In terms of hard surface strides, Farrar stresses how difficult the group shots were, with or without transformation. "When they meet Shia [LaBeouf] for the first time in the alley at night, that's 36 hours per frame to render, which is a lot of computer memory."

ILM’s other big achievement is improved simulation, especially with a moving camera. Textures and the ability to light them better go into layering the shots so they look real. 

But the other big achievement, according to Farar, is improved simulation, especially with a moving camera. "All the things that go into the layering of shots look real: textures and the ability to light them better. We're not there yet for getting over the simulation hump, but, as a supervisor, I tend to think it's going to be better if I can shoot this real. But that area is just now becoming photoreal. What's going to push it further, I think, is increasing the talent base to do simulations. It's a difficult task and highly unpredictable. It takes a certain kind of artist. We've got a couple of digital artists that can practically do everything: They can light the shot, they can break it all down and do the compositing and maybe do some particle renders and get some simulations into their shots.

"What I'm seeing is that the artists are learning to observe real world and real life and constantly referencing what is out there, which is so beautiful and complicated and so hard to recreate. What is different? I think the perception of the artist is different."

Bill Desowitz is editor of VFXWorld.