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How to ignore backface-culled faces that point away from the camera when selecting in edit mode?
I've been searching for days now, asking the reddit, discord, several streamers noone seems to know.
I'm looking for a way to ignore backface-culled faces that point away from the camera, so basically selecting faces inside of a mesh from the outside.
I got this cube that has its normals pointing inwards, imagine this is a room in a retro video game like ocarina of time or something:

When I now want to select faces inside the cube, from the outside, I can't:

This is a demonstration what I want to do specifically (I removed the sides of the cube which faces I was unintentionally selecting in the previous image):

The purpose of this is to more easily select faces for applying materials or other manipulation of retro-video game interiors, which usually don't have thickness to their walls and are just inside-normal-facing boxes.


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How to Modify Mesh to Achieve a Circular Shape
I am a beginner in Blender trying to model a g shock watch (reference gwf-1000)
I have modeled the basic shape of the dial but I am struggling to recreate the circular curve that cuts it without messing up the topology of my mesh completely.
Does anyone have any tips on how I could do it?

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

Thanks for the feedback. I will edit the title.

It looks like you don’t actually need the outer circle to cut into anything: I’d just make it a separate mesh rather than trying to make this manifold. Making a boolean cut for the inner circle hole should be easy, just make it slightly bigger than it needs to be so the visible part of the ring inside can go through it. Again, the ring as a whole is its own mesh.

Thanks for the answer. So, just to make sure I understand this correctly, I should use a boolean to make the outer circular shape and make the inside ring a seperate mesh, correct? Won't using a boolean modifier ruin the topology?

source: Stack Exchange

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How to change the transform orientation to a specific angle/edge?
Alright, so, I've modeled a wing-like object, and I want it to rotate at the angle of the selected edge:

I tried snapping the cursor to the selected and then moving its origin to the cursor.
However, the pivot/transform still rotates in the general (X,Y,Z) world directions.

This is what the rotation looks like:

But I want it to rotate along the edge, like a hinge.
This is sort of what I would like to accomplish (it took me a while to manage to place it at the right angle).

I'm new to blender, I'd really appreciate your help :)

The quickest, easiest way would be to add an empty. Place it and rotate it so one axis-edge lines up with your desired axis of rotation. Make your wing a child of the empty. Rotate the system in local mode around that axis.

if you plan to animate maybe read my answer here: https://blender.stackexchange.com/questions/129834/how-do-i-rotate-an-object-along-its-own-axis-windmill?noredirect=1&lq=1

If you model the object with the axis aligned to a standard axis, and then rotate it into place, the local axes will match the rotation.
Global Y-axis:

Local Y-axis:

If you've already modeled your object, then what Ron Jensen describes above might be easiest.
Here I created an Empty (I chose the "Single Arrow" type just for clarity), and then lined it up with the rotation axis I want:

Then select the wing FIRST, and the arrow SECOND. Hit Ctrl+P, and choose the first option (Set Parent to Object):

Then rotate along whichever local axis points in the direction of your arrow.  In my case it's local Z, because of the way I rotated my arrow.  Yours may be different:

In case you don't know how to rotate locally, from the keyboard it's 'R', then 'Z', then 'Z' again (to rotate in local Z; 'R', 'X', 'X' for local X, etc.).  You should see the axis line change so you can see if it's the axis you want.
The neat thing is that you should be able to rotate the empty or move it around and the local axis should still work:

In your case you'd want to parent it to the main body/fuselage so wherever you move that, the wing follows.

Okay! Thank you so much

you can select the edge and then in the N pane in "transform orientation" you can press the + symbol to add a new orientation, it will appear as "edge" in the select box.

You can also use alt+space shortcut to access all the available orientations:

Then you can rotate anything following the edge orientation.

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Soft body and dynamic vertex weights
I want to simulate a rope using Softbody modifier(because cloth can't collide without edges) and I also want to make dynamic pinning/unpinning from the Emptys.
I can use Cloth and Vertex Weight Mix to achieve necessary result but without collision. Using Softbody gives me collision but I can't use Vertex Weight Mix because Softbody requires original data.
At the image below I want the vertex to detach at one frame and reattach at other frame.
Like this

I don't know if this will help you - the rope falling across the rock is what I have in mind. (4th clip) Either end and mid sections can be handled any way you wish.  It used physics to fall and collide and then manually bounced at the ends -
https://blender.stackexchange.com/questions/226766/how-do-i-pin-a-ball-to-a-cloth-sim-rope-to-create-wrecking-ball/227382#227382
I can dig out the Blend file if you think you can use it.


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Easy way to animate a bale wrapper
What's an easy way to animate a bale wrapper like in the GIF below?

https://giphy.com/gifs/machine-hay-bale-5ThN9qBDfD97i

i edited your question to "an easy" instead of "best" because else the question will be closed because it is opinioned based....hope that's ok for you

Yes, thank you. I saw the warning when I posted it but didn't know how enforced it is. Oops...

Maybe this recent tutorial will be of use to you.

Well I kind of did it, by keying gravity to basically force the cloth to wrap around. Now I'd need to figure out how to 'pull' the end of the cloth around and un-spool it from a roll of cloth.

Close to this https://blender.stackexchange.com/questions/76756/animate-winding-a-ribbon-rope-cable-around-a-cylinder/76788#76788


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Joining Geometry and removing internal faces
I've got this model from Mecabrick that I would like to have as a character, however this model is split into multiple parts with a lot of internal geometry. I'm struggling to find a way to combine all this geometry into one mesh whilst also only having the visible parts be included.
You can see in the picture below that this model has lots of interior parts where actual lego would snap together, but I just want to remove it all and have one mesh. Is this possible without manually removing and rejoining every face from the mesh?

The simplest solution I see is to go and manually fill all the holes. It's just a matter of hitting ctrl + X with the entire internal geometry selected.
You could then use a Boolean modifier to combine all the parts into one mesh, which will make it (pretty much) a single watertight mesh


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How do I rotate and scale my texture without unwrapping
I wanted to rotate this wood texture and scale it without unwrapping it, is there a way to do this or do I have to unwrap it? (If I made any mistakes with my nodes please feel free to correct them,)

plugin these 2 nodes before your image:

and then you can play around with rotation, location + scale.
Maybe plug it into object or generated, if that fits better for your case.

If I try this it ends up stretching or warping the texture instead of mapping it to the cabin.

of course this depends on some things, so please provide your blend file WITH your texture then i can tell you exactly what to do.

How do I provide a blend file on stack exchange?

Open https://blend-exchange.com/ and follow instructions

@Quantian2  UV only works if you've already unwrapped your object.  Try Generated and if that doesn't work then try Object.


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How to get location and rotation object
I'm working on a script that makes a rigid body simulation, I'm interested to get the final position and rotation of my objects but I have not idea how to do considering that I'm pretty new in the using bpy. Anyone has an idea how to code it? To be clear on the data that I wanna get i'll achieve a screenshot from blender panel. Thank you!

The data is utilized to establish the starting point of the object. When using constraints or rigid body physics, these values are employed to populate a transform matrix that is utilized in simulations. To obtain the transform matrix, use either the matrix_world or matrix_local (if related to a parent). The values can be accessed using translation and to_euler() methods.
obj = bpy.data.objects["Your object name"]
print(obj.matrix_world.translation)
print(obj.matrix_world.to_euler())

Thank you so much, your suggested code works but at this point the problem is that, when I run the code on Blender I get different results than I run the code from, for example, the command prompt and I don't know why.

Are you sure that Rigid body sim has been run or baked?

Yes I am, I've checked on Blender and the simulation has been run.

I fixed the problem, basically the solution was to run the script on Blender because when I run it on visual studio code the rigid body simulation didn't bake.


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How do I keep part of an object stationary?
I have a question that I feel like has a simple answer but I haven't really found anything on this yet.
I'm just trying to animate this object so that when the center bar moves, the end of the supports touching the bar moves with it but the other end of the supports stay in place.

I thought maybe bones were the answer but I wouldn't have a clue how to arrange these bones to achieve my goal.
Any advice?

Hello, how is the long bar supposed to move? On Z (up and down only)? On XY (can' move up and down)? On XYZ?

@moonboots it should only be moving on XY

I couldn't quite get the bone stuff to work but I found the addon AnimAll really useful as I could animate the shape of the mesh on the fly

@Confused_User: it is always helpful if you write a bit about your blender experience so that the answer fits to your needs. Something like: i started Blender yesterday, i rigged my first character or i am working for Pixar now for 25 years as chief animation officer

Create this simple 3 bones setup:
Bone B is child of bone A (connected).
Bone C has a copy rotation bone constraint, targeting bone A.
Bone B has a Dumped track bone constraint, targeting the tail of bone C.
Now, rotating the bone A (master control bone) will cause the rig to behave as expected.

I'm unable to add a damped track constraint to bone B, maybe because it's connected to bone A

There shouldn't be any problem to add  a damped track constraint.  A common mistake is to add an object constraint to the whole object (the armature) instead of a bone constraint to the single bone (use the bone constraint properties tab in pose mode, the blue one with a bone and a circular constraint icon).

If as you say the long bar can only move on XY, here is a solution close to Josh's:
Give Bone 1 a Copy Rotation constraint with Bone 2 as Target. Parent Bone 3 to Bone 2, but disable the Inherit Rotation option. Rotate Bone 2 to animate:

i think he is a real beginner so i guess he needs very detailed description...


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How to make a triangle with one angle being 90°
Im new to Blender and having troubles making a triangle with one angle being 90 degrees. I'm able to make a triangle but that's the existent of what I can do.

