text:
Apply brush settings to all unmasked areas?
For example, if have the inverse of a mask over a particular area. I don't feel like drawing over the space because it can make some uneven spots. Is there a way I can just apply a brush with all it's settings to all unmasked areas instantly?


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Geometry Nodes Collisons
I have a model that's made up of geometry nodes. They're intersecting. I want them to collide. What do I need to add to the node tree to make them collide?
I tried following this, but I don't see a distance parameter anywhere.
Reddit Geometry Collision Question
My blend file: Geometry Person

All you have to do is change the distance parameter in the "Point distribute"-node until they don't collide anymore.

That's much better. Thank you! Is there a way to make the large and small spheres not intersect with each other now?

source: Stack Exchange

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

sort: votes


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Is there a way to do a text search on clip names in the video sequence editor?
I have somewhere around three dozen different clips and sometimes I need to check what I used. Is there a way to do a text search instead of me scrolling through and checking each one?

The Outliner panel has "Video sequencer" mode and you can search there.

Also you can search any type of data blocks in Outliner's "Blender File" mode and use filtering to show only some type of data blocks.

This will save me a ton of time. Thank you very much!

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


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Why does texture look like it's moving with particles but not when it's blank?
I'm trying to create a dance animation with a hair particle system. In the finished version the model would be fully covered. When particles are added, the texture seems to shift. I don't want this. With no hair, the texture does not move. I want the hair to not look like the texture is moving around. How do I achieve this?
I created a video where half the body is covered in particles and the other is blank to show the difference.
Video link: https://youtu.be/spOsSm0FhWM
File:

You have set the material to use the Generated output of the Texture Coordinate node. I'm not sure why this does not affect the material on the surface of the mesh (probably because the material takes only the base mesh into account without the movement by an armature).
But for the hair it takes the bounding box of the object into account. And this means, the coordinates always go from 0 to 1 on each axis, no matter how much the dimensions of the mesh are. You can imagine that a dancing character changes in width, depth and height just regarding its silhouette. As an example here just in 2 dimensions, on a simple square and then on the silhouette of the dancing character (I've taken just a few frames), just as overlay to make it easier to see:

If you would instead use UV coordinates, the texture coordinates of the hair would be dependent on the faces on which they grow and move together with them (I've made the hair shorter to have less dynamic movement so you can see the texture better):

Oops OK my bad you're right it works with UV  ;)

@moonboots Yep, at first I didn't really understand why Generated works with the mesh but not the hair while UV works with both. But after thinking about it now it kind of makes sense to me.

This worked great. Thank you for the detailed explanation. Can't believe it was that simple.

Instead of using "Generated", just use e.g. UV as input texture coordinates:

Yep, that's my answer.


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Mixamo Rig Blender Bone Naming Convention
Mixamo names bones as mixamorig:LeftForeArm for example. For reasons, I need my bones to end in .L and .R to stick to Blenders naming convention so that I can more easily make other changes. Does Mixamo allow this?

I don't think that you can change this in Mixamo. But you can...
Batch Rename Everything in Blender:
Select the armature, switch to Edit mode. Select all bones, and press Ctrl+F2 or select the menu entry Edit > Batch Rename... of the main menu. In the popup panel:

Restrict the search to Selected and the object type Bones
Find: ^Left(.*) and click the regex button *
Replace: \1.L and click the regex button *

Note: you need to use \1 for the regex groups, not $1 as described in the linked wikipedia article.
This renames every bone which name begins with Left and replaces it with rest of the name.L. All left bones are renamed. Repeat the steps for the other right side with adjusted values and it's done.

Hey I forgot I asked this. It works for me. Thanks!


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How do I make the physics more natural?
Don't ask why but this is a cube shaped egg. The egg is cracking and something is popping out. No matter how I play with the mass, force and deleting bakes and rebaking, it doesn't change what it's doing. I just want the pieces to pop up a little and fall to the side. I tried to change the force from 1 to .1 and it blows the pieces out even farther.
Gif:
https://i.sstatic.net/jfhMj.jpg
File download:
https://filebin.net/7d7fq23a1r6syqku

As long as you don't know how things work, it is a good idea to delete some things to exclude the cause of it.
E.g. if you delete the force (and delete your bake) you will see - the parts are not moving because of your force.
They are moving because they overlap and their origin isn't in the right place.
You can prove that by...

delete your rigid body cache
select all your parts > objects -> set origin to geometry
set to individual origins -> move a bit up and scale them down
set collision margin to 0

then it looks like this:

Ok that's a good start. Thank you!


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Where can I find a website that provides free textures
I am looking for a website that provides texture 'images' bump and specular maps included. High resolution would be appreciated.

http://www.textures.com/
You just need to create an acount, and you will be able to download 15 free textures per day

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


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Blender 2.75 lmage texture painting. Painted image will not bake
I'm fairly new to blender. When I load up my texture image in the texture properties panel the image cover my entire
model. I can paint over it the way I want but when I try to
bake my painted image it only will bake the image I painted
over. What a

You need to save the painted texture first and then load it into the material to be able to bake it onto the new texture.

Thank you Denis! I was stuck on this for 2 days. Problem solved

There is not exactly a baking process involved if you paint your texture. If you are done with painting just go to the image editor's menu, chose "Image" and then "save Image" or "save as Image" if you want to keep the original.

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


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Why can't I select text as an obstacle for a fluid simulation?
I have created a domain and have created an inflow. I want the fluid to hit some text, however when I select the text there is no option available to make it an obstacle for the fluid. Please help.

Thank you, that was the solution for me. Please post this as answer, maybe Pollard will see it and accept it!


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How best to combine blender cycles for rendering with sketchup for construction
I really love the intuitiveness of Sketchup as well as its structured data structure, which enables me to create pretty complex shapes in just a few seconds, while doing the same job in blender might take me several hours. This may be due to my lack of experience using blender for construction of course, but this "workaround" combination of Sketchup and Blender Cycles really works fine for me using the Collada (.dae) format for import/export between the two systems.
Now I am looking for some good advice. Should I stick to this method rather than taking the time and effort to learn how to work more efficiently using only Blender Cycles from scratch?
Has anybody had any practical experience with relation to this question?

If you can model the same shape in seconds in SketchUp vs hours in Blender, it is surely just due to you very low experience, but that's not bad, it's normal for new users. No valid answer can be given, I fear, as it could be up to you decide, about what you like, and if you're satisfied with your results, and importing each time. Blender is far more then modeling, so learning it could provide you way more possibilities in the future ;)

I would say if you have a work flow that works, good for you keep using it. But at the same time keep learning blender you may find that doing all the modeling withing in blender works out faster.


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Adding low-poly clothing
I have a bit of experience with Blender such as basic modelling and rigging. I've created my first character model before:

She's all rigged and ready for posing, but I'd like to know what the best route is to add clothes to her. I'd like it so that I can easily swap the clothing she's wearing as well. I've tried modelling clothes over top and then using fabric physics but most of the time I end up with awful clipping with the faces.

With low poly characters, usually, we select the faces that we want to have clothing on and press E to extrude them outwards. Then proceed with shaping and texturing them.

Also take a look at this video: https://www.blendernation.com/2017/05/30/sewing-low-poly-clothes-blender/

I'd still go with the cloth physics approach but instead of using your character model as a base for the cloth simulation I'd create another simplified version of the parts that are going to be covered by clothes. This dummy then would get a simple displacement modifier with a low value so that it always stays over the character model's surface - like a cage.

Do I make it a new object? If so, do I just re-rig it?

If you're looking to keep your final poly count low, another approach might be to go with the traditional cloth effect; and then after it's behaving well, apply a Remesh modifier to it with a low octree depth. This will maintain the shape of the cloth, but with far fewer vertices. With proper usage of mirroring (higher in the modifier order than remeshing), you can even keep symmetry.
There are a lot of great ways to do this, though.


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Multi colored faces while in object mode
I downloaded this model as an .obj and it came with this alternate color for some of the faces. What is it and how can I remove it. Thank you.

if it's one object : switch to edit mode, select all, and press Ctrl+N

That is happening due to the inverted normals, that means that some faces are facing the wrong way, so for you to get rid of that just press (Ctrl - N) in edit mode while everything is selected.

I had a hunch that it was the normals. Thank you so much


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Can't render spot light with texture
I am trying to render a scene with a spot light and a texture attached to it. Rendering works fine with the Blender renderer. With either cycles or Mitsuba renderers the texture is not rendered.

Any ideas?
Thanks
-Arrigo

You probably need to set up a new cycles material for the spotlight. Blender Internal and Cycles use different shaders/materials for objects and lamps.

This is possible with this kind of nodes configuration for the spot lamp :

The important point for the projection is too choose "normal" in the texture coordinate node.


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Multiresolution Mesh Deform
I'm trying to paint a scales texture onto a cube using sculpt mode but the only way i know is to use the multiresolution modifier and that makes my cube turn into a sphere is there anyway to stop this from happening?

There are 2 ways - subdividing with Simple method or Cathmul-Clark. If the latter, it is essntially same techniques as for keeping sharp edges with Subsurf; Multires takes into account Mean Crease. The only difference is that if you beveled edges with modifier you have to apply it as Multires needs original data.


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Grass Particle System
I recently watched the grass essentials video from andrew price at blender guru and he said that it would be easier to use objects of grass in a particle system rather than strands. How would you get your object and put it in a particle system?

Short answer: You will have to model a few different grass types individually, with a few variations one by one and texture tgem by hand. Then you can use those in the particle system

In the particles tab go down to the "Render" section.
Then Select the option "Group" and select the group you want to use.


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Is it possible to have multiple bevel objects along a curve?
I'm wondering if it's possible to define multiple bevel objects along a curve and have Blender interpolate between the bevels like keyframes.

Nope, this isn't supported, nor do I think it's coming in any near future.
It probably wouldn't sit very well with Blender, since it's a mesh based. This would be more suited for NURBS based modeling tools or CAD software.
Closest thing I've ever seen is BSurfaces Addon but it's not a very good solution.

that addon looks hella cool

why cant you convert the two different shapes into meshes and interpolate between the two shapes?

