Remember a time before Toy Story?
. Bunny was a dazzling iteration of what could be done in creating textures and nuances of light and shade.
One of the features of Pixar’s movies had been the nuance and detail of its lighting and texturing. With Ratatouille , the studio made significant upgrades to RenderMan and in-house lighting software were instigated. Widespread use of subsurface scattering made the many dishes, vegetables and general kitchen atmosphere more appealing. Several years later, for Monsters University, point-based global illumination was perfected.
Meanwhile, Steve May of Pixar noted: “We’ve also gone through a transformation and push with RenderMan. 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. It grasps more complex geometry more efficiently.”
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. Before, access hatches for animators could be incorporated into the construction of the sets to allow an animator access to the characters they’d be animating.
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