Follow a computer graphic artist illuminating the movie “WALL•E” – a STEM career glimpse and puzzle

Have you seen "Brave," "Up," or "WALL•E"?

Think about your favorite one. Were you swept away?

You probably didn't stop to think of this while enjoying the movie, but it was created from scratch, image after countless image, frame by frame, by artists using complex computer programs.

And those programs are used and developed by people like Danielle Feinberg, a Director of Photography for Lighting at Pixar. When asked what she loves best, computers or art, her answer is, "programming computers to create awesome art work!" Danielle is one of several hundred team members who bring these movies to a theater near you.

Danielle Feinberg

To make a computer animated (or "digitally animated") movie, creators first dream up the story and "pitch it"--they talk big shots into seeing the possibilities. Next, they put it in writing in a short "story treatment."

Artists hand-sketch a comic-book version--the "storyboards." Actors record the characters' voices, reading scripts and improvising. The editorial team puts together storyboards and voices to create a draft--the reels of the film's sequences. .

The art department creates, with pencils, paintbrushes, paper and also computers, art work to describe the look and feel of the characters and their world. Soon everyone uses computer software to do each step. .

Model builders build the characters, sets and props in the computer as 3D (3-dimensional) objects, plotting points using the X, Y and Z axes. Modelers and articulators add controls that act like hinges so they can move parts like elbows or doors. .

The layout crew places the characters and camera in the world, and designs each camera move (or "shot"). Like puppeteers, animators create movements and facial expressions. They let the computer do the "in-betweening," filling in the movement between frames. .

Clap! Bang! Boom! From the beginning to the end of the whole process, the editorial team rearranges the shots, and adds music and sound effects to create the ever-evolving, current version of the movie. .

Shaders added to all the objects describe color, texture and how the material interacts with light (reflective, translucent, dull, etc.). Visual Special Effects artists use all kinds of physics to create fire, explosions, mist and more. The lighting team adds virtual lights and reflections that support the mood and story, and reveal the emotions in each scene. .

Finally, the rendering team sends the files that contain all of this information off to a giant "farm" of computers, where millions of calculations are done to create each pixel on every frame of the final movie. .

Imagine stopping the movie on one image or frame. As Danielle explains, a computer image is made up of over 1.5 million pixels. Think of one pixel on WALL•E's face. It's yellow because that's WALL•E's color. But if the sun is shining from the right and it's late in the day and a reflection is hitting him right at that pixel while the wind is blowing dust around, all these factors are going to affect the exact shade of yellow of that pixel, including in relationship to other pixels around it. The computer must do billions of calculations to take into account all those subtle effects--pixel by pixel, frame by frame, 24 frames per seconds, some 90 minutes per film. .

And the computer software is used, cajoled, finessed, and sometimes even "tricked" by Danielle and her team to create these images that make up a film. .

How exactly does Danielle do it? From one of the three computers at her desk, Danielle picks a shot or series of shots (a "sequence") to work on. She retrieves from the Pixar network all the information ("data") created by everyone else so far, about sets, characters, camera, animation and materials. She looks at the image ("direction") from the art department that shows the time of day, weather or mood of the lighting. Then she adds lights into the 3D world inside the computer, using 30 or 40 controls over each light (the sun, a lamp, reflections...) to build up the image to look like the art reference.

Each morning, Danielle reviews the results of her work by watching the overnight "renders"--a single frame takes hours of computer calculations to render, anywhere from a couple of hours to 90 hours or more in extreme cases. She adjusts the lighting to get closer and closer to the desired look, and fixes the myriad of technical issues that can crop up in the complex software. This takes a week to a month or more depending on how big a chunk of movie she's working on. Danielle and the lighting artists each sit down with the director (who is responsible for the creative content) to show him or her their work, hoping for a "Final!" from the director, meaning that their work on that shot is done and ready to go into the movie.

PUZZLE: Can you spot WALL•E in the frame below, shown before lighting?

Click here for the answer, and to see the frame after lighting.
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She also works with her team to come up with new ways to create what each film needs, such as how to make the world look like it's underwater for "Finding Nemo" or how to create a messy, polluted, dusty world in "WALL•E." Using physics, geometry, a lot of math, and computer programming skills, Danielle and the other animation scientists add to the software for each movie. They make each new world or character possible. And so from one Pixar team to the next, step by painstaking, exhilarating step, vibrant characters and exotic worlds burst alive.

Finally, photoscientists record the movie in a form that can be played in the theater, as well as on televisions, computers, and mobile screens.

Then, images brimming with light tell you a story, make you gasp, laugh, or blink away tears. And now you know how, with math and science and a lot of heart, Danielle makes it happen, lighting the way on screen and in real life.

ABOUT DANIELLE FEINBERG

Director of Photography - Lighting

Pixar Animation Studios

* Danielle began her career at Pixar Animation Studios in February 1997 as a Render Technical Director (also called a "Render Wrangler") on the feature film "A Bug's Life." She quickly discovered her love for lighting and went on to light many of Pixar's feature films including "Toy Story 2," "Monsters, Inc.," and the Academy Award(R)-winning "Finding Nemo," "The Incredibles" and "Ratatouille." Danielle worked as the Director of Photography for Lighting on another Oscar(R)-winning feature, "WALL•E," and is now working on the look for her next project, Disney•Pixar's 2012 summer release, "Brave."

* Danielle's love of combining computers and art began when she was eight years old, and first programmed a logo turtle to create images. This eventually led her to a Bachelor of Arts in Computer Science from Harvard University. Now, in addition to her Pixar work, she works with teenage girls, encouraging them to pursue math and science by demonstrating to them the same beautiful simplicity she found with the programmed art of the Logo turtle. .

Danielle (seated, in black T-shirt)

inspires girls to follow their dreams at a Tech Trek science camp.

* When Danielle is not working, she loves to travel, shoot photographs, and play sports like flag football.

LINKS AND MORE

* See Danielle when she was in elementary school.

* Watch Danielle talk about the making of "WALL•E" on the DVD Bonus Features (Disc 2, Behind the Scenes, "The Imperfect Lens").

* Another interesting "WALL•E" DVD bonus feature is "Life of a Shot."

* Take a video tour of Pixar, complete with a giant poofy armchair and play areas.

* See profiles, art work, and interviews of artists such as animators, a director of photography, and a sculptor who work at Pixar.

* See the different looks created by software for... trash in "WALL•E."

* Visit Tribeca Flashpoint Academy, a Digital Media Arts College in Chicago. It offers two-year college degrees to train arts or entertainment professionals to work on computer-based specialties such as games, recording, or animation. Tribeca Flashpoint also offers an abbreviated, Digital Bootcamp program for high school students grades 10 through 12. Students experience a taste of Tribeca Flashpoint's program and complete one portfolio piece.

* Create your own animated film. The New York Film Academy Summer Film and Acting Camps for teens and tweens include 3D Computer Animation Camps in New York City and at Harvard University. Students with little or no experience learn how to build objects and creatures, animate them, and add color, light, and sound, to create their own short film!

* For creative kids who love computers: look at the Digital Media Academy teen summer camps. The filmmaking camp helps you start your career in the movie business by learning scriptwriting, storyboarding, editing, visual effects, and more.

* iD Tech Camps include 3D Computer Animation summer camps, where you can create your own characters and bring them to life, then take home a portfolio and a trial version of the software.

Updated on July 13, 2012