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How do I create geometry/ textures for procedural shading?
I am an avid software engineer, but new to Blender. I am trying to create an ammo clip for a video game. It is inspired by the Mass Effect "Thermal Clip", and I have a reference fan image I'm using for some baselines.
How would I create the red bars? I think using a texture would be better than adding geometry, but I am unsure. Additionally, I would like to procedurally shade the red bars in a "progress bar" fashion, which may mean I need to create them in a specific way.
I am a very new to blender, so even keywords to google would be helpful.

UPDATE  - shader nodes solution with custom attributes to "hopefully" work in UNITY:

Create a plane (or whatever shape you want)

open custom attributes here:

press new
change to integer and max 100 like this:

then press SHIFT-D y 3 -> this duplicates your plane

then hit SHIFT-R a few times, then you got:

press "Shading" tab, press "new" to create new material

use these nodes:

in the value node is a so called "driver". Just write an "#frame" into it. This will spit out the frame for each frame.

change the custom property of each plane to 0 for the first plane ,1 to the second plane,2 to third,3 ...and so on

result:

sorry, first i have to apologize, this is not really an answer for a Blender beginner...
but maybe it motivates you to learn geometry nodes ;)
Geometry nodes are pretty new to Blender and still under development and the Blender developers made great progress in this. It is already very powerful.
So i try to explain it for beginners.

add a plane. SHIFT-A -> Mesh -> plane. Plane

click on modifiers tab

add geometry nodes modifier

click on new

build this node tree setup:

press on material properties -> click "new"

add this node setup:

in the geometry nodes modifier enter "strength" in value

make sure that the node "set material" is the material you created in point 6

result:

you can now change the geometry (your plane) however you like, it will work.

result:

Geometry nodes explanation:
The mesh line does create 10 vertices, with an y offset of 2.
The instance on points create 10 instances (one on each vertex) on these vertices with the object, you plug in "instance", which is the plane here. The capture attribute save the index of each instance for later use.
Set material is self explanatory.
Scene time spits out the frame. I multiply this with .3 so that the animation gets slower.
Then i compare the (slowed down) frame with the index of the instances (which goes from 0 to 9). If that frame is greater than the index, i save this value for later use (that's what the 2nd capture attribute does with its connection to the group output).
By entering the value name in the geometry nodes modifier

i can then use that attribute in the shaders editor:

so i use this value (fac) to drive the strength of my emission of my planes.

...this is one of the rare cases where you don't use miles of links between nodes, and where you really made an effort to write the answer understandably. Are you on vacation right now? ;-)

He said he is a beginner. ♂ if they don’t write it, I assume they are pros and don’t need explanation

Elegant, considerate!  I couldn't possibly comment on @quellenform s remarks.... ,,, ...Hope it's sunny, wherever you are :D

@Chris, Thank you for the explanation! That helps a lot. I have one question, since this model will be used in Unity: Since the geometry generated by the nodes will need to be made "real" before importing to Unity, will the material still work like a "progress-bar" in Blender even if the geometry is no longer procedural?
(If there is a fundamental issue with my question/ understanding, such as "we can't make procedural geometry real" or something, please let me know).

@MadboyJames: I have nearly no knowledge about Unity and i think i haven't read your question carefully. I think Unity doesn't support GN and so my solution is pretty worthless if you want to use it there...sorry. And if you apply the GN modifier, you won't have the attribute value which you would need to animate it correctly.

does unity support custom attributes and this shader node [1]: https://i.sstatic.net/MgoNr.png ? then i can offer you a solution

Unity does support custom attributes, and I think it has the elements to make that shader node from other nodes. https://i.imgur.com/euxpXA3.png

i updated my answer

Awesome! Thank you! When I have results, I'll update my post.

@MadboyJames if my answer helped you, pls click on the checkmark left of my answer. Thanks.

From your other posts I assume you want to use the model in Unity. This means geometry nodes are out. This is a node setup you can fairly easily convert manually to Unity's shader forge:

I used a quick wave texture to get the stripes, ultimately you're probably best off creating an image texture for that (and skipping the color ramp)
If you unwrap your model, you can use UV instead of generated, Unity doesn't have the generated coordinates.
The less than threshold (green) is the progress of the red lines.
Essentially use a texture that is black and white replace the white parts with a color, the distance from 0 (whatever you choose it to be, use UV if possible) will determine whether to fill in red or leave it at its original color.


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Parents / child origin and movement problems. Attack on Titan swinging from hooks
I am currently making an AoT animation and working on the swinging from hooks. I used this tutorial https://www.youtube.com/watch?v=UO0OM0plOX0 to get an idea of how to make animated hooks and rope and it mostly worked. So I have a camera, a character with "child of" to make it move like the cam, 2 bezier (ropes) coonected to the character using empties and 1 empties at the end of each rope for the hook.
The problem : https://i.sstatic.net/H4Pzn.jpg
When the character moves, the empties leave parenting lines behind, and the origins of the ropes also stays behind, making animating the other movements of the scene impossible...
Did i do anything wrong here ?

Please add your image into your question rather than just posting a link to it. https://meta.stackexchange.com/questions/75491/how-to-upload-an-image-to-a-post

Agreed.
Also hooks don't alter origins, what you see as relationship line is the line to where the hook object needed to be in order to nullify the effect of the hook, ie where it was when the hook was created.

Sorry about the image thing, it is a copy paste of the question i asked on reddit. As for the problem, is there a better way to do what i'm doing ? Or do i need to work around it ?

source: Stack Exchange

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

sort: votes


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Geometry Nodes: subdividing specific edges
For a project about differential growth, I need to do two things: subdivide edges that are above a certain length, and then subdivide their adjacent faces. For the subdivision, I can't manage to do it without having disconnected geometry or losing faces.
For now, my method consisted of separating the selected edges, subdividing the, and rejoining them with the geometry. Is there a way to do it "correctly"?

If this works for your needs, it's correct.  Does it not work for your needs?  If not, how?

The problem is that it doesn't work as expected. After the edges are subdivided, the faces are lost, as you can see in the image. The goal is to transform the triangular face into a quad and then triangulate it, but that can't happen if the face is lost.

What about if instead of separating the edges you want subdivided, you separate the faces you want subdivided-- "subdivide edges ... and then subdivide their adjacent faces."  Doing the latter will do the former.  Will that work for you?

I've tried the method you're suggesting, unfortunately it doesn't work, since each face gets subdivided into 3 quads, which is not the result I'm looking for. What I want is subdivide an edge and split it's adjacent triangular faces into two triangular faces. With the method you suggested I end up with 6 quads instead of 4 triangles. In addition, the disconnected geometry problem is still present with this technique.

So then, all input faces are triangles, you subdivide long edges, and join them to the opposite vertex of each face containing that edge?  Just trying to make sure I know what you're after.

Exactly ! Here's what I'm looking for in a clearer form [link] (https://imgur.com/a/R8148fJ)

Ok, one more question (sorry!)  Will there ever only be one edge per face at most that needs to get subdivided?  Only two at most?  Or can all three need to get subdivided?

No worries! The subdivision will happen based on a test selection: if an edge is longer that x, then subdivide and triangulate adjacent faces. So sometimes two edges of the same triangle might reach the subdivision threshold, but I think two at most. Here's an illustration of a two edges subdivision case: link

Okay.  This will probably be a little more complicated than it ought to be, but it's how I've figured out how to do what you want.
You have a mesh composed of triangles and an input length.  For each triangle, if the longest edge is longer than the input, divide that longest edge into two, and then join the longest edge to the far vertex, creating two two triangles.
You may have two edges that are longer than the desired length.  If you do, you'd like to handle this as an ordered process rather than simultaneous, as given by the picture you provided in comments:

The new edges don't intersect; first we make one edge, then the other.
I'm going to make one more assumption, which is that you have no faces where the longest edge length is shared by two faces.  This would create ambiguity in the order in which you split the triangles.  With that assumption, note that I also rule out any zero-area faces-- any degenerate triangles, with two coincident vertices.
So first, we'll subdivide the longest edge and join to the opposite vertex; then, we'll repeat that process for faces containing the second longest edge.
First thing, we're going to have different topology-- more faces-- than our input geometry, so we'll have to make triangles.  I'll start by making a node group that will create a triangle with vertices at arbitrary positions:

Now, let's figure out how we can populate those positions, starting with a single triangle and cutting it in half:

Base geo on left.
I identify the longest edge with an attribute statistic node, which lets me separate into two distinct chunks of mesh: the longest edge, and the vertex that is not part of that edge.  To get one position, I take the position of the edge; to get the second position, I take the position of the second vertex of the edge at index 0 (there's only one edge); and to get the third position, I take the point position of the vertex.
And to get the other half of the triangle, I can just take the position of vertex 1 of the edge instead of vertex 2.  Which I can demonstrate by grouping this up, except for the relevant Edge Vertices node, and joining the output:

Now, we've got to repeat it for the new triangle, that contains the second longest edge of the original triangle.  Let's go into our Split Tri node group and get it to output whether the triangle we created indeed, contains our second longest edge, as well as the length of that second longest edge:

I'm making a copy of my input geometry that gets rid of my longest edge and my shortest edge, and then sees if the output triangle contains any edge that is at the same location.  And while I'm at it, I'm going to remember what the length of that edge actually is, so we can check it against a threshold.
Now, we can use that to iterate, splitting our faces twice:

We split the face into two tris; then, we split those two triangles into two more triangles.  But if one of those first tris doesn't contain the second longest edge, we use the unsplit triangle instead.  The input triangle is split along the longest edge, and then the triangle containing the second longest edge is split again.  We can finally add a threshold input to our modifier to prevent that second longest edge from being split:

Because that second longest edge is shorter than 1 unit here, there's no second splitting going on.
Okay, but we got a lot of faces!  And we haven't set a threshold for the first split.  Let's group everything up again and then set that group aside.  We'll start by separating our geometry into only the faces that contain edges longer than our threshold:

