So that I can force the technology into a corner and the other people to have to do it.
And here's the deep, deep story reasons why it has to happen. I keep myself very dumb, probably to a halt, and I just go, I would love to see this. This was done by hand for every shot of the tank that you see in that film. In Finding Dory, it's all accomplished automatically.Īs for how the improving technology impacts storytelling, the idea that a challenge can inspire creativity, Stanton says he "weighs way too heavy on the other side" for that to be an issue. On Finding Nemo, creating the look of water meant a lot of work by hand. Now all of that can be created automatically in the software. The software is also able to create foam, aeration inside the water, which adds another 100 reflections and refractions - all of which was not possible before this film. Fish tanks are very complicated, and in Finding Nemo Pixar had three or four people work for six months to add in the reflections on the tank and water surface. Finding Dory has a lot of water, and the software is also able to deal with reflected and refracted light in water, which impacts the color of the water. With something more complicated like a splash, the software is able to reflect and refract light on every single drop of water. Each shot in Finding Dory has billions of individual light rays per frame, with probably ten reflections and refractions in each ray. This allows the lighting team to spend less time trying to mimic reality and more time making creative decisions. Finding Dory is the first Pixar film to use the RenderMan RIS architecture software, which is able to create both the direct and indirect light.
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