You can but it's far from a flexible or maintainable workflow. You have to convert to mesh, and it only works well for the same number of vertex if they differ or are in great number it will start causing problems.

If the two bevel object curves have the same amount of vertices then yes.
Just convert the two curves into meshes and interpolate between them.

I don't think you get the question... (I might be wrong), I'm pretty sure that the OP means having a bevel shape change along a curve, so like a circle turning into a square. Could be wrong, but that's how I interpreted it.

I give example with square curve object interpolated with circle curve object

Yes I don't think this is what the user was asking about. I believe he wants to have different bevel shapes along the same curve


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Is there a way to use grid fill with the mirror modifier?
I would like to use gridfill on a circle, but I would also use the mirror modifier to keep symmetry. Is there a way to use gridfill on an object with mirror modifier?

It is possible only with some preparation.
GridFill uses closed loop to work on and adjacent number of vertices. You can't use it if you have opened loop (ready to be mirrored). The Mirror modifier won't change anything as the geometry it creates doesn't exist unless the modifier is applied. So you are left with 2 general ways:

Applying modifier temporarily

Apply modifier, make necessary changes.
Remove half of the mesh. It is ready to be mirrored again.
Add modifier back.

Create geometry necessary for GridFill manually.

Select 2 vertices which are located on the mirror plane (those connected only to one edge).
Create an edge (with F).
Subdivide it. The number of subdivisions depends on number of the vertices of the rest of the mesh. In case of circle from 32 vertices, subdivide 7 times (so to create 7 additional vertices).
Select all and use Ctrl+F > GridFill (probably modifiy its settings a bit).

The half of the mesh will be filled with the quad topology reflected in the mirrored part.


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how to change the value of various custom properties at the same time?
I have a bone with various custom properties and I want to change the value of all of them, from 0 to 1 at the same time (pressing a button).

Have a look at the operator simple template in the text editor. Replace main(context) with this
def main(context):
    #active pose bone
    pb = context.active_pose_bone
    # all custom properties on bone
    for key in pb.keys():
        #ignore _RNA_UI
        if key == '_RNA_UI':
            continue
        pb[key] = 1
        # insert a keyframe
        pb.keyframe_insert('["%s"]' % key)

and the poll method to
def poll(cls, context):
    return context.active_pose_bone is not None

to  make sure that there is an active pose bone selected.
and change the idname from  object.simple_operator to something meaningful like posebone.set
Then have a look at the panel simple template and
row.operator("posebone.set")

will give you a UI button.

how can I insert a keyframe to all of them, using this method?

@nexxio Added pb.keyframe_insert('["%s"]' % key) to code.  Will add a keyframe for each custom property at the frame of button press.

thanks a lot! @batFINGER ...and, I wanted this operator duplicated so I could have and operator for 3 more buttons that will make the same but each one will add a new value for one specific custom property. I tested and it works great, but if I copy and paste the script in the same operator simple template and change the  idname of the pasted one it does not work. so my question is that: can you have more than one custom operator defined in the same script(I mean something like: custom operators.py)?

Each operator will also need a new class name eg SimpleOperator2 (think of a better one) and be registered bpy.utils.register_class(SimpleOperator2) in the register  method.  Could also pass operator arguments look at http://blender.stackexchange.com/questions/17751/how-display-and-use-operator-properties-in-a-python-blender-ui-panel/17755#17755

I did change the class name, and registered and unregistered, but only one works( I just make one copy of the code and pasted it under to see if it works). I thing that maybe is because they both are in main(context): (by the way i dont know what it is for) I tried changin one to: def execute(self, context): but it shows error.

Maybe put it together as another question.  Did you look at the link re passing props to ops?

yes, I will put it as another question. and I look at the link but I dont understand, at the moment I have not enough knowledge in python, but I will!! thanks.


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how to change a pose lib using script
I want to make a button that changes the active poselib to another one from the list, a specific one. I look in the console and can't see any operator. any ideas?

Whoops, now to setting the pose lib
Simple operator that takes the name of the poselib (action) you want to make active, and sets it on the active object
import bpy
from bpy.props import StringProperty

class SimpleOperator(bpy.types.Operator):
    """Change the Pose Lib"""
    bl_idname = "object.set_pose_lib"
    bl_label = "Set Pose Lib"
    name = StringProperty(options={'SKIP_SAVE'})

    @classmethod
    def poll(cls, context):
        return context.active_object is not None

    def execute(self, context):
        action = bpy.data.actions.get(self.name)
        if action:
            context.object.pose_library = action
        return {'FINISHED'}

def register():
    bpy.utils.register_class(SimpleOperator)

def unregister():
    bpy.utils.unregister_class(SimpleOperator)

if __name__ == "__main__":
    register()

Example of usage
import bpy

def draw_button(self, context):
    # change to a pose named "Pose"
    poselib = context.object.pose_library
    name = "PoseLib"
    op = self.layout.operator("object.set_pose_lib", text=name)
    op.name = name

bpy.types.DATA_PT_pose_library.append(draw_button)

I was talking about changing the active pose library not the pose_markers. sorry.

@nexxio amended answer to changing poselib, rather than markers.


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Why do materials & textures look different in material mode & Cycles render mode?
I'm at a loss :/ My textures and materials look completely different in the Cycles render view vs. the Materials or Textures view. I'm confident there is a fairly obvious piece I am missing. I'm fairly new to Blender, but have not been able to successfully find another question dealing with this exact issue.

Roof faces were selected and then unwrapped/
Texture is a straightforward image texture.

What am I missing?
UV Wrap & Texture

Rendered View of the Roof

Material View of the Roof

Roof Material Preview


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Make two objects out of two pieces separated by boolean difference modifier
I applied a boolean difference modifier to a rectangular object that removed a middle portion of it and I ended um with two parts. But now I want to select just one of the parts but both parts are selected, as they are still the same object. How can I separate them apart?
Thanks in advance,
Pedro

You will need to:

Setup the boolean operation if you haven't already.

When in Object mode, Apply the boolean modifier (it's a button in the modifier panel)

When in Edit mode, use the Spacebar menu to find the Separate operator (or press 'p'), and choose
the "By loose parts" option.

Ho my stars! I lost an hour looking for it everywhere! Your solution works! Thanks!


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How to texture a huge city?
I followed a tutorial to create a city using .osm map file, and ended up with a red-colored city, (with red buildings), I wanted to know how do I texture it?
Tutorial I followed

In the tutorial, he states something about a texture atlas, which I couldnt understand.
Thanks!

Around 2:00 minutes at the step 4 of the video tutorial : compose the texture atlas.
This texture is simply a single large image composed of several buildings facades and roofs images found on CGTextures.com.
So this is simply a copy/paste process.

Hi, Thanks for the answer, after composing the atlas, how to i texture the buildings?

I am not able to explain it here better than it is in the video itself... What is your specific question about it ?

I dont know how to apply the texture facades from the image onto the buildings

@AineshSootha, this video is surely made for people with some Blender experience. But you can learn more for instance here : https://www.youtube.com/watch?v=f2-FfB9kRmE. But many other tutorials are available. Search for "blender UV unwrapping" : https://www.google.fr/?gws_rd=ssl#q=blender+uv+unwrap&tbm=vid


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Rigify rig bone selection problem
I have a question about Rigify rig bone selection.
When rigify generated done I switched to pose mode to make a key but i couldn't pick a bone what i wanted, just selected wrong bone. It seems weird so I tried to click other bone again but it selected wrong bone again. That seems like first child bone from root bone (I tried many time. Most of all the time it selected the root bone first).
It works fine when it turned off shapes checkbox in Display panel.(Attached image below. 2nd image)
I have no idea whether some options for bone selection toggled on or off(I think those options all probably default)
Isn't it normal.How can I fix this problem? Thanks
My Blender version is v2.77

I had the same problem -- digging around the blender bug tracker I found this ticket: https://developer.blender.org/T47940 which describes the problem.
I was also using open source gpu drivers.
This is fixed (at least for me) on the latest builds; not yet on the official version (2.77a).
If you still have the problem, try a newer version from here,
https://builder.blender.org/download/

Great!!! It works now. I really appreciate the reply.

Bone selection works by first finding if the cursor is in an area that the bone shape occupies.  You're going to select the root in the above because its occupying screen space, and yes, as you suspected, there is a selection precedence for parents.  Even if you aren't clicking on the wiry part of the shape, and just inside of it.  When disable custom bone shapes, it no longer occupies that same area, that's why you can select it afterwards.
To select more of the bones you want, you can always turn the visibility of some of the bones in the layers panel.  Rigify sorts deform bones from helper and control bones into different layers, so its a matter of finding the right layers.  There may also be selectability toggles in the outliner to look at, as josh sanfelici has mentioned.

Thank you for your reply. That's what i've got the situation. Here the link it seems what you said. You said the matter was finding the right layers that meant check and toggle the bone layer on skeleton panel in properties right?

I tried to toggle and find each layers on skeleton panel which i can adjust like what i wanted but still got the same problem.

I refer to this video link 10:47. I tried same with him but the video seems had no problem.

Try the wireframe (Z) mode in pose mode, and check the outliner if the bone you want to select is actually selectable (it should have activated an arrow on its right).
Lots of bones of the rigify rigs are not intended to be selectable and directly posable, they are "machinary" bones.

Thank you for your reply. So you meant each bones have to be turned on the arrow (restrict/allow) in outliner so that i can select it? Most of all arrows already activated. I attached video here. sorry if i missed what you meant,cause im not good with english.
link

I refer to this video link 10:47. I tried same with him but the video seems had no problem.


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Does it seem like I'm using more memory than necessary?
I'm super new to Blender, and I've been trying to model this Bose speaker to get started:

So far, I've made the base, extruded it, and then used proportional editing with scaling to make it wider in the middle.  However this is taking extremely long... when I just move my mouse, my entire computer (including mouse cursor) freezes for 5-10 seconds while I'm in scaling mode.  And as you can see in this screenshot, my memory usage is at 217M, which seems awfully high:

So my question is: Does it look like I'm going about this in some horribly inefficient way?  I'm doing this on my Macbook Pro, so I know I won't be getting as much performance as I would with better hardware, but it doesn't seem like it should be this prohibitively slow.

