Walt Disney Animation Studios’ newest film, Zootopia, will be releasing in the United States three weeks from today. I’ve been working at Walt Disney Animation Studios on the the core development team for Disney’s Hyperion Renderer since July of last year, and the release of Zootopia is really special for me; Zootopia is the first feature film I’ve worked on. My actual role on Zootopia was fairly limited; so far, I’ve been spending most of my time and effort on the version of Hyperion for our next film, Moana (coming out November of this year). On Zootopia I basically only did support and bugfixes for Zootopia’s version of Hyperion (and I actually don’t even have a credit in Zootopia, since I hadn’t been at the studio for very long when the credits were compiled). Nonetheless, I’m incredibly proud of all of the work and effort that has been put into Zootopia, and I consider myself very fortunate to have been able to play even a small role in making the film!
Zootopia is a striking film in every way. The story is fantastic and original and relevant, the characters are all incredibly appealing, the setting is fascinating and immensely clever, the music is wonderful. However, on this blog, we are more interested in the technical side of things; luckily, the film is just as unbelievable in its technology. Quite simply, Zootopia is a breathtakingly beautiful film. In the same way that Big Hero 6 was several orders of magnitude more complex and technically advanced than Frozen in every way, Zootopia represents yet another enormous leap over Big Hero 6 (which can be hard to believe, considering how gorgeous Big Hero 6 is).
I can’t go far into detail here (I’m sure we’ll be presenting much more in-depth stuff at SIGGRAPH this year), but I think I can safely say that Zootopia is the most technically advanced animated film ever made to date. The fur and cloth (and cloth on top of fur!) systems on Zootopia are beyond anything I’ve ever seen, the sets and environments are simply ludicrous in both detail and scale, and of course the shading and lighting and rendering are jaw-dropping. Disney isn’t paying me to write this on my personal blog, and I don’t write any of this to make myself look grand either. I played only a small role, and really the amazing quality of the film is a testament to the capabilities of the hundreds of artists that actually made the final frames. I’m deeply humbled to see what amazing things great artists can do with the tools that my team makes.
Okay, enough rambling. Here are some stills from the film, 100% rendered with Hyperion, of course. Go see the film on March 4th; these images only scratch the surface in conveying how gorgeous the film is.
All images in this post are courtesy of and the property of Walt Disney Animation Studios.