What I tried was making a normal triangle and attaching a cube to one side of it accomplishing what I want but this means I couldn't extend out side A (reference to image above) which is my goal.
Any other methods I should try?
End goal:

(but 3D)

If the second screenshot of your desired result is the side view of the future prism, then you can dissolve geometry of the cube.
Add a cube, in Edit mode choose Edge Select to select edges. Select one of the top edges of the cube. Press X > Dissolve Edges.

Once the edge is dissolved the mesh becomes a prism.

Steps:

Create a Plane.
Go to Edit Mode.
Select All - A.
Press Ctrl+T - to Triangulate face.
Delete one of the corner vertices.
Select All again - A.
E to Extrude Plane to 3D object.

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some steps doesnt work from eevee to cycles blender 2.9
hello i just try follow some tutorial in youtube and i forget to change the render engine from eevee to cycles, but when i change the card little bit different the masking is not transparent anymore can somebody explained?? i am very new in blender :)
this the tutorial : https://www.youtube.com/watch?v=-rxbmpcBDIc&ab_channel=FelineEntity

hello, maybe pack your images (File > External Data > Pack All Into .blend) and share your file (copy paste the link it will give you): https://pasteall.org/blend/

what do you mean images?? did you mean the black and white?  i use that a image texture, and I'm confused whether .blend and .blend1 are the same? i ams o newbie in blender :) sorry if my grammer so broken :)

you just need to do File > External Data > Pack All Into .blend, so that the images you're using are now part of the file. Share .blend, not .blend1

blend1 is equivalent to “blend before the last session.” Every time a blend is opened, a blend1 is saved immediately.  PS: an “image texture” is equivalent to “an image file being used as a visual texture”, and of course uses an image file. “Pack” means “store files within the blend file” rather than the default, which is simply storing a path to the needed file. If I have a model of a painting that uses an image in my Pictures folder, by default the image will not be in the blend file, and thus someone else opening the blend file will see blank pink, AKA “you don’t have the image.”

@moonboots like this :https://pasteall.org/blend/4d7a2d862cbb4101a20b174ddf2021d2 sir?? :)

what do you want exactly to be transparent? Your window can't be transparent as it has an image on its face

@moonboots I've been hiding the mask collection but it still same, but in the tutorial the face side is transparent

In the material settings > Viewport Display, you have the Backface Culling option activated, it makes the face transparent from one side in render preview, but if you render you'll see the image in both Eevee or Cycles, so I'm not sure what you mean, do you want this part to be opaque or transparent? If you want it to be transparent, select the material and make it transparent in the Shader Editor (for Eevee don't forget to choose Blend Mode > Alpha Blend)


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How to add extra loop cuts without affecting subsurf
I'm trying to model an iPhone. I have made the base shape for the phone by using a cube with subsurf modifier. Im now trying to make a button on the side but I cant do this without adding loop cuts and this affects the shape of the phone due to subsurface. How can I make a button as seen in the picture to my model while keeping the rounded shape the same of the current model?

the button should be a separate mesh, but you need to make the hole for it. But actually you don't show your wireframe so it's hard to tell what to do...

@Pat, I think it would really make sense to add screenshots of the geometry with questions like that. How else will someone be able to help you without seeing what you are doing? I down-voted the question as it seems to me it is poorly formed without any pictures showing the topology and therefore not a very useful question.

Thats my bad ill edit the question asap

Thank you @moonboots, for the suggestion. Do u know how I cud do this? Using a boolean would be painful and not that effective I would have thought.

Please check, if any of [these](hole subsurf) are related to your question.

You need to add some geometry to your mesh. Then add some edge loops around with some bevels and ctrlR, delete faces, extrude, move a bit the edge loops you've created to make the hole round, and extrude inwards. To make the button just duplicate the hole profile and extrude.

Thank you moonboots for the response. The only problem with this solution is that the curvature of the edges on the original model is not maintained. The iPhone X has very rounded edges and doing this method flattens out the sides. That was the tricky thing about my problem. Sorry if my original question was unclear.

Moonboots I’m not sure how to without sharpening the edges. This happens whenever I add loop cuts. Sorry for being such a noob. I’m new to modeling.

Ok I've edited, I think if your shape is rounder you need to add geometry

Thank you for your patience with me. I'm just starting out with modelling, I am unsure how to make the hole rounded. Thank you again for helping me out.

hello, what do you mean "rounded"? It will be as you have a Subsurf modifier, you just need to add some edge loops so that the angles stay sharp


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BL2.80 - Remapping the Context, Search, Tool-Shelf popups
new user here.
As the title mentions, I am doing some customizations and I am trying to find where in the keymap settings these menu popups are buried (Context popup, Search box, and the main tool-shelf).
The tool-shelf, for example, can be assigned in 2.8 to the spacebar action, but I don't see it inside the keymap tree structure anywhere.

You mentioned "these" in your question but there's nothing to see for "these".

The ones from the title


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Fastest way to snap two faces together by aligning their centers in non-standard orientations?
In the attached example, I moved the origins of the two shapes to the center of the desired faces.
The objective is to snap the cube's face (where the origin is moved to) to the slanted face. Basically snap origin to origin by aligning the cube to the orientation of slanted face.

Arbitrary orientation

If you enable the snapping option called "Align Rotation With The Snapping Target" it should work

It doesn't snap origin to origin.

are you trying to do it with snap or any way will be good?

Hopefully a way with the least steps, keeping in mind that in cad software this and other snapping, is trivial.

https://blender.stackexchange.com/a/282835/142292

When you have the two objects with the origins in the same location, activate snap vertex option, select the object that needs to rotate and press R, searching for a vertex of the angled face.
If the rotation is not aligned with a view, use custom orientations, and press R followed by the choosen axis twice (i.e. R,X,X will rotate around X local axis).

This one gets close. The issue is If the rotation is not aligned with a view, then I am having one hell of a time.

Select the static one first, then hit shift+s>>cursor to selected then select the another one and hit shift+s>> selection to cursor, then use the "Align Rotation With The Snapping Target". I use this tools so many time, I made hotkeys for the mouse 4-5 buttons, combined with shit and ctrl, I recommend the hotkeys to you too.
"Align Rotation With The Snapping Target" means the "Align Rotation With The Snapping Target":

So far I have the two origins touching (after selection to cursor) .. but then how did you do "Align Rotation With The Snapping Target" ? If you mean the snapping option, it doesn't work because with this method we snap an object to the cursor, not to another object (so there is nothing to orient to).


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How to stop freestyle from rendering overlapping vertices?
I have this object that I created by mirroring one half of it (the mirror joint is highlighted):

When I render it normally there's no trace of the joint that's between mirrors:

But when I try to render it using Freestyle it renders the joint:

I know I could apply the modifier and then merge the vertices but I'd rather not do that because then I'd have to do it manually for all objects in the scene. I would also lose my ability to edit all of them at once.
How can I make the mirror joints appear seamless on a render?

Hello and welcome. have you tried removing that face?

Yes, but I have to apply the mirror modifier for that and I'd like to keep it.

No, you don't have to apply the Mirror modifier to delete the interior face...

Sorry, I was thinking about merging the vertices.

You have interior faces there. Apart from the issue with Freestyle strokes, it is not a good idea because they make the mesh non-manifold and can lead to other problems as well.
Here is an object which has a mirror modifier. One part has an interior face at the mirror center. Below a comparison of the difference with and without interior face, this is the mesh:

And this is the Freestyle result:

But you can simply select the face in Edit Mode without applying the Mirror modifier, then hit X > Delete > Faces.

And this is the result of the Freestyle render - without applying the Mirror modifier:

Amazing! Thank you!


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How to manipulate points position displacement in the blender geometry nodes
I’m trying to create a displacement/reveal effect on an object with distributed points, similar to the one shown in this tutorial: Youtube turorial link.
The issue is that the tutorial uses Blender 2.9, and some of the nodes like the Attribute Vector Math Node have been changed or removed in Blender 4.2. I was considering using Set Position, but I can only manage to create a basic 1-axis offset, which doesn’t look as dynamic or interesting.

If anyone has suggestions on how to replicate the effect using Geometry Nodes system, I’d be very grateful!
Thanks in advance!

You need to take from the "color" of the noise if you want a 3d (vector) noise instead of 1d
You also need to change "float" to "vector" in the map range and in the mix.
Finally, Vector Math definitely exists in whatever version newer than 2.9.
For attributes, you want to use the nodes:

Store named attribute (connect some vector math to it and give the attribute a name)
Named attribute (get the values of the attributes)

Example using the noise as a "vector", not a float.

Thanks for your input! Sorry, I was referring to the Attribute Vector node, which I can’t seem to find a replacement for. I applied your advice, but my offset still only moves in one direction.

