This started with Hank's rig, the basic puppet that animators use to control the character's movement. To capture that extreme flexibility, Pixar had to rethink its whole approach to character construction. Most four- or two-legged characters, like humans, have joints and defined limits to their movement, but octopi don't have skeletons or any clear structure to how they move. So they decided for the first time to create entirely volumetric clouds. But "The Good Dinosaur" took place entirely outside, with clouds in almost every scene. Traditionally, Pixar movies used matte-painted clouds, meaning the artist would paint clouds onto background plates.
They were especially focused on the huge, constantly changing clouds they observed on a research trip. Nature plays a bigger role in "The Good Dinosaur" than in any other Pixar film, so the filmmakers really needed to nail the landscape of the American Northwest. This made the outward glow look more believable, taking Pixar's lighting system yet another step forward. For example, when she picks something up, we see the light emanate through her fingers. Her light was also accurate to her body structure. If she walks up to a prop, she projects her glow on it, and she casts light onto other characters, too, like this pivotal scene with Sadness. That way, Joy's light could travel with her. This tool allowed lighting artists to select a character model and turn it into a mobile light source. So Pixar's RenderMan team came up with an effect they called geometric area lights, or geolight. This character had to shed warm yellow-blue light wherever she appeared in a scene, and the light had to track with her bouncy movement, which wasn't easy, since she's literally a ball of energy. She's made up of glowing particles that radiate off her skin. Joy, the main character of "Inside Out," is supposed to resemble a star. But this model didn't account for more fantastical scenarios, like we'd see in "Inside Out." Global Illumination became the default lighting system for every Pixar movie, making Pixar's light more closely resemble the kind we see in real life. Now, every time an artist placed a light source in a shot, the computer would know how that light would travel and interact with other elements, and it would simulate the resulting bright spots, shadows, and reflections. Pixar built a new system called Global Illumination that modeled the natural distribution of light in a scene, all based on real-world physics. This required an overhaul of the lighting system the studio had used since the first "Toy Story." To streamline the process, the goal was to ray-trace pretty much everything: all the shadows and light refractions, even the reflections in a character's eye.
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