To add to the very functional answers already here, I would use a Lattice modifier with a moving Lattice object.
This allows for not only compression waves, but also transverse waves and even spacially asymmetric combinations of transverse and compression waves with arbitrary waveforms:
You can do this by either copying the keyframes themselves or by sharing Action data in an NLA strip. Using NLAs means that changes made to the shared Action on one object will also be reflected in the behaviour of the other object.
Method 1, Duplicate Keyframes:
Select only the Viewport Color keyframes from your source object in the Dope Sheet.
CTRL+C to ...
I also sometimes have videos smaller than full HD and when I open them in the player, the video player maximizes its window and makes the video display larger.
However, this is not a problem with Blender, but with the video player. Or maybe with the video format you choose. But if the file says it's 500 x 500 then it is all fine with the file. Maybe there is ...
For expanding the editor window aka timeline editor, just select the edge of the timeline window and move it up/down to your liking.
To enlarge timeline graphs, simply zoom in/out with the mouse wheel while hovering over the timeline editor window.
You can also hold Ctrl and use MMB (Middle Mouse Button) to scale along a desired axis.
A warp modifier is a nice way to do this:
It measures the transformation from one empty to another empty, and then applies the transformation to the mesh in a given radius, with a specified, even custom curve, falloff. The radius is measured from the "object from" object, which can then be animated along the length of the curve. I typically ...
For illustration, you could pass an Empty down the length of the cube, create a vertex group in the cube, (say, 'Prox',) and give the cube a Vertex Weight Proximity modifier, modifying the weights in the group by the proximity of the Empty.
Here, we see the Vertex Weight Proximity modifier, affecting the 'Prox' group, targeted on the plain-axis Empty, and ...
you will hate the answer, but that's the only one i know:
make a collection for your movie-planes and render them as particles:
Copy and move your movie planes to that collection.
Change your startframe in the shader editor for each movie as you like:
What you are actually animating on object level is object's Origin (orange dot) loc, rot, etc. Joining objects into a single one gives you only one origin for all parts to store animation. So there is not a way to keep other actions when joined.
For some kind of animation you can use Shape Keys. They can store vertices location, but issue with them is ...
Using a rig is the best way, expecially for exporting to Unity. It lets you also join all the meshes into one and still be able to control each part individually with a serie of separate actions.
This kinds of rigs are very simple, just create in edit mode a bone for every piece, orient them in the same way as Unity's world coordinates for easier editing.
The Normal>Dot output will vary from -1 to +1. -1 if the normal in the node is pointing in exactly the opposite direction of the Normal of the surface, and +1 if they are aligned.
So you can use a Map Range node to convert (-1->1)to (0->1) for a Color-Ramp, and then use the stops in the Color Ramp to adjust the hardness of your mask between shaders:
Sorry in advance, this will be a bit longer... Here is an explanation for the strange behaviour (which would happen with an open curve as well, the circle is not the reason): I guess after adding the Follow Path Constraint to your sphere, you've hit the Animate Path button under the target. What this does is creating a Generator Modifier on the curve which ...
Instead of using a follow path constraint you can do this:
Add an empty in the world origin. Parent your sphere to it (Keep offset). Then animate the z-Rotation of the empty/sphere, which is much easier to use.
I've taken your blend file and parented the sphere to a rotating empty which is parented to an empty that's moving back and forth on the Y axis. The ...
Animation nodes have fromNumpyArray() function which can be used to convert numpy arrays without much overhead. For example a 1d array can be converted to float list by DoubleList.fromNumpyArray(myArray.astype('float64')).
Here you can see conversion speed for 1million numbers:
I tried your file in BGE and UPBGE.
The bug still persists in BGE but seems completely fixed in UPBGE.
I'm an idiot! I tried everything, consumed pages of archaic documents on modifiers, I dug all the way over to page THREE of google search results, I lost hours of sleep, watched an embarrassing amount of tangentially related tutorial videos in which the teacher, bless them, had to communicate through a thoroughly mashed potato they had stuck two wires into,
I also struggled to get this working on 2.9x - until I found this!
The Super Image Denoiser (SID) is a free add-on that employs temporal denoising. It produces high quality results using a similar process as the one described above, except with easy buttons instead of script. It also well offers customization to compensate for artifacts.
I used it and it ...
If I understand you correctly, you'd like to map the incoming 0->1 audio amplitude range from the baked f-curve, to a 0 -> -40 range for use inside a shader node-tree.
You can key the incoming audio range into an Input > Value node, and map that to any other range you like with a Converter > Map Range node:
... here, mapping 0 -> 1 to 0 -&...
Your mesh is either very complicated, you have a bad PC, or both. I suggest disabling or lowering the quality of subdivision modifiers in the viewport if you have them on the mesh, or upgrading your PC
Generally when you parent the mesh to the armature using Ctrl P the mesh object becomes child of the armature object (and vertex groups get relations with bones), so keyframing the whole armature in object mode should do what you're looking for.
I don't think it's possible to add more than one armature to a single object (haven't tested it, though).
What you can do is create all three bones inside a single armature and then parent the mesh to the armature with automatic weights. I think it'll weight properly, but if it doesn't just manually edit the weights so all the vertices in each box are only ...