Then, using a repeat node, we'll iterate over every face in that selection:

I send my base geo into my repeat zone and out of my repeat zone.  I keep track of the count of the repeat, starting at 0, and check the face index of the source geometry so that I can split every triangle, in order, and join them to a running total of that geometry.  And the input for the threshold for the second split is set from the original modifier's input.
After that, we have a little clean up.  We can realize instances and weld the vertices back together, then repair any normals for triangles that got made upside-down:

A little bit of testing, and I see that precision errors are causing some problems for the comparison tests for edge lengths, where I'm measuring that the distance is greater than 0.  I'll change this to 0.001.  Inside my "splitTris" node group:

This is certainly more complicated than I'd like.  It's entirely possible that there are some errors and some corner cases I haven't considered.  Even though I'm providing the file, it's not intended to do the work for you, but as an adjunct to the text and pictures in this answer.  The general principle: iterate over faces; measure the positions of long edges to find two triangles; instance new triangles at those positions; do it again on sub-triangles that meet certain criteria.  There is a lot of evaluating things in different domains here, sometimes by specifying a domain, sometimes by capturing a domain, sometimes by evaluating on a domain, and these don't always act exactly the same (nor am I perfectly aware of how they differ: there's a lot of trial and error for me in getting Blender to recognize the domains I want to measure.)  Hopefully, even if there are some errors, if you understand the overall plan, you'll be capable of addressing them yourself, or of asking question on a sub-problem.  Because, frankly, this was a lot of work that I don't want to revisit, and I probably never would have done it save for a sense of duty after asking so many questions to clarify the problem :)

If only it was easier to patch Blender... https://projects.blender.org/blender/blender/pulls/113427

@MarkusvonBroady Without fully understanding the proposed commit-- I don't want to invest much effort into understanding things that may never be-- I'm not sure how much help it would be.  Making tris or ngons isn't really that hard.  But trying to store a bunch of data in different domains: edge lengths, vertex positions, on faces-- ended up being pretty hard.  And actually, the normal repair was bizarrely difficult, trial-and-error to get right, to get it to compare something like face normals to face normals.  When odds are it doesn't even matter for Mansour's purposes.

@MarkusvonBroady And, I'm disappointed in needing the repeat zone.  It seems like it should be unnecessary, but I don't see any "triangle vertices" like we have "edge vertices", so I couldn't figure out how do without.  Oh well, it probably doesn't really make a noticeable difference, just to my own sense of how things should be done.

There's no "triangle vertices", but there's "corners of face" and "vertex of corner"

@Nathan First I'm sorry for the late reply. Second, I can't begin to thank you for the amount of effort you invested in this, I certainly didn't expect to make anybody spend that much time on this, so thanks again. I'll try to profit from your setup as much as possible, even if it isn't the ideal setup but it will help me understand better working with geometry nodes. I really liked how you used the repeat zone as a foreach loop! Hopefully, we'll get an actual foreach loop node/zone soon.

The code I was trying to "replicate" is here, in the script of a differential growth add-on, 25 lines of code (82-107). Hopefully, we'll also get script/code integration in geometry nodes, since it might help simplify setups like in Houdini. But, I'm a beginner in geometry nodes, so I'm not sure that this will be the case.

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


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Eye dropper color working wrong
For some reason when I select a new color, for some reason the previous one is displayed instead, but it is still marked on the color palette
(on the picture I selectected dark pink one)
So to paint with correct color I need to click on it on the palette, so what can be fixed in this situation?

Omg, I found out solution
When I press hotkey (mine is X) I also click with a stilys (or LMB) - it's not needed.Just press a hotkey


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Tiny Eyes Addon problem
I faced a problem that for some reason when I use Tiny Eyes addon pupils always reflect the light in a strange way - they are just yellow. I tried different things but couldn'find anything on youtube neither. And all tutorials show perfectly reflected eyes and mine are just like this. Does anyone know what the problem might be. Attched the file just in case
https://workupload.com/file/Rj2eXtVTBw4

What you see in the eyes is the skin of the face. When you hide the pupils you can see that the eye sockets are not open, so you have skin inside the eye. The pupils are basically a hole in the eye (not a black surface), or in this model more formed like a tunnel. So inside the hole of the pupil there is skin.

Oh, so if I make holes inside eyes then the reflection should be fine, right?

@AnastasiaAmirova In the eye sockets, not the eyes ;) But yes, that should work.

Yeah, it worked! Thank you a lot!! You literally my life saver! I've been searching for answer for a while!

@AnastasiaAmirova It's a bit sad that although I "saved your life" you do not bother to appreciate this by accepting the answer. Please read: What should I do when someone answers my question?


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How can I render different scenes at different frames?
I have 4 scenes, each of which needs to be rendered at a different frame.  If I go through each scene and set the proper frame in each scene right before rendering it will render the proper frames.  However, after doing this Blender seems to forget the specific frames for each scene and sets them all to the same frame as the scene I rendered from.  So I have to go through this process of manually setting each scene's frame every time I render, which is a royal pain.  Is there a way I can get each scene to render at a different frame and have Blender remember the frames for each scene?

Would doing this from a python script be feasible in your workflow?

@ToddMcIntosh Absolutely!  It would be helpful if you try to explain it step by step though as my Python is a bit rusty.

I'm not able to replicate this behaviour in my tests, can you post your blender file or a partial file that demonstrates this behaviour. Also, are your scenes linked in any way?

Unfortunately the file is massive, I will see what I can do as for replicating the problem on a smaller basis.

@ToddMcIntosh Did you add some compositor nodes for the other scenes in the scene you are rendering from?  Then set each scene to a different frame, go the the main scene, hit render, and then go look at the frames in the other scenes.

@ToddMcIntosh Here is a test scene I put together.  Scene is at frame 1, Scene.001 is at 20 and Scene.002 is at 40.  Render from Scene and after it renders the other scenes will have switched to frame 1 as well.

I recommend you edit your question to clarify that you are using compositor nodes referring to other scenes.

Here's a small script that will run your render and reset the current frame number in each scene.
If you want to avoid the double render of the second 2 scenes, you could set up a fourth Scene for holding the compositing only and then only trigger the rendering of the other 3 scenes.
import bpy

#set the first scene and render it - this will trigger rendering of other scenes as well
bpy.context.screen.scene = bpy.data.scenes['Scene']
bpy.data.scenes['Scene'].frame_current=1
bpy.ops.render.render(write_still=True)

#switch context to second scene and re-render frame 20
bpy.context.screen.scene = bpy.data.scenes['Scene.001']
bpy.data.scenes['Scene.001'].frame_current=20
bpy.ops.render.render(write_still=True)

#switch context to second scene and re-render frame
bpy.context.screen.scene = bpy.data.scenes['Scene.002']
bpy.data.scenes['Scene.002'].frame_current=40
bpy.ops.render.render(write_still=True)

#now when we switch context back to first scene the compositor will show Frame 1 from Scene, Frame 20 from Scene.001 and Frame 40 from Scene.002
bpy.context.screen.scene = bpy.data.scenes['Scene']

Using this to run your render will allow you to keep your original frame range set to 1-250 and then just render the frames you want.

Thanks, this is just what I was looking for!  As for your note, I did not test it with the test file I gave you but with my actual scene it definitely renders before it resets the frames.

I just changed the script to force the render of the other frames instead of rendering the same from from all scenes. I was wondering if you were rendering the same frame with your smoke sim, but it wasn't obvious because it's smoke? I altered your test file so that the sphere and cone where animated to a different location on frame 20 and 40 and switched the animation curve to constant so it would be an on/off movement from frames 19-20-21. This confirmed for me that the original script was rendering the first scene's current frame across all 3 scenes.

The smoke sims hardly have any smoke at all the frame I have selected for the main scene.  It would be super noticeable if they were rendered then.

Ok, good, just wanted to make sure. I was definitely getting frame 1 from all scenes when I tried your test file.

That's really weird, I'll try and do some testing to figure out why.  This is a big help for me, thanks!

Each scene has a start frame and an end frame in the Scene > Render > Dimensions.  If you set those both to the frame you want, then rendering the animation will render that single frame.
This setting is per-scene.

Unfortunately, the reason I need different frames for each scene is they each contain a separate smoke simulation.  And the smoke sims need multiple frames to run.

Would it help to bake the smoke simulation? https://www.blender.org/manual/physics/smoke/baking.html

The smoke sims are all baked, but unlike cloth/softbody/etc I can't apply the sim at certain frame, it needs all the frames.

I just created a .blend file with a quick smoke.  I set the scene frame start/end to 100.  The smoke sim has start=1 and end=250.  Baking the smoke sim worked, and the frame 100 appears to have the proper smoke state.  If this does not work for your case, you might consider uploading the .blend or a small toy .blend illustrating the problem to pasteall.org so we can troubleshoot.

Huh, it does work for me!  I guess I just figured that the smoke simulator wouldn't be able to handle frames outside of the set range.  It is a little Mickey Mousey though, I would prefer a little more flexibility (so I can play the animation, etc.).  But if nobody comes up with a slicker solution pretty soon I'll accept this.  Thanks a lot!

You can "play" the animation by click-dragging the mouse in the timeline.  Another possibility I have not tested is to create another scene using the "Link Objects" option and give that scene different frame bounds.  I have found that a great many hypothetical boogeymen melt when subjected to actual experiment, so try crazy things.

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


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Is there any disadvantage to using smoke adaptive domain?
In the smoke simulation settings, there is an option called smoke adaptive domain.  It basically (as far as I can tell) just changes the domain's size at each frame to be just big enough to fit the entire smoke simulation inside.  It can really save some baking time, especially at the beginning of the simulation when the smoke is first expanding from the emitter.
My question is, is there any reason not to use smoke adaptive domain?  I personally can't think of any reason not to.  But it is an option, and it's actually off by default, so I thought there may be some disadvantage[s].

