get an answer ;)

Form follows function
It is all depends on what we need the geometry for.
If we are going to work with procedural geometry, and we will use such modifiers as bevel or boolean it's better to have ngons, because the faces of the model, which will be affected by the modifiers in this way will have simple topology, and therefore they will be easier to interact with the modifiers.

It is different if we are going to use Subdivision Surface modifier. In this case there is a special workflow in which mesh consists only of quads (faces with 4 vertices), to have nice shading and avoid artifacts.

Another option if we work with game ready models. When we are modeling lowpoly(or doing retopology) we can work with both types: ngons and quads. Ngons help to reduce the number of vertices, working with quads make UV unwrapping easier. But before baking textures and exporting to game engines we must triangulate all model to avoid baking and shading artifacts in future.

This is due to the fact that all faces consist of triangles, but each engine interprets triangulation differently, so that we do not leave triangulation to the engine we have to make it ourselves, so that it has only one single triangulation throughout the pipeline - the one we made.

This might be one of the best short summaries on this topic :)). Bookmarked and will direct similar questions here :)

@JachymMichal, Thank you for your comment, I am honored. =)


text:
Trouble Installing Packages for Blender Python
I'm having issues installing certain packages in Blender 2.93's python on Windows. I also have Python (3.9.5) installed on my system, which might be causing the interference. I was able to get opencv installed with the following steps:

Go to the path where your blender python is stored: cd "C:\Program Files\Blender Foundation\Blender 2.93\2.93\python\bin"
Check that pip is working for Blender python: ./python.exe -m ensurepip
Install your packages: ./python.exe -m pip install opencv-contrib-python

This worked for opencv, but doesn't work for mediapipe. I have mediapipe installed on my system python and it works fine. But when I try to run it in Blender's text editor I get an error that a dependency google is not installed but it should be. What should I do? I'm trying to setup BlendyPose by the way, but hit this wall. https://github.com/zonkosoft/BlendyPose
Thank you for the help!

it may be worth reading: https://github.com/robertguetzkow/blender-python-examples/tree/master/add_ons/install_dependencies#installing-the-package and https://github.com/nortikin/sverchok/commit/71e8c5c544e7476813399ccf05e3e9f4ee85b64d


text:
How does vitamix blender works
I want to know how does a Vitamix blender works? and its worth with money? I saw there are few vitamix model price around $400 to $500.

I’m voting to close this question because this is a question about physical blenders, will blender.se is exclusively about the usage of the 3D content creation software Blender.

Maybe read the rules on the seasoned advice (cooking) stackexchange and possibly post the question there.

I need this text as a description for Blender.SE site :). Please. Just for one day.

The tags tho :)

I want this tagline.
@Pamela, no hard feelings, this is just too good.

The vitamix addon can do fracturing, particles and liquids in real-time!

Don't forget that Vitamix oven though. Great for baking and stuff...


text:
moving bones messes with the mesh
When I move the bones, the mesh gets affected weirdly and I don't know what to do. I have checked that the weight painting is done correctly.

that certainly looks like a weight painting issue.  Can you add your blend file to your question?

I am new to blender stack exchange, how would I attach a file?

Grab the URL of the question
Go to https://blend-exchange.com/
Select the blend file
Add the url of the question
Grab the url that results
Go back to the question and edit it
Add the new url to the bottom of the post

blend exchange doesn't seem to be working for me is there any other way?

Just simple weight painting problem. I suggest you to see a tutorial-video on youtube or so

I already have, and I have checked that all the weight painting is done correctly.


text:
The specific .BLEND file does not open, blender simply closes on execution
I have a problem that is bothering me. I use blender 2.79 and, when trying to open a specific .BLEND file, it just closes, without any explanation of the crash. I've tried to open it in several ways, using .BLEND1, dragging it to the window and it just closes when opening that specific file. But when opening other files, they open normally, so the problem is happening exclusively with my file, I don't know if my file is corrupted or the problem is blender, so I'm here to ask for help. Thanks in advance!

can you share the blend file?  Also, have you tried opening it with later versions of blender?

If the file has been overwritten in a more recent version, (eg 2.93) it may not open on older versions. If you open the file with the notepad the first few characters will be unencrypted and show you the version it has been saved as.


text:
How to make shadow catcher object invisible in mirror?
I modified and added this car model to my scene but it was having no side mirrors. So I made mirror plane and added mirror material to it but to cast car shadows on HDRI, I used shadow catcher object which is visible in mirror. How do I make the shadow catcher object invisible in mirror also?
Here's render preview:

You need to select the plane (shadow Catcher), then go to Object Properties > Visibility. there you will find a "glossy" checkbox that you need to uncheck

@Emir this makes no sense, because than you won't see the shadows in the mirror....

Take a look at this answer here: https://blender.stackexchange.com/questions/89671/shadow-catcher-makes-background-objects-invisible.


text:
Black patches in bump texture

How do I get rid of these black patches? I want a clean render.

Material Node Setup

higher bump values tend to give those black values. reduce the bump intensity and see if it works

Any suggestions to keep that bump look preserved and reduce values?

reduce the value in very small amount. if this doesn't work, i think I would try displacing the plane with a displace modifier... that might slow down the renders though...


text:
Realistic firework simulation
I wanted to create a firework simulation but the blast particles look weird as if they are in a trail. I wanted to know what are the particle's settings for an instant explosion like in real fireworks.
Render Preview:

There are lots of tutorials on yt for that….

Did you enter a Randomize velocity for the particles or are you just using Normal velocity? And does the emitter have a small amount of faces?

A few pointers in addition to those made in the comments:

Add some Damping, Drag and maybe even Brownian to the physics to make the particles slow down in mid-air. The sparks from a firework are very light and slow down quickly when travelling through the air. This can be found in the Physics panel.
Add some glow to those particles. In Eevee this can be achieved with the Bloom setting, but in Cycles (and I can see that's what you're using,) you'll need to add a Fog Glow (in the Glare node) in the compositor. It looks like you've already added a lens flare so you're almost there already.
Maybe use Forces like Wind or Noise to add a little extra granular motion to the particles. At the moment they travel linearly and die. On that note,
Randomise the lifespan a little more. They all seem to die within the space of about 3 frames which, in my opinion, is a bit too uniform.

This is all for just the one firework you've shown us. It'd be cool to see a variety of fireworks with different effects going on too!


text:
How to create cloud using noise texture on a specific place?
I'm trying to create clouds using noise texture in world. I would like to keep all the clouds up and not any below horizon. How can I do that? Also, I cannot create clouds using mesh or any other volume nodes cause my pc would explode.
Node setup for world texture and render preview:

Take the Generated texture coordinates, separate the z value, and use that information to create and adjust the horizon.
This can also be used to simulate a flat cloud base (i.e. flat-bottomed clouds, which is somewhat related to the concept of a cloud ceiling).
Please see the below node setup for details (note, I adjusted the Mapping—highlighted in yellow—to provide a more dramatic example):

Hope this helps! Peace and God bless!

I did not get this. It did nothing. Can you share the .blend file?

