Though the Uncanny Valley originated in the field of robotics, it has since been used to refer to the same effect in various other media. Currently, the term is most commonly used to refer to realistic computer-generated imagery within digital media, and artists worldwide continuously work towards overcoming the Uncanny Valley.
As of late, Hollywood has developed an obsession with using computer-generated imagery to create their cinematic effects, and game designers long to achieve realistic immersive experiences. Due to this increase of desire for realistic computer imagery, digital animators are faced with the Uncanny Valley more than ever before. As computational power advances, so too does the potential for realistic renderings to trigger the effect. Some films that have triggered the Uncanny Valley effect in audiences, such as 2011’s Mars Needs Moms, bombed in box office sales, potentially as result of the Uncanny Valley itself \cite{mojo}. If a character, meant as a means for audiences to emotionally connect with a story, is met with revulsion instead, the entire experience collapses and leaves audiences unable to engage with a film.
As a response to this, digital artists have long chosen to stay on the safe, cartoonish side of the valley where humanlike characters elicit a strong positive emotional response but do not risk jumping over -- and potentially falling into -- the Uncanny Valley. Pixar, a pioneer studio in digital animation techniques, experimented with realistic renderings of a human baby in their early animated short Tin Toy (1988) and ended up with results that landed them within the Uncanny Valley. Ever since, Pixar has chosen to stay on the “safe” side of the valley, as is evident with their latest animated baby, Jack Jack, seen most recently in the teaser trailer for The Incredibles 2 (2018).