I also always turn it on. I've heard that it can sometimes be too aggressive and cut parts of your simulation off, however I've never had this happen to me.

I think the only reason to have it off by default is compatibility, it was a feature added to the existing smoke simulator.

Added a new "Adaptive Domain" setting for smoke domains: Domain resolution and size adapts to only cover areas where smoke is, so that as small domain as possible has to be calculated at a time.

To enable it when opening an old file would cause a zero sized domain breaking the existing smoke simulation cache, or at the least force existing smoke caches to need re-baking. Leaving it off allows the user to re-bake only when they decide to.

Isn't it possible to only enable it when opening files created with any version > 2.64 (or whenever it was added)?

possibly, they may have planned to enable it by default after it was proven to be reliable/beneficial but no-one has gone back to do it. You'd have to ask Ton or whoever was in charge of the smoke changes to know for sure, after a couple of years they may not remember what the plan was. You'd have to ask on irc to see if they would consider changing the default.

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


text:
Is there a way to not limit vertex painting to visible geometry?
Is there a setting for vertex painting which allows you to paint on geometry that is visually obscured from the view by geometry in front of it?  (I am looking for something similar to the limit selection to visible toggle in edit mode.)
Here is a picture that illustrates what I am trying to achieve:

I have a simple object consisting of two planes.  I painted across the entire object from the view shown on the left.  However, as seen on the right, you can see that it did not paint the part of the back plane covered by the front plane.  Is there a way to paint "through" geometry like this?

This may not be a direct answer, but you could try the following:

Enter Edit Mode, turn off the limit (marked in red), and use the brush to select vertices you want to paint:

Then enter Vertex paint Mode, and turn on the face selection mask:

It doesn't matter where you click with your brush, because the paint is limited to the selected faces

Results are (at the front)

and (at the back)


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VSE: Shrink and overlay one video over another
I have two videos, one is 1920x1080 and the other is 640x480.  I would like to scale the 640x480 one even smaller and overlay it in the corner of the larger one.
How can I do this in the VSE?

I bet you want to overlay a Webcam Footage over a Screen Recording... ;-)

Just insert your FHD Base Video strip in the VSE, then on a channel above insert the SD Overlay strip and mute it (Strip - Mute Strips or just press H).
For preserving the aspect ratio and the original size of your SD Overlay strip you might need to check Image Offset in the Strip Input properties as well as your SD Overlay strip is not the same aspect ratio as your FDH Base Video (and as your project Resolution under Dimensions in a Properties View should be).
With the SD strip selected Add an Effect Strip - Transform with an Alpha Over Blend in the Edit Strip properties. And finally transform its Position and Scale (for preserving your aspect ratio you should check Uniform Scale) under the Effect Strip properties.
Instead of changing the Position in Percent (as per default) you can change the Translation Unit to Pixels in the same Effect Strip poperties if needed.

There is a great Tutorial of that on YouTube from Mikeycal Meyers.


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How to make mesh lights brighter without washing out in the render?
Sometimes to get a mesh light to illuminate a scene fully I need to crank the emission value way up, however this causes the object itself to be washed out in the render.  Is there any way to keep this from happening?

Can I see an image of this so called washed out render?

Related? http://blender.stackexchange.com/questions/39471/using-an-emission-shader-with-textures-without-affecting-the-color-of-the-mesh

@Gonzou I searched multiple ways to try to find this question already (I was wanting to link to something explaining this in a BA post) before posting and couldn't find anything.  I had totally forgot answering that one!  SE needs a better search engine.

You can do this by using the Is Camera Ray output of a Light Path node to dim the emission strength (or even use a different shader) for the camera.  The Is Camera Ray will output a 1 if the ray is coming from the camera (see here for an explanation of ray tracing) and a 0 otherwise.
You can plug this into the mix factor of a Mix Shader or Mix RGB node and plug what you want the camera to see in the bottom socket.

Here is an example, the left uses just the emission shader on the lamp, the right uses the above node trick.


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How to use global XYZ coordinates for displacement?
I like to use Global texture coordinates combined with the RGB to XYZ direction setting on a displacement modifier to displace multiple separate objects uniformly.  I.e. if two separate objects with the same displacement texture are placed next to each other, the displacement contour will flow smoothly from one to the next (see GIF below).
However, even when the texture coordinates are set to Global, the XYZ displacement direction is local.  So if I rotate one of the objects about the Y-axis (as seen below) the local Z-up displacement vector is now global Z-down, and thus the displacement contour is broken between objects.

Both objects are just stretched and subdivided cubes.
So is there a way to use global space for XYZ displacement instead of local space, either directly or by some hack/workaround?

@cegaton  They are completely independent objects.

@cegaton  That does the same thing as global coordinates except it allows you to move the origin point of the texture.  My problem is that the coordinates used for the displacement itself (not the mapping coordinates) are local.

I think that the displacement is global but not in all directions. That does not help directly.. I know... but intuitively, having it in all directions needs UV in the texture coordinates... so not a global...

This seems to be close to the "brick texture problem", am I wrong ? I mean Z axis is the displacement axis (if no UV selected in the texture coordinates) ?

For now I "conclude" that what we need here is "generated" in the texture coordinates... but not available

@lemon  I'm not sure what you mean.  The texture coordinates are fine, it's the coordinate system used for the actual displacement that I need to be global.

yes but if you set them global (at least in my tests for that) you will not obtain the displacement in all directions. Am I wrong ?

@lemon  What do you mean?  My problem is that there is no way to set them to global.  When you select global on the displacement modifier that is for the mapping coordinates of the displacement texture (which I do need to global as well), not the coordinate system used to displace the geometry.

The vector displacement space for RGBtoXYZ mode is always local, unfortunately. (tangent would be useful in a lot of cases too). The good news if you need global space though, is you can apply your rotation (object > apply > rotation from the 3d view header) and bake your rotation into the mesh. This gets rid of the object level rotation meaning local space = global space once again.

The issue with applying rotation for my current project is that it would mess up the other modifiers on the objects.  I am working on a set of modular pipes that I can quickly duplicate and place and I would like to not have to make multiple different objects for the different orientations of each type of pipe.

authors: Дмитрий Тригуб


text:
Permission denied when opening .txt file with python
I wrote a script that involves outputting some information to a .txt file.  A couple days ago this script worked just fine with no errors.  Since then I have changed nothing in the script but now when I run it in Blender I get the following error:
traceback (most recent call last):
  File "<blender_console>", line 1, in <module>
PermissionError: [Errno 13] Permission denied: 'input.txt'

With info from the various other Permission denied questions (here, here, here, and here) I have done some troubleshooting and gleaned the following information:

The file is not open anywhere else.
I can save the .blend file and open/import/export other files just fine, unlike the problems the above linked questions are addressing.
I have tried open('input.txt', 'w') from the command line within Blender and it throws the same error.
I have tried open('input.txt', 'r'), and open('input.txt', 'r+') as well, these throw [Errno 2] No such file or directory: 'input.txt', even though the file does in fact exist.
I can open and write to the exact same file from a python script outside of Blender just fine.  So the problem seems to be from within Blender.
This exact same script worked just fine a couple days ago, it has not been modified since.

Any idea what could have changed and caused Blender (and Blender only) to no longer be able to access this file?

Were you possibly running Blender with administrator privileges before and not now? Did you reinstall or update Blender or somehow change the executable in the meantime? Are there any security software running, like firewalls or antivirus that could have been triggered by said change? Are there any non ASCII characters anywhere in the filepath?

@DuarteFarrajotaRamos I don't know why it didn't occur to me to try running as administrator but I tried that and it worked.  However now it baffles me as to why it worked initially as I definitely did not explicitly run as admin then.

And why would windows require Blender to be elevated to run the code but not IDLE?

Sounds like a file ownership issue; either the file itself, or the directory it's in.

@PGmath i think it is as Doyousketch2 pointed out where permissions have changed in the directory you try to save in, and then running as admin gives you those root privileges so that's why it will definitely work. Anti-virus or Security Software can also block access as Duarte pointed out. btw I checked your About section on profile and wanted to see your stuff on Blender Artist, but it's not there

I had the same problem today! I don't know if It's too late now, but this is my solution: insert the entire file-path for your file.
Example:
file = open("C:\\Users\\userName\\Desktop\\Codes\\f.txt","w")


text:
Link selection between VSE strip and object?
My current workflow for a project I am working on uses empties in the 3D-View to more easily control properties of strips in the VSE via drivers.  However sometimes it gets a little confusing which empties control which strips and I sometimes manipulate the wrong empty.
Is there a way using Python to automatically select the proper empty when I select a strip in the VSE?  For instance when I select the strip in channel 4 of the VSE I would like it to select empty Fader_4.
I tried a little bit myself but I'm not too swift with Blender Python and I couldn't figure out how to tell when a strip is selected in the VSE.

