 Every shot in the film passed through the hands of eight different teams . The art department gave each shot its color scheme and general lighting . Under Craig Good , the layout department then placed the models in the shot , framed it by setting the location of the virtual camera , and programmed any camera movement . To make the medium feel as familiar as possible , they sought to stay within the limits of what might be done in a live @-@ action film with real cameras , dollies , tripods , and cranes . Headed by directing animators Rich Quade and Ash Brannon , each shot went to the animation department from layout . Lasseter opted against Disney 's approach of assigning an animator to work on a character throughout a film , but made certain exceptions in scenes where he thought acting was particularly critical . The animators used the Menv program to set each character in a desired pose . Once a sequence of hand @-@ built poses ( or " keyframes " ) was created , the software would build poses for the frames in @-@ between . The animators studied videotapes of the actors for inspiration , and Lasseter rejected automatic lip @-@ syncing . To sync the characters ' mouths and facial expressions to the actors ' recorded voices , animators spent a week per 8 seconds of animation . 