I've edited the post to include a link to the .blend file directly above the screenshot.


text:
Delete Mesh Menu Custom Items
Wanting to learn how to create meshes using Python, I followed along with this tutorial:
https://www.youtube.com/watch?v=8wd_EAov6ZE
However, a new "Add Object" is getting added to my Add Mesh menu every time I run the Python code. I've searched all over the internet and haven't been able to figure out how to delete them. It would be even better if, every time I ran my Python code, it would replace the previous "Add Object" rather than adding a new one.
Here's the code
bl_info = {
    "name": "Bilal's Object",
    "author": "Bilal",
    "version": (1, 0),
    "blender": (2, 80, 0),
    "location": "View3D > Add > Mesh > New Object",
    "description": "Adds a new Mesh Object",
    "warning": "",
    "doc_url": "",
    "category": "Add Mesh",
}

import bpy
from bpy.types import Operator

from bpy_extras.object_utils import AddObjectHelper, object_data_add
from mathutils import Vector

def add_object(self, context):

    verts = [
        Vector( ( -0.291521, -0.036571, 0.272471 ) ),
        Vector( ( -0.143110, -0.036571, 0.272471 ) ),
        Vector( ( -0.143110, -0.526643, 0.272471 ) ),
        Vector( ( -0.291521, -0.526643, 0.272471 ) ),
        Vector( ( -0.291521, -0.036571, 0.144022 ) ),
        Vector( ( -0.143110, -0.036571, 0.144022 ) ),
        Vector( ( -0.143110, -0.526643, 0.144022 ) ),
        Vector( ( -0.291521, -0.526643, 0.144022 ) )
    ]

    edges = [ ]
    faces = [ [ 0, 1, 2, 3 ], [ 4, 5, 6, 7 ],
              [ 0, 4, 7, 3 ], [ 1, 5, 6, 2 ],
              [ 0, 1, 5, 4 ], [ 3, 2, 6, 7 ] ]

    mesh = bpy.data.meshes.new(name="New Object Mesh")
    mesh.from_pydata(verts, edges, faces)
    # useful for development when the mesh may be invalid.
    # mesh.validate(verbose=True)
    object_data_add(context, mesh, operator=self)

class OBJECT_OT_add_object(Operator, AddObjectHelper):
    """Create a new Mesh Object"""
    bl_idname = "mesh.add_object"
    bl_label = "Add Mesh Object"
    bl_options = {'REGISTER', 'UNDO'}

    def execute(self, context):

        add_object(self, context)

        return {'FINISHED'}

# Registration

def add_object_button(self, context):
    self.layout.operator(
        OBJECT_OT_add_object.bl_idname,
        text="Add Object",
        icon='PLUGIN')

# This allows you to right click on a button and link to documentation
def add_object_manual_map():
    url_manual_prefix = "https://docs.blender.org/manual/en/latest/"
    url_manual_mapping = (
        ("bpy.ops.mesh.add_object", "scene_layout/object/types.html"),
    )
    return url_manual_prefix, url_manual_mapping

def register():
    bpy.utils.register_class(OBJECT_OT_add_object)
    bpy.utils.register_manual_map(add_object_manual_map)
    bpy.types.VIEW3D_MT_mesh_add.append(add_object_button)

def unregister():
    bpy.utils.unregister_class(OBJECT_OT_add_object)
    bpy.utils.unregister_manual_map(add_object_manual_map)
    bpy.types.VIEW3D_MT_mesh_add.remove(add_object_button)

if __name__ == "__main__":
    register()

And here's a screenshot of the Add Mesh menu:

I think it would be troublesome to do it that way, every time you run the script the add_object_button gets assigned a new value in memory and you can't easily access previously added instances of it to unregister it. It may be a hassle if you're developping your script still, but consider running it as an add-on rather than in the text editor, that way the unregister method will take care of removing the button.

Blender > System > Reload Scriptswill remove all.  https://blender.stackexchange.com/questions/131290/how-to-remove-add-object-menu-entry-from-add-shift-a-mesh-after-running-scr


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Material alpha/tga textures?
I'm sorry about the title being vague, I wouldn't say I'm a noob in Blender but sometimes it's hard to find the right words to describe issues when you've not explored the software completely.
Either way, I'm still learning about materials & textures, and I've downloaded this model of sick sexy cowboy man Arthur Morgan. The issue I'm having is that objects that should accommodate transparency (like his eyebrows and hair) show up opaque with a black background; when the pictures used in image texture have an alpha channel preventing that.
Here's a picture of the issue as well as the nodes setting on the material, and a picture of all of the kind of material images included in the model's folder. I've only used the normal map and the image texture so far, the others I honestly still don't know what they're for lmaooooo
tysm!!!

try connecting the alpha from the image to the alpha of your princial bsdf

Are you using Eevee? If so, it may be because your material needs to be set up to allow alpha transparency
Go to the material tab (in the properties window, by default to the right, Behind where your textures are in the screenshot) and, with the material in question selected, scroll down until you get to the Options panel.
Underneath Options you should see a drop down menu for Blend Mode. Change this to Alpha Clip or Alpha Blend (which ever works best for your material at the time).
Your character may be made out of several objects with several materials, all of which will need this adjustment, so don’t get confused if, by fixing the alpha on the eyebrows, the hair still looks off for example.


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Videos from my cell phone have slow playback in VSE preview
Usually when I drag a video from Zoom or my Cannon camera, the preview will play back at full speed. However, when I drag in a video from my cell phone, it only gets ~3 FPS. (Interestingly, the video plays at full speed in VLC.)
I have tried playing with the frame cache and proxy settings, and while it helps with a section of video that has already been played without av-sync, this does not answer the question of why my cell phone video decodes slowly.
Is there some type of preprocessing or transcoding that can be done with something like ffmpeg before importing it into Blender?
If you recommend transcoding, then what settings would you use to minimize recompression lossyness?
I am using Blender 2.83 under Linux.
Thank you for your help!!1

https://blender.stackexchange.com/questions/195339/movie-recorded-on-phone-reports-inconsistent-number-of-frames-when-imported-to-b/195341#195341 and https://blender.stackexchange.com/questions/185150/image-overlay-out-of-sync-with-timeline-after-rendering/185155#185155 and https://blender.stackexchange.com/questions/190742/blender-preview-in-video-editor-is-really-slow-barely-using-my-computers-resou/190769#190769

Good information, but what codecs is blender most effective at rendering? Can I use ffmpeg to preprocess the video and avoid using "Prefetch Frames"?

For faster rendering out of Blender you can find some of the parallel rendering options listed here: https://blenderartists.org/t/video-sequence-editor-news-add-ons/1188770 The fastest output codec AVI JPEG or AVI RAW, but you'll have to Render Audio... and merge it afterwards.
For rendering proxies faster - to avoid using Prefetch Frames - try this add on: https://github.com/cgvirus/blender-vse-easy-proxy


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VSE: can you modify strips trapezoidally (skew)?
I know I can modify strips in scale, position, and rotation. however, I want to modify an image strip to overlay a projector slide from a video, but to make the aspect ratio look like the scene, I need to make the right corners closer together than the left corners:
As you can see below, the overlayed image is square but the projected image behind needs a small amount of trapezoidal skew to keep the perspective the same.
There is no 3d Blender, this is all VSE with existing video footage and a higher resolution original slide because the projected one was washed out in the camera footage.
Can Blender provide a trapezoidal skew, if so, how?

simple answer: VSE in vanilla Blender cannot do this AFAIK. But it is pretty easy to just setup a new scene for that. For the background, just add an image as plane and use your background video footage. Then add another image as plane and move and rotate that as you need it. Use your projector footage for that and add a camera and render it out.

Does this answer your question? How to transform a strip in the vse in a non-uniform way? and transform (distort) image in the VSE But the short answer is: no, you cannot do that in the VSE.

@GordonBrinkmann, I accepted the suggestion, thanks for that.   However, in our case we skewed the image externally using a netpbm pipeline, mostly with pamhomography: for i in *.png; do echo === $i;  pngtopam -alphapam < $i | pamhomography --to "964,1628 2996,1700 3016,2920 976,2980"  |pamscale -xysize 512 338 | pamcomp -mixtransparency -xoff=244 -yoff=407 - 1920x1080-alpha.pam| pamtopng > scaled-$i ; done

@KJ7NLL I'm sorry, I have no idea what these hieroglyphics mean :D But your question was if you can do this in the VSE somehow, so I'm not sure what you want to tell me with this external skewing...


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Where did my texture paint go?
I spent hours texture painting a horse model, but when I did a File->Save As and re-opened the new file the texture was still there but the paint is gone.  We went back to a backup from yesterday and the day before, but both files behave the same way.  I'm using Blender v3.3.0.
This is what I remember doing.  The program was open the whole time until the bottom of item #3 where I closed and re-opened:

A day or two of texture painting.

