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  1. RAY TRACING: SPEEDING UP THINGS (OBJECTS)
  2. RAY TRACING: SPEEDING UP THINGS (GLOBALS)
  3. RAYTRACING: INDEX OF REFRACTION (IOR)
  4. RENDERING: FILTERS FOR STILL IMAGES VERSUS VIDEO
  5. RENDERING VIDEO: RENDER FRAMES, NOT FIELDS
  6. RENDERING VIDEO: MAKE SURE VIDEO COLOR CHECK IS ON
  7. RENDERING VIDEO: CHECK YOUR GAMMA!
  8. RENDERING GREAT BIG, GIANT, HONKING, ENORMOUS IMAGES SUCCESSFULLY
  9. DON'T RENDER MOVIES—RENDER FRAMES!
  10. SPEAKING OF THE RAM PLAYER...
  11. RERENDERING FROM THE ENVIRONMENT BACKGROUND
  12. OKAY, SO YOU REALLY WANT TO RERENDER YOUR ANIMATION...
  13. IFL = IMAGE FILE LIST
  14. YOU CAN'T CREATE .IFL FILES ON READ-ONLY MEDIA!
  15. MANIPULATING IMAGE SEQUENCES USING .IFLS
  16. CREATE NESTED .IFL FILES
  17. A CHICKEN AND EGG PROBLEM: HOW DO YOU SET UP AN ANIMATED BACKGROUND FOR A SCENE IF YOU HAVEN'T RENDERED THE BACKGROUND YET?
  18. COULD YOU MAKE THINGS MORE COMPLICATED, PLEASE? (WHAT ABOUT USING A COMPOSITING PROGRAM?)
  19. COMPOSITING USING VIDEO POST
  20. RENDERING WITH SCANLINE MOTION BLUR: MULTI-PASS AND IMAGE
  21. RENDERING WITH SCANLINE: MIX IMAGE AND MULTI-PASS MOTION BLUR
  22. RENDERING IMAGES FOR PRINT: TEACH THOSE PRINT FOLKS A LESSON (OR TWO...)
  23. RENDERING IMAGES FOR PRINT: OH YEAH, ANOTHER THING...
  24. "THOSE PRINT PEOPLE"—MAKE IT EASIER ON THEM WITH 3DS MAX 6
  25. THE PRINT SIZE WIZARD (ENOUGH WITH THE PRINTING STUFF ALREADY!)
  26. MENTAL RAY IS IN THE BUILDING!
  27. MENTAL RAY IS ON THE COUCH!
  28. USE MENTAL RAY'S IMAGE SAMPLING WISELY
  29. IN MENTAL RAY, CONTRAST CAN SAVE YOUR DAY!
  30. HIDDEN LINE RENDERING: RENDER TO VECTORS IN MENTAL RAY
  31. TRIM YOUR (BSP) TREE IN MENTAL RAY
  32. MENTAL RAY PREFERENCES: PLEASE LEAVE ME A MESSAGE
  33. RENDERING AESTHETICS: OUTER SPACE SCENES
  34. RENDERING AESTHETICS: UNDERWATER SCENES
  35. RENDERING AESTHETICS: DISTANT LANDSCAPES
  36. RENDERING AESTHETICS: STILL LIFE AND MACROPHOTOGRAPHY
  37. "HELLO... YOU'VE GOT RENDER!"
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This chapter is from the book

This chapter is from the book

RENDERING WITH SCANLINE MOTION BLUR: MULTI-PASS AND IMAGE

Motion blur on fast-moving 3D objects, as well as depth of field (DOF), help increase the realism of your 3D renderings and give a sense of scale, if used appropriately. Image motion blur simply "smears" a fast-moving object's motion across the frame. Image motion blur is fast, but it works only on linear motion, so it's not effective for things like rotating propellers and fan blades. Object motion blur samples an object's motion through the frame, and then composites multiple "slices" of the object on a per-frame basis.

The 3ds max Camera Multi-Pass motion blur (set in the Modify panel of a selected camera) simulates what a real-world camera does and gives the best results if you're using the 3ds max scanline renderer. In the real world, a camera's shutter is open for a period of time, information at an infinite number of intervals is exposed onto your film, the shutter closes, and another photo is taken. Consequently, everything in your photo gets blurred, including shadows, hair, and other elements that tend to pose complex rendering problems in the 3D world. The disadvantage to this technique when done in the 3D realm is speed; the camera effectively has to do multiple renderings of a single frame, with a moving object's motion "sampled" during the course of the frame.

There are workarounds for this technique, however. If you don't mind compositing your scene elements, then render your scene in layers (as mentioned earlier), and use Multi-Pass motion blur just on the spinning objects in that element. Then use (fast) image motion blur on other object layers.

Figure 6.23Figure 6.23

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