Take a look at some behind-the-scenes imagery from Pixar and Pete Docter's new film, 'Inside Out.' 'Inside Out' is a true JOY. Had to get that out there at least once. We hope you agree. Reference Sculpture of JOY by Jerome Ranft. Reference Sculpture of SADNESS by Jerome Ranft. Concept Art featuring JOY by Albert Lozano (Character Art Director). Concept Art featuring SADNESS by Tony Fucile (Story Artist). Concept Art featuring FEAR by Tony Fucile (Story Artist). Concept Art featuring JOY and SADNESS by Tony Fucile (Story Artist). Pictured (L-R): Sadness, Fear, Anger, Disgust, Joy. Concept Art featuring HEADQUARTERS by Ralph Eggleston (Production Designer). Concept Art featuring JOY by Ralph Eggleston (Production Designer). Progression Image (1 of 7). STORY – This storyboard was drawn by “Inside Out” Story Supervisor Josh Cooley. Storyboards are drawn by story artists for the purpose of pre-visualizing the film. They are placed side by side in sequence, so that they convey scenes and deliver a rough sense of how the story unfolds. This storyboard is one of approximately 177,096 drawn, of which 127,781 were delivered to Editorial. The storyboarding process, in the form it is known today, was developed at Walt Disney Studios during the early 1930s. Progression Image (2 of 7). ART – Once the storyline for a sequence is completed, concept art is created by the Production Designer and art department to determine the look and feel of the film. This concept art piece was drawn by Production Designer Ralph Eggleston and showcases the exploration of color and the design of new characters and new environments. Progression Image (3 of 7). CHARACTERS – Character creation begins with modeling, a process of translating the character's overall form into the computer. These forms are then articulated to allow them to move. If called for, hair and clothing are added. The final step, shading, involves applying textures, colors, patterns and other material properties that will add complexity. This image shows the characters fully modeled, articulated, shaded and ready to be placed in a scene. Progression Image (4 of 7). SETS – Using Art reference for guidance, the basic forms and shapes of the Set environments are translated into the computer during the modeling process. Shading comes next. Technical directors, using a combination of painting, programming and photo reference, will apply textures, colors, patterns and other material properties to the Sets to give them complexity and appeal. This is a wireframe image of the set for Headquarters, the control center inside Riley’s mind, showing the underlying modeling. Progression Image (5 of 7). LAYOUT – Once the storyline for a sequence is completed, the scene is created in the computer. This frame shows the phase known as Layout, in which a virtual camera is placed into a shot. The characters and set are “staged” or placed into positions that work visually within the chosen camera angle. Layout precedes character animation. Sets are simplified during this phase, but are seen fully built in the next stage of production. Progression Image (6 of 7). ANIMATION AND SIMULATION – When Layout is complete, the primary and secondary characters are animated and brought to life by the Animation department. Animators create the personality and "acting" of the characters. The secondary motion of the hair and garments is added by the Simulation department and this simulation allows the hair and garments to move naturally to complement the acting. Progression Image (7 of 7). LIGHTING AND FINAL IMAGE – The Lighting department is responsible for integrating all of the elements – characters, sets, cloth and hair, and effects – into a final image. The lighting process involves placing virtual light sources into the scene to illuminate the characters and the set. Technical directors set up the lighting to draw the audience's eye to story points and to create the correct mood. The images are then rendered at high resolution. 24 lit images, of over 2 million pixels each, are created for each second of the movie. -- Read how Pete Docter developed and cast 'Inside Out,' as well as in-depth interviews with producer Jonas Rivera and production designer Ralph Eggleston, exclusively on AWN! -- 'Inside Out' images © 2015 Disney•Pixar. All Rights Reserved. Tags Inside Out Disney Pixar Tony Fucile Ralph Eggleston Albert Lozano CG Concept Art Art Animated Feature Film More From ANIMATIONWorld:Next PostPete Docter’s ‘Inside Out’ Finally ArrivesPrevious PostAuto-Asphyxiation: Claude Cloutier Debuts ‘Carface’ at Annecy Related Content Ralph Eggleston Talks ‘Inside Out’ Jonas Rivera Talks ‘Inside Out’ Disney Teases Pixar’s ‘Inside Out’
![](https://www.awn.com/sites/default/files/styles/original/public/image/attached/1024715-inside-out-progressionimage6of7animationsimulation-1200.jpg?itok=zTbhPi52 "Progression Image (6 of 7). ANIMATION AND SIMULATION – When Layout is complete, the primary and secondary characters are animated and brought to life by the Animation department. Animators create the personality and "acting" of the characters. The secondary motion of the hair and garments is added by the Simulation department and this simulation allows the hair and garments to move naturally to complement the acting.")
