![]() What we do at the studio is caricature and it would look funny to have cartoony caricatures of fish in this realistic world. "We knew we could make a Jacques Cousteau-type of documentary, but that's not what we were trying to do. The animators at Pixar had to develop a new vocabulary to describe the various qualities of the ocean they wanted to animate. We couldn't tell the difference between the re-created footage and the original. The technical crew worked on it and eventually came back and showed us their work. They did tests using four ocean scenes, two above water and two underwater, to see if they could recreate real footage of the sea. They designed all of the individual elements using the software that was on hand. You have light beams, and you have surface images. You have the caustic lighting coming down that dances all over the oceans floor. You have particulate matter that is like little bits of dust floating around the water. You have a murk that is like a fog underwater. "Our technical team figured out what elements are needed to create photo-realistic water. ![]() One of the things we did early on was a series of photo-realistic tests," Brown adds. The perception that Finding Nemo was intended to be photo-realistic is based on something that happened when Pixar Animation Studios was developing the project. "I can see how people can look at our water and say it is photo-realistic, but it is actually caricatured as well. ![]() "The animals are caricatures of sea creatures," explains supervising animator Dylan Brown. All rights reserved.Īt first glance, Finding Nemos breathtakingly beautiful underwater computer-animation looks almost photo-real. Unless otherwise noted, all images © Disney Enterprises Inc./Pixar Animation Studios. Pixar's crowning achievement in Finding Nemo is how well they captured the light and movement of the water onscreen.
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