A strip (sequence) is selected in the VSE when its select property is True.  The selected strips are available via the context.selected_sequences list, and the active strip is context.scene.sequence_editor.active_strip
Test code using modal timer operator. Prepended a toggle button to turn autoselect on / off, to the Sequence Editor header.

import bpy
from bpy.props import BoolProperty
from bl_ui.space_sequencer import act_strip

class SeqModalTimerOperator(bpy.types.Operator):
    """Operator which runs its self from a timer"""
    bl_idname = "wm.modal_timer_operator"
    bl_label = "Modal Timer Operator"

    _timer = None

    def modal(self, context, event):
        scene = context.scene
        active_strip = act_strip(context)

        if event.type in {'ESC'} or not scene.auto_select:
            self.cancel(context)
            return {'CANCELLED'}

        if event.type == 'TIMER' and active_strip:

            # deselect everything
            for o in scene.objects:
                o.select = False
            # select empties, make active active.
            for s in context.selected_sequences:
                empty = scene.objects.get("Fader_%d" % s.channel)
                if empty:
                    empty.select = True
                    if s == active_strip:
                        scene.objects.active = empty

        return {'PASS_THROUGH'}

    def execute(self, context):
        wm = context.window_manager
        self._timer = wm.event_timer_add(0.1, context.window)
        wm.modal_handler_add(self)
        return {'RUNNING_MODAL'}

    def cancel(self, context):
        wm = context.window_manager
        wm.event_timer_remove(self._timer)

def toggle_auto_select(self, context):
    scene = context.scene
    layout = self.layout
    #layout.label("Auto Select")
    layout.prop(scene, "auto_select", toggle=True)

def auto_select(self, context):
    if self.auto_select:
        bpy.ops.wm.modal_timer_operator()

def register():
    bpy.utils.register_class(SeqModalTimerOperator)
    bpy.types.Scene.auto_select = BoolProperty(
                               default=False,
                               name="Auto Select",
                               description="Turn on to Auto select Empties",
                               update=auto_select)
    bpy.types.SEQUENCER_HT_header.prepend(toggle_auto_select)

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

if __name__ == "__main__":
    register()


text:
Difference between a mist pass and a normalized z-buffer?
In Cycles there are two different render passes which seem to give some kind of depth information: the Mist pass and the Z-Buffer pass.  I know that the z-buffer gives the actual distance (thus producing values >1) while the mist pass's range is [0,1].  But even after normalizing the z-buffer pass the two are still not the same, the mist pass is darker.
Here is a comparison (starting with the standard render).

So what is the mathematical difference between a mist pass and a normalized z-buffer?


text:
Physics setup to test gears won't spin
The attached Blender file is setup to run with the physics engine.
When I run it, the wormgear does not spin, and the wormgear and wormwheel seperate.

Can anyone offer any suggestions?

Hi B.Teddy, although i don't wanna kill your illusions, but i am pretty sure that nearly every gear animation is just realized by drivers or/and keyframed animations and not by physics.

Have a look at the tutorial: https://www.youtube.com/watch?v=jVtr80IF-yI  @12:42 time location.

It's been a long time since I last tried to do any gear simulations so I don't think I can fix it... but there are a few things problems which I immediately see in your file: the wormgear and wormwheel meshes overlap - that's always bad. The origin of the wormwheel is somewhere in the wormgear, that's definitely bad as well. //EDIT: Didn't see the tutorial when I wrote the comment. Doesn't seem to be a problem there, but that's strange. Rigid body physics break quite easy with incorrect origins and overlapping geometry.

I have to ask: how thoroughly did you follow the tutorial? It doesn't look like there's overlapping geometry. Also, at 15:10 the first test doesn't work because the worm has inverted normals which are corrected with Shift+N, but you didn't even fix that in your model.

Yeah also the worm gear part still has it's collisions set to Convex Hull. Go back and make sure you follow the complete tutorial.

I followed the tutorial step by step. When I had a problem I stopped an came here to ask questions. When I got an answer I went back to use it.    I didn't do the correction at 15:10 because I didn't make it to that part yet.  It should have moved and bound up like the tutorial, it didn't. think the overlap was right and moved them apart a bit.

What should the collisions be set to?

Set it to Mesh

@B.Teddy: you are right, it is possible, but...i would recommend searching for better tutorials. I think it is not a good tutorial because of the generated voice (ok, that's subjective) but more important: The tutorial wastes 2/3 of the time to show the modeling and then in 3 mins shows the physics. It explains nothing. It doesn't say why you should rotate empty (because motor just works on one axis) and often you don't even see the object he is moving. But he says in the tutorial, you should set the collision to mesh, so i wonder why you are asking...i will write an answer

set the collision shape of your worm gear to mesh

the worm gear has wrong normals, which you can see if you click on "viewport overlays" and check "face orientation". All red faces have wrong direction. Physic simulation will nearly always fail if any involved object has wrong normals. Correct them by selecting the worm gear, TAB -> edit mode, A -> select all, Shift-N. Then the worm gear will turn blue (he explained that in his video - you seemed to have skipped that too)

Looks like you also didn't follow the step "merge by distance" (always(!) follow each step exact (!) as the tutorial does (as long as you are not experienced in what you are doing - else you will fail. I know this from my own experience and i failed often following tutorials) -> select your worm, TAB -> edit mode -> A -> select all -> M -> merge by distance ->

for better looking i would recommend select the worm gear -> right click -> shade flat

change your settings here :

and uncheck "origins". Else if you move things with G you will not move the objects but just their origins.

press 7 and you will see:

so you made it somehow that your axis1 is not centered to your gear and by this the motor won't work correctly. So select axis1 -> object -> set origin to geometry, then in transform set x and y to 0

then it should look like this:

check with 7 whether now it is centered and it should be

delete object you called "worm"

you didn't choose your objects for your motor:

so select your motor empty and choose these:

select your worm wheel: do you see the orange point? (left of the red/white circle)

this is the pivot point and the center of mass. This should be in the middle of the wheel. So in object mode -> object -> set origin -> origin to geometry

if you press 7 again, you will see: even your worm gear isn't really centered :(

so same procedure: object -> set origin to geometry, set transform x and y to 0

in edit mode, scale it down just a little bit :

i scaled:

and change motor settings to:

and you will get

My recommendation: start the tutorial from scratch. Follow each and every step exactly. Don't move things in edit mode if tutorial moves in object mode (and yes, this makes a HUGE difference because by moving objects in edit mode you change the origin of the object in relation to the mesh). Then it should work.
Good luck and happy blending.
Watching some beginner tutorials would help you too because you made a lot of beginner mistakes (which we all made, and i made them 3x in my beginnings) and to be honest: That tutorial is not really for beginners because it is too fast, to bad explained and often not clearly visible for beginner to see what he is doing)


text:
Why is animation rendering not happening even after setting all properties correctly?
I put output file format as FFmpeg but it is rendering as png file

@Ramos your file crashed my computer when i attempted to render XD

why is that? what's the reason?

rendered normally for me. I did change it from mkv to mpg4 though.

@Ramos Your "Nurbs Path" objects are really highly detailed. Each has 2256 faces, multiplied with 2500 hairs with 100 children each this makes 564 million faces. Maybe your hardware isn't capable of that? I decimated the meshes to around 10% faces of the original mesh, and still it takes quite some time to render a single frame on my not so new computer.

@Ramos The last comment was just about why it might crash anybody's computer. For the PNG rendering: did you press F12 or Ctrl+F12 to render? Or if you used the top menu Render, did you use Render Image or Render Animation?

I used top menu render and selected render animation

can u tell me how can i decrease the faces or any other method that makes it less laggy


text:
Glass material is looking metallic
I am using Blender 3.3 on Windows 10 with NVidia graphics.
I wanted to make a transparent glass metarial in cycles which will look real, but whatever I am doing, the transmission is not working.
Is there something I am missing ?

Have you chosen Alpha Blend in the Material panel > Settings? Also activate Screen Space Refraction and in the Render panel > Screen Space Reflections and Refraction. If it still doesn't work please share your file: https://blend-exchange.com/

The total light bounces is still set to 1. Increase that.
Also assuming you are in render view and are using cycles.
If that doesn't help try sharing the file.

Put a Glass BDSF, a Transparent BDSF, plug them both into a Mix Shader
It's that easy.


text:
Set parent to automatic weights leading to mesh not following armature
I'm trying to build a rig for a Cthulu picture frame.
I am following this youtube tutorial https://www.youtube.com/watch?v=jw30S-Oepyo
I get to the part where they set automatic weights, but when I try to move it, only the armature moves, not the model.
What should I do? First time really using Blender so I have no clue what I am doing.
Here's the link to the file:
https://drive.google.com/file/d/1eQdiXbrcJ_kGXUZnrwK_x_ijfA2PdbTe/view?usp=sharing

parenting With Automatic Weights works fine for me, when you do it, do you at least see the "Set Parent to" pop-up menu?

It matters which object you select first. Do you know this?

I select the mesh then the armature. Then I see the set parent pop up menu. I click it go into pose mode and try to move things around but the mesh doesn't move along with it.

For me, it doesn't work. There is the infamous Heat Weighting: Failed to find solution for one or more bones error. It works if I apply the Remesh modifier first. Also, apply the Scale to the armature object (Ctrl+A > Scale in Object mode). Then the rig works fine with automatic weights.

Try selecting the mesh(model), go to edit mode ,hit P, then select separate by loose parts.
Back to object mode,select all the mesh to be rigged. Parent it to the armature with automatic weights as before and then see if it moves.
Worked for me.
You can then join the mesh after.
[source]
https://www.reddit.com/r/blenderhelp/comments/xtceth/comment/iqqzo7b/

I just ran into the same thing and figured it out.
First, make sure you don't have anything parented. You can select your model, right click it and  Parent > Clear just to make sure we are working from scratch.
Then select the model first, then the armature in Layout mode and click Ctrl + P and select "With automatic weights".
Once you have done this, what they neglect to point out for us noobs is that there is a different mode called "Pose Mode" listed in the same place as Object and Edit mode. If you switch to "Pose mode" everything should now be moving.


text:
How to generate points based on curve roots in geometry nodes?
How to generate geometry points based on curve roots in Geometry Nodes?
I tried, but it doesn't work.
Generated to 0, 0, 0.

