In conversation for this issue, Jim Lewis, a senior VFX supervisor at Aardman Animations, notes: “The change in digital clean-up has also influenced how physical sets are actually constructed. While Pixar has enjoyed so much recognition and success globally as an American animation studio, the digital realm has notably enhanced and allowed for the evolution of work undertaken in the stop-motion animation space. It grasps more complex geometry more efficiently.” In the production of Finding Dory, the software was at a stage to make it possible for the crew to fully embrace path-tracing, enabling more complex lighting, with a lot less work from artists. Meanwhile, Steve May of Pixar noted: “We’ve also gone through a transformation and push with RenderMan. Animators can now produce the frames of their work while the lighters can give them all the gorgeous lumens they require.”
The issue’s coverage noted: “The end result being a beautifully soft, natural-looking effect – but only if you’re prepared to wait for the effect to be added once the animation has been done. The film arguably marked a moment not only in Pixar’s visual nuance, but more widely in the increasing visual sophistication of the digital animated movie, where a group of algorithms could calculate the way light bounces from surface to surface within an environment. Several years later, for Monsters University, point-based global illumination was perfected. Monsters University showed the increasing sophistication in digital animation (Image credit: Pixar)
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