This was done in "horse.blend"
Then I did File->Save As "blender horse cantering sonali 2.blend"

Setup the rigging
The saddle:

I opened a saddle document that was made in v2.93.9 in my current v3.3.0 version
Copy-pasted from the old file to the new file
Adjusted the size to fit on the horse in the new file
Tried to unhide my rig and it wouldn't unhide, so I closed and re-opened the blender file.  At that point the texture painting was gone.
Note that everything was fine until I closed and re-opened the same file, but otherwise Blender had been running uninterrupted for days.
The texture image that I used for painting still exists in the document called "horse side view.png.png", but the actual "texture paint" that I "sprayed" on the horse through the "texture image" has gone missing.

I tried opening the previously painted "horse.blend" file that existed (and was saved) before doing the rigging and saddle in #2 and #3, it didn't work either.

Since #4 didn't work when re-opening a previously saved and texture-painted version, I suspect that somehow the texture paint didn't get saved, or its lost somewhere.
I'm hoping its just "lost" and someone knows how to find it again.  Not sure what to try next, but would greatly appreciate any help you can provide!
Here is the latest file, maybe you can find what went wrong?  If you go to the 'Layout' or 'Texture Paint' tabs then you should see a brown and white horse, not the solid brown horse that you see presently.

When you paint you can save the image in the UV Editor or in the Image Editor. If you pack the image it will be part of the file, if you Save As it will be saved into the folder you want. If you make some changes you simply need to click on Save:

If you haven't saved the image at all, or if you've made some changes and didn't save afterwards, then you decide to close the file, since the latest versions Blender will always ask you if you want to save the image or the modified image, it must have been the case but you didn't save:

Blender does not save the image, which you are texture painting on, automatically. You have to save that image on your own manually.
That's why there is this * on image, to indicate, that it is not saved.

If you close Blender without saving the image, it is lost.
check here for details:
https://all3dp.com/2/blender-texture-painting-simply-explained/#:~:text=Save%20the%20image%20file.,a%20destination%20on%20your%20computer.

mmh since the latest versions, Blender should ask you if you want to save when you close the file...

really? thats great!!

yes because before that you could lose hours of work  ^^


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Why does water leak from the Cup?
When i use effector fluid settings on the cup, this happens
(https://drive.google.com/file/d/1HO-uIQhzunj32LCMI4JsTvL9A_yIWnR4/view?usp=sharing "Click Me!")

Please try to convert animation into anim gif and append to your post. If it will be bigger than 2MB, attach screens of the issue. External links are temporary and not accepted as main source of informations here. Thank you

And also, please take some time to describe what you tried to solve this :).

Specificly to Effector that is moving fast you can increase Sampling Substeps.

You would have to increase Domain Resolution Division anyway

first because in this res the liquid would not pass the thin part of funnel and bottle neck
it improves collision with effector
also try increase Timesteps (how many steps between frame)

Scale down domain only into a dimension of expected fluid appearance.
Dont forget - domain resolution is represented by small cube in domain corner and value of resolution is calculated from longest edge.

I suppose the walls are to thin. Increase the wall thickness, the physics interpolation resolution or decrease the animation speed.


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Selecting vertices in headless mode
So I have a little script that selects all visible vertices by going to the camera view, entering edit mode and then calling bpy.ops.view3d.select_box. I now want to move to headless mode to run my script on a server, but from what I gathered, it's not possible to use select_box in headless mode.
Are there any workarounds for this? I couldn't find anything useful, so I'm afraid it will be a rather time-intensive and ugly solution...
PS: A "headless" tag might be useful

https://blender.stackexchange.com/questions/64318/how-to-select-only-visible-vertices-using-python-api

@XY Yeah I am doing pretty much that, but the script fails due to a segmentation fault when run in headless mode

Maybe bmesh method work,   https://blender.stackexchange.com/questions/40823/alternative-to-redraw-timer/40826#40826

This did the trick! Needed some time to integrate it with the other stuff in my script, but it works now! I'll post a minimal script example as the answer later on - thanks!


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Store and replace mesh
I need to create a convex hull over my objects, render an image and then delete that hull again.
My idea was to store the object, the object data or the mesh itself then create the hull and render the image and then just replace the object/data/mesh with the stored data.
For example first i´d do
self.backup[obj.name] = obj.data

and then after full & rendering i´d like to do something like
orig_data= self.backup[obj.name]
obj.data = orig_data
obj.data.update()

But this is not restoring the previous data, the hull remains. I´m guessing right now I just store links instead of real data but I don´t know how to fix this because I don´t really know much about different blender data types etc.
After trying to replace the objects mesh, data and the object itself and none of it worked I sort of ran out of ideas. I´d be glad about any input =)
PS: I´m using 2.8. in case that makes any difference.

Make a copy
simple answer is `
self.backup[obj.name] = obj.data.copy()

without making a copy you had a reference to the same mesh.  If you are using bpy.ops.mesh.convex_hull suggest instead using bmesh see
Is there any way to make multiple objects convex hulls?
Convex Hull as Mesh
The data is already stored for us in the blend file data,
me = context.object.data

which without any renaming of meshes inbetween is still
bpy.data.objects[me.name]

Hence could simply keep the name, make a new mesh with another name for convex hull and swap using meshes retrieved via names.
If after creating a convex hull mesh and want to have it available permanently An approach to consider would be giving a mesh object a pointer property to the mesh of its convex hull.
bpy.props.Object.convex_hull_mesh = PointerProperty(type=bpy.types.Mesh)

create convex hull mesh and assign it to this property to save it.  Another boolean property could be used as a flag to swap between original and convex hull mesh.

That´s  exactly what I´ve been searching for, thank you! And thanks for the additional info as well, I didn´t know property pointers exist and it looks like a way better approach! =)

Have been  doing this very thing with both convex hulls and bounding boxes. 8*)

Oh did you generate training data for neural nets as well?
Cause that´s what I´m doing right now :D


text:
I have a line of vertexes on a mesh that I would to linearly interpolate the Z position of
I have a grid like mesh (pictured).  At one edge I have a vertex at pos z=1.  Further along the loop running in the x direction I have a vertex that I want to be at pos z=3.27 (actual values are arbitrary).  Is there a way to select a line of vertexes and get Blender to linearly interpolate between the two positions at either end of the line so I have a smoothly rising set of vertexes without me having to manually select each vertex and set every z-pos by hand?

You can select the vertices, with shift, select the one that should be at Z = 0 last (this will be the "active" element).
Set your pivot point to active element.

Use the "shear" command (it's on the right click menu, and it's shift+ctrl+alt+s), or, alternatively, the "rotation" followed by some "scale".
Select an axis and gogogo.

You can also use the Gstretch command from the LoopTools addon.

Cool, that seems exactly what I want.  How do I precisely set the end point when using the shear?  In my specific case my active point is at z=-0.812679 and I want the end point to be at z=-0.855725.  Doing shift+ctrl+alt+s y -0.043046 did not move the points as I expected

The end point is the active element, (the last selected point, the one that has a different highlight from the others)

I meant "precisely set the z-position of the opposite end of the line from the active element"
The shear operation seems to be performing some relative operation so I can't work out how "much" to apply to precisely position my gradient.
I suppose it would be simpler to just work out the correct angle and use rotation instead,

I know this is not ideal, but you can scale them in z and type 0 (flat line), then you can type their  base Z in the properties. Do the shear. Then get a calculator, divide your target z by the current Z of the target point. Scale in Z and type that value. @AlistairHutton


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How to curve triangular mesh
I'm trying to make kind of a curved spike as on the reference picture under the object. I started with rectangle on the top added some loop cuts and with proportional editing set to sphere and manuvering with (G) the effect was satisfying but after I decided to sharpen the point on the top and kind of replaced rectangle with two triangles this method does not work so well. How can I round this edges.

Add some edges and push them forwards?


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How correctly make uv for individual assets
I’m trying to create some assets for a nuclear interior scene, and I’m not sure if I’m doing it correctly.
I was wondering if it’s better to UV unwrap each asset individually (perhaps in low-res tiles like 512px or 1k) or if it’s better to stack multiple assets on a single UV tile at 2k or 4k resolution.
As shown in this photo, I’ve grouped assets that could share the same UV space, but with different sizes.
I’m also wondering if the goal is to have all UVs with the same pixel/cm density (for the same plane) and if all UVs should have the same size. Additionally, is it crucial to put each asset on its own individual UV tile?
I hope I’m understandable.