It does not work because Field values (the diamond slots with the dotted lines) depend on the Geometry (the green connections & green nodes) that they are connected to. You need to read it from right to the left (Field values (what) <= Geometry (from where/context)).
In your screenshot you have connected the Curve Root node group to the Points geometry node. This actually means, that you ask the points for their curve root position. Since points are no curves, they tell you: "Silly you, we are points! We have no root position!" and you get (0, 0, 0).
What you actually want is the root position of curves and they should be transfered to the new created points. The position is the position of the control points of the splines in the Curve domain. The new created points are in Point Cloud domain. That's two different geometry types.
Transfer the Position Attribute
A common way to transfer an attribute between domains, is to capture the attribute with a Capture Attribute node on the specific domain/geometry and map it to the destination with a Sample ... node.
When you have a matching number of curves and points you can use the Sample Index node. This way, Blender will assign the 1st position to the 1st point, the 2nd position to the 2nd point, etc. using their index values. Here is an example:

Oh, wait. You can simplify this a bit and use the Root Position value:

Both versions work because Position/Root Position is connected to the Capture Attribute node that is conneted to the geometry of the curves. Since the domain of Capture Attribute is set to Point, the position of the control points and not the curves is retrieved.
Alternatively, Copy and Convert the Root Control Points
Another approach to solve your problem is to copy the Control Points of the curve and convert them into Point Cloud points. Additionally, you need to adjust the point radius a bit to get the exact same result.

Thank you for taking time out of your busy schedule to respond.  Thank you very, very much!！


text:
Geometry nodes absolute position of points
I am trying to determine the absolute position of points. So I created a node network that would add the object info (of the same object) with the position. The object is a parented object with rotation. But I am unable to get the correct position.

For better illustration, I added empties at the position I get for option Relative and Original in the Object Info node.

what about providing your blend file/try? how should we know what you made wrong if we don't know anything you did?

@Chris, good point. Sure, I will add one. Sorry, i assumed that this is such a simple query to add a node network screenshot

Object Location minus $(0,0,0)$ plus Position. Use Self Object as Input in Object Info (version 3.4) ...Sorry for the brevity, I'm on the road right now.

you have chosen "original" in object info, did you try to use relative?

@quellenform, noted... few weeks of excited waiting for 3.4... :)

@Chris.. i tried both... i am adding one more screenshot in which i created empties (at position i get from the spreadsheet) for both relative and original

@RMK: i don't get it. For me it looks like the viewer node is just showing the local coordinates. And with parenting...it doesn't work at all. But maybe i just don't get it ;) and that's how it supposed to work - just showing local coordinates and you have to calculate the world coordinates on your own by happy matrice-calculations ;)

@Chris, i too am confused. Author blindness, maybe :) And I am yet to become friends with Matrix calculation. But in general, I think i am doing a mistake by not considering the rotation & scale attributes from Object Info for calculating the global co-ordinates before showing in the viewer. I will try that


text:
What is an empty?
In the Shift+A Add menu there is an option to add an "Empty".

I have tried adding various types of them but they don't seem to do anything.  They have no other Interaction Modes (Edit mode, Weight Paint mode, etc.) and they don't show up in the render.
What is an empty and what are they useful for?

If whoever DV'ed sees this I'd love to know why so I can improve.  Thanks!

An empty is an un-rendered, geometry-less point in space represented by a 3-dimensional symbol of some sort.
There are 8 types of empties, each type differs only in its viewport symbol.  The Image type is slightly special in that you can pick any image from your computer to use as its symbol.
What are empties useful for?

Answer, lots!  Use an empty any time you want a modifier, object, constraint, particle system, texture, armature, driver, etc. (anything with an object selector box) to do something based on a single point in space.
Though I can't possibly think of, let alone list, every single possible use for an empty, here are a few of the more prevalent examples of uses for an empty.  Hopefully by reading this you will get a feel for what they can be used for.
Parenting
Probably the most common use for an empty is to provide a common transformation origin for a group of related/connected objects by parenting them to an empty with Ctrl+P.

Controlling Modifiers
There are many, many modifiers which can use the location of another object as a reference point for their calculations.  Here are a couple of the most common:
Displacement modifier:

Array modifier:

Texture mapping
By using the Object mapping coordinates in Cycles you can have the position and transformation of an empty control your texture coordinates.  This is most often used to use an empty to position a decal on another object.

(Here's another example of using an empty's Object coordinates.)

I also often use an empty as a master object for main scripts when making a game in BGE. It's much easier to remember that an invisible object called 'main' holds them.

@Highstaker  Feel free to add your own answer or edit that into mine.

My favorite use for an empty is for an invisible thing to track the camera to.  Then you can move the empty around and the camera will always point at it.  And of course you can animate the empty's location and thereby animate the camera's point of view.

See also this video which provides a camera rig for realistic camera movement.  https://www.youtube.com/watch?v=H7CISQFl7kA

Empties can also be used with images to set up a background for reference.
They can be scaled, rotated and moved so you can position your image anywhere you want. This way you can have multiple background images in the same view.
I usually move them far away so that they only appear in ortogonal view, not perspective.


text:
Painting problesh with mesh
Has anyone encountered such a problem that for some reason a part of the mesh on the render is displayed black and it's impossible to paint on it (I didn't put any mask or smth). The color doesn't apply on the meash, although everything seems to be fine with the UV.

Hello maybe you have overlapping faces?

No, everything is fine, I checked(

could you please share the part with the problem? Use a platfrom like workupload and share the link

yes, sure! here it is https://workupload.com/file/dYS3ZXJNusb but i decided to cut ears and painted them separatly and I have another problem, described it here https://blender.stackexchange.com/questions/311531/missing-object-while-texture-painting?noredirect=1#comment540027_311531

what is the part you can't paint on? Also you haven't shared the images and your mesh is super dense which is not very convenient for my computer   :((

sorry I guess I can't fix it then(


text:
Couldn't download image as plane
I'm watching architectural tutorial and this add-on (Image as Plane) is not working well or I might use it wrong. So I'm trying to import image as a plane and get only plane and no image on it...can't figure out what's wromg

Images as Planes projects an Image Texture on the surface of a plane. Contrary to a Reference Image or a Background Image, which are empties (virtual objects) you can't see by default the image of the Images as Planes if you are in Solid mode (second option on the top right of your 3D View), you need to be in Material Preview or Rendered Preview to see it, or you can stay in Solid mode but switch to Color > Texture instead of Material in the Viewport Shading panel:


text:
How to import MaterialX library into blender?
Does anyone have any idea how to get the MaterialX library into blender as the picture below showcases?

I'd love to use this since AMD is not able to get Cycles X to work with Polaris cards for a good few years now but there aren't much if any resources out there explaining people how to use the USD hydra plug in with MaterialX (or how to use the plugin in more detail - no tutorials, no wikis, nada). If you can point me in the direction of a good knowledge base i'd be much grateful.

Hello ! you might have already seen this https://blenderartists.org/t/materialx-blender-integration/700331

This is part of the USD Hydra addon: GPUOpen-LibrariesAndSDKs/BlenderUSDHydraAddon

Edit 2024-04-02:
Apparently this feature was migrated to this addon instead: bnagirniak/RPRHydraRenderBlenderAddon
But when it comes to older Blender versions prior to this change, I guess you might need to use a version of BlenderUSDHydraAddon contemporary of the concerned Blender version.

Download the latest release, and install it like any other addon.
Then in Properties Editor > Render Properties Tab: Switch the render engine to USD Hydra:

Finally, go in the Properties Editor > Materials Tab > Material Library Panel:

It takes time to fetch all the materials (I guess it needs to download them), so be patient to get the full list.

Unfortunately this functionality got removed by this MR:
https://github.com/GPUOpen-LibrariesAndSDKs/BlenderUSDHydraAddon/pull/274

I am a bit late to the party, but thought the music would be playing loudly. For my surprise, I am already taking a few hours trying to find a way to import materialX to blender 4.1 or find any updated sources on that topic. Is the party over?

What do you mean? Have you tried using the addon as I mentioned in my answer?

You can continue to use this add-on, but the Material Library is no longer available in Materials tab.


text:
Is there a LateX addon that directly let's me type in LateX into blender?
Is there a LateX add-on that directly lets me type in LateX into blender ?
If not, is there a Python code for this to directly type into blender using this code ?
Just to be clear, I would like to type in equation (math mode)

Shortly after posting the question I found this addon that works well
https://github.com/ghseeli/latex2blender/wiki


text:
EGPU compatibility with Mac?
Due to certain software limitations, I need to use a Mac for Blender. With recent updates allowing for GPU Cycles rendering on Mac, are external GPU's a viable alternative to a PC build in performance? Are they compatible? I've always used PC and haven't followed Mac or Blender's compatibility with Mac super closely, but I've heard hopeful things regarding their integration. Looking at the benchmarks for the M1 Ultra, I don't foresee it being a viable option for what we need unless external hardware was able to be used.
For context, all other systems and software in our network are Mac and having a different computer would add security and software issues, hence why our IT guys are pushing for a Mac if it is an option. Our other idea is utilizing Flamenco on a Mac and having an essentially offline PC for rendering.

+1 for Flamenco


text:
How to texture paint this image onto a mirror object?
I am having trouble texture painting my image onto my object because the object is mirrored- so when I paint onto it, the texture is therefore also mirrored.
I've tried applying the mirror modifer, but it makes no difference.
Does anybody know the fix for this? Thanks.

Once you have applied the modifier, you probably need to check your UV a second time, because the duplicated side from the mirror will also duplicate and overlap the "initial" UV

@B.Pader Thank you so much! It worked!

I will add it as an answer if other people need this info

Once the modifier is applied, check the UV.
UVs from the duplicated side will overlap the "initial" UVs.


text:
How do i seamlessly join these seperate objects?
Is there a way I can attatch the hand to the wrist and match the shapes together?

let me show you one way of doing this.
This setup should mimic your setup.

First we have to Join both of the Objects into one single
Select both and press "ctrl + J"

Now you have one single object

Open the new combined object in Edit mode
Delete the faces that are in-between the merge on both sides!