@antvrn, see updated answer


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weird bone rotation
I made a cycle animation of a character going up stairs, but at some point the toe rotates, I don't know why. Here is a screenshot

and here's the file of my project

Looking at the graph editor shows that the curve pattern created by your keyframes is additively repeated after the keyframes:

Making curves cyclic is done only via curve modifiers. So if you select your curve and look in the sidebar's modifiers tab, you can see this:

As you can see here, the After Mode is set to Repeat With Offset, hence the animation is additively cycling. I guess you did this because you wanted the position of the character to keep moving up the stairs, but did not consider that only the character's motion needs to cycle additively, while the other bones only need to repeat the motion as it is. The issue is visible only on bones like your left toe because its animation isn't cyclic: the first and last keyframes have an offset so offset cycling will increment the keyframes at each repetition whereas the right toe have the same first and last keyframes, so there is no offset to be introduced there. See the difference in the X rotation of your left and right toes:

You could just fix that toe's rotation keyframes to make it cycle perfectly, and it would work as is. And check for any other bone that have a similar issue. But that would mean looking in the graph to hunt any curve that unexpectedly offsets, and it can be long and tedious if you have lots of them.
You could manually change the modifiers' After modes to Repeat Motion, but since you made this mistake on multiple curves, the fastest solution would be to select all the bones in the viewport that should repeat the motion as is (I reckon all except the torso), then all their curves in the graph editor, and call the Set F-Curve Extrapolation menu with ⇧ ShiftE to first Clear Cyclic and then Make Cyclic again, which creates the same modifier but with Repeat Motion on all modes.
You will need to adapt some animation curves, here for the left toe you need to make the keyframes cycle from start to end.

Great! I'll look into it. Thank you so much !


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When I rotate the bone on its axis, part of my mesh scales instead of rotating properly
I'm trying to rig a drone. When I parent the fan part to the bone and rotate it, it doesn't rotate on its axis. Instead, it scales weirdly. I'm new to rigging.
How can I make the fan rotate correctly on its axis?

The vertices of the fan are part of several vertex groups, see for example for this one:

Select all the blades and remove from all groups:

Then assign to fan.L only:


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Combining two Noise textures, one should be applied only in a specific part of Curve using Geo Nodes?
I'm working on creating tree trunks similar to the one in the image. The trunk is made using a Quadratic Bezier Curve and has a noise texture applied to introduce subtle randomness along its entire height. For the base of the trunk, I need an additional noise texture (or a different method) to create a semi-circular curved trunk part, but only in that specific area. I even made a sketch of how I would prefer the curve to look. You can check my nodes to see how I achieved that effect, but I'm looking for suggestions on how to achieve it with more control over the second noise texture.
Thanks

Is there a specific reason why you set the From Max value to such a high value of 64.33? The Spline Parameter > Factor can only output values from 0 to 1, so instead of From Min/Max 0.5/64.33 and To Min/Max 0.9/-1.4 you could have left the From Max at the default 1 and set the To Max to 0.882 instead. For the question: which "second noise texture"? I see only one. Is the curved cyan part supposed to completely replace the first noise or should be additional (i.e. should the curved part be smooth like your sketch or noisy as well)?

Hi @GordonBrinkmann, thanks for helping out again!

The reason for such a high value is that I am still not familiar with Geo Nodes, and I applied the method of "what can this number do". Although I am aware that it goes from 0-1, I left it like this without double-checking. Thanks for the tip.

I didn't apply a second noise texture; that was something I thought could be a solution, but I am not sure if it would work.

The curved cyan part should be smooth like in my sketch, without noise.

Here is an example how you can achieve the result. First I have a resampled Curve Line where I set the position of the points randomly with a Set Position node by plugging a Noise Texture into the Offset. To decrease the strength of the noise, I added a Vector Math > Scale node inbetween. I did not use a Subtract node to center the noise values by the way, because I disabled Normalize which your node does not have, so I guess you are using an older version of Blender. But for the following method that is not an issue.

For the second part I use the Spline Parameter > Factor and a Float Curve plugged into the Y input of a Combine XYZ node, to bulge the curve to the right (which is the positive Y direction here). Instead of a Float Curve node you can of course use a Color Ramp as well like you did in your screenshot.

Now I combine them both with a Mix node set to Vector. If your Blender is too old for a Mix node, you can use a Mix Color node instead since the color inputs can handle 3-dimensional vectors as well. Again I'm using the Spline Parameter > Factor as base for mixing the two "noises", again with a Float Curve. Where the float curve is set to 0, only the first input (noise) will be applied to the spline, where it is 1 the second (smooth bulge) is applied. The float curve inbetween makes the transitions from noisy to smooth and vice versa. Of course here you can use a Color Ramp again, especially if you maybe want to create harsh transitions from noisy to smooth by setting the Color Ramp interpolation mode to Constant for example.

By the way, if you wanted the bulge to be noisy as well you could simply add them both together:

Wow, I am impressed! Thank you so much, you really helped me!

@Boxon No need to thank me, but if this helped you it would be good to accept the answer, so that others know there is a solution to this question. See: https://blender.stackexchange.com/help/someone-answers


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Asking for Video Editing, Workflow advice between VSE & Compositing
I am struggling with strips & VSE because I found no way to apply a node on a strip.
The purpose is to make an old moving processing. The Raw video is in FullHD.
I believe the several steps of editing & processing should be in this order

Lens distorsion & Crop into a TV Ratio
Motion Design (Text, Images....)
Color Grading (desaturation, levels, sepia color cast)
Scratches on film (come from another video)
Vignette for old film framing
Projector shake (transform node?)

What I found out for each step:
1/ Is there a way to do this without a Lens Distorsion Node (ie in the VSE?)
2/ Can only be done in the VSE
3/ Could be done in the VSE (with pain), can be done with nodes
4/ Can either be done in compositing with a mix node or in the VSE with a lighten blend
5/ Can either be done in compositing or VSE
6/ Can be done with a Transform node or on a big meta strip which is a solution I don't like.
If I summarize:
FIRST compositing of all raw videos
SECOND MOTION DESIGN over the processed videos
THIRD Compositing round 2 to make the final rendering
(Audio is another matter).
Do you have comments, advices about this statement of work ?
Thanks ;)

at first glance that sounds about right, but I would add that considering how slow blender is at rendering video passes compared to dedicated video editing software, it might be worth considering using something else? I think you'd be able to do all of that in one go with a program like flowblade

Well I don't plan on spending dozens of hours to learn a new tool. If things cannot be optimized with Blender then so be it.
For VSE videos, I use a script made by Mickeycal Meyers to dispatch the work on several cores/threads. I works well.

yep, totally understand what you mean, t'was just a suggestion. and yep, the multi-threading script is very useful stuff.

actually, you can combine step 1 and 2 by having the raw video composited in its own scene, then import it into the VSE of a different scene. That way you could skip the first render, but using this technique massively slows down blender preview

Why struggle and suffer with the VSE when there are so many better tools that will allow you to do this? Blender is so rudimentary, inefficient and haphazardly designed for serious video work. Use any other contemporary video editing app, one that will allow you to do all of this directly on the timeline without multigenerations, proxies, conversions and the time wasting workflows or workarounds in blender.

I don't pretend doing serious video work ;)
Yet if you have suggestions of other video editors which are completly relevant for this kind of work, I am reading to listen to them.


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How can I extract this block's material and apply it to a new cube w/ fewer vertices?
I downloaded an .obj file containing several low-poly blocks, and would like to use them individually. When I import this into Blendr, it looks like this:

There's no obvious way of splitting these up, so I deleted all blocks but one, leaving me with:
But look at those vertices! I think each color represents a small square of vertices? But, when I make a cube and try to apply the material to it, I get this:

Now, I'm really new to Blendr, so I just need to do some simple stuff. What I think is happening is that whoever created the original blocks mapped colors to vertices? So the material itself is just a smear of colors which are made orderly by mapping these colors to vertices?
How can I copy the material from one block to a cube w/ fewer vertices while maintaining the way it looks? Can I?
Here's the uploaded .blend:

hello, could you please share the cubes (make sure that you've packed the images: File > External Data > Pack Resources) https://blend-exchange.com/

@moonboots sorry, i can't. the rights to these cubes are not mine to give up. :(

maybe show the Shader Editor, the UV Editor, the Image Editor, etc, in order to understand how the material was made?

@moonboots Hi. I decided to upload the .blend file—I added it to my post.

I've opened the file, your material is actually using an Image Texture, each face lays over a color of this image, if you ever decide to simplify the topology with a X > Limitde Dissolve for example, it will change the topology and therefore you'll lost the colors. The only way I see is to bake the Diffuse

You should look up some videos on how to bake high poly to low poly textures. The fact that it's a cube will make it alot easier for you to wrap your head around it.
I personally use Fluent Materializer as it lets you do one click baking for all your texture maps.

"There's no obvious way of splitting these up" - in Edit Mode: A to select all, then P key, then L key to "Separate by Loose Parts". As for the topology of those cubes - it looks like someone subdivided a cube so it has a lot of small square faces, each of them representing one "pixel". Then he colored them, and then he used some automatic process to optimize the meshes by merging squares of the same color and then triangulating them.


text:
Are cloth simulations affected by scene units?
I am working on a character scene and I want them to have dynamic clothing. While working on this I suddenly realized that the character is gigantic in scene units, about 47 feet high! The cloth simulation is acting a bit "light", as if it were made of tissue paper, but it is not slow. I would like to verify whether cloth simulations act differently based on the size of the object in the scene, or if i just need to change some settings to make the cloth have more weight and to wrinkle less (I am going for a leather type material).
Scaling the scene down to real-world size is not an option because it breaks self-collisions in the cloth, as some of the geometry is below the minimum distance I can set the self-collision distance to, causing the cloth to "explode".
Sorry if this a noob question but I am very new to cloth simulation in Blender and don't know what all the settings do.

I'm not sure about the scene units, but to make the cloth more like leather, increase the stiffness value.

Yes, the cloth simulation parameters and precision depend on the scene units. And that doesn't mean the object scale, that's obvious to get a different result. But it means the scene unit scale, scene properties > units > unit scale.
An object with the same size but different unit scale will get different results in the cloth simulation. More precisely, a unit scale of 0.1 is ideal for a human sized figure, while with 1.0 or 0.01 the cloth simulation will get bad results.

