LC #37 BART Bay Area Rapid Transit


New one… Not much changed… my PC crashed during render :frowning:


Hey everyone, here is my first pass at this.

Went a little crazy with the colours to have some fun with it.


Hello keep posting ! I will give feedback soon :slight_smile:


Some really nice working going on in this challenge as well as the previous ones. For those starting out, such as myself, it would certainly be helpful to see lighting breakdowns … especially from those seasoned industry members.

I for one, being a “youngster” to the industry would love to better understand (learn) approaches that are being used to: build up the scene lighting, light placement, passes, renderer settings applied, etc.




Im really liking all of the progress that everyone is making! I hope to get started on this soon as I feel like it would be a nice break from mu current work! Keep up the awesome work everyone!


Hi there!

I have made some refinements, and changed the lighting to a sunset render.

It is getting closer to what I liked, but still a number of small details and textures to take care of. I am not too happy with the grey/metallic window frames yet.

Comments and suggestions welcomed. Thanks!

Here is link to the full size render:


BTW, the raw render (1920x1080) took about 12 min on my i7 Macbook pro, then I did a little curve to warm up the image and separated the windows in photoshop to blur out the jagged edges of the background image.

The main light in the scene is a from a sphere with the background HDR image mapped to it and used as a polygon light object.

For the secondary lights, I used the polygons of the ceiling light covers as emitters. I varied their intensities so they are less even.


  • David


So there’s a bit of feedback
@dwu I will bust a bit occlusion, reflectivity of the floor and decrease and change a bit the background that for now looks a bit distracting. I will also add some scratch to the metal surfaces. Great start indeed
@Eric. Very neat and polished rendering. Really eager to see it with a background. Also I think that a less “polished” version can add a lot in photorealism
@Chritter Great start. Materials seems good and also lighting is very good. There seems to e a bit of prolbmes with the UV map of the front seats (or probably is just the noise from the reder
@armanpier great start. can you also post a WIPwithout post ? try also to vary a bit the shaders to give a more “varied” approach ! Keep going
@raysonate. Wonderful I will just add a bit of
@funkygfx great work and also very glad to see a new renderer in action. Can you boost reflectivity on the windows ? and also a screenshot of the lighting setup ?
@nitz3d can you pls post your lighting setup ?

@ ALL please post light breakdown ! this is a challenge but also a chance to LEARN ! posting of WIP is very and strongly encouraged !

Keep Going !


Thanks Jojo for your feedback. (Some more few words you forget to key in? :D)

I’m using physical render with GI in Cinema 4D r15. I’d spent most of time tweaking material shaders, especially layering different type and scale of noises to give more natural vintage look. The main light source is coming from the polygons of ceiling lamps, achieved by turning on GI illumination and GI area light option. In addition to give subtle color variation, I assign another HDRI light map. For some reason, certain metal material (brush metal, chrome, etc) don’t react properly to the GI lights. To resolve that extra point lights are put in the scene and only to illuminate on those metal objects. (As you may find in the below image of scene breakdown.) Finally, some minor color correction and compositing jobs are done in Eyeon Fusion.

Credit: HDRI image from sIBL (

On Flickr: raysonate.explore 's BART_140617_breakdown


Thank you!
Nono, you are right. Its bad UV’s… since its a lighting challenge i did verry fast (automatic) uv unwrapping and it looks quite bad on the chairs. I think its more important that i finish lighting before i put time in correctly unwrapping the models.

My lighting setup is nothing special. Just portal lights at the windows driven by a HDRI for outside enviroment lighting and area lights for the fluorescent lights.


@ raysonate …contrast and reflectivity to the floor. :slight_smile:
Also sorry for the typos it seems I didn’t check before hitting submit reply :slight_smile:


Hey Guys,
Wanted to share a little workflow and breakdown of my lighting of these 2 images

First this is one of my favorite techniques in Vray for maya. Using a 2 sided shader you can get fantastic translucency that can really add to any lighting atmosphere.

For the hooded figure I did a simple cloth sim and by using very limited light in the background got some nice reflections and lighting. The character helps bring out the creepy factor.

For the outdoor lighting I used a light dome with a HDRI image of a skatepark. Its very blue. The sunlight is created with 2 directional lights. One for the basic diffuse lighting with very strong values to get nice light bounce. The other was for the specular to make sure things were not blown out. It had a much lower value. The lights up top have 2 Vray rectangle lights pointed in both directions. This helps give different values for the back lighting and the regular light.

