To enable Imageworks to turn around so many shots for the third act so quickly, Sue Rowe employed several new methods. The first was to rely on Maya's Viewport 2.0 to work on high-quality but still early versions of the shots directly in the viewport without the need to render. "The reason I really liked it is that it was super fast," states Rowe. "You can add fog as depth and you can put spotlights in. You see, when you distill everything down that you need for an underwater movie, it's pretty much about bubbles and particulates."

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