Please note that the scene units don't affect the objects size, so camera perspective and light falloff will work fine. On the other side if you scale objects out of their real dimensions then you break them.
Then that the cloth precision depends on scene units is not good in my opinion, but I'm not sure this could be addressed as a bug.
edit. This is related to Blender 2.92.

Yes - size will significantly affect all of the physics simulations. Of particular interest will be the acceleration due to gravity; by having a 10x too large scene you are effectively applying only 1/10th of the force of gravity (which could explain the tissue-paper behaviour of your cloth).
Quick solution would be to adjust the scene gravity by a suitable factor to account for your increased scale (eg, change from -9.8m/s to -98m/s for a 10x change in scale). However, you might still get it behaving a bit oddly since any stiffness and weight will be similarly affected by the scale.


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Hair particle editing not working right
I am trying to brush hair on a character and suddenly the hair brush and other tools in particle edit have started affecting hairs on the opposite side of the mesh. This means whenever i make an edit on one side, hairs on the other side are affected. To be clear, this is not X-mirror, it is acting as if the source mesh is invisible. I am affecting hairs "through" the mesh.
Im probably just missing something, perhaps I hit a keyboard shortcut by accident while working.

Have you activated X-ray?

@rjg no, xray is disabled. it behaves the same regardless of xray mode anyway :(

@rjg I just discovered the bug was because I was using an experimental version of blender, its not present in the current stable release. I will just use the experimental version for rendering because of the new denoiser, and do all main work in the stable release. Lesson learned lol


text:
Undesired sharp edges with smooth shading
I'm trying to achieve smooth shading on a model with subsurface. It worked pretty well until recently, now smooth shading works only with edges under certain angle. I don't use the edge split modifier.
Edit mode:

Object mode:

Disabling the subsurface mod:

Joining another object with smooth edges:

You can have a look at my blender 2.8 project here

your link doesn't seem to work, could you upload it here: https://blend-exchange.giantcowfilms.com/

This is due to autosmooth (mesh properties, normal part). Try to either deactivate it or tune the value (maybe 180°) so that the arm will be smooth and the nails stay sharp.

@moonboots the link has been updated

A big thank to @lemon, you saved me a whole bunch of hours. idk why this was checked, but now it works as before.
You can see by yourself.

The option is located there:


text:
Scripting the generation of a curve from the set of mesh centers drawn using BTrace add-on
I'm writing a script to generate a (smooth) curve joined from the centers of several meshes.
So, here is my code:
import bpy
import os

# PRECONDITION: The segmented meshes should be all in the following directory.

#------------------------------------------------------------------------------
# A. IMPORTING ALL MESHES
# REFERENCE: https://blender.stackexchange.com/questions/5064/how-to-batch-import-wavefront-obj-files

path_to_objects = '/home/rahul/Samples/Original-Samples/Segmented/'

# Get list of all files in directory
file_list = sorted(os.listdir(path_to_objects))

# Get a list of files ending in 'stl'
obj_list = [item for item in file_list if item.endswith('.stl')]
N = len(obj_list)

# Loop through the strings in obj_list and add the files to the scene
for item in obj_list:
    path_to_file = os.path.join(path_to_objects, item)
    bpy.ops.import_mesh.stl(filepath = path_to_file)
#endFor

#------------------------------------------------------------------------------
# B. EXTRACTING THE CENTERS OF EACH MESH

# Selecting everything
bpy.ops.object.select_all(action='SELECT')
# Select origins of each mesh
bpy.ops.object.origin_set(type='ORIGIN_GEOMETRY')

#------------------------------------------------------------------------------
# C. FINDING SPLINE

# Selecting the BTrace window -> Objects Connect
bpy.data.window_managers["WinMan"].curve_tracer.btrace_toolmenu = 'tool_objectsConnect'
bpy.ops.group.create(name="Btrace")

# Executing 'Run' button:
# Iteratively execting 3 commands for each mesh
for i in range(0, N):
    bpy.ops.object.editmode_toggle()
    bpy.ops.object.hook_add_selob()
    bpy.ops.object.editmode_toggle()
#endFor

bpy.ops.object.select_all(action='DESELECT')
bpy.ops.object.group_link(group='Btrace')
bpy.ops.object.btobjectsconnect() # >> ERROR <<

#-----------------------------------------------------------------------------
# D. EXPORTING THE GENERATED CURVE

bpy.ops.object.select_all(action='DESELECT')
N = len(bpy.data.objects) - 1 # all the mesh + 1 curve in bpy.data.objects

# Using the name of last object as the suffix of the name of our curve:
name = bpy.data.objects[N].name # get it's name
stl_path = os.path.join('/home/rahul/Samples/Original-Samples/Segmented/', name + '.SmoothSpline.stl')

bpy.ops.object.select_all(action='DESELECT')

# NOTE**: the curve is at index i = 0.

# Now, deleting next N meshes
for i in range(0,N):
    bpy.data.objects[1].select = True # always select the second mesh**
    bpy.ops.object.delete() # and delete the mesh
#endFor

# Into the EDIT mode
bpy.ops.object.editmode_toggle()
# Select all points
bpy.ops.curve.select_all(action='SELECT')
# Smoothify
bpy.ops.curve.handle_type_set(type='AUTOMATIC')
bpy.ops.object.editmode_toggle() # back in to OBJECT mode

# Exporting the mesh (curve)
bpy.ops.export_mesh.stl(filepath=stl_path)

#------------------------------------------------------------------------------
# E. FINDING FRONTAL NORMAL (N2)

#------------------------------------------------------------------------------
# F. FINDING TRANSVERSE NORMAL (N1)

#------------------------------------------------------------------------------

Here is the screenshot of the script execution:

But, when I run the part (PART C.) of this script related to generating the curve using BTrace add-on manually and rest of the script in console, things went perfectly fine.

So, could you please help me out debugging the error? Any insight about correcting this is appreciated. Thanks in advance.

I don't know why I'm getting this feeling that add-ons could not be automated (scripted). Not sure.

The operator that you're trying to call "bpy.ops.object.btobjectsconnect()" is part of the bTrace addon and not in Blender by default. It's defined in the plugin file btrace.py. You can find the code that built that operator around line 534 here: https://github.com/scottjwood/bTrace/blob/master/bTrace.py


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2.8 Beta Walk/Fly Mode No Wall Collisions?
Is there any way to add collision to walls when in walking mode.  i'm trying to explore my scene without walking through walls and falling off into the void.  yeah i know there's fly mode also, but walking and jumping is more immersive.
i've checked in the preferences in the walk/fly section but there's no options for wall collisions.  i'm assuming one would have to apply some kind of script to activate the wall collision.  any ideas? thanx!

did you try to make them rigid bodies ? would that help ? I have no idea if walk/fly takes in account collisions at all, but this is what I would try in the first place since there is no any logic like it was in BGE.

yes i tried adding collision to them as well as making them rigid bodies but no luck.


text:
Unable to achieve real time playback in Blender even after baking
I have a hard time making Blender playback in real time. The project I'm working on is set to 25fps and includes a live action video set as a background image, an animated camera, and a simple animated object with a shape key, two lights and one shadow catcher. When I add a soft body to the object and bake it, it won't run at 25fps. Even after removing the soft body, it still doesn't. When I use Eevee, the playback remains around 10fps instead of 25fps. My setup: 3090, 11700K, and 32GB of RAM (Blender is using less than 6GB) and two SSDs. This is a general problem I have. I experimented with Houdini, and it seems easier to get real-time playback after baking/caching.

I can only repeat a comment which I have typed here very often: what people often do not understand is that the FPS do not necessarily mean you can play everything in realtime in your viewport, especially with complex scenes. It's a setting in the Output Properties. It is necessary if you render movie files because they need an FPS setting and it is used for playback of rendered image sequences. And it is needed for baking simulations so that Blender knows which playback speed is intended so that the physics are simulated in correct timing.

In good tutorials about animation you get taught that it is best to render a quick viewport animation (from the 3D Viewport menu View > Viewport Render Animation) to see if the timing looks correct when played at the correct FPS. These viewport animations render much quicker then "normal" renders and you are not even bound to the camera, you can render from any viewpoint you are currently looking at the scene to check your animation from different angles for example.

How many vertices are in this soft body, and the scene as a whole?

When you play the timeline inside blender, it still has to do a lot of calculation (drivers, morphs, textures, lighting, and so forth.)
Like @GordonBrinkman said, best to render a small, lightweight movie and play that back to check timing.


text:
No shadows emitting object
I want to create an object that emits light to produce the correct shadows from my object on the ground plane. When I use a regular spotlight, the object in my scene casts a shadow on the ground plane. When I use a cylinder with an emission shader, my object is illuminated but there's no shadow on the ground plane. Any ideas what I'm doing wrong?
I have attached a screenshot of:

the object properties for the ground plane
the shader editor for the object
sun as light source
sphere as light source (no shadow)

Thanks in advance!

I reproduced the behavior and it is indeed surprising. The weird thing is that when you activate shadow catcher on the bright object, for no reason it starts to work but the bright object disappear (of course)

Yes it's weird. I don't want the light source to be visible, so this solution actually works great for me :) Thanks Romain!

omg haha your welcome

@RomainGuimbal Sounds like an answer to me. Could you post it as an actual answer below?

@OconOcon ... shadow is still generated, but very subtle ... you can see it if you set plane's color to almost black like 0,001 https://imgur.com/XyemzT7 (material is still calculated with shadow catcher so it affects a result). But there is still strong indirect light for some reason. Would be great to know why Romain's comment (set shadow catcher to emissive object) works :) It looks like SC on mesh light  makes material ignored to cast on other objects.

