The team dedicated considerable resources to develop the technology behind the realistic rainfall that appears now onscreen. Toy Story 4’s prologue required a downpour to stage the drama for the toy’s rescue-and Bo’s eventual departure. While rain didn’t touch anything, Pauley notes, there was a “beautiful effect on the window.” By painting rain clouds in the sky and making the street appear wet, it sold the effect. “We had to make some design choices: What could we do within the context of the tools we had?” The team devised an “elegant” solution, production designer Bob Pauley says. “We couldn’t do rain interacting with characters or rain interacting with a set,” global technology supervisor Bill Reeves says. It’s a feat of animation, particularly for those who had worked on Toy Story (1995) and didn’t have the tools to create a similar effect for a scene involving Woody (voice of Tom Hanks) and Buzz Lightyear (voice of Disney Legend Tim Allen). Toy Story 4 opens with a steadfast Bo Beep (voice of Annie Potts) leading a rescue mission in the midst of a rainstorm: One of their own has been left out in the rain and the toys are determined to save the day. If you take away the detail, you will feel that a little bit of something is lost.” “They interact with the main characters to help draw the story forward.
“These sets are characters in their own right,” sets shading lead Ling Tu says. “Having little toys in this format makes them feel even more lost, which fits the story.” We want to give the audience a more cinematic experience,” director of photography Patrick Lin explains. “It’s a wide-screen format that gives us a different look for the film. For starters, the aspect ratio used for the previous films, 1.85:1, was changed to 2.39:1 for Toy Story 4, creating a larger depth of field. The Pixar team traveled to infinity and beyond to build sets as dynamic as the characters who inhabit them in the all-new animated adventure Toy Story 4, in theaters today.
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