Now normally you should be able to select the edges of your two objects and type the command "Bridge edge loops"

Actually you don't even need to delete the faces when you bridge

Oh i didn't know that thanks!


text:
Weird shading when applying textures & materials
My avatar shows up fine in blender, but when imported into unity and the materials and textures are applied, it shows up weird and I have no idea what it is. I don't think it's a unity problem though, I think I messed up something in blender.

A picture of your material setup would help. Long story short: to get the closes result, make sure you use only a principled shader with either raw values or image textures with UV maps. Anything else is most likely not supported by Unity, the exporter, or both.

I figured it out, it was a problem with normals, everything looks fine now it's just the antennae looks broken


text:
Workflows in Blender
I'm a Blender noobie and am trying to understand project organization in Blender - what the tool provides and best practices. I'm trying to storyboard a short film and was wondering how to organize it.
I understand that I'm building models to construct scenes as well as rigging characters. Say I build a collection of assets (a lamp for a room, a table for a room, etc.). How does organizing a scene work, like say if you are going to reuse a set for multiple scenes? If you build a set/location where you are expecting the scene to occur, is that just an asset composed of assets that you reimport into another scene? Is the scene where animation is laid out, or is that somewhere else?
I assume that this question is a duplicate of something someone else has asked, but receiving links to places these questions are answered is probably what I need at this point.

Question: Have you studied using the asset library?

I am not sure of how much of a use this can be to you, if you are storyboarding?
Anyway, the common pipeline is pretty much how you described:

assets are made individually
scenes are build with instances of said assets
downstream use these scenes as they are, when relevant to their work.

Now to be honest, each studio or even production within the same studio can make somewhat their own pipeline that fits their needs.
Last time I worked on a movie, the scenes were built once, with each shots' camera, and previz anim, all in one file per sequence. Then, for each shot, they exported the relevant part of the scene to a different file, which is what the animators would import in their own software to animate on.
Most of the time, each department pull only the data they need to be able to work, and pushes only the data they made into the pipeline. Animators pull only the rigged characters, camera, audio track and parts of the scenes model that are needed to animate (like the ground for feet contacts, props interacted with the character, and the rest of the scene is often either left out, or imported only as a GPU cache for performance, or imported as a background image sequence) and push only raw animation data, texture artists only pull models and push textures, and so on.

Maybe what I meant was, "I'm in the planning stages and looking for how to organize a short film." Thanks! This answers what I was asking.

Each production pipeline is different, and (team) size matters. A lot of procedures are to avoid losing work, people stepping on each other's toes or different ppl redoing the same job. Whenever you think about how to do stuff, basically keep in mind that you want it to be efficient and foolproof.

If a project grows in size and team members, you should get familiar with "Append, Link and Library Overrides".
Append is the standard method to import an asset or a serie of assets from a .blend file to another. Every datablock generated by the software can be reused in another .blend file, the safest way to import is to prepare everything you need into a collection and then append the whole collection, that can contain from a single little prop to a big and complex scene.
Link is similar to Append, except that every time the assets are loaded they get read from the original source .blend file, so that if an asset is shared by 20 different .blend files and it gets modified in its source file, all 20 file users get automatically updated.
Library overrides let you introduce variations on linked assets, so that you can have multiple different instances that all refer to a single source file.
https://docs.blender.org/manual/en/latest/files/linked_libraries/link_append.html


text:
cant use liquid simulation (mesh) - it is always solid
I try to follow multiple tutorials and it doesn't work for me. I've created domain, and flow,  on every tutorial - whey they check (on domain) that it is a mesh - the domain solid shape disappears and starts to be generated 'particle'. (like in this example https://www.youtube.com/watch?v=6B0QM4Cft5c)  not in my case. it is still solid and nothing works. please help. did record it so it should make more sense than my vogue explanation ;)
this is how it looks for me: https://youtu.be/-udvlz-nqBo
please help ;)

I cannot see in your video that you have baked the simulation. Have you baked it?

I can only say what I always say in these cases: did you follow those "multiple tutorials" thoroughly? Did you pay close attention to what they did? Because as @Blunder said, it doesn't seem like you have baked the simulation. And I'm sure that's what is done in almost all of the tutorials. Even when you leave the Cache Type at Replay where you create a cache "on the fly" and there is no Bake button, you still need a simulated cache. If you don't run the simulation to created a cache or switch any settings so that the cache is erased, there will be no liquid to be seen.

hello, please remove all the useless objects and share your object: https://blend-exchange.com/

...by the way, the tutorial you linked for example explains from minute 5:00 on that it's quite unstable to leave the cache at Replay and better use a file cache type like Modular or All.

In your video, you are at frame 26 as you play with the settings.   You need to set the timeline to frame 1, and then "run" the timeline.  This will bake (calculate) the simulation frames and start to render properly.

@james_t Yep, that's what I meant... I'm sure there was no cache created up to that point. Or lost again.

@GordonBrinkmann -- I pity the new user that I once was.  Such a steep learning curve that I'm still climbing 2 years later!

@james_t Well, but the concept of baking any kinds of simulation or else they could be messed up in rendering etc. I learned very quickly. Of course the more specific problems and many options and settings of the different simulations are consuming more time and there's often room for improvement. The best thing is when doing tutorials, follow closely. Make sure you understand and recreate everything correct. And even better, don't follow along with it, just watch it completely the first time before trying to recreate it.

@GordonBrinkmann - other tutorial problems: 1) lack of clarity from some sources, 2) old version of blender.


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Can I find customisable human models for my animations?
I want to make 3D animations in Blender, and I would like to have pre-made models, but I couldn't find customisable ones. I would like to customise the characters, namely their age (I want to make a child), skin tone, eye color, hair color, and probably other traits. I also want to give them clothes of my design, and giving some of them clothes with existing designs can also be useful. Of course, they should be rigged, and having some pre-made animations would also be a plus. They should also be foc and without fees for using the site. Is there a site that offers that?
I've searched for sites that offer models, but none of them seem to say that they are customisable.

Have you tired the Make Human add-on? it's free.

Or try MB-Lab, a Blender addon that creates humanoid characters


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The wind Field effect is not applying to my cloth plane
I realise this is a common issue but I tried a lot of things and didn't manage to find a solution. I am new to the software and sorry for my ignorance.
Like a lot of people before, I am trying to create some sort of flag moving with the wind. I actually managed to render one version with the flag moving, and then tried to change the pinning of my flag to get a different effect.
After that, the flag stopped reacting to the wind (I didn't pin the whole flag)
I am using blender 2.79 and am looking for a solution.

Have you deleted the cache of the previous simulation?

If by deleting the cache you mean free the bake and bake again, yes I have!


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I want to make a transition effect but how? Help me
I want to make an effect like I put the images, but no matter how much research I did, I couldn't find it. Anyone know how to do this?
Link: https://vimeo.com/665069736?embedded=true&source=vimeo_logo&owner=131946355[enter image description here]1

Are you talking about the cube splash effect from 9 to 14 seconds in?

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

if u are satisfied with this https://youtube.com/shorts/UC7j0Uy3OHA?feature=share i can offer a solution. If you are looking for perfection...maybe better wait and hope for another answer.

I'm talking about the cube effect, right. I don't know how to do it in blender. Can I find the tutorial for the Geometry nodes part?

you can start with this "basic" setup and fine tune it:

So basically the grid/cube/instances are just instancing the cubes on the ground.
I made a cube "controller" which i keyframed so that it can control the scale and the noise movement.
Via the object info/proximity/multiply/map range and can control the scaling of the boxes on the "right side" (depends of course on your viewport view) and by calculating the difference between the controller and each position of the vertices i know on what side (right or left) the cubes should be scaled. So this differentiation is simply done by the less than node. A boolean math node (not) just inverts that - so i know it is the other side.
The branch from the noise texture to the set position node just offsets the cubes on the z-axis, and depending on the proximity to the controller, move them down the their original position again (that's what the mix node does).
result can look like this (of course you have to add lights/camera etc):

Chris, you saved me a lot of trouble. Thank you so much. I'll try the nodes right away.

@Cris, thank you so much for your help, but I still need help. I created the nodes and the image appeared. But how do I create the animation. The control object doesn't work. Sorry for not understanding knots. Maybe you explained, but I didn't understand.
https://imageup.me/help

upload your blend file and i will take a look

https://we.tl/t-hj89eQy2me?utm_campaign=TRN_TDL_05&utm_source=sendgrid&utm_medium=email&trk=TRN_TDL_05

you made all perfectly right - but the controller has to be a mesh - you made an empty. Then it works. Here your updated file:  result: [1]: https://i.sstatic.net/BvZ6p.gif -> that's why i wrote "create a cube as controller" ;) -> the proximity node only works with geometry/mesh, not with empties (who have no geometry)

pls click on the checkmark left of my answer, if my answer helped you, thx.

You are a perfect person. Thank yooooouuuuu :)

you are welcome


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array on curve deforming my mesh
I'm trying to make these triangle pieces for the "sun rays" be on a curve and arrayed around the sphere or "sun" model.

The image above is before the modifiers on but some reason after I enable it and set it correctly I think... it appears all deformed and weird!

I don't know why it's doing that. Please note position and scale is already applied to everything so I know that isn't the problem. Also note origin barely doesn't anything to my solutions because it still gives me the same problems...

Here's the .blend file if needed.