As @RomainGuimbal mentioned, enabling the shadow catcher for the emitting object solves the shadow issue, but the bright object disappears.


text:
Unable to achieve smooth transition with soft body returning to original shape after collision
I'm working with a soft body object colliding with a plane with a collider and trying to get the object to return smoothly to its original shape after the collision. I've followed advice to animate the minimum strength for the goal position toward 1, but the final part of the transition still feels abrupt. I try to make the transition as smooth as possible but there's a noticeable "hard" jump as the soft body snaps back to its original shape. The interpolation is set to linear.
Edit: I tried changing the interpolation to Bezier, but I'm still getting an abrupt transition.
Any suggestions how to make the transition smooth?
Thanks in advance!

Linear interpolation is intended to give an abrupt change! Try using Bezier instead.

Thanks for your comment. I changed the interpolation to Bezier, but I'm still getting an abrupt transition. Do you have any other ideas for a solution?

I'm not very familiar with those settings but could you try adding a keyframe with an intermediate setting for the 'goal position' just before the final frame?

I tried that, and it doesn't solve the problem :/

No idea in that case I'm afraid. :^(


text:
Remapping to numpad function keys not possible? (Mac)
I'm trying to remap the zoom-button from the command key to one of the available function keys on the numpad (for example f16, f17), in combination with the mouse/trackpad. I can configure the keymap in Blender (screenshot) but it still doesn't work. The default assigned key will stop working (as expected), but the new key won't respond. I'm a bit puzzled that Blender would recognise and register the new key, but then not respond to it when working on a file.
Am I doing something wrong?
Apologies if I've overlooked the obvious! - I'm pretty new to blender (version 3.4).

Cheers!


text:
Texture showing up white even though I have a texture in the UV Image editor
So the texture was showing up normally until I selected all of the faces that I texture painted on and then went into Texture Paint mode.
https://gyazo.com/86cc203ccd86363c52c6552e30369f24
Now It's showing up white even though I had textured it.
Also, please specify where any tabs and crap are located, cause I don't know that stuff quite yet.
I did not render anything. It doesn't show up in the views and probably not in the render either. This isn't a duplicate.

Possible duplicate of Render not showing UV texture

Except mine doesn't show up in the texture paint/object mode either.


text:
key frames with physics simulations
im creating a scene where i have a cloth simulation and a smoke simulation at at the same time
it is for a still image (with scope to animate it in the future).
my problem is this, with both simulations  start from a neutral position in the when the time line is at at frame #0
in the cloth simulation its a neck tie but But completely flat before the wind dynamics start to toss it around
and in the fire (smoke) simulation the flames are yet to be spawned from the emission object
if I liked a particular frame because of way the tie was flapping in the wind
and in a seperate instance how the fire looked (for example further along the timeline when the flames have finnished bursting up and out and have 'settled')
is there a way if isolating the 'pose' both the tie (cloth sim) and fire (smoke sim) like with a key frame to alow the two posess to exist in the same image at the same time
this might also be helpfull when I come to animate the scene for the tie(cloth sim) to already be blowing in the wind and fire(smoke sim) to already be roaring and potentialy be on a short loop (not too worried about seamlessness) of a few frames just enough to give both things a bit of life while not requiring lots frames of processing heavy simulation (especialy the smoke sim i've noticed)
cheers,
Billy

When you cache out a simulation, the frames are saved to individual files. By simply renaming the files to the corresponding frame numbers you can move them around after having them simulated. See this answer for more details. If you want a still (for now) you will only have to locate two files (smoke and cloth) and you could rename their framesuffix to 0001 to have them both appear at frame 1.

cheers, I ended up using this method with 3 frames of cache data, is there an easy way of running them as a loop if i were to animate other things in the scene and have those frame flickering away for the duration?

That's great to hear. I would just duplicate the frame cache files and rename them with any of the methods in the linked answer. I'd have multiple duplicate files.

cheers, it would be nice if it were possible to run little bits of animation like the 'symbol' feature in Adobe Animate (formaly flash) and I think other adobe video softwares have that im not familliar with yet where frames can run on there own timeline within the main timeline, thanks again

For still images, this is fairly easy, cloth simulation is a modifier, and like any modifier it can be applied. This will apply the simulated shape at the current frame to the mesh, thus allowing you to then change the frame to the one with your preferred smoke simulation state.
If you want to make it look like the cloth is being blown by the smoke, you might want to look into a wind force field.


text:
Blender 2.8, Simple Rigging - What am I doing wrong?
Another confused noob here.
I have a basic model of a paper crane that I'm trying to rig to make the wings flap. It seems like a simple task, but for the life of me can't figure out why its not working. I've watched gobs and gobs of rigging tutorials but can't seem to make the armature control the mesh. Here's what I've done:
Here is the model:

I then add a bone armature as the main base bone:

I then extrude another bone for the main wing (just focusing on the .L side now):

Then, in object mode I select the mesh, shift+ select the armature and press ctrl-P, to parent to armature with automatic weighting:

I then enter pose mode and rotate the wing.L bone and....

What am I doing wrong?
To test this workflow, I create three cubes and loosely stack them on top of each other, start with a bone at the bottom, and extrude 2 more to match rough positions of cube. Then I select each cube and parent it to the corresponding bone. The rig behaves how I expect it to:

Okay, three objects parented to 3 bones is working. How about a single mesh then? - so I create a cylinder, and (just to alter the armature method a bit) create an armature bone and then subdivide with 2 cuts to get a similar armature, select mesh and then armature, ctrl-p to parent, and it behaves the way I'm expecting to:

Yes, adding loop cuts would give me a properly bending rigged cylinder, but the point is, the armature is working.
So what am I doing differently with the bird?
Does it have something to do with not having proper geometry? I pulled up the weight paint view and it's all blue, so things should deform with the rotation of the bones, no?
I am so confused.
Any insight would be appreciated.
[ROUND2]
I've been taking everyone's suggestions and watching even more tutorials and I still feel like an idiot.
I took the knife tool and added more geometry to make sure there were more vertices:

I then look at it in weight painting and painted the areas so they can deform:

I click on the mesh and it seems to be parented to the armature, but in pose mode:

Thoroughly confused and saturated in Nooby frustration.
File is here, in case any expert wants to take a stab:
https://drive.google.com/file/d/1N56w5vovNqkCVvlcbv3VqDTJN0tHrw0o/view?usp=sharing
Much appreciated to everyone who has chimed in.
Thank you!

In some cases the automatic weighting doesn't work perfectly. Use weight painting, or assign vertex groups to solve this manually.

I think that this behaviour is related to the fact that your mesh is non "manifold". If you don't want to modify the mesh, go for manual weighting, as stated by FFeller.

Autoweights don't work well on non-manifold meshes, and this is probably non-manifold.  You're manually painting the exact wrong vertices.  Paint the tip of you wing, not the base of your wing.

If the parent armature with automatic weights doesn't give you a result, it just means that blender isn't picking up that the bone is near the vertices that you expect it to move.
This just means you need to assign the vertices yourself. You can use weight painting, or manually assign a weight to the vertices.

You gottta make sure to subdivide all meshes that are being automatically weighted


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Fluid simulation - filling up a letter
New to fluid simulation, and I'm having trouble setting this up:
I have a text, a letter "O", that I want to fill up with water - going for a spurt of water to come jetting in from the bottom and fill up the whole "O".
I've converted the text into a mesh:

I then duplicated it, and removed the upper part of of the letter so I have just the bottom sliver left:

I then made sure to inset it just above the original so it sits "inside" the "O" letter:

Now I set the the bottom sliver mesh with a fluid emitter set to "inflow" with a positive Z value. I set the letter "O" mesh with a fluid emitter set to "domain" with default values for now. I'm expecting the z axis inflow from the bottom sliver to fill up the domain of the mesh "O" with water, but instead get this result:

What am I doing wrong here? Can anyone explain to me what is happening? Why isn't the letter filling up with water?
Does it have something to do with normals?
Thanks in advance!
EDIT:
So, I've now setup a cube around the letter as a domain, set the letter as the obstacle, and even added a mesh at the top as an outflow, but am now getting this:

I am baffled by this, and don't quite understand why the fluid is "seeping out".

It looks to me that on the first frame the fluid is already too big to fit into the letter. Try increasing the divisions. Normals may be used for collision (not sure here) so if they were inside it may be better.

Noobee me is trying to decipher your comment. By "increasing divisions", you mean adding a subdivision surface modifier?

Oh no, it's the number of divisions in the fluid sim. It's called resolution, not divisions, my bad. But first Lukasz-40sth's answer is probably what you need to do. There needs to be a surrounding cube as domain around your letter and your letter must be obstacle, not domain. You will probably need higher resolution afterwards because your liquid is kind of thick compared to the letter

Seeing that you've already fixed some of the initial issues such as the fluid domain, I'll address why the animation you posted has bugged out.
Closed objects in Blender are treated as solids. In other words, they are not hollow. In the animation you posted, the fluid sim is freaking out since the fluid "particles" are being created in contact with your solid object.
To fix this issue, try applying a "Solidify" modifier to your letter. This will add a thickness to the walls, of which you can adjust in the modifier settings. Wireframe mode will be helpful to see how thick/hollow your object will be. In the image below, the right side cube has the solidify modifier. The smaller cube within it is the actual hollow portion of the object.

Ensure that your fluid emitter fits within the inner boundaries of your letter, otherwise, you may reencounter seepage.