61 segments of bevel looks like an overkill. Try something in the low single digits.

I imported a suzane and subsurfed it to over 7,000 faces and its only using 20 mb of RAM. Also looks like you need to recalculate the normals on your mesh because its inside out.


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Creating knob/dial with indicator strip
I've modelled a few knobs/dials which I've animated over 100 frames or so. They rotate from -135 degrees to +135 over 100 or so frames.
However, now I need to add an indicator strip so as the knob turns, the strip lights up dependent on the pointer position of the dial.
i.e:

I feel I either need some sort of masking layer, or some way of tying in the current rotation value of the main dial to the position of the emission strip.
How might I go about this in Cycles?
Ta

This one is driven by the knob rotation, so you animate the knob and the lights are good.

Let's assume you are looking at your knob from top view.

For convenience, you model a led and you parent led and knob to an empty. Knob must have first rotation applied and rotation mode must be set to xyz euler, if you set it in quaternion or axis angle it will lit only on 180°. Add a material to the led, a simple diffuse one, it will be modified later.
Then you switch to 3D cursor pivot mode and you snap the cursor to the center of your knob.
The idea is to duplicate linked the led, then rotate to a determined amount around the 3D cursor, then add a custom property or as I have done here, use the pass index in the object tab and increment it for each duplicata.
I am not a great coder, you will find the script (poor one) I did in the blend file.
import bpy
from math import radians

# range covered (in degrees)
rangecovering = 270

# number of leds
leds = 20

##############################"
# step calculated
steprad = radians(rangecovering/leds)

#the override comes from http://blender.stackexchange.com/questions/6969/rotate-object-around-cursor-with-python

def get_override(area_type, region_type):
    for area in bpy.context.screen.areas:
        if area.type == area_type:
            for region in area.regions:
                if region.type == region_type:
                    override = {'area': area, 'region': region}
                    return override
    #error message if the area or region wasn't found
    raise RuntimeError("Wasn't able to find", region_type," in area ", area_type,
                        "\n Make sure it's open while executing script.")

#we need to override the context of our operator
override = get_override( 'VIEW_3D', 'WINDOW' )

for N in range(0,leds) :

    # do a duplicate link
    bpy.ops.object.duplicate_move_linked(OBJECT_OT_duplicate={"linked":True, "mode":'TRANSLATION'}, TRANSFORM_OT_translate={"value":(0, 0, 0)})

    # rotation of the duplicate
    bpy.ops.transform.rotate(override, value=steprad, axis=(-0, -0, -1), constraint_axis=(False, False, False), constraint_orientation='GLOBAL')

    # change pass index obj
    bpy.context.object.pass_index = N+1

You just have to change the range in degree, the number of leds you want, and it will create the strip with the correct number of leds around the 3D cursor. If you want to change the shape of the leds (in edit mode), you can and they will be all modified at the same time as they are linked duplicate. You can also modify the mesh data of one led and link the object data to the others quickly.
Then you create a material with a value driven by the rotation of the knob

When you create the driver, use the name var in Scripted Expression, and local z axis in order to rotate the whole thing using the empty without breaking the driver.

I chose to keep the default driver curve and to manage the values directly in the material, so you have a few parameters to adjust to make it work there : range of strip leds, and number of leds as in the script.
If you want to rotate the knob, use the empty so that you will be able to center it at your taste.
If you use the same led material for the knob, and you put an indexpass = 0 it will light up at the same time than the first led.

This is awesome; however, I can't get the LEDs to trigger past 180 degrees when rotating - did you find the same thing?

With the blend supplied ? Did you modify some values ? Are the strip leds triggering exactly when the knob led is coming in front of them ? Did you modified the driver curve ? I can have a look at your blend if you want to... Edit : I just found why, you need to set the rotation mode of the knob in xyz euler. If you set it in Quaternion or axis angle it's giving you this behavior.

AGH! Yes, it was that simple. Legend. Thank you so much!

Here is a solution to light up the individual LED's one at a time without any type of unwanted gradient effect.

The basis of the effect is based on 36 equally spaced LED rectangles created by extruding a 36 point circle, bevelling the edges and then deleting the separating faces.

The texture mask that turns on the LED shader is made up of a number of Radial textures which are turned using a Custom Vector Rotate node (Credit for node: Stan Pancakes on BA). This is necessary because the standard Mapping node does not allow inputs for the rotation values.

A More In Depth Description:
Note: in order to see the radial texture during testing I add a centred plane to the LED mesh. This allows for easier visualization of the mask texture.

A radial gradient texture is inverted, multiplied by 2, and then passed through a Color Ramp set to Constant. This give us a solid black+white divided texture that we can rotate around the Z axis of the object. (Please note the radial gradient has banding in the GIF file below)

By doubling the BW texture, and only rotating one, we can subtract one from the other to get a black area that grows by 10 degrees at a time.

However once we past the 180 degree mark, the colour subtracting starts over whereby we only get a single 10 degree segment at the 190 degree mark. This means we have to add a third texture that remains stationary (180 + 10 = 190) and add some conditional logic to only add this texture when the main angle is greater than 180 degrees.

Here's a closer look at the logic nodes to add the third texture.

I created 2 Value nodes, one to drive the starting LED position, and one to drive the amount of visible LED's. Then I keyframed the Segments On node value per frame for 36 frames (one frame per LED). You could probably spread out the keyframes to show more slowly in your animation if necessary.

Also, note that I had to change the interpolation for the animated value to Constant so each frame would equal 1 LED being turned on.

Once the mask texture is working, it's simply a matter of using it drive the Mix factor between an ON and OFF shader in the material.

Here is the blend file for you to inspect:

Wow, that's exactly what I'm after. amazing! The cycles nodes for that are insane - lots to learn. Thank you!

Another approach using UV Warp modifier (to avoid the non linear aspect of the previous solution I gave, which does not directly avoid the gradient effect -see the note at the end-, but very quick to setup).
Create your object and set its UV map like this (project from view) on a black and white (or blended if you prefer) texture :

Add a curve modifier and adjust it.
Then add a UV Warp modifier using two control objects (here two cubes) :

Setup your material nodes so that the black and white texture controls the swith of lighted/unlighted knobs/dials indicators.

Now simply play with the position of the "to" cube you set in the UV Warp modifier previously :

Note : to avoid the gradient effect, you can insert keyframes degre by degre and after that set the interpolation mode to constant in the graph editor, but this is a bit long and (i think) not very elegant approach.

You can simply do it with driver expression on Array Modifier.
Please take a look at the blend file.

Short explanation:

1. Create a Plane object (Indicator_Light) and add Array modifier with Count 36 and Relative Offset of 1.5. Also add Subdivision Surface modifier with Simple type of subdivision.
2. Create a Bezier Circle and use it as Curve modifier for Indicator_Light. Scale the latter until all 36 copies are distributed evenly on the circle.
3. Create Knob object (the shape is  optional). Add Driver to the Count parameter of the Array modifier of the Indicator_Light object. The Driver should be linked to the Transform Chanel and Y Rotation of the Knob object. Use the default variable name "var" and enter the expression in Expr. field: ((var*(180/pi))//10). Now when you rotate the Knob around the Y axis it will control the number of copies of Indicator_Light.
4. Finally if you need to display part of the copies, you can "cut out" those you don't need by adding an object with appropriate shape as Boolean modifier

Thank you for the note, cegaton. Additional explanation added.

You can use this kind of principle :

With a texture like that (setting a blending on it) :

A closer view to the nodes :

It takes the texture as entry
Then separate one color component.
That the color is tested against a limit ("Less than" node)
And this limit is the animated value
The output of the "less than" node is the factor for a "Mix shader"

Note : i did not succeed to make it completely linear

Thank you very much; very close to what I was after, but not quite!

I think you can simplify the code by using internal Blender Game Engine.  By using the logic block, animate the movements of the the knob and insert the frame for the LED for Off to On by hovering the mouse cursor over the "amount of light to emit" box and press I (Insert a frame).  In the actuator sections, insert an action and use the properties variable.s


text:
Where do I go to add paths(curves) in Blender 2.77?
I only see the option to create mesh. There's no "Add" tab as presented in most tutorial videos that used older versions of Blender. Any help?

You are probably in mesh editing mode (which allows only to add meshes)
I presume you see that :

Go back in object mode :

So you have the add menus :


text:
No audio while editing video
I am trying to edit my video in blender and I soon realized there is no audio. By looking at other questions similar to this I turned on the audio codec, made sure audio was on in user prefences, and put the video on AV-sync. I also checked sure to make sure the video did have audio.  As you can see in the image I did set up the audio codec, I'm just not sure if it is correct. To clarify, I need to get audio in my video but I can't. This is different from similar questions because they are concerning after render, mine is not.
I am using Blender version 2.77 on windows ten with a video converted from .Mov to .Mp4


text:
Assign Particle System to parts of a mesh
In the materials slot their is an "assign" button, is there anything like this for particle systems? But more specifically is there a way to assign a different material to a different part of a mesh. Now finally how do I keep a particle system off part of my mesh entirely? For example:

I want the blue and black to be the same particle system, but different colors, the orange to be a different particle system and no system on the legs.

@cegaton could you explain a little more, I see the vertex groups tab under particle systems and I have vertex groups on my bird(mainly from the armature) but I don't know what to do once there

See https://www.blender.org/manual/modeling/meshes/vertex_groups/vertex_groups.html and https://www.blender.org/manual/physics/particles/vertexgroups.html


text:
Export single strip in VSE
I have one long audio strip in the V.S.E. and I split it into multiple pieces using hard cut, SHIFT+K. Now I could delete the other strips and export one, and then make a new file, cut out the one I want, and so on and so forth and what have you. But as my run-on sentence describes, it would take to long. So how do I export a selected (audio) strip in the V.S.E.?

mark the start frame and the frame track end as is rendering in the Properties window


text:
Motion Tracking for Still Image
I'm well aware of motion tracking, being able to put three-dimesional objects in video (or video effects/CGI) but what if I want to put it in a single image? I tried doing motion tracking with my still image but, it didn't work. All I want to do is make it look like there's text in the scene. BTW I'm using Cycles (but I'm okay if it works better in blender-internal.)
I tried adding a reference image, but I can't seem to get the rotation and location right of the object, it doesn't look like it's part of the picture.
So how do I get the object to look like it's part of the scene?
Here's the image I'm trying to add text to:
(it's to large to upload)
https://www.pexels.com/photo/green-grass-field-113723/

Possible duplicate: http://blender.stackexchange.com/q/1103/599

Motion tracking for a Still image is a bit of an oxymoron.  You just mean placing a 3D model in a still image right?

