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my wishes so far:

1) Motion Blur on/off global override (in 3ds max plugin or MWRender), because 3ds max by default has MoBlur turned on for all objects, making displacement fail when rendered.

2) Realtime network render info (time left etc.), rather than having to wait for a new update each time (which may take hours)

3) Render with embedded passes (alpha mainly), perhaps to PNG or EXR or just TIFF or some kind of auto-PSD output that will plug everything together when a render is finished.

4) When rendering alpha channel, keep sky visible in diffuse pass. With a black background, even the cleanest alpha will give a black fringe around diffuse pass when compositing.

5) Emitters driven by IES/LEED data (important for high-end arch viz work, particularly Verified Planning images)

6) Shift Lens visible in realtime 3ds max viewports

7) Influence of MWSky visible in realtime 3ds max viewports, not just Sun (so proper exposure can be seen in viewports for indirectly illuminated areas - may be dependent on 3ds max limitations more than MW)

8) A proper Glass material that behaves like real glass, no more workarounds for different scenarios. A glass that looks correct when viewed from exterior or interior.

9) MWMoon light, for very late evening and night shots (would be an industry first!)

10) Sun in multilight

11) Ability to save out a Render during rendering (if you want to start Photoshopping a half-finished render but don't want to have to stop and resume), including during a COOP render.


That's it so far - I will add more to this thread if they pop into my head.

Cheers,

12) cloud system

13) some kind of fake (by fake i mean physically accurate but fudged) method for simulating long exposures in stills, so that water becomes blurred without needing to animate it and use motionblur. e.g. 30 sec exposure at night should yield long blurry water reflections.

14) custom white balance (this is a biggie for me, as I'm just so used to setting WB in MentalRay and making sure it all works against sampled background photos to match lighting and tone - at 6500k it's a real drag trying to match a background photo that is cooler/warmer).

#11 can be done by defining an image output. While it's rendering, copy that image and go to work on it. Not for coop though.

Bubbaloo wrote:#11 can be done by defining an image output. While it's rendering, copy that image and go to work on it. Not for coop though.

So with each new SL reached the output image (TIFF or EXR etc) is incrementally updated automatically? Very cool. Shame that doesn't work for COOP but the merge process would obviously take ages.

Nice one, thanks.

alexyork3d wrote: 4) When rendering alpha channel, keep sky visible in diffuse pass. With a black background, even the cleanest alpha will give a black fringe around diffuse pass when compositing.

In PS you have Layer>Matting>Remove black matte to remove that fringe. The background has to be a uniform color or the alpha won't work properly to cut out the background.

I'd love to see the option to save out two renders one with sky and one as alpha so that the sky can still be used as reference!

Thanks Mihai, Richard.

I'm finding that the best method is to simply render without alpha, so you get the sky, and then render an alpha channel in scanline in max. takes far, far less time and works perfectly most of the time, i'm finding.

cheers,

@alexyork

It's a possible tip, but unfortunately doesn't match in every situation (through refractive objects, Dof etc)
There is a thread discussing about Alpha where Tom provides a nice Photoshop Action (you can also find it on the Think site).

It's been asked a lot before, but +1 in the fact that the way it works today is a pain, so having the 2 renders, or the choice of black or Maxwell sky would be... usefull.