The higher you crank up that "amount of hair" knob (a gross oversimplification), the realer it's going to look, and unfortunately, the longer it will take to render as well. If you think about all Pixar movies as a whole, you'll probably realize each one did a particular thing a little better than you had previously seen before.īut why does it look better? More sophisticated dynamics (the way the hair and fur move and react to other objects), more realistic roughness and specularity (the way light reflects or bounces off of it), translucency (more options for whether light shines through something or not), and truly just more actual hair particles or systems. Even the most recent Toy Story 4 utilized a lot of really cutting-edge digital lens emulations. Since then, Pixar has pioneered the growth of many other concepts involved in making things using computer-generated imagery (or CGI).Ĭars was all about mastering shiny reflective surfaces, Ratatouille was about perfecting the look of fur and hair, and Finding Nemo was about great water simulations and effects. It started with Toy Story, which was the first major motion picture to be made entirely with a DCC (Digital Content Creation) tool. One thing that Pixar has always done in a very purposeful and transparent way is to push the boundaries of what's possible with each new feature film. To better understand why, let's take a deeper look at the science behind Pixar. As fast as 3D animated films seem to get churned out, it's still a very grueling and slow process.
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