@PGmath exactly yes. Just using a reference image doesn't seem to convey the realism...

@gandalf3 Whilst that question is very useful to me(thank you) I want more of a solid way to make the object(text) seem like it's part of the picture, like finding the right distance from the camera, by like using the camera focal length, idk.


text:
How to Set All Objects to the Same Mode Via Scripting?
Is there a way through scripting to set all meshes in a scene to the same mode at the same time without selecting each one and doing it manually? IE set all to object mode, or set all to texture paint mode?

All objects are by definition in Object Mode always, only one object can be edited at any time, through scripting or otherwise, this is a fundamental part of Blender design.

The mode can only be changed for the active object, all other objects must be in object mode.
There is an addon that does some tricks to allow editing multiple objects at once.

for obj in bpy.context.scene.objects:
    if not obj.hide:
        bpy.context.scene.objects.active = obj
        bpy.ops.object.mode_set(mode='OBJECT')
Referring to the previous answers - object may stay in Vertex Paint, sculpting and Weight Paint, Texture Paint modes while not being active. However, there can only be one object in Edit mode.


text:
When rendering an animation, it only renders part of the animation
When I tried rendering my animation, it rendered the first 50 frames or so, but when I came back to check on its progress, it was rendering and the frame count was going up, but nothing was appearing in the render screen. In the output folder for my render, about 50 images were there, and all of the others were black images.

Check your UI, or the "Dope Sheet", or the "Outliner" in case you accidentally animated any values that would do this, such as the lighting, or the camera. It can happen when you have the "Automatic Keyframe Insertion" button on, since it animates anything you change.


text:
Mirror Shape Key Drivers
I have a symmetrical model, with pairs of symmetrical (along the X-axis) shape keys (ending with "L" and "R"), driven by a symmetrical armature (bone names ending with "L" and "R").
Is there a way to "mirror" all of the drivers which have been applied to the "L" shapekeys to the "R" shapekeys (swapping all of the "L" bones for "R" bones in the driver targets) in one go?
Perhaps even mirror the shapekeys, bones and drivers all at once?
Thanks for your assistance.

I would really like to know this also - maybe some add-on somewhere, hmm


text:
Set Multiple Target Objects Simultaneously
I have a number of different objects with similar armatures that I reuse regularly in animation.
Each contains multiple bones with various constraints and drivers that have to reference other objects in the scene to work. The reference objects change based on the scene and so I'm looking for a way to streamline this process.
Simplified example:
I have a cube with an armature with two bones. Each bone has a constraint and each a driver. The constraints and drivers all need to reference the same object. Currently I'd have to do each one manually.

I'd like to know how one might go about setting all four references at once. By having three all reference one or by having all four reference something else (a custom "Set Target Object" panel in the UI somewhere??). I assume this can only be done via addon or a script but any way of speeding this up is greatly appreciated.
Thanks for your assistance.

Anybody who wants to use this code should note an armature needs to be present & pose selected in the scene for it to become visible in the properties object panel.

Something like this:
import bpy
from bpy.props import StringProperty

def apply_target(self, context):
    arm = context.active_object
    pbones = arm.pose.bones
    #update drivers
    for driver in arm.animation_data.drivers:
        for v in driver.driver.variables:
            for target in v.targets:
                target.id = bpy.data.objects[arm.my_target]
    #update contraints
    for bone in pbones:
        for constraint in bone.constraints:
            constraint.target = bpy.data.objects[arm.my_target]

class HelloWorldPanel(bpy.types.Panel):
    """Creates a Panel in the Object properties window"""
    bl_label = "Hello World Panel"
    bl_idname = "OBJECT_PT_hello"
    bl_space_type = 'PROPERTIES'
    bl_region_type = 'WINDOW'
    bl_context = "object"

    @classmethod
    def poll(cls, context):
        return context.active_object is not None and context.active_object.type == "ARMATURE"

    def draw(self, context):
        layout = self.layout

        arm = context.active_object
        scene = context.scene

        row = layout.row()
        row.prop_search(arm, 'my_target', scene, 'objects')

def register():
    bpy.utils.register_module(__name__)
    bpy.types.Object.my_target = StringProperty(update=apply_target)

def unregister():
    bpy.utils.unregister_module(__name__)
    del bpy.types.Object.my_target

if __name__ == "__main__":
    register()


text:
How can I create a mathematically correct arc/circular segment?
Given 3 vertices, or a chord and height, how can I create a mathematically correct arc/circular segment with an even distribution of vertices while controlling for the number of vertices.

I frequently need to model arcs in Blender from real-world measurements. Typically I know the cord and height of the arc, giving me 3 points on the full circle.
To create a mathematically correct arc, controlling for the number of vertices, my workflow is as follows:

Plug the coordinates of the three vertices into a digital graphics calculator.
Retrieve the location of the centre of the full circle, and the angle between the vertices at either end of the cord.
Place the cursor at the centre of the full circle in Blender by editing the 3D cursor coordinates.
Select one vertex on the chord and use the spin tool, manually entering in the angle retrieved from the graphics calculator and the number of desired vertices.

While this produces an accurate result it is a rather tedious process. How can I achieve this same result using a faster workflow?

Add Primitive Arc Operator

The theory is well covered here Calculate the radius of a circle given the chord length and height of a segment
The text editor > Templates > Python > Operator Add Mesh template modified to add an arc.
Input the arc length, arc height and number of segments and it creates an arc.
Notes. Haven't dealt with the restriction that arc height can only ever by at most half chord length for a semi circle.
bl_info = {
    "name": "Circular Arc",
    "author": "batFINGER",
    "version": (1, 0),
    "blender": (2, 80, 0),
    "location": "View3D > Add > Mesh > Circular Arc",
    "description": "Adds a mesh circumcircle given base and height",
    "warning": "",
    "doc_url": "",
    "category": "Add Mesh",
}

import bpy
import bmesh
from mathutils import Matrix
from math import asin
from bpy_extras.object_utils import AddObjectHelper

from bpy.props import (
    IntProperty,
    BoolProperty,
    FloatProperty,
)

class MESH_OT_primitive_arc_add(AddObjectHelper, bpy.types.Operator):
    """Add a simple arc mesh"""
    bl_idname = "mesh.primitive_arc_add"
    bl_label = "Add Circular Arc"
    bl_options = {'REGISTER', 'UNDO'}

    length: FloatProperty(
        name="length",
        description="Chord Length",
        min=0.01,
        max=100.0,
        default=2.0,
        unit='LENGTH',
    )
    height: FloatProperty(
        name="Height",
        description="Arc Height",
        min=0.01,
        max=100.0,
        unit='LENGTH',
        default=1.0,
    )
    segments: IntProperty(
        name="Arc Segments",
        description="Number of Segments",
        min=1,
        default=8,
    )

    def draw(self, context):
        '''Generic Draw'''
        layout = self.layout
        # annnotated on this class
        for prop in self.__class__.__annotations__.keys():
            layout.prop(self, prop)
        # annotated on AddObjectHelper
        for prop in AddObjectHelper.__annotations__.keys():
            layout.prop(self, prop)

    def execute(self, context):
        h = self.height
        a = self.length / 2
        r = (a * a + h * h) / (2 * h)
        if abs(a / r) > 1:
            # math domain error on arcsin
            return {'CANCELLED'}
        angle = 2 * asin(a / r)

        mesh = bpy.data.meshes.new("Arc")

        bm = bmesh.new()
        v = bm.verts.new((0, r, 0))
        bmesh.ops.rotate(
            bm, verts=[v], matrix=Matrix.Rotation(angle / 2, 3, 'Z'))
        bmesh.ops.spin(
            bm,
            geom=[v],
            axis=(0, 0, 1),
            steps=self.segments,
            angle=-angle,
        )

        for v in bm.verts:
            v.co.y -= r - h
            v.select = True
        bm.to_mesh(mesh)
        #mesh.update()

        # add the mesh as an object into the scene with this utility module
        from bpy_extras import object_utils
        object_utils.object_data_add(context, mesh, operator=self)

        return {'FINISHED'}

def menu_func(self, context):
    self.layout.operator(MESH_OT_primitive_arc_add.bl_idname, icon='MESH_CUBE')

def register():
    bpy.utils.register_class(MESH_OT_primitive_arc_add)
    bpy.types.VIEW3D_MT_mesh_add.append(menu_func)

def unregister():
    bpy.utils.unregister_class(MESH_OT_primitive_arc_add)
    bpy.types.VIEW3D_MT_mesh_add.remove(menu_func)

if __name__ == "__main__":
    register()

    # test call
    bpy.ops.mesh.primitive_arc_add()

Works amazingly. Thanks! Should definitely be added to the bundled "Extra Objects" add-on.

Maybe, in the spirit of this add-on, make an add-on to place the 3D cursor at the circumcenter (sorry, circumcentre) of 3 objects, or 3 vertices? .. it would be very useful.. maybe it exists somewhere else that doesn't involve hauling in too much clobber with it, I don't know.

Similar to ??   Fixed above to install as addon and put length in units.  Had a look at getting a 0.5 chord to bay a window gap (in edit mode) and appears there is some miscalc.  Adding a chord of edges between two verts could also be considered I suppose.   Missed with every bullet so far Robin.  Noticed a couple of questions re stools that would be right down your alley.. I had so many, small mercy I  went for extruding solids over any mention of fluids.

@RobinBetts (Sure I have done something with this on here before, cannot find)  Anyhoo Using https://en.wikipedia.org/wiki/Circumscribed_circle#Cartesian_coordinates_from_cross-_and_dot-products  script to add circumcircle Run with  3 objects are selected.  https://pasteall.org/M4cX

@batFINGER I thought you had, too.. didn't think it would be much work for you. There was I, chugging away, out of interest, seeing what I could do myself. Actually chose the same route as you.. not too bad.. but then received this lesson in bpy, and idiomatic Python :D.

