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Using scene strips to help work smoothly between the Node Editor and the VSE: When using Blender for motion graphics, there’s some cool handshaking you can do between the Node Editor and Video Sequence Editor. If a shot requires more involved effects than the VSE can provide, switch to the Compositing screen layout and create a new empty scene (I like to name the scene after the shot). Use the Image input node to bring your clip into the Node Editor, adjusting the start and end frames in the node and the scene as necessary. From this point, you can add whatever cool compositing effects you want. When you switch back to the Video Editing screen (it should still be in your editing scene), replace your shot by adding a scene strip in the VSE for your compositing scene. As a bonus, if you delete all of the screen layouts except for Compositing and Video Editing, you can quickly bounce between your composite scene and your editing session using [Ctrl]+[left arrow] and [Ctrl]+[right arrow].
When you do a lot of modeling from blueprints you probably know this issue: In orthographic view, the lines from the reference image become indistinguishable from the wireframe. This makes modeling very hard and unpleasing. An easy solution for this can be found in the viewport shading menu. Change the colour of the wireframe to random and it will be easier to differentiate the edges from the blueprints. Another option, that I actually prefer, is to open the blueprint in an image editing software and change the colours of the lines. This is very simple but extremely effective!
Never try to attack the entire model at once—instead, give each task your undivided attention. The more effort and focus that goes into every piece of the puzzle, the better everything’s going to end up. It’s next to impossible to master hard surface modeling without studying hard surfaces in their many forms—namely, in real life, as well as from photos and things that you read online. This includes not only using reference images but taking the time to make meaningful observations about stuff that you run into, even if it’s just something like the peeling yellow paint on an old steel banister. Structural details, mechanical details, and aesthetic design choices can all be fascinating to learn more about, and everything that you take in will inform your work greatly.
Proportional Edit can be set to many different Falloff types (shown by a rollout near the blue circle Proportional Edit button). Selecting Random will cause random translation, rotation and scaling of objects within the soft-selection region – useful for ‘messing up’ a scene to make it feel more organic. Since this trick works across all visible scene layers, put any objects that you don’t want to affect into a separate layer, then simply turn that layer off. To render, go to the machine you want to render from and set up your client by switching to Network Render and choosing Client from Network Settings. If you click the refresh button, the client should automatically find the master node. See additional details on https://3darts.org/.