You've scaled your curve, as you've applied the scale it has changed the vertices radius up to the scale value. What you need to do is bring the vertices radius down to 1, either in the N panel or with right click > Set Curve Radius and press 1:

what version of blender is that? I'm not seeing those options when I press "n".

you need to select the curve and switch to Edit mode

question 2 when i apply the curve modifier why does my mesh changes

because if you apply the scale of a curve that was, let's say, x3, it will change the vertices radius to 3 instead of 1, and the size of the object or instances that are linked to the curve by a Curve modifier is determined by the radius of this curve vertices


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Automatic Weights creates empty vertex groups for Armature
I have an armature and a mesh. Those 2 should move together like usual in rigging. The armuture's bones are all "deformable" and the mesh has its normals outside.
When I click the mesh, and then the armature > CTRL + P > Armature Deform With Automatic Weights
it loads for a second, then I have the armature modifier and a bunch of vertex groups in the mesh data. When I try to pose the armature, the mesh doesn't move. Why is that? The vertex groups are all empty.
I don't know why that happens, it never was like this before. Also, i must have something to do with the mesh or armature because I just tried it with a default cube and 3 bone armature and it works no problem.
Please help
Model: https://file.io/tgO4Rx1VK3Mo

As the object is rather small it makes the mesh too dense to calculate the parenting correctly, so scale armature and mesh x 30 for example, parent again, and scale down the armature to its orginal 1:1:1 scale, and apply the scale of the mesh.


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VFX video always flipped in Movie Editor
I was trying to do basic Motion Tracking in Blender, so I followed a tutorial and followed all the steps, but I had the problem a lot of people have where the video is flipped upside-down, and it was flipped no matter what (even if I imported it upside-down), and I figured out how to flip it in the Video Sequencer, but when I go back into the Movie Clip Editor to do the motion tracking the video's still upside-down. By the way, it is an .MP4 file. Any ideas why this is happening?

Thanks in advance, too.

If you flipped it in the video sequencer, you need to render (export) it first and then re-import the exported video in the clip editor. Your clip editor is still reading the original unflipped version from your drive, that's why it's still upside down

Thank you! That worked perfectly! And I never would have thought of that because I had never tried rending before.

Yes, so my problem was just that the video was being loaded from the actual file, so no matter how I changed it it wouldn't be different in the Movie Clip Editor
Rendering (exporting), then re-importing the exported video and using that one worked, thank you @mqbaka mqbaka
(You commented instead of answering so I just thought I'd make sure this was answered).

Ok, so I think I solved this one. The video was taken on my samsung phone. It seems that it must place some kind of metadata into the video about its orientation. To remove this data I used a video editing program, imported the video and basically just produced it again, effectively stripping it of any meta data it may have had.
Then the vector>window option worked.
As confirmation the files I had flipped and reproduced and then tried to use with the vector>window remained flipped (as they were upside down anyway).


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VFX Video not showing in Rendered View
I'm trying rendering and VFX for the first time, and I got the Motion Tracking to work and but whenever I try to render the video or go into the rendered view it doesn't show the video. Here's a screenshot of the nodes and settings:

The weird thing is that when I actually try to Render it doesn't even show the object (which does have a light source).
The video, cube and camera is set as foreground and the sun is set as background:

Also I'm pretty new to Blender, so thanks for any help. :D

Probably there is something in the VSE (Video sequencer editor), which is overriding the render as post process.
To solve, disable the VSE from post process pipeline (as you're using compositor only).

To check your compositing, enable the "Backdrop" button top right in the compositor window.

Thanks for answering! That did help, but now I have a weird problem where I have both layers (the thing I'm adding and the video) connected to the Alpha Over node, but it only ever shows the one connected to the bottom Image slot, and only one at a time. Also, sorry, I'm not sure I explained that the best, haha. :)

Hard to tell, maybe you can upload the file, it should work out of the box, even if you don't need two different render layers, as you're compositing one render layer over one movie file.

Hmm... how would I do that? Sorry, this is the first time I've ever used the Compositor, haha.

just delete background layer and in foreground layer enable sun too. Your background is the movie, the compositor tree looks ok.

Thanks for the help! I messed around with the nodes for AGES, but it turned out all I had to do was render it once and the Compositor realized that it was supposed to be showing both.


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Mixamo addon: linear extrapolation not serving to LOOP this run cycle properly
I have this character that I added a run animation to I downloaded from Mixamo I used the mixamo add-on to add the animation and I went to the graph editor and selected all keyframes and chose make cyclic when I get to the part that you normally do you select shift E and choose linear extrapolation after selecting the Z location in that box of properties on the left I don't know what it's called ....and selecting 1 keyframe and hitting L on your keyboard.... To select all Z location keyframes, OF course:).... That didn't work
I uploaded my file :  https://drive.google.com/file/d/1mz6TkqndYk8H_fJLGajaBGqI0EKOvJ_v/view?usp=sharing
The thing is when I select one keyframe of the Z location and hit L only two keyframes get selected
on the rest of the line of the z location property which is extended as far as the animation is made cyclic there are no other key frames even though the blue line is there... As you can see here  see right before I took that picture I selected one keyframe and hit L that's all that was selected when I choose shift e and chose linear extrapolation nothing really changes
can you help me with this... And really explain it well so I could master IT and other people that find this could master looping walk and run cycles with the mixamo add-on... that information was hard to find on the web and I've been trying to master this for a whiLE... A comprehensive tutorial where that's a part would be key

What I see there why this animation might not loop properly is this, if you loop the Z location like in your screenshot, it loops better if the last keyframe is the same as the first. But that brings us to how the cyclic animation you added works and why you can only select two keyframes:
You can only select two keyframes for Z location because there are just two keyframes. When you opened the context menu with Shift+E, it's not just saying Make Cyclic, but Make Cyclic (F-Modifier). This means, it puts a modifier on the curve which you can find in the Modifiers tab of the Side Panel:

Now like object modifiers don't create real vertices, the Cycles modifier generates no real keyframes - just like e.g. a Subdivision Surface modifier, where you cannot access the new vertices in Edit Mode unless you apply the modifier. Which in this case means, when you change the two keyframes you have, this automatically changes the other keyframes as well.
As I said before, a cyclic animation on the Z location works better if the last keyframe is the same as the first or else it will jump weirdly. Or if your intention is to have it continuously go higher on the Z axis, the modifier should be set to Repeat with Offset instead of Repeat Motion.
But if you now want to make the keyframes editable to place them individually, you have to go to the menu Key and choose Bake Curve and hit OK. A baked curve is not editable yet, it just applied the modifier. To get keyframes, you have to go to the menu again and choose Un-Bake Curve.
But beware: the good thing now is, you have keyframes for the whole curve. The bad thing is, first of all they are just in the Start/End range which is set for the animation, if you want to extend it you have to do it manually. The next and even worse thing is, you have keyframes on each single frame - even if it is just a simple linear curve going straight from one position to another.

OK there was a little confusion.. In the tutorial somehow he extended his walk cycle using the Z location in my file that I uploaded the walk cycle obviously extends in the y location I mean the run cycle I need to know how to simply extend the run cycle so he keeps on running can you give me step by step instructions precisely because I tried your methods nothing really seemed to work I tried your message on the Y location that is...

I guess that would be Repeat with Offset which I mention in my answer. However, when I tried that it didn't really work because there seemed to be more parts involved in the movement - but to be honest, there are so many keyframed bones and I didn't have a real overview which does what nor did I have the time to sort this all out. To get this working correctly you have to find you out which parts you need to move...

been trying that it's just a standard  Mixamo animation Applied using mixamo addon and that's why I posted this post because I can't find that


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Yet another Grid question
K. I'm stumped. I'm building game pieces like walls and doors, etc. I have Units set to Millimeters > Metric > Unit Scale = 0.1000. My game pieces are measured in increments of 1, 2, 4, 8, 16, 32, 64, 128, etc units.
What settings do I use for Grid display so that (as I understand it) grid lines are very 1m and sub-division lines are every 16m. No matter what I change the grid is still seems to be 10x10. Hope that makes sense.

To adjust these, you just need to go to the overlays tab,
and adjust the scale, and the subdivisions to your liking.
I hope this is helpful, happy blending!

Is that 2.8x? I forgot to mention I'm using 2.79b. Is it tucked away somewhere?  Everywhere I look I can't find it, and the manual has no visual reference on viewport overlays.


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Is it possible (plugin?) to use a camera input (solidview or materialview) in the compositor as a preview?
While in the compositor, the usual input is the renderlayer, but when compositing, mostly when checking masks or rotoscoping, having a simple preview instead of a final render as an input is quite good (and fast) enough, so, instead of having to press f12 every time I move to other part of an animation to check, is there a way to use a camera output instead of render layer as a kind-of proxy to speed up. Yes, I know you can render the viewport into a sequence or videofile and use a moviefile input, but being a workaround for a specific situation, it's doesn't answer the general question.

If you're using 2.8x, you can change the render engine to 'Workbench.'

It's the equivalent of a viewport render in previous Blender versions, except it ports into Blender's rendering system, and therefore the compositor.  It should render a frame about as quickly as the viewport, and gives you to extra options (depth of field, outline, basic shadows, etc.)

Thanks, that might speed it up a bit. Never the less, I still have to press F12 to update.  The "Auto Render" on the Options->Performance tab, just re-renders on updates or edits of the 3d scene, but not on timeline scrubbing. I guess it wouldn't be nice to forget to change the render settings and have to wait 3 minutes for the update. Nice one!

Yeah, until they add an input node for the scene, you'll just have to re-render for the compositor.  Another option for simple color grading or effects is the sequence editor!  You may be able to use mask, but I'd have to check that to confirm.


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Best GPU and RAM upgrade for compaq elite 8300 sff
I would like it to be equal or less than seven hundred dollars American.
Thanks in advance!

And specifically for Blender 2.8. Thanks!

Also, (sorry for all the extra requests for expert opinion), whatever I need for extra PSU and case requirements are irrelevant, -I'll just get them. Thank you.

I'm voting to close this question as off-topic because it is a hardware recommendation.

You should reference the blender documentation for minimum requirements.
Cross refer these with the specifications to your machine.
It looks like you would need a low-profile graphics card to fit in this case.  You should be aware that modifying OEM units like this is not a good starting point and that you may run into compatibility problems.  Contact HP support for more information.


