Pixar Undergraduate Program

During the joint layout and set dressing week, we worked with a partner to interpret storyboards set in Buzz's space apartment from Lightyear. I completed the layout and blocking animation for our project in Presto, while fellow PUP Elyssa Chou did the set dressing for our piece using Maya. We learned to work together to dress our set to camera and convey the emotional beats of our boards through camera work and staging choices.

The PUPs went to various antique shops to find an item to model and shade, with one week dedicated towards each discipline. I found a 1960s vintage sewing machine attachment called a buttonholer, a device used to secure the edges of a cut button hole and keep the fabric from fraying. It's essentially like a guide that you place the sewing machine needle into, and the prongs on the metal foot feeds the fabric through the machine so that it moves in a loop as the sewing machine creates the stitches. This motion creates a full loop that secures the edges of the fabric hold from fraying.

 It's honestly shocking that I didn't already own one of these, as I've been an avid sewer since I was little and have all sorts of strange leather and metal fastener punchers and other similar seamstress gadgets. I'm also very attracted to antique objects that are worn and rusting and have these sort of old, decaying sort of features. I've always been extremely interested in old artifacts and spent my first two years of college studying to become an archaeologist. Thus, this item and its physical qualities were definitely in line with those interests of mine as well. 

During lighting week, we practiced lighting in Katana by setting Mei from Turning Red in a different show's environment. I chose a scene from the Marvel show Loki, drawn to the colorful purple and orange light and high contrast that added drama and intensity to the scene.

This week really allowed me to learn about the importance of iteration and the freedom that can come with it. When I allowed myself to just make quick changes, send off a render, and see what worked or not, not only did I have more fun during the process but my work was much better for it. This week really made an impact on me as this approach is one that I have carried with me into my current FX and simulation work.

For rigging week, we first practiced the basics of rigging in Presto by rigging a lollipop model to bend and twist. Next, we practiced basic facial rigging on a smiling starfish. Then, for our weekly project, we got to practice facial rigging on a background character from Turning Red.

For FX week, we learned the basics of Houdini by using POP networks to create fireworks. I have always loved the super sparkly fireworks that gently crackle and dissipate as they fall. I wanted to capture the more elegant and graceful aspect to fireworks to contrast their outwardly loud and explosive characteristics.

This project was my first personal exploration into creating FX and using simulation techniques. It truly allowed me to fall in love with this type of work and has led to me now spending all of my time learning more about and creating FX!

The concept of creating cotton candy stemmed from my relationship to my older sister, Ashley, as the two of us have long loved baking extravagant creations together. I love the idea of using these violent, dangerous forces of pyro simulations to create the delicate, childlike item of cotton candy. I had so much fun creating this short project that it became the focus of my BFA senior thesis!