 Afterward , the animators would compile the scenes , and develop a new storyboard with the computer @-@ animated characters . They then added shading , lighting , visual effects , and finally used 300 computer processors to render the film to its final design . Under Tom Porter , the shading team used RenderMan 's shader language to create shader programs for each of a model 's surfaces . A few surfaces in Toy Story came from real objects : a shader for the curtain fabric in Andy 's room used a scan of actual cloth . Under Galyn Susman and Sharon Calahan , the lighting team orchestrated the final lighting of the shot after animation and shading . Each completed shot then went into rendering on a " render farm " of 117 Sun Microsystems computers that ran 24 hours a day . Finished animation emerged in a steady drip of around three minutes a week . Depending on its complexity , each frame took from 45 minutes up to 30 hours to render . The film required 800 @,@ 000 machine hours and 114 @,@ 240 frames of animation in total . There are over 77 minutes of animation spread across 1 @,@ 561 shots . A camera team , aided by David DiFrancesco , recorded the frames onto film stock . Toy Story was rendered at a mere 1 @,@ 536 by 922 pixels , with each of them corresponding to roughly a quarter inch of screen area on a typical cinema screen . During post @-@ production , the film was sent to Skywalker Sound , where the sound effects were mixed with the music score . 