After playing around with this, I think the problem is with the Effector settings. The collider is a very thin shell but with a Surface Thickness set to 0.5. I believe this results in the collider being unable to determine the 'inside' and 'outside' of the mesh when allocating obstacles in the domain.
Simply changing the Effector settings to set Surface ...
We generally make our animation renders as a PNG or EXR image sequence, and then we transform the image sequence in the final .mp4 (this latter render is very fast).
The advantages are that you can stop the render in midway, if there's a crash or an electric failure you don't loose the previous computing, you store maximum uncompressed quality, ...
If a series of images has been rendered, you will find them in the folder where Blender saves its renders, which is C:\tmp by default (check the path under 'Output' in the Output Properties tab, shown below, to check what your current output folder is).
It could be you only rendered frame 120, as that's the current frame showing in your Render Result: maybe ...
First, I noticed that your domain is very large. Only make it as big as it needs to be. Extra space means unused voxels using CPU time and slowing down your simulation calculation.
Second, there was a misunderstanding about the subdivision. You want multiple voxel subdivisions on the domain. Yours is set to 180. More subdivisions of the simulation via this ...
Add a bezier curve, select a sphere, shift select the curve, go to edit mode, select one control point and press Ctrl H (Hook to selected object). Repeat for the other control point and the second sphere.
With geometry property Bevel, you can set the diameter of the link.
Your character has 145k vertices, which is quite high for a rigged prop.
One possible optimization, as many parts are "rigid" and don't need deformations, is to parent them directly to bones, without weights (select the mesh part, shift select the armature, go to pose mode, select the relevant bone and press Ctrl P - bone).
But I think you should ...
To fix this problem in Blender, I added my claw, which was the cause of this issue, into a separate collection by pressing M in the viewport and selecting New Collection. After this, I renamed the layer where all my objects were then, I created two additional layers. Then, I went to each layer and hid the object that I didn't want in that layer by right-...
The main issue here is that you have several armatures, each with only 1 bone. But what you want is only 1 armature with several bones.
You can join the armatures with Ctrl+J. But you need to do some clean-up first. Most of your objects have a Mirror modifier. I would apply them and make a full rig with mirrored bones. If you want to keep the Mirror ...
Even though this thread is old and I'm using a newer version of Blender (2.91) I'm going to answer this question, because I just finally discovered the answer myself after searching for posts like this and never quite finding the right solution. This will probably mainly be of use to people suffering this issue now.
After rigging my character using Rigify, I ...
One approach is that you enable Motion Blur in your Render Properties:
With that enabled, and a camera animated and your "car" (my "cude"/cube in the following) Copy Location constraint Influence < 1.0, the rendering will show both blurred, light more blurred than the cube:
I leave your the file here.
The glow can be created by using a glare node in the compositor. Since the second accomplishes most of what you want, here's an example:
I created a simple sphere and give it two materials, a shiny dark blue, and a white emission:
dark blue shader:
This is all basic stuff, of course. Next I rendered the image with F12 and then I went to ...
Check if you have auto update enabled in the image sequence node. If it's disabled it won't update the frame in the viewport when you play or scrub the timeline. But even it's disabled it should play correctly when rendering.
If you want the texture to loop, also enable "cyclic" or the texture will pause on the last frame. And for good measure ...
When I had this problem recently, I used an Online Converter to a sprite-sheet. I chose to put all frames in a single column:
For width and height I specified just the GIF's width and height, to be sure they are constant regardless of the area being redrawn by the frame.
Then I made this node setup:
The lowest, left, red "Value" input node is ...
For those who do not understand the discussion above: I found the answer here. The trick is to hover your cursor over the properties you’d like to save in this keyframe. This means you open the properties and literally hover your mouse over the properties "Show in ... Viewports" and "Show in ... Render"
I got it working thanks to batFINGER's comment.
My final code looked like this:
import numpy as np
def action_slice(action, start_frame, end_frame, shift=True):
copy = bpy.data.actions.new(action.name)
copy.id_root = action.id_root
for fcurve in action.fcurves:
kfs = np.empty(len(fcurve.keyframe_points) << 1)
you might want to use a particle simulation or something like that, because fluid simulations look good as mesh but as particles that have objects they usually don't look very good.
in order to get the collisions to work you might want to get the molecular script addon and learn how to use it.
this is a video that ...
If it helps, there are numerous functions to get/set/activate actions at run-time.
After a few days I have managed to fix it. If anyone comes across the same issue I believe my answer should help.
Again following the tutorial by Max Berends at https://www.youtube.com/watch?v=t1GmLAVeySY
You must have your tracking empty exactly on the pivot point between the lower pump section and the connecting arm.
I recommend using:
In the N panel > Active Tool and Workspace settings tab > Options header > Transform > Affect Only
so I accidently checked "Locations", and they're suggesting to uncheck all (Origins; Locations; Parents).
I think it is executing the script node every iteration so I added a float list parameter to the loop and put your script node outside of the loop. On my machine instead of about 350ms execution time I got about 50ms execution time with it outside. about 7 times improvement.
Create a duplicate of the object for every unique frame of the animation.
Apply the modifier separately on every object, with each object on a different frame.
Use "Join as Shapes" to combine all the objects into one. (Menu next to the Shape Keys panel, or ops.object.join_shapes().)
This will produce a single object with a shape key for every ...