In Piper, the value of photorealistic animation isn’t so much that it approximates reality as it is that it allows for this kind of cinematography to be effective. It’s interesting that Piper portrays independence less as a matter of being able to serve oneself without help, and more as a matter of gaining opportunities for deeper relationships, and exploring a wider and more populous world. So, the shallow focus not only limits the film’s scale but also has an isolating effect, rendering Piper in her own world that she shares only with her mother her mother’s goal is to help her widen her perspective beyond this, and when she succeeds, they share the victory.
We can see more sandpipers in the background, but they’re out of focus. Piper’s mother is also the only other bird we can see clearly. source: Walt Disney Studios Motion Pictures Piper’s mother, meanwhile, is too large for the frame, her head shifting in and out of view as she moves up and down. From this we get a sense for Piper’s size, and the size of the world relative to her: she’s absolutely tiny, and she’s facing off with something large and intimidating. When it isn’t, it’s often because we’re seeing from the titular character’s own perspective. The first thing you’ll notice – after the vividness of the setting and the almost overwhelmingly cute character design – is that Piper is mostly in shallow focus. You can watch a short clip of Piper here. With Piper in mind, his work on WALL-Eand Braveseems especially notable, considering Piper’s lack of dialogue and highly detailed photorealistic animation – traits that it shares with those two features. Pixar’s Piper started as the brainchild of director Alan Barillaro, and tells the story of a young, diminutive sandpiper learning to gather its own food for the first time.īarillaro worked as a supervising animator on several past Pixar features.
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Make your Oscar predictions now change them until Feb. They compete at the Oscars against “Blind Vaysha,” “Borrowed Time,” “Pear Cider and Cigarettes,” and “Pearl.” “I started trying to dig out that in the story, and be as honest as I could about that.”īarillaro is a Pixar veteran of almost 20 years, working on such classics as “A Bug’s Life” (1998), “Monsters, Inc.” (2001), “Finding Nemo” (2003), “The Incredibles” (2004), “Wall-E” (2008), and “Brave” (2012). He shares this nomination with Marc Sondheimer. “It started to become a story about my own kids, and my own fears as a parent,” he reveals. The film started as little more than a side-project for the animator, before evolving into something more personal.
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