A must in Blender Extra Objects,

The shipped 'TinyCAD' add-on has a CCEN: Resurrect Circle Center operator.
Given 3 vertices, it will find their circumcenter, and put the 3D cursor there. You can either use the circle the operator constructs, or use the Spin tool to draw an arc from one of the vertices.

Insert a plane with the edge length matching your chord's length;
Remove the plane's two opposite vertices to have a segment;
Subdivide the segment the odd number of times;
Use proportional editing with the circular fall-off, the middle vertex selected, and move everything along Z axis to the desired height.

You may also join the opposite ends of your arc creating an edge if needed.

For the purposes of this question I'm interested in creating mathematically accurate arcs as opposed to eyeballing approximations.

With arcs and circles it's always an approximation as there's this pi number. And if you input given values, approximated as well, exactly you get the result.

If you can construct perpendicular bisectors, you can do the classic compass and straightedge construction for a circumcenter - take the perpendicular bisector of your chord, add the height to find the third point in your triangle, then take the perpendicular bisector of one of the other chords. Those two intersect at the circumcenter.
Unfortunately this will not let you do arbitrary partitions of the angle.

The trouble is, it's not easy to get a fix on the intersection of the bisectors? Unless you're using something like TinyCAD, and if you are, you may as well use it to do the job...

@RobinBetts You can use booleans to find exact intersections-- well, exact to the limits of floating point math.  Here, it adds to the unwieldiness of the solution, but there are times that it can be used for scriptless, dynamic solutions.

@Nathan I only asked because I'd really like this to work, it would be nice to do this kind of construction.. I've had a few goes..  I'm struggling, without tinyCAD. Maybe it's me. I'll ttry again after giving it a rest.

@RobinBetts Then check out https://pasteall.org/blend/2728e96c87674af8805556a6a334124a .  I assume proper placement of the three points from the empties, use a rig to create perpendicular bisectors, and then do a live boolean to find the point of intersection.  I didn't bother limiting the intersection to the plane containing the circle, but I think that should be obvious enough from what I implemented.

@Nathan WOW! That's a lot of ingenuity packed into one file :D I _think _ I get it.. will take more time to decypher


text:
Rotate a Cube on a Plane Using Drivers
This is a simplified example which I wish to apply to a more complicated animation situation.
I have a cube, that is 1x1x1 in size, origin at the centre and is located at (0,0,0). It sits atop a plane with the origin of (0,0,-0.5).
I want to use drivers to drive the cube's X and Z coordinates when I change its Y rotation so that the cube does not pass through the plane. Like so:

I know the X and Z locations can be calculated using cos and sine but I'm having trouble figuring out the equation for the drivers.
Thanks for your assistance.

Related http://blender.stackexchange.com/questions/7183/how-to-animate-a-cube-pivoting-more-than-once-without-affecting-its-original-po/7186

@batFINGER Damn it, hadn't found your example. It updates irregularly though. When I run it, the edge doesn't stick to the ground.

Related https://blender.stackexchange.com/questions/42144/rolling-cube-animation-how-to https://blender.stackexchange.com/questions/7183/how-to-animate-a-cube-pivoting-more-than-once-without-affecting-its-original-po https://blender.stackexchange.com/questions/143046/how-can-i-roll-a-cube-around-its-edges-with-armatures https://blender.stackexchange.com/questions/69731/rotate-a-cube-on-a-plane-using-drivers https://blender.stackexchange.com/questions/119677/how-can-i-rig-a-cylinder-so-that-when-its-rotated-its-end-cap-will-not-penetrat

This could be a math question, but since we are using Blender we could use drivers tools, f-curve tools and empties.
Analysis
Even though the objects center is at XZ (0, 0) the center of the first half rotation is at (1, -1).

We will need the trigonometric functions sinus and cosinus to get points on a circle.

Note that the object center and the center of revolution do not have a distance of 1. We will have to calculate the distance with the pythagorean formula.
Python
a**2 + b**2 = c**2

The are the relations of sinus cosinus and the angle. Since the values only apply to a circle with the radius of 1, we need to multiply if by the actual radius of the circle.

Setting up the drivers

Add an empty. (This is necessary, because of how Blender editing interface works. If the rotation drives the location, Blender 3D Viewport editing rotation control behaves unexpectedly.)

Add a driver to the Y rotation of the cube.Set the empty's Y rotation as the input. Use world space.

Add a driver to the X and Z rotation, use the same settings.

Add the basic trig functions as the expression.
X Loc:    cos(var)
Z Loc:    sin(var)

Our cube now move in a circle based on the empty's rotation.
Refining the expression.
Now we can work on the expressions. The Y rotation is negated (clockwise rotation results in positive values). Let's negate X Loc.
X Loc:    -cos(var)

Our cube revolves in the correct direction.
Next, offset the value to make our cube's center rotate around XZ (1, -1). The first center of revolution.
X Loc:    -cos(var) + 1
Z Loc:    sin(var) - 1

Currently, the cube revolves from 0° to -90°, with an input from 0° to 90°. (Marked red)We need to offset the rotation, resulting in -45° to -135°. That is an eighth of a circle. A circle measure 2 * pi.
1/8 * 2 * pi = pi / 4

Add this to the var in both trig functions.
X Loc:    -cos(var + pi/4) + 1
Z Loc:    sin(var + pi/4) - 1

Now adjust the radius of the circle. Our distance is calculated using the pythagorean formula.

1**2 + 1**2 = c**2
c = sqrt(2)

Multiply the trig calculated offset with the distance c.
X Loc:    -cos(var + pi/4)*sqrt(2) + 1
Z Loc:    sin(var + pi/4)*sqrt(2) - 1

The cube describes the desired rotation perfectly.

Adding a cyclic offset
For the X and Z Location it would be beneficial to have a cyclic input. The span of 0° to 90° from the empty should be repeated. I am going to use the modulo operator to do that.
var%2    ...    rest of var / 2, x in [0, 2[
var%(pi/2)     cyclic for every quarter of a circle, ranging from 0° - 90° (in radians)

The result is cyclic, albeit without an offset.
X Loc:    -cos(var%(pi/2) + pi/4)*sqrt(2) + 1
Z Loc:    sin(var%(pi/2) + pi/4)*sqrt(2) - 1

Finally, let's add the offset to the X Location. Every cycle of 90° we have to add 2 to all X Location values.
First, isolate the cycle of 90° (pi/2) using the floor() function. Then multiply the result by 2.
x = floor(var / (pi/2)) * 2   #
x = floor(2*var / pi)*2       # one step simpler/prettier

Add this to the existing X Loc expression.
X Loc:    -cos(var%(pi/2) + pi/4)*sqrt(2) + 1 + floor(2*var / pi)*2
Z Loc:    sin(var%(pi/2) + pi/4)*sqrt(2) - 1

Getting things more production ready
Add a floor plane on (0, 0, 0). Move plane (0, 0, -1) in edit mode and scale it accordingly.
Lock the X and Z rotations on the empty.
Parent the empty and the cube to the floor plane.
Looking good!

A very detailed and helpful answer which I very much appreciate.

How could you modify the formulas so the side length is variable?


text:
Set Driver Target Object from the Console
Setting a Target Object for a constraint is fairly straight forward:
path = bpy.data.objects["Nurbspath"]
bpy.data.objects["Armature"].pose.bones["Bone"].constraints["Follow Path"].target = path

I'm still very new to this and I can't figure out how to do the same thing for a driver. Specifically I would like to be able to set a the Target Object for a specific variable of a specific Driver from the console. I think it would go something like this:
path = bpy.data.objects["NurbsPath"]
bpy.data.objects["Armature"].animation_data.drivers.driver.driver.variables.var["var"].targets.driver_target.ID = path

But as far as I can tell drivers don't have names so how does one specify them?
The python tooltip isn't particularly helpful either...
bpy.data.objects["Armature"] ... id

Thanks for your assistance.

Working with drivers in Python isn't necessarily fun, unless you also create them directly from your script. If you do that, you can catch the driver objects as return values from the creation function, and use that object to create variables, set targets, and whatnot. Here is a quick example for how to do this:
import bpy

# get the objects from the scene
path = bpy.data.objects.get("NurbsCurve")
arm = bpy.data.objects.get("Armature")

# if both exist, create the driver
if path and arm:
    print('Objects exist, continuing by adding driver')

    # create a driver for all location channels
    drv_x, drv_y, drv_z = arm.pose.bones['Bone'].driver_add('location')

    # set the driver type to MAXIMUM_VALUE
    drv_x.driver.type='MAX'

    # create a variable to control something
    var = drv_x.driver.variables.new()

    # set the target object to the NURBS path
    # note that targets is a list, depending on the driver type more than one value
    # could be required
    var.targets[0].id = path

    # set the target property to the x location of that path object
    var.targets[0].data_path='location.x'

Note that I'm also unpacking the list to drv_x, drv_y and drv_z. This is just a way of naming the three driver objects directly at creation time. If you catch the result in one object called drv, you can access the driver for the X location by using an index: drv[0].
Regarding the Python Tooltip, the line above the one you quoted is actually more helpful: It says DriverTarget.id. This tells you that the object needs to be of type DriverTarget, then you'll find an id property on it. var.targets[0] is of such a type.

Thank you very much, this is really helpful. I find it interesting that it's easier just create the driver with the script as opposed to modifying it. I'll have to play around with it all a bit more. With respect to the python tooltip, I meant in comparison to the tooltip you get from the constraint target, which gives you the full path(?).

@BlenderBro I'd also wish the data path for certain tooltips would not be abbreviated in some cases (hence the ... inbetween), but that's because the data path is becoming VERY long.

@BlenderBro It's easier because you get a unique reference to the object, as opposed to somehow search for the correct one. Much less prone to errors later on, as you can be sure to have the right thing in hand. I'd assume it also runs faster performance-wise. At least that's the case in other situations, like generating new objects using myNiceOBJ = bpy.data.objects.new(name, object_data) instead of bpy.ops.object.primitive_xxx_add() and then trying to locate the thing using bpy.context.object.