You should consider the purpose first and you should do that individually for each asset, each material and even each texture you plan to use.
UV maps don't have much to do with resolution, except for the gaps between UV islands that you don't want to make too small for low resolution textures so that they don't share same pixels when the islands are too close.
How you set up tiles, if you need to use UDIMs at all and what resolution textures you should use entirely depends on the context that you have not shared at all so I assume you are greatly underestimating the importance of it. Consider the context first. The UV maps need to fulfill their purpose - they need to make the texturing work. So the answers you are looking for can only make sense if you decide what you are making the UVs for and why. You may not care about UVs at all in some cases, in some cases you may care about the orientation of your UV islands, in some cases you might want some parts to have higher resolution than others, in some cases you may want the UVs to be laid out in a way that the textures can make sense in 2d editing software, in some cases you may want to have multiple UV maps for the same object, sometimes you may want some islands to overlap, sometimes you may want them randomized and flipped in various ways and so on and so on. There are probably hundreds if not more ways to use UV mapping. Each individual case depends on what you want to atchieve.
Consider not making UVs as a separate step but as part of making each individual shader.


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How can I correctly mirror an animation so I can retarget it to a left handed character
I have a rig with an animation that I want to flip and then retarget with Rokoko to a different rig of a left handed character. I tried the negative scale trick from this video (https://www.youtube.com/watch?v=oKGWD65wqxo) and things seemed fine on the main rig. But when I applied the retarget (also changing L->R and R->L in the bone list), the rotations of the second rig were all messed up. Mirroring the animation with Ctrl->M,X gave the same result. Is there another method to mirror animations or am I doing something wrong?


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How to round vertices of subdivided mesh?
I am new to blender and I am trying to model an island. Currently I am just trying to get ideas for a layout and doing some UV editing. I have these faces mapped to green and white colors and I want to know if I can smooth these vertices to not be so sharp.

I am not sure on the correct terminology for something like this so I have been having difficulty finding solutions that may already be out there.
Here is another reference in case there are better approaches to achieving this

Since I am new to this I am having trouble retaining info that is most relevant to what I am trying to achieve so if there are any good references out there for learning as well that would also be helpful.

Why don't you use one material only, and an image texture as mask to separate yellow from green, or simply paint your yellow and green on an image texture?

That is what I am doing. I am going to make this more complex like making the mountains gray, add some dirt patches and other details. But when selecting faces I think I am going to still have this issue unless there is something I am missing

That is not what you are doing, you are using the topology to assign a different material to each face, unless you have a good reason to do that, it's generally not a good way to give different colors to your object, the best is to give one material and either use mask to separate the areas or directly paint one image texture for the whole area

If you want to assign several colors to your objects, rather than assigning a different material per face, it's much more convenient to assign one material to the whole object and use the texture painting to color the surface:

If one of your color is supposed to have a different shader (for example here the green is metallic and the cream is not), then mix 2 shaders with a b&w image texture as factor:


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Eevee transparency together with reflections
I'm testing out the capabilities of the eevee render engine. I have a cube object with a mix shader of a principled bsdf and a transparent bsdf. The idea is to move a wave texture across the object and use that as a factor in the mix shader to have lines of transparent and solids. The solid material has metallic=1 and clearcoat=1 and roughness=0, which should give it a highly reflective surface.
In eevee to achieve the transparency, the screen space reflections (ssr) + refraction in the render properties is turned on, as well as per object settings ssr + blend/shadow modes=alpha blend. But, reflections are best handled as reflection planes with ssr turned off. Additionally, the eevee refraction doesn't take into account the waves moving in the back faces, so it looks like a cube with with only the viewer faces being affected. Is this a fundamental limitation?

do you mean like this? https://youtu.be/86C7cj--zjc. if not, please add some screenshots to make it more clear. thanks.

yes that's right. Is that using eevee?

yes it is...i will post it as answer...give me 2 mins ;)

Reflection light probes are a good way to get high quality reflections, depending on the mesh (cube maps are another, for different kinds of meshes) but they actually require SSR enabled-- they don't work otherwise.  Refraction + backface transparency, yes, there's nothing you can do about that, that one is a fundamental limitation of Eevee (of any rasterizer, really, it's not like it's Eevee's fault.)

Here is the node tree:

It is just a basic setup with wave texture to do the difference between the shiny material and the transparent. Because me personally i like the "sharp" edge instead of easing so i used the greater than node to realize this. Without it, it looks pretty blurry. By the way: by playing with the threshold you can increase/decrease the bands size. And then the mix shader, which decides whether the transparent or the shiny material should be shown.
Important: material settings -> blend mode like this:

As a little bonus a added a frame node, which animates the offset, because i just love animations ;)
result:

animation: https://www.youtube.com/watch?v=86C7cj--zjc
blend file:

Great! That really clears up how to set those nodes up. On my part, i was using alpha blend instead of alpha hashed. Additionally, the ssr should be turned on for realistic reflections. I had it off because purely reflected objects seemed clearest without ssr on.


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How to take what a camera sees and project it from another camera?
Is it possible to take what a camera sees, and use that from another camera as a projection? That is to dynamically update a projection from a camera?
There are some interesting results if this can be done, for instance transition wipes like from a traditional video editing suite, or feedbacking loops, or dynamically changing displacement maps.

the "cheap" way would be: your render it out (from one cam) and  next use this as a image/movie as planes. But i am curious what the pro's are teaching us ;)

Related: How to view the camera through an object as a material? and Use the view from other cameras in the scene as VideoTexture

Interesting jachym, is there one for the current blender version? The first version is for the BGE and the next is for the version of blender with layers. It shouldn't be difficult to see why having an easy way to do camera to camera output is a nice feature to have.

For video feedback you could do something like https://blender.stackexchange.com/a/213637/29586. In fact, something similar could probably be done with the same technique as that (picking up the previously rendered image) but using multi-view cameras as described in https://blender.stackexchange.com/a/102163/29586. Another option in Cycles is to use 'light pipes' to channel the rays to a 'screen' as in https://blender.stackexchange.com/a/115868/29586 and https://blender.stackexchange.com/a/79948/29586

Do you mean something like this https://blender.stackexchange.com/a/220499/2214 ... Or can you add some reference images? It is not clear to me yet. Thanks

Any thoughts about this camera to projection requires rendering, but it can be done in one go in the same scene by one hit of Render Animation.

You can use one camera to render its view and reuse result as texture for Light object (projector) in a next frame seen by another Camera ... if you don't care for one frame delay :)

Add your Camera A (here viewing rotated Cube)
Add Light object (projector) to display what Camera see (render)
(or use any other way of using rendered image sequence as texture)
Add Camera B for result

Previously I suggested to create another scene just for VSE to add Scene strip of original Scene, because there can be specified camera and a directory independent on original scene to be rendered, but ...
... as pointed in Rich's comment to Stereoscopy > Multi-View works more straight forward. You can just set more Cameras in the same scene to be rendered at the same time into one directory. Rendered sequences are distinguished by camera suffix. To make it work ...

enable under Properties Editor > Output Properties > Stereoscopy switch to Multi-View
it is better to add two new views (because default left/right views mix those two views into one in viewport and make it hard to see). You can name them same as camera objects, also camera's names suffixes have to match to get it work.

now just create a material for light object with Image sequence Texture node and set path to render directory. Since my camera is with suffix "_A", the path should end up the first frame number with this suffix, in my case "0001_A.png" and set Offset -1, like this blender takes previously rendered camera view as a texture for next projector frame.

