The main challenge of the Rendezvous fight sequence was creating the graphic design of the snow.

"The main design challenge was the graphic design of the snow. We ended up doing a snow library using Maya and mental ray to render that out into over scan passes that we could layer up in Z, but given the number of shots we didn't want to do full 3D snow for every single shot. We had to do a 3D track and body match moves for all the snow interactions, but we basically did multiple levels of snow. The other issue was they wanted snow at the beginning of the sequence to be lightly falling and then increase throughout the sequence until the crescendo of the fight where it comes down the heaviest. We did make custom 3D falling snow for severe down angles. We were originally asked to do Hallmark-looking snow, but that graphic design was modified."

For Speed Racer, Evil Eye used Shake with many custom plug-ins, macros, Furnace, Maya, mental ray, Silhouette, Combustion, PFTrack, Syntheyes and Photoshop. The company has a custom proprietary plug-in for shake that allowed them to use 360-degree spherical environments directly within Shake.

An amazing shader was used to design the ground of the desert flats, which changed color and texture. Another nod to anime was the effect of leaving incredibly long dust trails. 

For VFX Supervisor Kevin Mack of Sony Pictures Imageworks, Speed Racer offered an especially fulfilling artistic change of pace. "When they came to see us, they said they thought of me because of the work that I had done that was artistic or stylized [What Dreams May Come, Fight Club, Big Fish] whereas a lot of the folks that they had worked with were having a hard time with it because they were so accustomed to doing photoreal, and they really wanted the film to look like moving Pop Art. We lost our first month getting data from other vendors and models having to be re-rigged and texture coordinates. Our sequences were self-contained and we had an idea of how we wanted them to look.

"There wasn't much in the way of design for the desert flats, so we put together an amazing shader for the ground, which changed quite a bit from yellow/gold to red/orange, and from the tile cracked mud to little strings of salt flats to gravely lava rock. So basically on the ground you have this range from yellow to red/orange. And so I do abstract art and am into some of these notions about the perceptual effect of color, so it seemed like a good opportunity to use this super complement, which is a thing I've come up with, which is that blue and orange are a very powerful complement, I believe, because it's what we've woken up to since we've crawled out of freezing caves to the warmth of the sky. What I found is you even get a stronger effect if you get a range of complements. For instance, if you have a grad of yellow to red/orange, then you have another grad,which has a range of colors from turquoise to blue/purple, you've got 2½ complements working at the same time. It's so stunning and then you have the colors of the cars and all the highlights and the sun.