READ MORE: Oscars 2017 Animated Shorts: Will ‘Piper’ End Pixar’s 15-Year Drought? You’re at a beach, but you don’t have a tree or a car or a person standing next to you to always remind us that this character is this small.
“The difficulty on this film was there aren’t these points of reference that people are used “And for us to care for Piper, meant gaining intimacy through macro photography because size and scale mattered,” he continued. “And for you to care about the character, feathers became important because it was how birds express themselves.” “We’ve never done sand grains that detailed before,” the director added. That meant coming up with regional controls and dealing with feathers more visually. Rigging the cute, female bird began with the shaping of the feathers, of which there were nearly 7 million. And it owed a dept to Norman Rockwell for color and texture.Īnd using Houdini, they procedurally generated millions of real sand grains, as well as believable water and foam. Overall, though, the look was naturalistic, utilizing shallow depth of field and long lenses. Inspired by macro photography, the scale was crucially from her bird’s eye view (also achieved with the help of RenderMan). So the mother bird represents the parent I wish I was in many cases, that can stand back and let your kid grow up, and that they’re way more resilient than you give them credit for.”īut along the way, “Piper” broke new ground at Pixar in photorealism (the first attempt was “The Blue Umbrella” short). “You want to save them from all their mistakes. “I’m talking about my own kids and I worry that I’m being over-protective as a parent,” Barillaro said.
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