Here is a solution that works for the current version of Blender. I created two different scenes, the first one I called Scene.TV, the second is called Scene.Monkey. In Scene.TV, the passes for UV and Material Index are enabled.
Scene.TV contains a model of a TV and a camera looking at it.. The TV display is UV unwrapped to fill the complete UV map and has its own material with a Material Index of 1 (the number isn't important, it should only be exclusively used for the display).
Scene.Monkey contains a model of rotating Suzanne and a camera looking at it.
In Scene.TV I've setup the Compositor with two Render Layers nodes, one for Scene.TV and the other for Scene.Monkey so that when you hit F12 Blender renders both scenes.
To bring the monkey on the TV, I combine both scenes with an Alpha Over node. I plug the TV scene in the first input.
The monkey scene gets plugged into the Image input of a Map UV node, the UV pass of the TV scene goes into the UV input.
This maps the monkey render on all UVs of the TV render. I plug it into the second input of the Alpha Over node. To restrict it to the display, the IndexMA output of the TV scene is used as mix factor. Note: The ID Mask is needed to get the correct material index of the TV display. If all other materials have an index of 0 and the display is 1, the mask isn't necessary.
Here is my Compositor setup:

Theoretically you can have one scene with different view layers showing different collections when rendered, which people use to composite certain elements together instead of rendering them all in one layer. But as far as I know you cannot have different cameras in one scene, so I guess you have to stick with the two scene solution explained above.
EDIT: I just saw that although you asked for a current version setup because the other answer that jachym linked to was for layers... but actually there are used different scenes, just like I do. So it's basically the same solution. Maybe my node setup helps explaining a bit instead of having to download a file from an external link.

Looks interesting! So there's no way to get the moving images to feedback I guess?

What do you mean by feedback?

If there's two separate scenes, that means there's no way to feed one camera into a display and back into itself.

Ah I see, that's what you want to do.... I guess I got your question wrong then.

What about making two duplicate scenes?

I think you've answered the question. The feedback process is more of exploring it further


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Completing Blender Guru Donut Tutorial: extruded object does not snap to face
I am having a fight with a donut. I am on Part 4 Level 1, and I'm trying to extrude the drips from the icing.
Earlier, I wasn't able to get anything besides a rectangle to appear (no roundness, despite what was selected under proportional editing), but after a couple hours of messing around it seems like the issue is that the extrusion is freely piercing the plane. It is not snapping to the surface, but rather, it can swing freely inside and outside. That makes it really hard to get a good drip.
Here's a link to a video for visualization for what I am talking about: https://youtu.be/BgAEUB91apY
This is my first time with Blender, so I'm sure I'm missing something quite simple, but I'm totally stumped. Halp?

Does this or this help?

Looks like you are doing the right steps.  The only setting I can't really see from your file is in the Snap drop down menu.
In the snap drop down,  "project individual elements" must be checked, or enabled.

Unfortunately, I do have that option enabled. I just redid the entire icing tutorial from the beginning, and I think I'm seeing what the problem here is. In the tutorial, the "G" move function does NOT pierce the plane of the object underneath, but in my version moving the object causes it to intersect. Is there a setting that prevents the objects from moving through each other? Thanks for your help :)

You'll get it.  Extruding is probably going to work the best.  Maybe extrude more than once so that you the geometry wraps around the donut face more.

You need an add on whitch is call Drop It Blender add on
https://gumroad.com/l/drop_it
And after you install this , when you right click in blender view port last option is drop it to surface or press V


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I have a Mesh with an Armature. The Mesh has a "Mesh Deform" modifier, which itself has physics. Why does it break when Rendered?
I am probably missing something very obvious---maybe a modifier stack problem, more likely it's a parenting issue, or else I don't understand Mesh Deform well enough.
This is a simplified example. Wiggle bones are not appropriate for my problem. Let's pretend we MUST use Soft Body physics on a Mesh Deform cage.
I have a complex mesh with an armature. To give PARTS of it soft body physics, I have a Mesh Deform cage surrounding one part of the Mesh, so that poor old blender doesn't have to worry about squishing and pulling a trillion polygons. The Mesh Deform cage is parented to a bone in the Mesh's Armature so that it follows the Mesh appropriately. The Mesh Deform cage has Soft Body physics. I'm trying to cheese it so that only parts of the High Poly Mesh behave with soft body physics, without having to calculate that.

It seems fine, perfect even... until I render it. Rendering it breaks it.

The Soft Body Physics is baked, and I have tried it without baking, too. It feels like a parenting issue, or something about vertexes and weight painting?
I have tried many things, and followed other threads with similar problems, but no one is asking this, specifically, that I could find. I apologize if this has been answered. If it has, I would like a simpler answer, explained like I'm five, because the complexity of rigging is very confusing for me.
If there is an amazing alternative for cheesing/faking soft body physics (capable of collision) on PARTS of a complex mesh which isn't wiggle bones, I am all ears.
I am so confused, sorry about this.
https://file.io/mw7LWq7f04QD this is a link to the blend file

Check for modifiers that are hidden in the viewport  but enabled in render

I checked, they're all visible for rendering , the problem persists :(

The solution was to update Blender.
For future reference, the above set-up works. If anyone in the future is having trouble figuring out Mesh Deform with Armatures, I hope these pictures and descriptions help. Just make sure you've updated Blender.
And make sure you Bake any physics or wiggle bones before rendering.

Well, you’re not an idiot because the Lord doesn’t make idiots, and He made you. Easy mistake. God bless!


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Mantaflow simulation is baking the fluid in the wrong place and at the wrong scale
As you  can see from the provided picture, when I start baking fluid in this scene, the fluid flows from the wrong place and at the wrong scale (changing the size of the real inflow also changes the size of the "fake" inflow), it is also flipped in velocity direction. I have tried clearing the fluid cache as well as checking normals and surface thicknesses. No other inflow objects exists, only the collision effectors of which there are 4. Does anyone have any idea what might be causing this? I have had no issues in the past working with the new simulator and this is the first time I have run into this issue. I am happy to answer any further questions as well. Thank you!

Have you tried “Apply Scale” in the domain and flow objects?

Thank you Rich, this fixed my issue. For future reference for myself: Click on domain->Object->Apply->Scale->Free and rebake

Great - glad it helped. I've added an answer for completeness.

The fluid simulation is sensitive to the scale of the domain mesh - if it is has been rescaled (resized in any way) you should Apply Scale to ensure the scale is set back to 1.0 in each dimension. In your case, the adjusted scale (possible negative scale) was affecting the results of the simulation.
To address this, select the Domain object and press Ctrl+A and select Scale to 'Apply Scale' (the same option is availble through Object/Apply/Scale menu). You should then Free and re-Bake your simulation if necessary - to pick up the changes.


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Grease Pencil: Python script to create a line connects to origin
I am writing a script that draws a grease pencil line between two points. While the script draws the line, strangely enough, it also connects the line to the origin. Here is the script:
# create gp data
gpencil_data = bpy.data.grease_pencils.new("Gpencil")

# create a gp object and add it to collection
gpencil = bpy.data.objects.new(gpencil_data.name, gpencil_data)
bpy.context.collection.objects.link(gpencil)

gp_layer = gpencil_data.layers.new("lines") # add a gp layer

gp_frame = gp_layer.frames.new(20) # add a gp frame

gp_stroke = gp_frame.strokes.new() # add a gp stroke
gp_stroke.line_width = 40
gp_stroke.use_cyclic = False

gp_stroke.points.add(count=4)
gp_stroke.points[0].co = (-1.0, 1.0, 0.0)
gp_stroke.points[1].co = (1.0, 1.0, 0.0)

This is how the output looks:

I can't figure out why its connecting to the origin. Can someone please help?
Thanks!

Change gp_stroke.points.add(count=4) into gp_stroke.points.add(count=2) and your problem is gone with the wind.
You probably understand why: when you add 4 points and only set the first two, gp_stroke.points[2].co and gp_stroke.points[3].co are initialized at (0, 0, 0) – which happens to be the origin...

Thank you! This answers my question. And thanks to your explanation, it does seem obvious now :)


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Why won't my armature move when I append it to another .blend?
I rigged a model and the armature moves fine in the .blend I have it in. However, when I transfer it to another blend file I can only move it through the pose library, not through pose mode.
Any help would be great.

Also, I checked to make sure none of the bones were improperly parented to each other

Are you certain that you appended it and not linked it?


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"Quick Fluid" is reflecting an old (not current) HDRI
The environment texture with a tree (shown in reflection) was not the world texture set when I created the "Quick Fluid" it was the stars.
I can't work out, how this old texture is being reflected, there are hardly any objects in the scene.  I've deleted and recreated the "Quick fluid" but it's always showing this old texture with the tree, and not the stars.

please provide blend file

Hello :). Is the wrong reflection shown in viewport or also in render? This looks like one of the default viewport HDRIs.

