It’s a tricky question with a variety of answers. First of all, as much as there is a general tendency to use math to calculate things like lighting or effects in games, animators are much more sensitive than many people give them credit for. One of the things we’re all asked a lot about in animation class is the difference between the visual system and a neural network and the difference between neural networks and traditional animation algorithms. Most schools still have an abundance of lectures on these subjects, and many also have an on-the-job training courses for animators. A recent video of this is probably the best representation of this yet to be seen online. But when it comes to animating, it’s all about what the writer said, not what the teacher said. When you see a scene in a story that involves a mathematical calculation, the math should be used and not a neural network, a “natural” (usually human inspired) algorithm, or even a human “program.” Math as art is still art, and all other things considered, it’s quite clear. You don’t need to be trained in computer science to make a good visual effect. You just need to know how to make those things that make you feel.
I’ve been thinking about all of this recently about my animator friend. He can do all the calculations, he’s good at them, and he wants to use more of them. He’s very interested in the math and animation side of the equation, so he’s working with the math to help craft animation sequences out of scenes, but the math isn’t actually his problem. It’s the things he doesn’t understand about how and why the computer works at all. He’s an enthusiastic nerd, which is a trait that I’m very much drawn to, but that’s probably the problem: he’s not trained in that “real-life” stuff that really matters. When I talk to friends in animation about the way they think about things like “how do I get the physics right?” and “how do I figure out how to animate without a computer?” I never learn any of that stuff. It’s pretty far removed from his daily interactions, which are about what’s useful to us, the visual artists, of course. It’s easy to look at things like the fact that a movie director might want to draw a certain amount of background information when animating a character and think “Oh! I’ve got it right!”, because that sounds like a “right” thing. But it’s actually a
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