This is a workaround proposition that has some caveats. It requires a tiny bit of python knowledge and drivers.
Note : All the seeds will be randomized every time you load the file again so you can't rely on any particular disposition. However it should remain stable during an individual session.
The node tree is very simple :
It randomly changes the scale ...
Instead of using Voronoi Textures, use Noise Textures (more randomly shaped) of several different scales, clamped with ColorRamps to make the dimples of different sizes. Mix that with a sort of neutral grey to "soften it" slightly. Mix the end result very slightly with another Noise Texture to make the whole surface bumpy like rock.
Use the mix ...
It's not possible to transfer data from the material to geometry nodes. Currently the data flows only in one way : Geometry Nodes Attributes > Material.
I don't think there is a plan to support this feature in the future.
You can however bake the textures and use the Attribute Sample Texture node to achieve the result, but you will lose the procedural ...
Sorry for the bump, but I have found a way to set is_valid and have it stick.
You just have to call it from a timer, which starts right after update is called on the node tree.
'''Custom Node Tree'''
bl_label = 'Custom Nodes'
bl_icon = 'MONKEY'
'''Called when node graph is changed'''
add UV Sphere
add geometry nodes to cube
scale down uv Sphere in edit mode
use this node tree
play a little bit with distance so that the spheres don't touch each other
add a cube, delete top face and add solidify modifier, rigid body, passive
add a uvSphere, give it a rigid body, shape: Sphere, Sensitivity: collision margin: ...
Ok, so I didn't find any answer around, so I am adding mine.
I created a custom node socket float node like below:
from bpy.props import FloatProperty
from bpy.types import NodeSocketFloat
from bpy.utils import register_class
from bpy.utils import unregister_class
# Custom socket type
# Description ...
It's tough to tell exactly what's happening in your node graph, but I would advise using a Displacement node instead of Bump to evaluate the height map. Run it into the Displacement input on the Material Output node and adjust the Midlevel until you can't detect a hard transition.
In Cycles (Could potentially work with Eevee with a replacement for the toon shader, see this video for an explanation of shader-to-RGB and color ramp to create an Eevee toon effect):
EDIT: Try this setup as your material with no other changes, I believe it gives you the effect you're looking for. It checks if a light ray ends on the material (making it a ...
I was looking for this as well, but you can actually do it, just not Quite in the same way, and it's Way too much work. I'm writting a request to just open this up in nodes instead, but wanted to see if there was another way to do it.
So add the driver to the viewport display.
Create an rgb node. Right click and copy the full path (you'll only use half of it)...
I think it's not possible. It looks like the hard caps are not respected for inputs and outputs in shader node sockets. Also, it seems it's not possible to change the caps through the Python API, since those attributes are read-only.
The value validation is obscure, as explained there for instance : https://devtalk.blender.org/t/node-properties-seem-to-miss-...
It looks like Substance Painter's internal renderer is using a built in HDRI.
You can see an environment reflected on the object. You'd have to set up an HDRI environment in Blender to compare against. There are lots of sites where you can pick up free ones.
You can implement one in your scene by switching your node viewer to World and using an image node ...
Using Marux's setup above, but switching the "Is Shadow Ray" to "Is Diffuse Ray" fixed the issue I was dealing with on my personal project, which was tweaking an Inverted Hull outline to work in Cycles.
You can set a render pass in the shading dropdown when using Cycles or Eevee (that is, in a rendered or material preview, but not in a solid, Workbench preview.) Your options for the render pass depend on the renderer.
For viewing only the specular output of a material, you should choose "Specular Light" or "Glossy Direct" (although ...
Using default plane unwrapping the plane will be mapped 1:1 to the texture, so I multiply the coordinates so they go outside the boundaries. Then I apply modulo, to get a repeating 0..x range, where x is the the value in modulo node. To get spacing, use modulo > 1 to get some values outside the texture, and of course set "repeat" mode to "...
You can use the object space Z coordinate of geometry as an attribute to influence other attributes, if you split it out of the given position attribute. Here, it's called pz.
In this case the .5->1 range is soft-mapped to 0->1, and the 1->1.5 range is soft-mapped to 1->0. The results are put into h_pz and l_pz. When the minimum of those is ...
You can achieve this by this (I didn't complete it, because I was too lazy):
But you would have to copy the mapping + image node and mix node for every tile you need and adapt the x/y coordinate accordingly. Of course, you could also make a node group from this to make it easier to use and reduce some nodes. But Filip's suggestion is quicker...except you ...
OK, so I solved this using some boolean logic.
I used Compare Numbers nodes to detect if the compass is going to cross the 360/0 boundary. If that is the case, I do different types of calculations to arrive at the number of degrees to rotate and the direction (going up or down in degrees) rather than the numerical difference between the two angles. If I'm ...
You need to enable the Backdrop option, shown in the screenshot with the right-marker. And also link an output, Viewer node to your input, Render Layer node, shown with the left-marker in the screenshot.
This should display the rendered image in the background of your compositing editor which allows quick tweaking of the image without needing to switch ...
You can try ... directly Shader editor ... or Compositor that has more advanced Matte nodes and save Mask texture ... or any other image editor (application) that can select a color range.