You call it "old texture", do you refer to it as an actual texture you've used in the past or why? Because you said you created the fluid with the starry background. I guess @JachymMichal is right, it looks like the default viewport HDRI. It would be good if you provided information if this is Material Preview or Rendered View for example.

I'd used one with a tree in the past, but maybe I've made a bad assumption, maybe it is just some default.
How can I get it to reflect with the stars hdri?

In the Viewport Shading options (the dropdown menu next to the shading type buttons), enable Scene Lights and Scene World.


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Text-in-sand effect in blender
How can a blowing-sand-revealing-text effect like this be achieved in blender?

(Due to limitations on file size, the GIF is of very low quality. A high quality version: https://i.sstatic.net/uYpV7.jpg)
I think this would need a LOT OF particles/objects...
Thank You.

I quess you need 1 object for floor, 1 object for text and fill it with a lot of particles with using of children to get even more and then you force fields to blow it. But I quess this will be very demanding for good HW

This tutorial shows a technique that will work: https://youtu.be/YFmN7eTNfNw

Here's a relevant tutorial: https://youtu.be/YFmN7eTNfNw

that video does not look like blowing sand at all....

To me, this looks like an animated displacement (Image Sequence created by Dynamic Paint) that reveals the text object and a smoke simulation on top. Something like this: https://blender.stackexchange.com/q/219614/107598


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Can we change Noise seed per sample in Cycles?
In cycles, I have noticed that instead of taking 1000 samples, we can take just 10 renders of 50 samples each with different noise seed and average them externally, the noise goes down A LOT. So, is there a way to do this same thing per sample rendering soo that cycles automatically averages it out?

can you show us the image? preferably with comparison.

@FrederikSteinmetz Average of 12 images 128 samples each - https://imgur.com/a/UJwpgTs. 1 image with 1536 samples - https://imgur.com/a/zmWPmzI. Zoom in the area where the wick touches the oil. There, the difference is obvious.


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How to remove artifacts caused by sun beams node in compositor?
The artifacts are like those of Aliasing.
Original Image:

With Sun Beams Node:

Using anti-aliasing node does not help.

Note that this is a zoomed-in view for better clarity and resolution.

Might just be a screen resolution limitation, look at it at 100% and see how it looks

@Ebi this is zoomed more than 200%. Rendered Image : https://i.imgur.com/L9sEZA5.png

100% zoom will get rid of any screen artefacts and will let you see it as is – the 'real' pixels @CoolCoder

@Ebi you can see the rendered image. I was referring to the screenshots as more than 200%

what is your Render resolution?

@J.Doe 3840*2160

hmm .. can you share your file? https://blend-exchange.com/
I can reproduce it .. but ony with small render resolution.

Sure. But I am getting this error - https://i.imgur.com/WJZjo5v.png after clicking the Upload button

https://drive.google.com/file/d/1AS_EH2dqeejNZNIHcbOc8B_Eobk25GIg/view google drive link.


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Stadium Seating Letters 2
The question is similar to Stadium Seating Letters. I have created a lot of cubes using Animation Nodes (Grid Mesh) and would like to texture all of them using a single image texture, something like this:.

(Image from this answer by Markus von Broady)
How can this be achieved?

Create an empty object and use its position as texture coordinates.


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Geometry nodes maximum of two functions
I have created Geometry-Nodes which arranges the objects according to sine function.
What I have achieved is this:

What I want to achieve is something like this:

My idea is that there will be two sine functions, perpendicular to each other (sine along Z-axis) and will take the maximum of the Z-value of the two.
But what I am getting is something wierd:

My Geometry-Nodes arrangement:

SineX node group:

SineY node group:

What changes should I make?
Thank you.
My .blend file:

your problem is not with geometry nodes ;) it's just mathematics:
try this:

result:

Geometry nodes save the position information in x/y/z. You shifted with your calculation the x/y positions, so that never the same x1/y1 "meets" x2/y2. That's why your nodetree didn't work. You can check it out in the spreadsheet, which helps a lot in such cases.
My solution is not "perfect" - is just shows the way. Your "longscale" doesn't work now, but i am sure you will find out yourself - and that's how it should be - so you learn most. Have fun with Blender!

You are welcome!

I may be missing something, but, bar providing the user with options in the interface ( Size X,Y .. Frequency X,Y.. Amplitude.. etc.. ) can't the core of your tree be simplified ?

As the basis of this kind of result..

Or, if that's too regular..

of course...i just used what exist...i didn't want to make it all "from ground on" ;)

@Chris I get that.. answer the question asked. But If I witness unnecessary suffering... :)

Well...it depends. Of course you can give the "optimal" answer which "might" give the one who questions a bad feeling because his "solution approach" was bad or worse. Sometimes they want to stick to their solution approach. And i can understand that. Because maybe they want to know what they did wrong. There are a lot of smart asses and even more nit picker out here - and some are really annoying me - but i try now to ignore them as best as i can ;)

@Chris If you ever feel I'm being one of those, let me know. I wouldn't take offence.

nope, you aren't ;)


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Arranging objects in blender in a heap
I have a model of a plate and now I want to place some pasta on it.
Now, I have created an object of pasta and now I want to make the plate filled with pasta, like a heap. How should I do that?
I have tried to place each pasta-piece in the plate, but that is just too tiresome. Also, I was unable to make use of particle system to achieve this.

Hello :). I'm not expert on rendering pasta (unlike our very own Mr. Duarte). But particle systems or geometry nodes are the way to go :).

Oh, Wow! That @Duarte chart is magnificent! I never knew!

wow a nice way to learn how to model anything  ^^

ok but how can you create a website about italian pastas and choose a ".pt" domain?

Apply the scales of your objects
Give you plate a Physics > Rigid Body > Type > Passive and Collisions > Shape > Mesh
Give your pasta a Physics > Rigid Body > Type > Active and Collisions > Shape > Convex Hull
Linked-Duplicate your pasta with AltD
Select all your pastas, go into Object > Transform > Randomize Transform and in the Operator box tweak the parameters a bit
Play the animation, the pastas should fall into the plate
Select them all and Object > Rigid Body > Bake to Keyframes and choose the frame where you want to freeze the animation
Eat while it's hot

This was super-useful! Thank you!

I guess that it should be Rigid Body instead of Animation in the second-last point

yes you're right, thanks, Object > Rigid Body > Bake to Keyframes


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Creating Disney-style circular fireworks
How to create the curved firework which is at the end of the Disney's movie-intro?
I am talking about this (video link): https://youtu.be/k9bUTfFF3_4?t=20

Hello, you probably need to use an object that moves along a curve a drop particles

Yes. But as the "object" moves along the curve, the curve keeps glowing for some time...also the same for particles.

you can create a long subdivided cylinder, give it a Curve modifier so it follows along, give it a Displace modifier, also a material with a mix of transparency and emission with a noise as factor, so that it's not completely straight

You could create a long cylinder for your trail, with a big spherical head, give it the following modifiers: Subdivision Surface, Curve, Displace (to give it a bit of bumps), also give it a particle system with an icosphere as particle in order to make it emit sparks:

Here is the kind of material you can give to your trail: a mix between Emission and Transparent, with a Noise as factor, also give it gradient transparency on X so that it fades:

File here:


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Is there any way to change the number of rendering samples using command-line?
I am sending my .blends to another remote machine for rendering, and then I render them using command-line. Sometimes, the size of the .blends become as high as 100s of MBs. If I need to adjust only the no. of samples to be used for rendering, I need to upload the whole file again, which I don't want to do.

You can find the list of all arguments here: Command Line Arguments and there is nothing for setting the samples. So I don't think it's possible, I'm afraid.

of course you could do it by starting a script, which sets the sample it gets from the command line and then render that out

@Chris But with which command line argument do you give the samples to the script?

you can give arguments, and interpret these arguments in the script

like this: https://blender.stackexchange.com/questions/6817/how-to-pass-command-line-arguments-to-a-blender-python-script

@Chris Maybe you could evaluate that as an answer... from which I read there I don't understand how to create a script changing the samples of a file on a remote machine.