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Hi everybody, I'm not seeing the X,Y and Z selection in the upper left of the edit window when using the Spin tool
I have Blender 2.8 installed on both of my computers, and I've tried every simple spin tool tutorial on Youtube, but only get the default blue Z (+)-(+) handle. Everywhere I've looked there is this selection window in the top left to select the desired axis and I've tried a number of different guesses / approaches -nothing.
If anyone can help, thanks in advance!
PS: I'm new, and not aware of how to post pics / video of my problem.
Ken.

Hi. https://meta.stackexchange.com/questions/75491/how-to-upload-an-image-to-a-post

I suspect that the tutorial you saw was created on a beta version of 2.80 before around March this year. Later betas and the release version (2.80.75) moved those settings to the right-hand properties sidebar. Press the N key then the vertical 'Tools' tab on the edge of the window to show the settings indicated in the image below.

Wow, that's really annoying - why not just make them all visible? The axis chosen to be visible isn't even the logical first choice given the face's orientation. Took me a shocking amount of time to find what should have been intuitive - typical Blender nonsense.


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How can I connect end vertices of two spiral curves?
I'm fairly new to Blender, using 2.8. I've tried several ways of drawing this spiral image, followed numerous tutorials on youtube that were close...but always something weird happens.
Regardless, if someone could let me know how to take two spirals I've created, (one just with a different radius), and connect the end vertices ultimately to create a face, then a 3D object. I've tried the connect vertices route, 'J' and 'F' to no avail.
Thanks in advance!

Sorry, I'm having trouble adding the low res gif without an error message, but it's basically an attempt to make a 3D swirl that can be modified in edit mode.

If you've made 2 different curve objects you need to join them with a ctrl J, then join the 2 vertices you want with F

... and since the two individual curves weren't (I'm guessing) objects I used Convert From Curve to Mesh and then your suggestion worked. Thanks!


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How to use Bend Modifier to create perfect polygons, (pentagon, hexagron, septagon, etc...)?
I watched a youtube tutorial way back that did this using a circle as a reference onto a plank, and depending on the number of loop cuts, you could create a perfect polygon easily and if the two ends didn't line up there was a modifier checkbox that would automatically join the two ends together.
I found that I didn't like the placing of a circle and simply specifying the number of segments.
Thanks in advance!

That'll be the Screw modifier, operating on a single vertex mesh at (radius) away from its object origin?


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Why does the X rotation on my shape key driver go negative when I'm rotating on the Z axis?
As the title says, when I rotate the bone on the Z axis, there is a certain point where the X rotation in my driver for said bone goes from a 100 degrees to -79 degrees.
This is a very strange issue that can be easily recreated in both blender 2.80 and 2.79.
Any help would be greatly appreciated!
Here is a link to the blend file - https://drive.google.com/file/d/1k0ILPeLmbjhEMrdR95M9O262BYOqDPxk/view?usp=sharing

Your confusion derives by two different axis orientations: you did rotate the whole armature (an object which contains only one bone, but they could be more), while the expected result should be achieved rotating only one bone (in pose mode, not in object mode).
In my picture I turned on axis rapresentations, the big ones are referred to the object (the whole armature, that should not be rotated); the little ones are thoose of the single bone. As the two axis system are not aligned, you can see that a rotation on the Z axis of the whole object while it's tilted even on X and Y axis causes a negative rotation on the X axis of the bone.
I also find this system a little confusing, but this is how it works, start rotating bones in pose mode and keep bones axis turned on in viewport display properties to get used to it; drivers are a great resource once you master them!


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How do I add clothes/body to the skeleton?

I would like to set the skeleton to the body and clothes. I tried to join the clothes to the body and set automatic weights. However the skeleton is only attached to the body.

hello, when you're talknig about skeleton, do you mean the armature? Maybe share your file so that we can check. When you have body and cloth, a way to parent can be to keep them separated, parent With Automatic Weights, then join the 2 objects, it generally works better this way...

You'll look at the file? Thank you! Here it is.
https://files.catbox.moe/l2c56u.blend

oh ok but it's not a classic armature, so I guess if the clothes were not already parented it will be tedious to do it with this armature


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Giving materials something to reflect while still having transparent background?
I'm modelling 3D objects against transparent backgrounds, so I can render to 2D images (from different camera angles, or animated) and use in a game.
So I want the background to be transparent.
Yet I sometimes want to use glossy materials that "reflect" the "environment", even though I don't want the environment to actually be visible in the background.
That is to say, I want a background that is visible when reflected on objects, but not visible behind the object.
Is this doable?

You can separate the lighting and reflections from the background image provided by an HDRI by using the Is Camera Ray output of a Light Path node as a mix factor for a Mix Shader combining the original HDRI image with whatever other background you want (although black is the most "invisible" you can get - transparency cannot be achieved this way):

If you want the background truly transparent, check Transparent under Render Properties > Film:


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Can I prevent an object from being shaded by lights, while still receiving cast shadows?
In Eevee, I'm trying to render an object against a transparent background, while still catching the object's cast shadow.
Unfortunately, the transparent surface I'm using to catch the shadow is for some reason being shaded, and I'm not sure why.

Is there a way to disable shading except for cast shadows, on a material? Or, alternatively, is there a way I can get the cast shadow intensity in a shader, but not the regular self-shading?


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How can I use one object to mask another object?
I have a boat, on a plane of water.
The plane of water goes partially up the side of the boat (the inside of the boat has no water, due to a Boolean modifier).
I want to erase the entire plane of water everywhere where you cannot see the boat through the water. Basically, I want to use the boat's sides to mask off any of the water that's not overlapping the boat visually.
Here's what I currently have:

Here's a mockup of what I want:

I'm thinking I should use the boat itself as a screen-space mask of the water. As such, I've generated a "matte" to use as a mask...

...but I can't figure out how to feed the mask to my water plane's shader. I don't want to mask off everything, just the plane of water.
What's the easiest way of masking off the water? I'm using Blender 4.1


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Why does this happen, and how to prevent it?
8 and i started modeling a creature using mirror and subdivision modifier. Certain parts of the mesh act weird (see the picture) and i don'tknow what to do. When i apply the modifieres and start sculpting it does the opposite of what it was supposed to do (for example: i used Draw tool and instead of adding to a mesh it made a crease, if i want to add something to it i need to press ctrl). Please help.

Try Recalculate normals in edit mode (Shift N, with all vertices selected)

It worked!!! Thank you very much!!


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Problem/Glitch with Matcap and a normal map
I have a a high poly object that looks normal in the studio viewport (on the right) but when i select any kind of matcap(on the left), the object has this weird effect. At first i didnt think much of it, but now when i tried to bake the normals onto a low poly mesh the normal map also had that weird effect.
Does anyone know how to resolve this or at least what is causing it? It is only happening whit this object.

Have you checked your mesh for flipped normals?

Yes i did, i forgot to mention that, i checked for flipped normals


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How to get around bpy.ops.object.material_slot_assign ()?
Faced with a problem that causes crash Blender 2.80.
For automation I created a script from a sequence of actions which works great if I run it in the blender console window, or if i Run Script in a text editor.
But when I run this script through the command line without the graphical shell of the blender - he crashed.

Еhe exception method was used to find the reason.
This is the command bpy.ops.object.material_slot_assign ()
She is responsible for applying the material to the vertices in Edit Mode.
import bpy

bpy.ops.object.editmode_toggle()
bpy.ops.mesh.select_all(action='SELECT')
bpy.context.object.active_material_index = 1
bpy.ops.object.material_slot_assign()

If I exclude bpy.ops.object.material_slot_assign (), the script succeeds, except that the materials are not used.
Who knows how to get around this command?

A little later, I reported to the developers and they fixed this error. T70714 This question has ceased to be relevant.


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Something wrong with my weight paint or mesh
I'm not sure what I've done wrong, the bones move faster than the mesh and the mesh gets deformed, it's like part of the mesh gets left behind, this also happens on some one of the other bones but I've including a screenshot for one of them, I've weight painted characters like this before so I really don't know what's happening this time.
The majority of the other bones work fine, can someone help me solve this?

some other bones must influence these parts, you need to correct this in Weight Paint mode or with the Assign and Remove buttons under the Vertex Groups list, or the Remove From All Groups function on the right of this Vertex Groups list

Seems like there is some little vertices wasn't assign to the bones correctly. So those vertices drag the hand behind the bone.


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How could i do a similar effect to this Shiny/Holographic pokemon card effect
video example
How would i be able to recreate this effect inside shader nodes, i have the wave textures and everything but i'm not sure how i would do the iridescence effect like that

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


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How to add customized bones with Auto Rig Pro Plugin?
I am modeling a vrchat character with Auto Rig Pro Plugin and I trying to add some bones to character such as hair, eyes, clothes, etc.
I used “Add Limb -> Chain: Bendy Bones” to added hair bones and pressed “SetCustomBones”. After this, I can expectly see the bending effect when I move the controller in Blender.

BUT after I imported into Unity FBX and tried to bend it, the effects of bones is no more exist.
Other than that the Hair Mesh has no vertex group come up with that bone.

I’m sure that before I export, the Mesh has the Vertex Group that mesh could bend properly, But after exported those are all gone, What’s causing it?
Or, It’s there any possible that I did wrong with the hair modeling from the beginning?
If I wanna make hair model with Auto Rig Pro Plugin and bones for Clothes, what should I do?

https://blender.stackexchange.com/questions/57531/fbx-export-why-there-are-no-materials-or-textures might apply here.

Custom bones in Auto Rig Pro aren't exported by default: you have to tell it explicitly, or use the appropriate naming conventions, see ARP Manual for details: http://lucky3d.fr/auto-rig-pro/doc/ge_export_doc.html.

I already used 'SetCustomBones' as the manual told, and the bones can be exported. But the vertices are still not bound to the bones in fbx.

Custom bones are designated with a "cc_" prefix in properies.
http://lucky3d.fr/auto-rig-pro/doc/ge_export_doc.html