You'll want to use .find(data_path, index=index) on Object().animation_data.drivers, to avoid having to remake the driver.
data_path is the RNA path of the driven value, relative to the Object(). index is the driven index for array/vector properties.
So, for example, to change the target of a variable on a driver which controls an object's Y location transform channel, you'd do:
YourObject.animation_data.drivers.find('location', index=1).driver.variables["YourVariableName"].targets[0].id = NewTargetObject
Note that the AnimDataDrivers.find() is documented as performing a linear scan, so it's probably equivalent in performance to manually checking .data_path and .array_index on all drivers until you find the right one.


text:
What are the implications of a very large scene (scale-wise, relative to the default cube)?
I routinely model objects for use in larger scenes based on real-world measurements. These measurements are given in millimetres. The easiest way to model therefore, is to set the scene scale to millimetres and input everything in millimetres. This avoids unnecessary button pushing (0's and .'s) and mental conversions.
The consequence of this is that the resulting scenes are very large in comparison to the default cube. What are the negative (and positive) implications of doing this?
In my experience, issues only tend to arise when you are performing any kind of simulation, such as:

The gravity of the scene does not reflect any change in in the scene
scale and therefore has to be manually adjusted to avoid objects
falling very slowly.
Similarly, the speed of sound does not reflect the change in
the scene scale when calculating the Doppler effect for exported
audio.
Mass calculations may return bizarre results (such as zero mass and
even negative mass)

On the plus side, Blender stores coordinates as floatingpoint and therefore no accuracy is lost when working with very large or very small objects. I have however read elsewhere, that there is a maximum scene size.
I am considering modelling individual objects in millimetres and then scaling them down at the end of the modelling process and then constructing scenes in a more reasonable scale. I think it would be beneficial if you could set the scene scale in Blender in one units and then set the input units in another scale. For example, you could keep the default scale of 1BU = 1m but change the input units to millimetres. In effect, typing 1234 when translating an object would be converted automatically into 1.234 m/BU.

Because of the way floatpoint numbers work, for very large scenes you may also start encountering precision issues while snapping or moving vertex small distances, especially the further away you are from scene origin

One important implication that's not immediately obvious is that Blender's light objects won't scale properly with the rest of the scene.  As the objects in your scene get bigger the lights will look dimmer and sharper.
Before scaling

After scaling

One way around this is to use the unit scale feature in the scene tab instead of scaling the objects manually.

Also note that unlike the blender lights, objects with emission materials have no issues scaling.

We already have that in the Units tab in the Scene Context menu.


text:
Does a Subsurf modifier slow down renders?
First of all, this is all hypothetical; I'm not actually doing this in a project. For example, let's say I'm trying to make a shape that can either be made by modeling it by hand, or I can get the same shape by applying a subsurf modifier to a cube. Which renders faster, or does it even matter since in the end they are both exactly the same shape?

I don't think it should have too much of an impact of a cycles render, because it's a raytrace engine, but BI or some other renders might give you trouble because they are cell or vertex bases


text:
How to remove a protrusion from a surface?
Let's say I have a head object and a sword object.  I move the sword so that it is placed through the head.  The part of the sword that is sticking out of the other side of the head I want to delete.  The rest of the sword, including that part inside the head and the contact points between sword and head inside, I want to keep.  How do I do that?

Related https://blender.stackexchange.com/questions/63719/cut-out-surplus-material

That's only if the surface is flat though (I think).  What if the object protrudes out of an irregular surface?

I can't believe I'm recommending this, but look into Booleans. And be very careful about how you use them.

This is what everyone's talking about with Booleans: The Boolean modifier.

using the "difference" operation, wherever the sword object intersects the cube object, its volume is excluded.
Here's what it looks like without the head:

The surface of the volume you subtract from the sword can be as complex as you need; you could use the head object, for example. Be careful though because the boolean modifier is computationally expensive and prone to error. Stick to simple, unsbdivided manifold meshes with only one part to them for the best chance of success.
Edit: Here's the .blend file :

@ dixiepig   Great!  I need the sword inside the head as well.  But I think I can modify your idea.

If I am understanding right I would delete the part of the sword model you don't want. Then selecting all the edges that make up the new open loop and  Select Make face/fill it to fill the hole by making that whole new face. Then reposition sword.

The challenge is making that open loop match the irregular surface perfectly, something along the lines of Booleans.  Like get exterior of head, intersect with sword, delete intersection.  But I don't quite get the commands.


text:
Is it possible to manually sculpt a specific face in Blender ultra-accurately?
I mean very accurately (over weeks if necessary) to match a specific face so that it looks as accurate as if done with a 3d scanner and you can identify the person clearly?  For example, like the object below.  This question is probably very opinion-based.  But if possible, I will consider practising and training to become that good.  If not possible, then you have saved me a lot of time and frustration.

Artists can create lifelike portraits from wax, clay, even stone and in 3D. This depends on your skill level. If you have no artistic background at all, I would say it will take you about 3-5 years of dedicated work and practice to reach the leve you describe

In theory, yes, if you have enough reference material and time, it would be possible. The end result is after all basically just a mesh and some textures, independent opf the method used to create it. However it takes a lot of skill to create lifelike copies of human faces, so if you intend to learn to do this yourself, expect to put in a lot of effort and experience a lot of frustration before you get something that looks reasonably good.
Its also worth noting that 3d scans also generally need a fair bit of manual work to get the best results, for example the image you have included has a number of artifacts including the eyebrows (which should probably be replaced with particle hair for a  more realistic reproduction.


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Import a video in a chroma key mask in a video
I try to put a video in a "chroma key" mask in another video. How can I make the size of the video as big as the mask? It is always full sized like the normal video. (Pong shall be in the monitor in the middle :)
Regards,
Michael

This is another method that may help you.

If you're still at a loss after reading the links @Mike I use a method so simple it's child's play.  I'd put it up as an answer here but I'll just get my knuckles rapt - 'cos it's not what you asked in that I don't use the VSE (or Movie) editor, or Chroma Key for this effect.  It does do exactly what you're trying to achieve though and I'm sure many others are doing it my way also.  If you ask the question without the ref'ce to the VSE, I'd be game to answer it.  :)

So, after I tried out the linked answers (Thank you for these), im asking again. :-) The problem is, at a later time in the video, there are moving objects in front of the monitor. It is not possible to see them anymore. The next problem is, the inserted video is shaking out of the tracking rectangle (black monitor in the middle of the figure). @Edgel3D I do not understand what you say I have to do to get the child´s play solution :-)

I haven't actually mentioned how I've done this for the reason given above.  By far the most accurate way of placing a 'substitute video inside another is Blender's Video Tracking. This is particularly so when the camera is moving fast to one side, rotating or is hand held.  Because of your plight I've done a small video with 'manual tracking using both Keyframes and Shapekeys.  Considering   , but I've found jobs often don't need that sort of time spent on them. when not opting for the Camera Tracking feature.

Overlay jobs can avoid using Blender's Camera-Tracking feature when it's not worth the time anticipated.
You simply drag the plane's corners onto the in-video monitor and texture it with another video or image and as often as
necessary, employing Keyframes, Shape keys, and a few simple rules.  Violent movement may even conceal minor KF/SK errors.
On reading your plight I've done a Blend file and video to demonstrate manual tracking with a fast orbiting camera from a previously produced movie. (close to 70 degrees odd)   Blender hasn't tracked it yet. It will but time is my problem.

further: to the previous... The overlay video is UV mapped and when transformed with Keyframes and shapekeys, the image automatically distorts to suit the plane's newly assumed shape and viewed angle.  No compositor, no tracking, no Chroma-key and virtually unlimited bkd video-cam viewing angles.   Rendering in OpenGL is a WYSIWYG scenario, very fast and works well with this method.

Not sure what happened 3 comments up.  It was supposed to have been discarded when posted, and in favour of the last two.  It's stuck there now. (sigh)


text:
Make an object draw a line?
The question itself is really simple: How can I make the sphere draw a line?

The only idea I had was to use a particle system to create a trail of particles behind the sphere. This didn't work since I wasn't able to make the particles stay in place. I didn't find anything by using google so I hope someone can help me here.

You can use dynamic painting.

Subdivide your cylinder to create a dense geometry. Give the ball a subsurf modifier and smooth it. Apply transformations to both objects (Ctrl+A).

Select the sphere and enable dynamic paint in Physics header. Set it as a brush and play with the marked red settings pictured below.

Select cylinder and set its type to canvas. Increase the sub-steps amount and check the anti-aliasing checkbox for smoother result.

Is it possible to make brush _a draw on canvas_a and brush_b draw on canvas_b but not brush_a on canvas_b nor brush_b on canvas_a? I hope this was somewhat understandable.

Nevermind found it out.

Sorry for spamming so much. :P But my problem now is that the dynamic paint isn't rendering. Any ideas why?

Sorry for not responding. I wasn't at home. Please check out how to render the dynamic paint here: http://blender.stackexchange.com/questions/66449/dynamic-paint-not-showing-in-rendered-image

authors: μπαντ ανανας


text:
How do I disable negative scaling?
By default blender allows you to scale past 0 - how do I prevent this?
i.e. it's common in other 3D modelling software to resize a set of vertices against an axis to align them - however this isn't possible when negative scaling is enabled.

As far as I know this isn't possible, use the keyboard input instead.
After pressing S for scaling use the keyboard to enter 0 (zero) to perfectly align geometry and optionaly choose an axis of alignment by pressing either X Y or Z.

Well that's arguably quicker, and the goal with that workflow is always to hit exactly 0, so I won't complain; thank you :) Would definitely be nice to have that option though, was the first tickbox I located when picking up Modo.

This can probably be achieved relatively easily with some sort of python script or a simple addon, but that is beyond my skills

This is the best way to do it, but if you need to scale to a different limit than 0, you can press Shift while scaling, this will make scaling smooth enough to get an accurate result, you can use Shift with rotation an translation too.