Since you need red color ... I separated RGB channel and used G and B channel to Difference from R channel.
Since red color is contaminated by other colors (is ...
if i understood you right, you want the shortest angle (difference) between two angles.
There is a node for that: vector angle
which does this:
This node takes two vectors and computes two things:
The shortest angle between the two vectors in radian.
The directed angle between the two vectors in a form of rotation quaternion.
If your input data is a sequence of angles, let's say b_1, b_2, b_3 ... b_n and the actual values that your compass has are a_1, a_2, a_3 ... a_n, maybe you can try this:
Calculate the difference using this python expression:
DM_n = (b_n - b_(n-1) + 180) % 360 - 360 (% is modulo division)
For small variations this will give you the variation that you ...
In addition to Gandalf's answer above, I noticed that my white emissions shaders in Blender 2.8 using Eevee render engine were not completely white. I set the color to #FFFFFF and they still looked a little grey. The reason for this is that the Color Management is set to Filmic by default. For emission materials to render in the exact color they emit ...
I got to know the answer from one of the Chief Software Architect at Blender
If anybody, like me, is stuck trying to figure this out, and find this thread.
The answer is NO, you cannot do it using python API.
Instead, you need to go for either node groups or OSL...
A little bit ashamed of this answer now that I've seen the simpler setup, but maybe someone will find it useful...
Strategy: snap the coordinates to the nearest hex and then apply the usual magic (some kind of animated gradient) to color / normal / displacement
Know your enemy
A regular hexagon is made of 6 equilateral triangles, which means ...
I guess there has to be a shader approach, although I think @vklidu's answer is maybe more practical? It's always tricky trying to reproduce an effect that someone else has more than likely reached by random walk :)
This uses the hex-grid cluster discussed at the bottom of this answer. It yields a hexagonal tiling of the UV space, with a (-0.5 to 0.5) UV-per-...
You cannot set the type until now. But you can use the subdivide node and connect level (which is an integer) to the group input. Then delete the subdivide node and connect whatever you want to your new input integer socket.
Enable addon Extra Objects
Add Object Shift+A > Mesh > Extras > Honeycomb in desired amount of cels setuped in properties panel (left-bottom corner of 3Dview) with max Edge Width that fills cells with central vertex
Duplicate Shift+D and Separate Ctrl+P one cell, add Solidify modifier
Parent to Honeycomb Ctrl+P
for Honeycomb object enable under ...
there might be more elegant solutions, but looks like mine works now ;)
the driver (i just put in on x-location for testing) looks like this:
The driver is responsible for the viewport render changes.
is responsible for the render frame changes (F12).
Here is my python script:
Since Geometry Nodes, certainly in 2.93, you can reference any GeoNodes attribute in the 'Attribute' input to a shader tree. Strangely, I don't think you can get at a vertex-group directly (yet).
You can do it by transferring the weights to an attribute created in the GeoNode tree. (e.g.) Attribute Fill your chosen name with 0, and Attribute Math add the ...
So, after some digging, I've determined that the answer is effectively "no", most likely for the reasons above; but it's also redundant. You can easily simply UV-unwrap, and then texture paint any number of textures to carry your data in an R, G, B, or A channel; then reference the channel in the material. Or, given that your mesh is fine enough ...
This is a basic standard material nodetree.
If you have a texture into the base color input of the Principled BSDF, plug it into the color input of the diffuse shader.
If you have a roughness value or texture, set it in both roughness input of diffuse and glossy shaders.
If you had something plugged into normal input, plug it into all 3 normal inputs of ...
I would suggest slightly bigger grass blades, with a gradient image for the color.
I think there's not as many individual blades in the game VS yours.
Lastly, and I might be wrong there, but I think that the game's blade's bottom are fading to transparent and are placed on a same color green surface.
Hope these bullet points help you!
It looks like the only thing you're missing is some color variation for each blade of grass.
If each blade of grass is an individual object, you can create variation with Object Info -> Random plugged into a Hue/Saturation node.
If you have a clump of grass where multiple blades comprise the same object but each blade is separate, you need to mix in ...
The case in your picture can be done like
in_soc = your_principled_node.inputs['Base Color'] # example
from_node = in_soc.links.from_node
I tried to get closer to your reference, but by checking real shots it seems to me I just multiplied wrong interpretation of reality :) Of course it has hundreds of possible looks, but version in your reference looks weird to me ;) Anyway ...
Wave texture can't create a zebra strips, that is what I see as bigger breaks on surface.
For that I based material ...
Is this what you're looking for?
I think Bloom is a post-render, whole-frame effect, and some kind of layering would be required to have some objects bloom, and others not, at the same intensity.
As an expansion on the above, BSDFs are closures, meaning they're programs waiting to be run later, which can be modified with various node operators but not read ...
Here's everything I know about melting ice cream aside from the taste.
A procedural solution would be to mix a Magic Texture and a Noise Texture for the noisy mask, and use a Wave Texture with a high Distortion value for the outside melted part.
If you just add these masks together, however, you'll get these jagged peaks on the outside, which is not ...