There are several ways you can accomplish this.  Probably the easiest is to have your  command line include a python expression for Blender to execute.  If you look at the manual entry for Command Line Arguments you will find

--python-expr <expression>
Run the given expression as a Python script.

Assuming that your scene's name hasn't changed, the expression you want is
import bpy
bpy.data.scenes["Scene"].cycles.samples = VALUE

replacing VALUE with the number you want.  So your command line needs to look something like
PATH_TO_/blender.exe BLENDER_FILE.blend --python-expr "import bpy ; bpy.data.scenes[\"Scene\"].cycles.samples = VALUE"

Notice that the expression has to fit on one line, so I used a semicolon (;) to separate the import statement from the assignment.
Notice also that the expression contains spaces so I had to enclose it in double quotes and then use backslash to escape the double quotes used in the assignment statement.  You may have to adjust this depending on the command line shell that you're using on the remote machine.
One thing to be aware of.  The meaning of cycles.samples changed between 2.9x and 3.x because of the introduction of Cycles X.  Prior to 3.0 it meant the actual number of samples.  Since 3.0 it means the maximum number of samples.  In Cycles X, Blender will stop sampling when the Noise threshold is reached.  You may want to consider leaving samples alone and changing cycles.adaptive_threshold instead if you're using 3+.


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Eyes Blink have problem
Good day,
My problem is when i make a shape key for eyes blink taking value 1, in between 0 to 1 there is a problem happens(pupil shows above lid) like my image. i used before a script that saw on youtube but this way doesn't work often.
Is there a way to fix this problem.
Thank you in advance
enter image description here

the problem of the shapekeys is that the movement between shape 1 and shape 2 will be linear for each vertex, so you can't make a sphere rotate for example, the interpolation will deform the shape. There are probably several solutions, depending on the shape of your eye and eyelid, for example you could use bones

@moonboots Thank you! i tried some solutions but one of them only have acceptable result which is i made shape keys several to close eye then created a driver and combine all in bone. the result is some how not perfect. BTW  i use sphere eyes.


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save several key frames in one asset(pose library)
I am wondering is it possible to store or save a set of poses in one asset on asset browser.
for example: if i insert a several of key frames for walk cycle then i want to save all these key frames to use it later in only on asset not many, is it possible? and if not is there another way?
Ps: I have blender 4.0
thanks


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keep foots on the ground
**Hello everyone
I made a simple character of an animal and i want to keep foots on the ground, for foot i only inserted upper leg bone and lower leg bone. There are no ankle or foot bones.
So my question is there a way to keep the foots on the ground without having ankle, foot bones? because the legs here in this character are simple.
Thank you
**

Add a foot bone even if there is no foot, make sure it's not child of the leg (it can be child of the hips or, better, child of a root bone).
Uncheck its "Deform" option in the bone properties panel.
Select the foot bone, shift select the shin bone, press Ctrl Shift C and choose IK bone constraint. Set its chain lenght to 2.
In edit mode, make sure that thigh and shin bones are not exactly vertical: move the knee joint a bit in front of the character, where the bend will have to go.

I can't thank you enough, I have one more question do you recommend to use automatic weight for this type of character because weight paint is so confusing or should i use assign points in vertex groups?

Automatic weight is a good starting point, then you can paint or assign in edit mode if something is unsatisfying.

Additionally you can add a Floor constraint to keep the feet from moving below a certain point in space. Makes animating a bit easier.

It's a great solution too thank you @Jakemoyo


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Baking bump map into texture with normal map
I'm trying to bake a bump map from procedural materials into a texture so I can export to .fbx, but no matter what i do I'm not getting the intended result when I plug the generated texture into my BSDF. My other bump maps work after baking, but not the edge around the rectangle. How would I go about making this bump map exportable?

I was able to bake it here and use it, but it was necessary to "save" the baked image first:

Then in the "Image texture" node, you take the image from the file.
Since your "Image texture" doesn't have a file extension there, I guess you didn't save the image?

That would be true for generated textures (such as the brick in the question - if it weren't plugged into a UV). But for images textures, as explained on the manual: "If [the vector input is] left unconnected, the coordinate is taken from the object’s active UV map (with Z = 0)."

Normal map vs bump map
Is there a particular reason why you turned your bump data into a normal map? Bump is an elevation data, normal map is an orientation data, so I wouldn't expect to get an equal result from each other.
To illustrate, I did a mockup of your scene: made a brick texture, plugged into a bump node, then into a Principled BSDF, then baked that as a normal map, and mixed the two half-and-half from left to right plugged as emission to see them "raw":

We can see the normal data from the bump on the left is very different from the normal data from the normal map on the right.
Baking data
Comparing your gird pattern before and after baking:

To me, it looks like the normal map works "as excepted": pixels get shaded as if the face they represent is oriented differently than it really is - creating the impression of a bent surface.
But it's the light gray color that we really miss out.
Your original shader uses varying data only on the Principled's base color and normal inputs, so they are the only ones that "need baking" (a single value is enough for the rest, no need to bloat the memory with pure single color images).
To bake the Base Color, you can use the Diffuse bake type with only the Color influence enabled:

For the bump, there isn't a specific bake type for that. A way around is to plug your brick node into your Material Output node's Surface socket (or ⎈ Ctrl LMB your brick node if you use the Node Wrangler addon, which is recommended):

Then use the Emit bake type (any color data plugged in the material's surface output is read as if plugged in an Emission shader, which is shadeless and neutral and baked with the Emit bake type).

???? - Isn't that what the bump node does? Transform bumps into normals?

I'm no expert, AFAIK both normal map node and bump node output normal data, but their source is not from the same "point of view" so to say. Bump is from an elevation data, normal map is an orientation. To give you an idea of the difference in data you get from what we see in the question, here's a mockup of it, but showing the normal data we obtain from the bump on the left vs from the "bump baked into normal map" on the right. Unless I'm wrong somewhere in the process.

After taking your comments into consideration, I noticed that we need to "save" the baked image first, for later use it in a texture with the "non-color" space. Then your mockup will show "almost" the same thing for both. (I guess the difference might be because of the extrusion value given in the bake, or maybe the low res I used). That said, I was able to succesfully bake and see the results properly. So I have no idea where in the process the OP failed.

The reason I turned my bump data into a normal map is that I'm trying to turn my data into image textures so I can then export the full model into a .fbx - I'm at least reasonably sure that this is necessary. your answer does help me understand where I've gone wrong but I'm not quite sure how to make the bump data exportable still, as i would prefer to have the bevel in the front panel done by normal maps

@hirtenstar , your bump has absolutely no problem. If you bake, remember to "save" the image (this is a manual operation that you must do) and then plug the image file into a texture node, with "non-color", it will work. I did the tests. If you don't save the image, the result will be the one Lauloque showed, but if you save, you will get a good result. The problem is "not" the bump. The bump node converts bumps into normals.

you can just bake the bump map just as I explained in my answer, no need to bake it "as" another kind of data. At the end it's just an image file.


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Why does the model lose quality when I bake its texture?
I want to bake a texture for exporting a model, it consists of: 2 diff, mix shader. When baking, the texture loses quality and is completely made up of pixels. How can this be fixed?

baked texture

You need to create an image with a resolution high enough to contain the data you want.
If you create a 1024 x 1024 image, you will have low res (pixelated)
If you create a 2048 x 2048, you will have better results.
If you create a 4k (4096 x 4096), even better.
Find the size that is enough for your needs and not too much for being a huge file.
A good size would be the same as the original image you used in the procedure (it's possible to see that the procedural result is also pixelated, just in a higher resolution).


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How to dispace a vdb volume using a sphere?
I would like to create a showckwave like effect using a sphere force field to repulse a vdb fog I created.
The idea is to make this effect https://youtu.be/O7hgjuFfn3A?si=56cTmPpKWgChYSyb&t=468 at 7:48.
Is there a way to do that in Blender or is it only possible using a post process effect ?
Thank you,

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.