Ok, so maybe a few more details would be good.
After converting my text to mesh, I use a remesh modifier. It fixes the weird text geometry. I usually crank it up to 7 or 8 but for a single simple letter like O, 6 is enough. Apply the modifier.
I'd make the O around 2m tall. Apply scales on all your objects as a general rule for sims.
A cube around the sim (here around the letter) is necessary. Set it to domain. I'd put resolution to around 100. Also, you may want to increase the time value, otherwise it takes ages to fill up the letter.
The O mesh must become a fluid obstacle. Set it to no slip and set volume initialization to shell. In edit mode, recalculate normals inside.
There needs to be a mesh inside your O, set to inflow. Give it x, y and z speeds or it's not going to fill anything up.
You can also duplicate your inflow object if it's not fast enough for your taste. Or increase speed in domain. Or both.
Finally, a personal observation: inflows that are or end up inside the fluid seem to stop adding to the fluid. Unsure why.
Hope this helps.

The domain is necessary for the sim to work, but if you want to fill a shape with fluid make it an obstacle, put the "tap" inside it and, to avoid overspill, make mesh near the top an outflow.

Ah good catch. The letter shouldn't be your domain. It must be a cube around your shape

From the blender docks the domain object is always the bounding box of a mesh object, regardless of it's shape.  Of course any object can only serve one role in the fluid simulation


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Modeling a twisty tree: How do I twist a beveled curve?
Hello Blender community!
First time posting.
I’m a fairly recent 3D NOOB playing around with Element 3D and C4D renderer in After Effects, and I have a project that’s allowing me to dig deeper into Blender. I’m at excited at how 2.8 feels…
So-
I’m trying to model the following tree and I want to make it ‘grow’.

I’ve created a curve with a few points, beveled with a circle, and using a NURBS path to affect the taper.

I hooked up the vertices of the NURBS path to empties and animated the location of the NURBS vertices to affect the girth of the girth of the tree as it’s ‘animating’ the Bevel end value. The ‘growth’ of the tree is looking how I want it to:

Now I want my tree to look like the drawing, and this real tree, for example, with the whole tree twisting as it grows.

How do I do this?
I’ve seen people taking an object, add loop cuts, add a simple deformer and twist. But I would need to convert this beveled curve into a mesh - which then I lose the animation from the keyframed Bevel End point for the growth.
I’ve tried playing with the tilt value of the vertices within the path of the curve. The curve has a total of 8 vertices, so just for example, I added a 360 degree rotation between each vertex, so the last vertex has a ‘twisted’ value of 2520 degrees for the tilt.

So in theory, the physics of this makes sense, but at a high spline resolution, it doesn’t look like it’s twisting much. If I lower the resolution to 2, i can see the physics of what’s happening, but it’s not quite the look I want.

What approach do I need to take here?
Thanks in advance!
[EDIT] THANK YOU ALL for your suggestions. I'm still having a little trouble getting the hang of proportional selecting, but the combination of that and changing the shape of the sweep got the look I was going for. Thank you again!!

https://blender.stackexchange.com/questions/65633/how-can-i-create-twisted-geometry/65634#65634

Possible duplicate of Logarithmic curve with spiralling cross-section

What you need is to change bevel object to something which will tilt nicely. Try with multiple bezier circles (as one object). Something like here: https://www.youtube.com/watch?v=GLfl49lkSoU

To add to the previous comment, It appears that the twist is there, it's just hard to see. A non-circular curve profile would allow you to see the twist better. Also the 2520 degrees of twist is pretty high. Something a bit lower (say 1000) would probably give a nicer twist.

You're actually super close to getting what you want. The default circle shape of bevels just makes it really hard to see. The reason for this is because you're trying to twist a smooth, cylindrical object. Twisting a smooth cylinder results in another smooth cylinder, up until the point where you twist more than the geometry allows, which is what you see in the last gif.
I tried a similar setup but with an irregular shape and it works really well.
Here's my setup:

As you can see I used less handles, but that doesn't really matter.
I also animated the twist of each handle as I found it gave a nicer result. To find how much you need to twist each handle, think about how many twists you want overall, then divide that by the number of handles. 360 degrees per handle for 8 handles will give you a really twisted tree. The one in your image has more like 3 twists in the full length. In my case I did just over 2 full twists, so each handle was twisted 540 degrees more than the previous one. For your tree, try 90-120 degrees per handle and go from there.
When/if you animate these values, just be aware that because of the magnitude of the values, they will be off screen at first.
Mine looked like this:

The final animation looks like this. The animations could be better, but the idea is there.

A Tree-Curve is made of:

A general twist, for this I used a logarithmic loop (red). You can generate your own from the Add Curve: Extra Objects addon, that ships with blender (I think). This is the only object that can't be changed easily later (at least I haven't found a fast solution to it)
A curve that determines the direction of the branch (blue)
A circle that determines the general thickness
A taper curve, that determines how thick the branch where along its length it is in comparision to the general thickness (green)

To wrap the general twisting curve around the shape curve, we use a curve modifier on the general twisting curve. To animate the growing in length we have to add a build modifier to this curve.
Now we animate the general thickness by setting two keyframes, one where the circle is small and one, later, where it has a larger diameter. The same goes for the build modifier.
To make adjustments use proportional editing.
To add other branches, use the same process but and match the start and size of the growing to the growing of the main branch

I hope you find them helpful. In the future, post general comments under the question so everyone can see them. And if you find an answer that solves the question you can accept it so the question is resolved.

Slow on the response, but THANK YOU for your help!! Kinda confrused on this forum system: "And if you find an answer that solves the question you can accept it so the question is resolved. –"......how do I do this?

@bnww You can just click on the check-mark, it'll then appear green


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Preserve materials when joining meshes
In this answer is explained how to create an object which looks like a nucleus.
However, I have a problem when merging multiples spheres into one object. Exactly what I do is the following
1) I created a parent object with many spheres.
2) Then I do Object -> Apply -> Make duplicates real. This will give me all spheres, which are as before colored in red and blue.
3) I select all these spheres and Object-> Join (Ctrl-J). This gives me a single object that I would like to further use as a base object for other geometry.
But after step three all spheres become of the same color.
The question is how to preserve colors of individual spheres when Joining them into a single object?
Thanks in advance.
(I was using blender 2.80)

I don’t understand why this has been downvoted - whoever downvoted, please add explanation so the issue can be addressed. I’ve upvoted but perhaps their issue was with the title - perhaps change the title to something more generic (“preserve materials when joining meshes” perhaps)

Thank you. According to your recommendation I changed the title.

I think this is a good question. I think I would create a script that assigned a random vertex color on all vertex points on each object before joining them. Then create a material that uses the vertex color as an input to the shader. Or try to bake it to a texture... but that would require unique UV coordinates for each object... not good answers I'm afraid :-P

Are there any particular reason why you need to join the objects?

@Jackdaw I want to join spheres because later on I would like to create a crystal cell, i.e., cube, in vertices of which I have these nuclei. I was thinking to make an individual nucleus a parent for this cube and later use the same steps how I created nucleus itself. The description is in the links from the post.

@batFINGER I edited the post and removed the second question.

Cheers. As mentioned recommend  adding as another separate question  I'm not really strong on material nodes, but imagine redoing  step 3 multiple times can  sometimes get all red and other times all blue?

Perhaps a more suitable way of generating instances would be with a Particle System?

CtrlG Make a Group of a proton and a neutron
Make an Emitter object, (maybe a rounded cube, to avoid crunching at the poles?)
Assign a Particle System to the emitter
No physics, start and end frames at 1
If you want to vary the proportion of neutrons and protons, you can 'Use Count' in the settings

Settings to taste, but this produced the illustrated result.

Now you can hit 'Convert' in the modifier stack of the emitter.. and..
..Ctrl ShiftA 'Make Duplicates Real'
Because the material is not dependent on Object ID,  Ctrl
J preserves materials

But I still think you could do everything you describe without joining duplis into a single mesh.. and the option would be left open to have your nuclei components jiggle about.. but that would be another question..

There is. You can use Particle system's hair to do it. With a sphere as a dupli. It's emitted from vertices, Random unchecked. These are Advanced options. Adjust the dupli's size. When done, convert the particles to mesh. Your nucleus should look like this

Then you can color "protons and neutrons" - select a small sphere; Shift+G > Type;  deselect the big sphere; apply material color; checker deselect and add second material color. The result is a two color nucleus.
And if you want a cube you need to subdivide it first. And use vertex groups (make some effort and read about it) for locating different atoms.

When you say "color protons and neutrons" how shall I do it?

Checker deselect to add second color.

I tried to follow what you wrote, however, I could not really. I also do not understand what will be the result? Can you please provide more instructions?


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Shrinkwrap and subdividion creates issues on mirrored side
Learning Blender and having some trouble. I've sculpted a character and then applied mirror, shrinkwrap and subdivision modifiers to create a lower resolution retopologized mesh. The issues comes up with the hands, where the shrinkwrap and subdivison creates some kind of distortion when they are applied together. Curiously, the issues are only really visible on the mirrored side, not the "true" side.
Here is the retopologized mesh on the true side; looks fine (I think?)

But on the other side...

I've tried recalculating the normals and Clean up -> Merge by Distance, though I don't really know what the really does. Could there be an issue with symmetry? Why would they not be symmetrical when there is a mirror modifier applied? Could the sculpt underneath be slightly asymmetrical, making the shrinkwrap and subdivison slightly different on the other side, even though the vertices are symmetric? Is there a way to check the symmetry of the sculpt?
I also noticed something when viewing it in X-ray mode; there are some spikes inside the mesh (in the knuckles), even on the "good" side. Is it related, or a seperate issue?

