Pixar, like any large animation and/or VFX studio, utilizes a mix of both 'off-the-shelf' software, and proprietary software, written in-house. This can range from a simple plug-in to a common commercial product from Adobe, like Photoshop, to a full-blown character rigging, animation, skinning, shader, and even rendering software.
It would be pointless, not to mention illegal, to describe those proprietary products in any detail. Instead, I'll provide the stock answer that you'll hear from anyone at Pixar, to ILM, to Dreamworks, MPC, Digital Domain, etc., and that's this: just find what you like to do, and excel at it.
The software is just a tool, what cannot be substituted in code (yet), is the inspiration, creativity, serendipity, collaboration, and yes, even mistakes, that are made in the path to creating a final product.
Keep in mind, that with any large facility such as these, you are rarely, if ever, a generalist (those jobs and people do exist, but they are the exception, not the rule). If you are in the rarefied air of the top 2%-5% of digital creatives whom they hire, you'll be able to adapt to whatever the proprietary software will be; everyone gets a grace period on the learning curve (as well as intense training).
If you want a job at one of these types of facilities, RESEARCH, and I would strongly urge that you do, as everything has its pluses and minuses. At any of these major facilities, you will be focused/assigned (for the most part) on ONE department (maybe two, for flexibility - if you are at the same high-level as the first), and then you must EXCEL in that area.
For example: if you REALLY like to animate, then DO NOT bother to become focused on the minutiae of every type of modeling, in every 3D program, etc. It will become irrelevant to your position. You will walk into your cubicle, and you will only execute a specific task, day-in, and day-out, for weeks, possibly months on-end, and it may even be just ONE shot for the entire film!
If you can be OK with that, then apply the same theory to: digital painting, or composting, or creating shader materials, or code for optimizing renders, or story writing (even fewer jobs there!), or whatever your passion is in this space, etc.
Any major facility will keep you focused just on that one area (which is why upward mobility tends to be a problem anywhere, and moving up means moving out), since the only way to make these types of films on time/budget, is to make it like an assembly-line factory. Dispense with the notion that it is this zany-kooky place (though they can be!), no, it is an intense place of business, with extreme pressure, and unbreakable deadlines (sometimes the movie poster has a date before story or even production has begun!); talk about pressure!
If you think you cannot survive 60, 80, 100-120 hour weeks (no, joke, and no hyperbole there), avoiding friends and family for everyday life, weekends, holidays, and other special events --- this is a career path you must seriously reconsider. Also dispense with the notion of job security, it does not exist in this profession.
Now, if you can deal with all that, because you love these films, you love the process, and don't mind getting squeezed and sacrificing considerably to make them because it is your passion and reason for breathing, then by all means, apply to the Dream Factory! Just go in with eyes wide open to the reality of the type of work you will be EXPECTED to execute, again, at any such facility of note, not just Pixar.
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