This is not an answer.  Scaling with the mouse is always useful IN-ADDITION to the mentioned method

Select the mesh in OBJECT mode - Object Tab - Apply cntrl A - Rotation & Scale.
The error is coming up because when you're unwrapping it, it doesn't like the rotation and scale.
IDK how I just figured that out myself considering I was looking up the same issue and remembered scale can mean the rotation/scale/orgin of a mesh as well.

Did you post this on the wrong question?


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Exported model has no illumination when opened on other app.
I am really new to 3D modelling and Blender. I found some ripped files and one of the models has an .obj and .mtl file. When I open it in Blender, both are loaded as usual, but when I export the model I don't see the illumination. I'm using Noesis to view the models.
I tried exporting as .dae, .fbx, and .obj, and I tried putting all the files from the model into one folder.
Am I missing something in the settings? Please let me know what other info you might need to help me figure this out!

Illumination is generally not consistent between different 3d software because each has their own approach to rendering light. Mostly you can just export and import light type, position and orientation but how it looks is up to the software you use.

Ohh, Would it help if I added links to the files for someone to help me illuminate it?
https://www.dropbox.com/s/oy4txtrz1hyqciu/w_ri011.zip?dl=0

The point is if you want the illumination to work in software X you need to set up illumination in software X. This question is likely more about noesis.

So like a plugin? I think I heard someone made a plugin to go with these ripped models, i just havent been able to find it yet

No, not a plugin. Can you add screenshots of what it looks like in Blender, and what it looks like in Noesis?

"Illumination" information is generally not transferred with a model.
In Blender, you're likely seeing the textures (images used like decals on the surface of the model), but the "lighting" won't be stored with the model.
What you might be experiencing is that the textures aren't being saved with the model, so when you open it with Noesis, it's just black or gray. Textures can be saved with the model, but you will have to tell Blender to do that. OBJ is really your best option, at this point. It will store basic model and texture information, and is very widely supported. You can make sure that it is exporting what you want by checking these settings ("Write Materials" is the important detail, here):

This other answer has a good set of instructions for how to export a Blender model as an OBJ. It'd be worth your time.
It also sounds like you still have a lot to learn. It'd be worth your time to watch every tutorial that BlenderGuru has, or at least every modeling tutorial. Covering all the basics will make the learning process easier.


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Particle system doesn't render but shows in 3D view
Not sure where I am going wrong. The render setting is turned on for the particle system, but it still doesn't work when I render the animation. I'm sure it's something straight forward, but I can't find out which setting isn't correct. Where would be the next place to look? It's just a simple piece of text with a particle system. Thanks!
https://www.dropbox.com/s/yx4hiqssrlcrj9j/myFanArt.blend?dl=0

The particles Render Type is set to object, but there is no object assigned.


text:
Removing frame handlers in Python
I am trying to script Blender for the first time following the documentation
import bpy

def my_handler(scene):
    print("Frame Change", scene.frame_current)

bpy.app.handlers.frame_change_pre.append(my_handler)

How can I replace a type of frame handler, respectively clear it, instead of appending to it every time I run the script? I can't directly write into the handler, since it is read only.
However closing and reopening the project can not be the answer either.

Thank you, I am still struggling with the documentation. That solved my problem.


text:
Copy camera position/rotation to another scene
I want to copy a camera from one scene to another, keeping the perspective. In the scene I copy it from the camera is animated to follow a path, in the second scene it should stay still.
How can I copy (not link) the camera, so that in the scene I copy it to, it does not follow the path in the second scene?

Are you copying the camera position in frame 1?

Yes, I copy it from the first frame. Why does that matter?

There are a couple ways you could do this:
Copy/Paste

Copy the camera (⎈ CtrlC) in the first scene
Paste it in the new scene (⎈ CtrlV)
Assuming you are using a Follow Path constraint, Apply Visual Transform (⎈ CtrlA) with the pasted camera active.
Delete the Follow Path constraint.

Link/Unlink

Link the camera to the second scene (⎈ CtrlL> Objects to scene)
Switch to the second scene and unlink the camera (U> Object &
Data)
Apply Visual Transform and delete the Follow Path constraint.

Thank you, I tried the Link/Unlink, but as soon as I apply the visual transform the camera moves to another location/rotation. I have the camera set up to follow a path and to track an empty.

The copy/paste solution did work for me.

@Georg That is expected, it should jump back to where it was once you delete the constraint. If you didn't use the constraint and instead parented the camera to the path via the Follow Path option, do Alt P > Clear and keep transformation instead of Apply Visual Transform

Alt P > Clear and keep transformation did the trick, thank you!


text:
Creating curves in Python
I am new to Blender scripting and I am getting some unexpected behavior when trying to add a curve through a Python script. I am using this code:
import bpy
import math
import pdb
from mathutils import Vector

# print all objects
for obj in bpy.data.objects:
    print(obj.name)
    if("Curve" in obj.name):
        print("found")
        bpy.data.scenes["Scene"].objects.unlink(obj)
        bpy.data.objects.remove(obj)

for cur in bpy.data.curves:
    print(cur.name)
    bpy.data.curves.remove(cur)

# sample data
coords = [(1,0,1), (2,0,0), (3,0,1)]

# create the Curve Datablock
curveData = bpy.data.curves.new('myCurve', type='CURVE')
curveData.dimensions = '3D'
curveData.resolution_u = 2

# map coords to spline
polyline = curveData.splines.new('POLY')
polyline.points.add(len(coords))
for i, coord in enumerate(coords):
    x,y,z = coord
    polyline.points[i].co = (x, y, z, 1)

# create Object
curveOB = bpy.data.objects.new('myCurve', curveData)
curveData.bevel_depth = 0.01

# attach to scene and validate context
scn = bpy.context.scene
scn.objects.link(curveOB)
scn.objects.active = curveOB

And this is the result I get.

I am confused why there are four coordinates. Blender seems to create one additional point at the coordinate origin (0,0,0), connecting it with the last point from my data. Why is this happening and how can I avoid it?

To run the script above in Blender 2.8, I think the last two lines need to be changed to scn.collection.objects.link(curveOB) (see this link) and bpy.context.view_layer.objects.active = curveOB (see this link)

The solution was simple enough. I changed
polyline.points.add(len(coords))

to
polyline.points.add(len(coords)-1)

as found here:
http://blenderscripting.blogspot.de/2011/05/blender-25-python-bezier-from-list-of.html

Can you elaborate, eg splines.new(...) returns a spline with one point.

That's strange, because output of for i in range(len(polyline.points)):     print(polyline.points[i].co.xy) does not contain (0,0)

However this code polyline = curveData.splines.new('POLY')     for i in range(len(polyline.points)):          print(polyline.points[i].co.xy) prints only one point (0,0) ! So by creation, there is always one point in the array, and you even can access it polyline.points[0].co = (1, 1, 1, 1) but nothing changes. That's strange behavior, seem a bug


text:
Does Blender Cycles support rendering in SLI mode - two and more graphics cards?
Can we make SLI bridge between our graphics cards for a faster rendering on blender Cycles renderer? I saw on the blender version 2.79.4 we can faster render on 64*64 render tile on CPU and GPUs, together... that is better than just using GPUs... But I believe it would be even faster when we could render in SLI mode...

See https://blender.stackexchange.com/questions/5228/how-will-two-gpus-improve-cycles-performance and https://blender.stackexchange.com/questions/47904/should-i-run-sli-or-not

SLI was designed to be used in accelerating rendering to display in supported applications with OpenGL or Direct 3D, by either alternating the frames or splitting the frames between the GPUs. As Blender uses the CUDA engine when rendering, and has built-in support for using several cards simultaneously, there is no benefit from enabling SLI.


text:
How to add edges like this?

In this image, especially on wings, there are many bumps, holes, etc., How to make them, average normal map is not doing it properly. Help.

You are basically asking some modelling techniques that may take months or years of practice for modelers to achieve. the easiest way to dig holes on surface is to extrude by pressing E. However the art of digging holes of desired shapes is one of the hardest to master, do not be troubled if you find it very confusing and difficult at first.

The technique you are looking for is called "Hard Surface Modeling". You find quite a lot of very detailed tutorials on that on the internet.


text:
How to make a bone NOT inherit location from parent? Or how to position bone at world location?
Lets say I have two bones, A "Root" bone and a "Child" bone, the "Child" bone has the "Root" bone set as its parent. How can I make it keep its world position while the parent moves?
Now, the reason I ask is because I want to create some "root motion" animations for UE4 (which I have gotten working) but since the root bone moves during the animation, its really hard(or as far as i can see; impossible) to keep the IK targets I use in the same place while the "Root" bone moves.
As an example see webm-related: http://webmshare.com/nq8qa
(I'm aware that this animation is horrible for root motion and in this case it won't be used)
But in that rig I have the head as the root bone, when it bobs up and down I'd still like to be able to keep the IK targets located at the feet still without bobbing with the head bone!
Any suggestions on how to do this? The easiest thing would obviously be if I could copy the world position of a bone and then paste it on the next keyframe, but I can't for the life of me find that sort of functionality!

I think the problem is with your ik target bones. Did you disable them from deforming the mesh? Do they have constraints on them?

They do not have deformation on, and they do not have any constraints of their own. The problem is that in UE4 I can only have one root bone, the head in this case, so even the IK targets have to be parented to it.

Maybe the problem is the root bone then. Does it have deformation disabled?

This question isn't about deformation but about the position of the bones. It used to have deformation on but tried turning it off; no difference. The question is about BONES inheriting locations from their parents, not the mesh incorrectly deforming.

Oh yes ofcourse. Maybe try disabling in the Properties Editor-->Bone-->Relations-->Inherit location

Thats sounds precisely like what I need, but i can't for the life of me find it!
https://imgur.com/qvvxIqN If i'm even on the correct place i can't find "inherit location" under  Relations.

I think the trick would be to make the root bone stationary, that way the ik bones are also stationary.

If you read the question, not moving the root bone is out of the question. The whole point is to be able to move it to later use it in UE4.

Is that helpful to unparent the IK bones?

This can be done with bone constraints

Add an Empty to the Scene at the base of your child bone.
Disconnect the child bone from its parent (AltP) in Armature Edit Mode.
In Pose Mode select the child bone, go to the Bone Constraints context , and add a Copy Location Constraint targeted at the Empty.