Can this be salvaged? Any insight is much appreciated,
Thanks in advance!
EDIT: I solved the issue with internal spiked on the true side, but they still appear on the mirrored side.

First off, how would shrinkwrap and subdivision surface produce a lower poly mesh? Shrink wrap needs a target, and SS adds vertices.

Sorry, I might be getting the terms wrong! I'm following an online course, and the term they use for the target of the shrinkwrap is "sculpt". As in the model we created with the sculpt tool. The new mesh is a retopologised version of this sculpt. So a basic cube mesh was shrinkwrapped around to the sculpt, then it was subdivided, giving a resulting mesh tht is somewhere between a straight shrinkwrapped cube and the "sculpt". Does that make sense?

Yes, it does. I think you might save some time though by using the remesh modifier instead. The method you describe sounds very crude, though maybe I’m missing a step.


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FBX export distortion
Blender 4.1.1
Plugins: Rokoko and Rigify
Hi there, I'm pretty desperate since I've spent weeks trying to make these FBX exports work, so I'm looking for more help. I'm coming from a maya background, so I may not be the best at blender.
Anyway, I'm trying to export these FBX animations that were created with some mixamo data attached with the rokoko plugin. The rig wasn't created by me, for context, this was created by our tech artist. But, while the animation works perfectly fine in blender, there's some distortion going on when exporting to FBX. I notice specifically that the bones start bending backwards, so his spine isn't aligned as it should be I believe.
Here's a link to the original file:
https://drive.google.com/file/d/1FqTMUWpqv7s5SqdK828IwETcUISRmzL_/view?usp=drive_link
Absolutely any help is appreciated. I did fix the stretch to constraint on all the deformation bones as suggested on someone else's forum post, and it fixed the problem a bit when I turned maintain volume to "none" but it didn't fully solve the problem.

Your file is in restricted access. I see in your export option that you enabled Bake Animation. Is the screenshot of your stretched character in default pose or from an animation?

Also there might be addons that can help with this. Rigify is known to not be game-engine ready out of the box, afaik there are quite a few steps you could need to take (removing bendy bones, stretch constraints, other constraints, drivers, cleaning deformation bones, ...) So it's not that surprising that people propose automated solutions. I've heard at least two: Game Rig Tools (pay what you want) and Uefy 2.0 (paid)


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How do I prevent child objects from stretching when duplicated on the parent's faces?
I have run into an issue where I'm building a shield in blender. I created a duplicate object of the faces on the shield I want rivets to be placed on and then made that object a parent of my rivet object. When I duplicated the rivet object on the faces of the parent, all of the duplicates are stretched along the Z-axis. How do I prevent this from happening, or what am I doing wrong?

Screenshot: https://drive.google.com/open?id=13_zHFm6PFo8dwgb5qH93gDyfJvApIaax
Blender file: https://drive.google.com/open?id=11scI0oYaUpaq9c0Lk2Tc5ysop4HlSxVE
Thank you

Hi. Please add any images useing the built-in uploader.

Select your Rivet_Surface and ctrl A to apply the scale. You have changed the scale of your object on its Z axis in Object mode and now you must make this scale real.


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How to copy the rotation of a vertex group consistently
I wasn't planning on spending hours on what is seemingly a simple task but here we go.
I created a cylinder (without top and bottom faces) and made a vertex group from one of the edge loops of the cylinder, then I applied a simple deform to bend the cylinder. Now I want to get the location and rotation of the vertex group (say, the top of the cylinder that's 'most deformed' by the bend). For this I tried copy constraints and childOf constraints targeting the vertex group, and even vertex parenting to three of the vertices, with similar results. Location is fine, but the rotation is jittering a bit when changing the bend angle, and at small bend angles it goes completely haywire, flipping as much as 180 degrees - on random axes no less.
This is my vertex group:

An empty constrained to this vertex group with a ChildOf constraint, with X pointing away from the screen:

Note that since I started with a cylinder (with a loop cut) the vertices are fairly planar. Now applying a slight bend to the cylinder (1.6 degrees in this case) results in...

I expected at least one of the axes to be roughly perpendicular to the vertex group even if they flip when going through negative to positive bend angle.
What I'd like to do is place objects at various points along the cylinder aligned to the cylinder's bend at that point - I have some workarounds for now but I'm curious about the wildly various rotations I end up with in this particular case.
Is there a better way to calculate this rotation?

I think this question could get some more attention if you try to illustrate what you need with a sketch or something.

Fair point, added some screenshots and clarification

I'd use more constraints: one for location and another for tracking end of cylinder, which can represented by additional vertex group or parented Empty

Yeah that's a fair point - a track constraint to the next edge loop does approximate the bend angle well enough. If you make this an answer I'll accept it.


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How to export combinations of models as STL
So currently I want to export multipe combinations of a design in stl format in blender 4.2. There are five parts and a unchanging main body, each with a few variants. I want to export all possible combinations of variations.
here's the code I asked copilot to write but it keeps giving me errors, and I'm not sure what's the issues
import bpy
import itertools

# Define the objects for each variable, including an empty string for no hands
hands = ['', 'hand1', 'hand2']
barrels = ['basic', 'sniper']
scopes = ['','scope1', 'scopeflip']
stocks = ['','stock']
mags = ['boxmag', 'drummag','mag']

# Define the object that should always be present
base_object = 'Basic'

# Create all possible combinations
combinations = list(itertools.product(hands, barrels, scopes, stocks, mags))

# Export each combination as an STL file
for combo in combinations:
    # Deselect all objects
    bpy.ops.object.select_all(action='DESELECT')

    # Select the base object
    bpy.data.objects[base_object].select_set(True)

    # Select the objects in the current combination
    for obj_name in combo:
        if obj_name:  # Only select if obj_name is not an empty string
            bpy.data.objects[obj_name].select_set(True)

    # Join the selected objects into one
    bpy.ops.object.join()

    # Define export path
    export_filename = f"{base_object}_{'_'.join([obj for obj in combo if obj])}.stl"
    export_path = f"C:/D_Drive/3dprint/Export tested/{export_filename}"

    # Export the joined object as an STL file
    bpy.ops.export_mesh.stl(filepath=export_path, use_selection=True)

    # Separate the joined object back into individual objects
    bpy.ops.object.mode_set(mode='EDIT')
    bpy.ops.mesh.separate(type='LOOSE')
    bpy.ops.object.mode_set(mode='OBJECT')

    # Deselect all objects again
    bpy.ops.object.select_all(action='DESELECT')

this is the error code given.
Python: Traceback (most recent call last):
  File "C:\D_Drive\3dprint\photo booth.blend\Text", line 38, in <module>
  File "C:\Program Files (x86)\Steam\steamapps\common\Blender\4.2\scripts\modules\bpy\ops.py", line 109, in __call__
    ret = _op_call(self.idname_py(), kw)
          ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
AttributeError: Calling operator "bpy.ops.export_mesh.stl" error, could not be found

Learn Python and this won't happen. The purpose of this website is for human beings asking for help with their problems, not your Plan B for when your autocorrect robot writes bad code that you don't understand.

The error about bpy.ops.export_mesh.stl not being found is that Copilot has not been updated to understand the changes in Blender 4.2. Try Blender 4.1 and it will probably work.
The error is because in Blender 4.2 Python STL exporter/importer add-on has been marked as legacy. Users of bpy.ops.export_mesh.stl and bpy.ops.import_mesh.stl are advised to switch to the new STL exporter/importer functions bpy.ops.wm.stl_export and bpy.ops.wm.stl_import. You can read more about the Import & Export release notes.
Here are the new parameters you must use.


text:
How to create materials?
I want to know how to use materials, from how to creating them to how to use transparency and colours in them, so please first of all, tell me how to create a new material.I also want to know how (if possible) I can convert faces of an object to a new material.I know this might sound silly but I'm a total beginner and hoping this doesn't waste your time, please help me out here....

You find the material properties in the Default Layout on the right side:

Your object already has a default material you can change the color by changing the settings in the section Diffuse.
To create more materials first create a new slot '+' symbol and press new.
Transparency is setup by ticking Transparency and ajusting the Alpha Slider.
If want to assign materials to single faces select the face and material in Edit Mode and press Assign.
Since you just started:This is only a tiny part of what you will learn about materials.
Please checkout the resources we already collected here:
Beginner's Reference

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


text:
Black/White Opacity Mask transparent in Blender 2.8
I have two textures: Diffuse and a Black/White opacity map. It's used for the eyebrows. The way the shader is setup the eyebrows are just a completely brown plane. How do I hook up the B/W opacity map to be used for the Alpha of the Principled BSDF?
Here is a screenshot. Obviously putting the image into the alpha is wrong. I tried a mix and transparent shader, but it didn't help.

Hello. Mixing with a transparent shader should definitely work. Could you please share your blendfile and image file https://blend-exchange.giantcowfilms.com/ so I can check what's wrong?

Your node setup should work properly. Please check that you have the Blend Mode set to Alpha Blend when using Eevee.