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How do you determine the height of a mesh above the xy-plane?

Hello everyone! I am a very new to blender, and I was wondering how I could determine the height of the portion of a mesh that is strictly above the xy-axis? I have included the image, as well as the height I am looking for above. For context, I am making 3d models of dice, and I have extruded numbers that I will be using for the faces. The numbers will overlap with the mesh about 1 meter deep into the face, and then using a boolean difference action I will cut out the number from the dice. I want to be as precise with the pip as possible, so figuring out this height "h" would be extremely helpful. Thanks in advance!

Hello :). Every vertex has a precise x,y,z, location. Above XY plane it's the +Z value. Use edit mode to select individual vertices.

There is also a ruler in the left menu that you could use

It's rather easy here, it's the z coordinate of vertex that has the biggest z coordinate.


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How to output bpy-based log to console log
Is there anyway to output all info panel log to console log.
I tried this command:
/Applications/Blender.app/Contents/MacOS/Blender >> log.txt
However, the logs starting with bpy appear in the Info panel but are not output to the console
Also, the following message appears in the console:
Blender[8562:128291] error messaging the mach port for IMKCFRunLoopWakeUpReliable
Could this be related?


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Is there such thing as too many subdivisions/geometry for cloth sims?
I want to make a flag in Blender using cloth sims and I’m wondering if there’s such thing as too many subdivisions and geometry for cloth sim, other then the bake time and hardware.
I mean just wen it comes to how the sim would look, like instead of improving we get diminishing returns, and it actually starts looking worse as you add geometry.
Again I mean is there such thing as too much when it comes to how the sun turns out and looks and not processing power?

The more subdivisions before cloth modifier the more potential for wrinkles. Also stability decreases because it's all floating-point calculations, and that has limited precision, so as points get closer, stuff becomes more quirky. Also from a practical perspective, a low poly object will be stiff and resistant to bending (as an edge is always straight), and as you subdivide it may be hard to fine-tune bending/shearing resistances to get the same effect.

Imo, yes.  Start with simpler geometry, run your sim, and then subdivide afterwards to round it out

There's also a big problem with self collision distance value, that can't be less than 0.001, so when the mesh is too dense this value gets too high, leading to instability. That's why we often have to scale up our models before simulations.

There's a big problem with self collision distance value, that can't be less than 0.001, so when the mesh is too dense this value gets too high, leading to instability. That's why we often have to scale up our models before simulations.
Generally, if you want simulations on dense geometry, you can build a LoPoly proxy of the model, simulate on the proxy, then use a Mesh Deform modifier to apply the deformations on the HiPoly mesh.

The more subdivisions before cloth modifier the more potential for wrinkles. Also stability decreases because it's all floating-point calculations, and that has limited precision, so as points get closer, stuff becomes more quirky. Also from a practical perspective, a low poly object will be stiff and resistant to bending (as an edge is always straight), and as you subdivide it may be hard to fine-tune bending/shearing resistances to get the same effect.


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Real Time Compositor Viewport Preview Glare not exactly the same as Final Render
I am using real-time compositing but the final render is not showing like viewport.
This is the final render:

This is the viewport render:

Compositor setup:

Render Pass: Combined
Compositor enabled in post-processing and set to Always and Camera in Options.
I am rendering in cycles using GPU compute.

Please do not rely on external sources, you can edit pictures directly into your question. And please make the screenshot of the nodetree large enough so that the nodes are legible. It would also be interesting if you are rendering in Eevee or Cycles.

Hey Gordon , I tried dropping the render and the screenshot directly but it says the size is too big . I will update the node-tree shot as well , thank you

To see the different outcome it is not necessary to have a full resolution PNG, a JPG would have a smaller size and maybe you could even make the image itself smaller. You could enable Backdrop in the Compositor and use a Viewer node, usually this should show what the outcome will look like - as far as I know the viewport compositing is still in the works and not everything and every node works exactly like in post compositing.

I thought some details will be lost during converting , but i m uploading another format for simplicity , btw i am rendering in cycles using gpu compute

Some details maybe, but at first glance I would say the glare effect is massivley different, so no need to worry about details... stupid question: "set to Always and Camera in Options" - I can only choose one, not both at the same time. Which one is it?

Yes i use the viewer-node for testing different nodes behaviour in the tree , thats what i thought also about the instability of some nodes in the compositor in real-time , is real-time compositing still in the testing stage regarding development ?
No thats a good question , i meant wether i am choosing Camera or Always , it doesnt change the final render ( not using both of them at the same time )

Not really testing stage, but still not fully functional and a work in progress as far as I know. But we are only users here, no developers or in any way affiliated with Blender, so I can only guess.

I see , it's definitely a great upgrade for the real-time , and btw the render changes everytime i re-visit the project , so as you said it's still work in progress ! I ll keep that in mind , Thank you Gordon , appreciate

Glare node in Fog Glow mode has size property that controls the glare size in pixels. It looks stronger when the resolution of the image is smaller, because  there are reletively more pixels affected by it than when the resolution is higher. Increase the glare size according to the full resolution image.

If I see it correctly in that small nodetree image, there is also a Lens Distortion node before the Glare node. The effect varies with image pixels, too.

Hey Martynas , sorry for the small node tree image .Thank you for your response . I just noticed that the size is in pixels ,
but the maximum size in the node is 9 , how can i match 9 px of  the node to the 1920 by 1080 px of the image ?
and yes it's a lense distortion node in there

@Tune Oh, since a new question is directed to this older question I forgot to say back then: there is a slight misunderstanding, the Size property does not control the glare size in pixels. It controls the scale of the glare relative to the size of the bright pixels. So it is depending on the pixel size of the emissive elements, but it is not setting the size of the glare in pixels.

In the documentation , the glare node has this comment :
Viewport compositing results will vary from CPU compositing due to different algorithms.
So i think it's the reason

Correct, this is documented. Both compositor backends don't produce exactly the same result. That should be consolidated in next Blender versions.


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How to drive two shape keys, one at a time, with one bone?
I want to use shape keys only (no weight painting) for the eyelid rig.
How do I make a driver work for two shape keys one at a time?
I've struggled with what values or expressions to input when making the driver. I want to be able to move the eyelid bone done the local y axis and when its halfway down the A key is at 1 and the B key is at 0, when it's all the way moved down they're both at 1. I've only been able to make the values both move at the same time but that's not what I want.
I don't want B to start until A ends but I'm not sure what to fix with my driver here. Here's a blendfile with the eyelid and armature
https://drive.google.com/file/d/16PFTEsv0fAWCMAbsczWP3LJOkqFRr8qw/view

I want to be able to move the eyelid bone done the local y axis and when its halfway down the A key is at 1 and the B key is at 0. And when it's all the way moved down they're both at 1

For the first shapekey, use an expression of var as you have; for the second expression, use an expression of var - 1.
Notice the range min and max fields on the shapekeys.  These clamp the outputs.  That's what makes it safe to just use var and var - 1: when var is 0, the second shapekey evaluates to -1, but it gets clamped to zero.  When var is 2, the first shapekey evaluates to 2, but it gets clamped to 1.
If we weren't working with shapekeys that have this built-in clamping, we'd have to clamp the values ourselves in the driver expression, using a statement like (max(min(var, 1), 0) to first get the lowest value of var or 1, and then get the highest value of that or 0.

You can also right-click the driver > Open in driver editor, and edit the curve to get what you want.

I tried your recommendation to put var - 1 as the expression for Shape Key B and it didn't work as intended, Shape Key B has a value when Shape Key A doesn't, I tried it the other way around and put var - 1 for Shape Key A's expression but it only closes halfway, neither way is working for me. Here's my example https://drive.google.com/file/d/1xF8yP3SrEmVFMZ_pLTbf2li8TOEn8GNE/view?usp=sharing

In the second .blend the equations you need are 2var and 2var+0.065. @L0Lock 's solution of generally correct, but your case is somewhat special. You have to modify the proposal to take into account that the control bone movement range is 0 to -0.065 and that the driver's Fcureve is y=-0.065x.

@tetii thank you that solved my problem exactly!


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