[Steve Bentley]

I think i’m a couple of posts behind. Once I posted there were a bunch in front of mine that weren’t there before.
Did the OP ever post the project?

[Steve Bentley]

Right but it would have to have a vector to figure out which way the blur should go. And while expressions will still provide that, this one doesn’t seem to or is giving an error.

[Steve Bentley]

I am wondering if the issue is one of “remembrance”. There is no memory of the frame before when using expressions. The motion blur algorithm needs a delta between the frame before and the frame to come, neither of which are being calculated on the current frame. I use expressions all the time and get motion blur correctly so I’m not sure what the difference is here. Did the project get uploaded so we could play/

[Steve Bentley]

First, anything that is rendered is automatically 2D. Even something rendered for Stereo “3D” viewing with 3D glasses is just two versions of the image, and both are 2D only.

There are only three ways to do what you are looking for.

1) have the model generated in real time by a 3D system (Dataton’s Watchout system or Green Hippo, Unity, among others). The real world camera must be linked to the virtual camera in the 3D system. This is a real time render so you may be limited in the kinds of reflections or textures or realism you can have.

2) render many frames withing the range you want to view the object from. Kind of like a VR render array. Then you write an algorithm that picks the right frame (or the closest frame) based on where the real world camera is located. This way all the frames are still 2D but because the frame that is picked is oriented as it would be if the camera had moved a little, it gives the illusion that the object is fixed in space and the camera has moved to see another side of it. There is only one sweet spot for viewing and that spot is the camera.

3) render the scene with camera data from a motion controlled camera that has already been programmed with a move. You are in essence rendering from the point of view of the real world camera because you are using its position all the way through the render. See link. If you watched this scene unfold as a bystander it wouldn’t look right. It only looks right in the camera.
https://www.youtube.com/watch?v=lX6JcybgDFo

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[Steve Bentley]

There was a CD shader in the library – not sure if its still there. But many of the anisotropic shaders (danel etc) that come with C4D can have different effects that fit the bill.
The other way is just to use different colors for the specular highlights and their fall offs. just because a light is white doesn’t mean the spec hilight has to be.

[Steve Bentley]

I think its because “enabled” means “generates something parametric”. In other words, something that must be calculated. A primitive sphere has an “enable” because it is generated so that it can always be smooth no matter the resolution or size (within reason). But poly’s and poly objects are the most rudimentary type of object. There’s not really anything to enable. They are either visible or they aren’t. Polys are just a bunch of coodinates in space while other things that can be “enabled” are equations that must be calculated so the next thing can figure out what it looks like.

[Steve Bentley]

Can we see some of the footage? (even still would help). What are the particles supposed to be? If they are supposed to be light, that’s a tough one. On a bright day you can’t see a candle flame so… It can be done with say blue soft edged particles but it never looks real because the light emitting particles should be brighter than the surrounding environment. And they should be brighter at the center than the edges but the edges then are darker than the environment.

[Steve Bentley]

What about tracking the 4 corner crosses and using CC power pin and connecting those four tracks with the four corners in the plug in. That way it looks after any skew for you. You will have to estimate and interpolate for where the hand obliterates the cross on the bottom left but you can do that with a few inbetween keyframes.

[Steve Bentley]

Tracode’s 3D stroke would also do this. The lines in 3D stroke are actually a bunch of circles really close together (like a pshop brush) and you can tell the plug in how far apart they are and how big they are.

[Steve Bentley]

That shouldn’t be killing the blur but there’s a way to check – change your expressions to keyframes and see if the blur returns.