"No other studio could compete. Disney had just released Pocahontas, and suddenly it felt like it was a generation behind. Pixar hadn't just made a film; it redefined what animation could do, both technically and emotionally. Every plastic toy looked tangible, every light and shadow behaved like the real world, and for the first time, computer animation didn't feel like a gimmick resigned to making dinosaurs move; it felt alive."
"That was Pixar's genius: an almost obsessive commitment to technology that served the story. The studio's proprietary software, RenderMan, something we can all now use, became the industry standard (and arguably one of the best animation software tools ever created), mastering physically based rendering so that virtual materials - plastic, cloth, skin - reacted to light convincingly. But it wasn't just about polish. With Finding Nemo, Pixar had to rethink water simulation from scratch, and The Incredibles demanded new cloth tools to handle superhero capes and costumes."
Toy Story introduced lifelike computer animation by rendering tangible toys, realistic lighting, and believable shadows, transforming CGI from a novelty into a storytelling medium. Pixar pursued an obsessive integration of technology and narrative, developing RenderMan and pioneering physically based rendering so virtual plastics, cloth, and skin reacted convincingly to light. Specific films drove tool development: Finding Nemo required new water simulation, and The Incredibles required advanced cloth systems for costumes. That technical rigor produced a tactile visual signature and an in-house design language synonymous with 3D animation. DreamWorks' Antz adopted a satirical, adult tone and technical ambition, proving 3D animation could target new audiences.
Read at Creative Bloq
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