I will answer any questions and give more breakdowns if anyone wants just let me know.
Thanks guys! and keep going lets see some more pushed lighting that really brings some mood in the equation.



Appreciate seeing the scene and lighting breakdowns; helps to better understand how these wonderful result are achieved.

Thank you!

Advance apologies if this part of my post feels off-topic in the context of this lighting challenge.

I recall reading that HDR, GI, FG, and other such lighting advancements where frowned upon when lighting for feature film as they are too difficult to control frame-to-frame for film. Is this still the case? Suppose I wanted to light this scene over several frames (i.e. animated), would it be industry norm to use these advanced render/lighting tools?

I’m avoiding the use of these lighting advancement as I’m unsure what’s done in the film industry today … and want to ensure that I’m focusing on what’s accepted by the industry. Most of the learning materials never really touch on how the pros really do it when it comes to film.



Thanks jojo again for the feedback. No worry, everyone have typo from time to time. (Especially in the very late night)
Below is the revised image. Reflectivity is up, and enhance the sense of volume. To make the light direction more prominent, I do what usually I should’ve done in compositing stage. The post-production work-flow is achieved by generating RGB (xyz) pass in C4D and pull up the brightness in upward direction in Fusion. Also the self-luminance shader has been adjusted to remove faint sick green atmosphere, meanwhile add balanced color variation to it.
Because of keying the sample rate too high, the render takes nearly 18 hours to complete, crazy and not practical to production in my opinion.

Flickr : raysonate.explore 's BART_train_light_progress_140630_final


Hi folks:
Since it’s not due date yet, here I post the recent render of the daylight version.
One directional light as the main sun light, compensated with HDR environment light and GI is on. Render time in C4D is about 4.5 hour on my iMac 2013. Compositing and color correctoin in Fusion. Wish you like it and welcome C&C :slight_smile:

On Flickr: raysonate.explore 's BART_Daylight_progress_140707v2_final


Hi All,

Made some changes to improve the render. I think if the last attempt was at 65%, this should be 75-85% done. Let me know what you think. Thanks!

Hi res here:


Here´s an update

I added some more reflections to the windows, as jojo recommended, but they got lost during background replacement somehow…have to recheck this…

and the lightsetup:

Pretty simple…
Sun+Sky System, PortalLights in the windows and rectangular lights for the rooflights.
Rendered with GI.


Latest Update:

Switched over to a daylight setup. Still need to work on busting it up a little, adding grime and dirt to make it more realistic.

Rendered in Vray 3.0 for 3DS Max. Vray Sun for the main light and then rectangular Vray lights for every ceiling light. GI on with Irradiance map for the primary GI and Light Cache for the secondary. Took about 4 hours.

Touched it up a little in photoshop, added BG and brought down some hotspots.


Messed with some grime and stuff today to add some realism. Render settings same as above.


[left]Hi Everyone,
Thanks for this months challenge & to Preston Platt for the model. I’ve been enjoying working on it. This is my first post on the forum and its great to take part!

So here’s my attempt, Rendered out of Max with Corona Alpha7. Its lit just using a HDR environment for the ambient & Coronas Light material with a texture applied for the light panels. I set the rendertime for each 2K image to 8hrs. I outputted the images as 32bit EXR then used Photoshop Camera RAW filter, Lens blur & Lens correction for post. My aim for the final look is Black & White but i’ve also added post to the colour images. Thanks, I look forward to your feedback! :slight_smile:




@raysonate Like where you are going with the lighting and the bike for another element of character.

@funkygfx you are getting some Awesome lighting. I feel like the image as a whole might be a little too clean I want to see some character in the image. Although I do understand the merit of almost like a selling shot like render. keep it up.

@Eric-Harvey Loving the image and its colors. Id dirty that thing up even a little to make it feel more weathered like your outside image. You did it a little but keep pushing it. I think the seats could come down in reflectivity since they would see a lot of grim from the people sitting from behind. Its really looking awesome though.

@r-e-w LOVE the feeling i’m getting from the image. I think some kind of emergency red lights coming from the outside tunnel would really bring that composition together. Also some trash scattered around would break the repetitive seats. Love it keep going.