Here is an example of the result:

Above: An armature object being moved while one of its bones remains stationary

Actually a new problem surfaced, i can't key the position of the 4 different empties within the action editor! When I input a key for one of the empties it instead keys its LocRotScale to the armature object!

@TheGoodBookDevAIV That doesn't make sense. Can you post the .blend?

Answer from 2022 (Blender 2.93):
So you have ik targets in blender that aren't parented to the root bone, and unreal engine can't handle that. Good news! UE doesn't need to know about your ik targets, so the solution is simply to not export them. Here's how you do it:
First, tell blender that you ik targets are not deforming the mesh (which they aren't, they are only there to drive the ik solver). Do this by selecting your bone in edit mode, go to the bone settings tab and uncheck "deform" which is checked by default:

Then go into object mode and select your armature and export as fbx. In the exporter settings, under the armature tab, make sure 'Only deform bones' is checked:

Boom! your ik targets are safe in blender, and UE will import your mesh.

It looks like it is already disabled for that bone

Indeed. But when i move the root bone in pose mode this still happens: http://webmshare.com/qAoA0

But isnt that the whole point of a root bone? The bone that controls them all?

It is indeed.
https://docs.unrealengine.com/latest/INT/Engine/Animation/RootMotion/
But for effects like that to work, i'd need to animate the whole underlying armature AND the root bone, which gets very hard if all IK targets move as soon as I move the root bone. Thats why I also wondered if it would be possible to rather copy the world position of a bone and paste it on a later frame.

But the IK targets move relative to the target bone. So in the local space, the pole targets dont move at all. Im confused what you are trying to achieve, you want the root bone to go forward but the ik targets to stay behind ?

Yes that's precisely what I'm trying to do:
Imagine having a person walking forward across a plane, the IK targets for one of the feet would then, in world space, always be still whilst the center of weight of the character(the root bone) would continue to travel forwards (then the other IK target would be still once the other foot touched the ground).
As it is right now, everytime the root (center of weight) moves forward the foot touching the ground lurches forward with it: I want it to stay in the same location in worldspace one way or another.

Are you allowed to have some bones without a parent?

That's the next problem; no I cannot. I can only have one root bone and that root bone has to be animated. (These are limitations of UE4, otherwise i'd just have made the IK targets parentless)

its beyond me im afraid

How about if other bones connect to it but it itself isnt connected to anything? That allowed?

Not sure what you mean by that. The root bone is not parented to anything whilst the kinematics are connected only to the root bone.

for example the hip control bone in this rig


text:
Addon Properties for Material, Objects etc
we are working on a Addon to import W3D files used in the old CnC, and Battle for Middle Earth games.
In order to import these files properly we have to add some custom properties to the object and material types etc.
All of the script examples I found do not work.
Could someone pls post a working example on how to add a custom property and display it in the properties section of the objects material?
E.G. we will have to set an enum "surface type" for each material.
Thanks in advance
Tarcontar


text:
How can I cast shadow on background with nodes
I shot a video in a chroma room (object in front of green background), after I have eliminated the green (masked away). Please, can someone explain how I will cast the shadow of the object on my new background? Thank you in advance.

Are you sure this question is animation nodes related?

I am working on music video, not animation. I just created a hall with blender as a background.

Not sure about the way you did. If you use the video image sequence as texture on a plane, then it is possible to cast shadow, which works for Cycles and BI. Anyway, more info needed to undersand your question better.

If I use it as a texture, do u sure I will have a good output?

Here is a simple material setup for Cycles. FYI.

Once you have your subject cut out, you can use its alpha channel to make a shadow layer with the compositor:

After the color keying is taken care of, use the Separate RGBA node to get the alpha channel.
Run it through a translate node so you can move the shadow.
The alpha channel will need to be inverted with an invert node.
Multiply the shadow with the background and use the multiply factor to control the opacity of the shadow.
Run the shadow-background and color key results through an alpha over node to put the color keyed result over the background-shadow.


text:
how can i get open street map addon for my blendet
I want to work on a city, this why I need to work on open street map, and I will need addon to import open street map. Please, If you are the one that God will use as my Angel(Helper), zip it to mightyaraba@gmail.com . you are blessed, Thank you in  advance.

try to follow instructions here https://github.com/vvoovv/blender-geo/wiki/Import-OpenStreetMap-(.osm)

I have tried the link, when I wanted to download the add-on this is the code I saw--- # This is the release version of the plugin file io_import_scene_osm_dev.py
If you would like to make edits, make them in the file io_import_scene_osm_dev.py and the other related modules
To create the release version of io_import_scene_osm_dev.py, execute:
python plugin_builder.py io_import_scene_osm_dev.py
bl_infoordm

I tried to python the code and execute it but nothing change.

As the page says you should 1) save that python code on your pc, on your desktop 2) use the button in blender preferences > addons to import addon from file, and import the file you saved before. 3) Then activate the new imported addon, 4) using file > import > imports .osm files (these are xml files exported from the open street map site).I tried before commenting, and it works. It's not difficult, but if you still need detailed steps, I'll add an answer.


text:
any help with this noisy render?
im not sure if this is the right place to post this, if not i apologize
i made this render and as you can see, its very noisy where the chairs cast shadows, any suggestions? im rendering at 300 samples and i have tried increasing the samples, using the filter glossy, larger lights, decreasing the number of bounces and im also using pro lighting skyes, thanks

Possible duplicate of How to avoid noisy renders in Cycles?

@someonewithpc Telling someone to go to Google is probably not the best way to welcome a new user to the site.

In complement to the link indicated above. You can also play with the "clamp direct" and "clamp indirect" values (try what is better for you, even if this may lost accuracy). And yes : welcome in BSE (dont worry i am still learning : )


text:
Merge parallels edges
I'm just starting with modeling so please sorry if my question already was too dumb, but I didn't find a solution yet.
In short, I want to merge 2 edges to be only one. They are in same orientation and direction.

so I guess they have a common vertex? Just select it and Ctrl X to dissolve?

Yeah! That's so obvious now :) Thank you a lot  @moonboots

Select their common vertex and press CtrlX to dissolve.

I didn't know how to convert the comment in a answer. Thank you again for your help! @moonboots

And I don't have reputation to vote :/

Solved: I just needed to select the vertex between them and then Dissolve the vertices. Credits to @moonbots


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How to find missed vertices?
Sometimes I realize that I have a few vertices missed after deleting something I guess (and don't know why they keep a vertex in the limbo without connection with an edge).
The question is:
There's some way to auto detect all these missed vertices and also edges? Or the only way in by eye looking in Edit Mode?
Example:

Thank you!

Go into Edit mode, select all vertices (double tap A key), then in the viewport menu, Select Mesh > Cleanup > Delete loose. This will remove stray vertices

Great! Thank you :)


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Quick Switch View with Pen
I'm struggling to find a way to switch the view while using a pen, with the "Emulate 3 Button Mouse" checked.
With the mouse the "quick switch view" works when pressing the Alt and then dragging (quickly) in the direction desired.
How to use this feature with a digital pen?
Thank you in advance!


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Fit canvas to Image - Grease Pencil
There's a way to fit the entire canvas in the image?

I want to export a character animation, but the output is including the entire canvas as expected. How to rezise the canvas to fit in that area?
Also, when creating a new 2D Animation, is visible the canvas as a "paper" in the background. While resizing the Output->Format->Resolution, the canvas still visible, but then after rotating the 3D Viewport, this canvas just disappears, forever. How to bring it back or avoid this behaviour?
PS: Any tip to create characters with Grease Pencil and exporting to Unity will be very usefull.
Thank you in advance!

The thing you call "Canvas" is the portion of the 3D world that the Rendering Camera sees, according to its location, rotation and Focal lenght.
So, to resize the rendered drawing you have two options:

select the Grease Pencil object, go to edit mode, select all and use G,R, S to Grab, Rotate and Scale the whole drawing as desired.

Enable the Camera Collection in the Outliner (top right window), select the camera, use G, R to move the camera and frame the drawing correctly (use G, Z, Z to Dolly in and out).

Be aware that by default AutoRecording option is enabled when using 2D Animation preset, so moving the camera will get keyframes on it if you don't disable it in the timeline window (red circle button on transport).
When orbiting in the 3D world the Camera view gets disable (of course), to restore it press Numpad 0 (or Menu > View > Viewpoint > Camera), or press the little camera icon on top right of the 3D view.
The "canvas" proportions, as they are properties of the rendering camera, vary according to the output resolution that you set in the Output properties.

Hi. Thank you for answering, but the question is about resizing the canvas, which is not a term I invented. There's even a tab with that name right next to the 2D Animation tab, so I guess there's a way to work with that.
I don't want to change my grease pencil, and I would like to avoid messing around with the camera as well, if possible. I understand that the camera is the way to render, but considering there's a feature called Canvas, I guess there's a way to fit it in the image.
Also, after rotating the viewport, I don't want to lose that "paper" reference of the canvas.

Canvas is not a feature of Blender (nor of any 3D application), it's only the name of a UI configuration. The name of that fetaure is Passepartout, which is nothing but lowering the brightness of areas outside the Camera view: as I said the only parameters you can set are about the camera (move, rotate, focal lenght). There are many ways in which you can move the camera (and its Passepartout). Maybe try pressing N, go to View tab and enable the "Lock Camera to view" function.


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Why FrameSelected Numpad. (Full Stop) is considering always the center of the grid?
I'm having an annoying issue with the full stop/period key shortcut.
When I use the full stop the viewport always consider the origin to centralize. I tried to reset de preferences without success.
And this is happening only in a specific project, the most important ofc :(, and seems that in some point I did some change accidentally, because if a get an older version/backup of the project it doesn't happen.
What did I change to get this weird behaviour?
Thank you a lot!

That's how the period key is supposed to work if you have the cursor in the 3D view, - It centres the pivot point in the viewport. As you say, it will centre the selected frame in the Dope Sheet (or the selected object in the Outliner) if that's where the cursor is when you press the key. If it's doing different things in different projects, compare the settings in the preferences keymap to see if they're different.

Where is the object origin located? In object mode that is where this function will move to.