@RobertGützkow Thank you very much, that solved my issue :)


text:
Weirtd shading artefact?
I have this weird (dark) shading (MatCap) on my model. I wonder what is wrong. The face normals seem to be correct.

trigons and ngons problem: https://www.creativeshrimp.com/ngons-tutorial.html and probably you have some "non-planar surfaces"

Mh when I triangulate my model the problem still exists. How do I check for "non planar surfaces"?!

check these tools: https://docs.blender.org/manual/en/latest/modeling/meshes/editing/cleanup.html


text:
Join two objects and merge vertices darker shading
I joined two objects in Blender and merged the vertices. I wonder why the head is shaded a little bit darker. I made the whole object smooth shaded afterwards. The normals seem to be okay too:

hello could you please share your file?

https://drive.google.com/drive/folders/1i-dZD6SBsTPTDVNdJU6MCTjdxeGd9iSP?usp=sharing here you go

The head and body use different colors on the Materials > Viewport Display > Color panel (below the normal Materials section). Go into Edit mode and in Face Select mode, compare the Viewport color on a body and head Face! For that matter, the head uses Head_SG as its material and the body uses Default so the rendered colours will be different too.

Your Viewport Shading is set to Material instead of Object:

So you'll see the color set for this object in the Material panel under Viewport Display:

Thank you very much. :)


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Morph targets: A sphere shape turning into a cylindrical unwrapped sphere shape
I'd like to do an animation where a globe will unwrap it's texture.
Go from this

to this

, but in 3D space, so it will look exactly as its unwrapped form.
The only methods I have on mind are extremely tedious, anyone there more clever than I care to give a hint on how to achieve the effect?

A simple script which transforms vertices to their uv-coordinates (does not rip the geometry!):
import bpy
from mathutils import Vector

obj = bpy.context.active_object
mesh = obj.data
uv = mesh.uv_layers.active
shape_key = mesh.shape_keys.key_blocks[obj.active_shape_key_index]

for index, loop in enumerate(uv.data):
    vertex = shape_key.data[mesh.loops[index].vertex_index]
    vertex.co = Vector((loop.uv.x, loop.uv.y, 0.0))

You can rip the geometry manually:

In the UV Editor select an island and run Seams From Island.
Select a seam edge and press SHIFT + G -> Seam, to select all seams.
Press CTRL + E -> Edge Split.

Thank you for that, interesting how you provided an answer to do the task through scripting and @cegaton to do so visually.

This script allow one to do crazy deformation magic and should be included as an add-on.


text:
String type rig
How would I setup a rig so that it is only 2 bones. I am just working with a cylinder with many loop cuts. I wan to have it so that when I grab one bone at the end it affects the whole mesh. I would like to control the same way I would as a string fixed to something at one point. I can use one bone to move it. Also it should not affect the size. Any tips or tricks would be great!

Not sure to understand. You mean you want to rig a rope? Something like this https://blender.stackexchange.com/questions/75673/how-to-let-a-cable-hang-so-that-it-look-realistic/75774#75774 ?

@BlendedCG: thanks for sketch, just not yet clear for me ... so its not like a hanging string or cabel. What does it mean - end bone affects whole mesh? Looks like Bendy Bones works like that, so what is wrong with them, Stretching? Sorry, I'm probably close in my box :)

Or (to move from place) where do you expect these two bones to be placed. Thank you

Stretch to ...
I'm not sure if I understood ... but if you want to stretch mesh, you can use for a bone Stretch Constraint. I use as Target Empty, but you can assing the bone or any other object.

Bendy Bone
... or if you need object to bend, add Bendy Bone type.

in edit mode extrude bone down (Head) and one up (Tail)
for selected Tail bone Clear Parent Ctrl+P

go to pose mode, select main (middle) bone and under Bone Properties > Bendy Bones increase Segment value, for Start Handle set Head bone and for End Handle Tail bone (Absolute worked for me)

Inverse Kinematic
but this is not achieved by two bones, here is a bone chain were end bone has Bone Constraint > IK, in properties panel you can disable Stretch.

Note: To create chain - add one bone and Subdivide W it. If you want to keep cylinder lay by bottom face on a floor - change Chain Length from zero to number of bones in chain minus one (7 in this example).

Simple Deform Modifier
You didn't ask for, but since you didnt provide more info about purpose, it can fit to some cases.

I mean have one bone to control it. Like a string. You can grab one end and it will move the whole thing.

So, Inverse Kinematics?

@vkildu Yes! End bone affects whole mesh!

@BlendedCG ??? Exclamation mark means excitement or aggressivity :) Sorry I can't read the meaning from your comment and it doesnt answering my Q in OP comments. So ...

Excitement! That is what I am trying to do!

@BlendedCG - OK, good to hear (so IK version? because all of them moves in some way "whole mesh"). If the Answer worked for you consider mark A as Solved (so others can see it from main list as answered).


text:
Is there a global wire (display) option, not wireframe mode?
I apologize if this is a duplicate question. I have searched the exchange, google and in Blender itself. I cannot find an answer to my question.
I am in Blender 2.79.
Is there a way to turn on a global 'wire' mode (not wireframe mode, not shortcut Z) for all shaded objects, not just the selected?
The only option I know of at the moment is to select an object, go to the object properties panel, and turn on the 'wire' option under display.

But that only works on the selected object/solid/mesh, whatever you want to call it.
I'm looking for a way to do this as a one button toggle, without having to select anything. It's either on for all objects or it's off for all objects.
For those familiar with Maya, it's the same as the 'wireframe on shaded' option.
Thank you in advance,
Jim

'Wireframe'  is one of the display options in the header.. or shortcut Z..  is this not what you want?

As one way you can do the same as here https://blender.stackexchange.com/questions/12213/set-all-selected-objects-to-be-displayed-as-wireframe but for Wire option (also maybe for Display All Edges as well)

edited original question. Hope that clarifies what I am looking for.

What I generally meant with comment above is "no there isn't default way to do it" (maybe some addons though I'm not aware of them. There's also Freestyle though it's complete render engine which might be overkill). Solution to select object/s and enable Wire (for multiple hold Alt while clicking) is a workaround to work with this. It's possible also to create shortcut for this option to run it from keyboard and save some time for searching in settings

Currently 2.80 version only has global "wireframe displaying" option in overlays:

If you need a solution for 2.79, you can find some addons, witch toggle this settings for all objects in scene. For example:
https://meshlogic.github.io/posts/blender/addons/toggle-object-wire/

It is not clear why Wireframe Mode is not what you require, but here are few ways of getting Wireframe for different circumstances.
Set the Maximum Draw Type. Must be done per object(*)

Create a Wireframe Material

If you want to affect multiple objects with multiple materials

Set the Scene Material. Clear it again to return to the original materials. Has the drawback of only affecting the final render and not the render view.

here is an alternate wireframe material without Transparency

(*) If the Maximum Draw Type is what you need, but have a large number of objects then use Python to script the process.
If none of these work for you and the result you want is in the rendered output, do some research on Freestyle.

Because having to select everything, one by one, is a PITA.


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Blender to Unity, UV Map is messy in Blender and in Unity
im New to Blender since i was using Cinema4D all the time,
i´ve done a Medieval House out of 5 different Textures, i baked them together into one Texture 4096 by 4096,
now i deleted all materials which were attached to my Blender Model, i Created a new Material and i attached the UV Map to it,
in Objekt Mode it looks fine:

in Render Mode my Model looks Messy i dont know why, i hope someone can help me.

Blend file

Baked texture

Edit , problem found! I had 2 UV Tags on my Model x)

This is what I expected. You have two UV maps. The one called UVW is messed up and ruins your render. Take a look at the screenshot below. You either need to get rid of UVW map (indicated by red area) or plug in the correct UV map into your image texture node (indicated by blue area). Hope this helps.

and the texture: https://www.pic-upload.de/view-36373288/House01-Bake.png.html

Please use comments for blend / image requests.  Have edited links above into question. Recommend deleting answer to avoid the down-voters.


text:
Problem with displacement mapping
I wanted to model a pyramid with a tiled panel look using blender 2.8. I don't want to use the displacement modifier, only the displacement mapping from the renderer. So, I unwrapped my pyramid using top view projection and created a black and white displacement map using inkscape:

Then I've set up this material:

I activated true displacement from cycles options but my pyramid is now completely distorted:

I'm probably missing something but I don't know what. Any help would be greatly appreciated. Here's the file:

Thanks,

Your pyramid model has way too little polygons to begin with. A displacement modifier needs high polygon counts to displace the vertices. Also, triangles are a bad choice for any modifiers.

As metaphor_set said, you need better geometry, and more of it, for good displacements. That's your issue here - it's trying to displace the geometry as the map is telling it to, but there's only 5 vertices to displace.

Thank you for your help. Acutally, I haven't used the displace modifier. I only wanted to use the "raytraced displacement mapping". I've edited the question. Still, I'll give it a try to see if it improves the situation.

@ivles The node displacments still need alot of vertices to work, so you should still use a subdivision modifier on simple to get good results.

Thank you all for your advice. It was indeed due to a to low vertex count. Still, I think the method I've chosen wasn't the best way to do. The pyramid is now roughly 200 000 tris but the edges of my panels are quite jaggy. Maybe I should model them by hand. If you have any advice please feel free to reply.

@ivles Displacement maps by their nature aren't great for hard/sharp edges, so it probably would be good to model them by hand. You can still use your texture as a modelling guide though.


text:
Different results in scene/render/exported image, material with combination of emmision and transparent
I've tried everything I know, but still have this issue:
I made a texture with combined emission and transparent shader through noise texture

And if I render it it will look just okay, as I want

But when I export to png with transparent background, it just loose all the color, and details, etc

Please edit your question and add your images directly into it using the built-in tools rather than just posting links to them. This will ensure that they remain visible for future users reading your question. Thanks.

How do your Compositing nodes look? It could be that you disconnected the Alpha output there when compositing for something unrelated.

I don`t have compositing nodes at all, I have alpha channel, but I lost color