Fishing is the first short film to be rendered entirely in a watercolor simulation process developed at PDI. Using techniques innovated by Cassidy Curtis, technical director on Fishing, shallow computer-generated watercolor begins with a 2D shadow matte from a 3D object, i.e. the Fisherman. Once composited, the model is made to simulate the optical effect of super-imposed glazes in complimentary colors.

The final effect is varied over time to give the images a hand-painted, wet and vibrant look.
When the story in PDI's latest short film featured a “tsunami of fish,”effects animators went to work using Nick Foster’s Academy Award winning fluid dynamics simulation system. They were able to adjust the parameters of the simulation to feel heavier and denser than any prior water simulation. Combined with thousands of fish models and a watercolor post process, the “tsunami”or “fluid dynamics sequence”is transformed into a tidal wave of murderous wiggling fish.
The story of Fishing g is simple and colorful and supported by a similar visual style. Gainey kept the animation, character design and final look as “loose and gestural”as possible.The motion animation is broad with extreme holds and poses that accentuate the character's features, i.e. big hands, big feet, heavy stomach. The watercolor CG process is adjusted throughout the film to ensure that subtlety is not lost in the abstract paint style. Finally, the colors are animated to reflect the changing time in day as well as the mood of the Fisherman. Monet’s “Cathedral” paintings were inspiration for the changes in the color palette as the day progresses from dawn to dusk.