Issue link: http://read.uberflip.com/i/1474486
8 cgw j u ly • a u g u s t • s e p t e m b e r 2 0 2 2 spaceship and then we constructed the same spaceship from the same design digitally. Then we did a side-by-side comparison and asked, 'Why does this one have more warmth than the traditional CG one?' There are no straight lines. There are curves. The attention to thickness of edges. Basically, our language for the visuals of the film was to try to land more of the warmth that you get from practicals. Generally, CG feels colder than that." There were no distinctions made between the character design and production design. "We didn't want the feeling of a cartoon character with a photorealistic background. That is part of the 'chunkification' of the background, and the animation style is much more reserved. We're trying to bring those two worlds together so that the characters feel like they belong." Color, shape, and lighting were essential storytelling elements. "When Buzz feels happy that he is part of the Space Ranger club, he is able to belong, but then there is a portion of the film where it is taken away from him," states production designer Tim Evatt. "How do you progress that story where he is trying to belong again? We could do that with shape, color, and light." The action unfolds on the planet of T'Kani Prime. "The planet is lunar locked. One side is all in dark and the other side has an area of life, but then there is an area that is like a Goldilocks Zone and other areas are more hostile to live in." Evatt wanted to avoid relying upon the Pixar library nicknamed the "Backlot". "I knew that in order for Lightyear to have its own