Pixar team was already famous for his pioneering work in the movement of tissues. And RATATOUILLE (Ra.ta.tui), created the "costumes" most complex computer-animated film. For a long time the tissues were a major stumbling block when it comes to recreating a credible means of CGI. This is because the tissues, by nature, are not static and the physical laws of gravity, friction-are always present in one form or another. Pixar was investigating the new possibilities for tissue wrinkled shirt that seems completely real that appeared in "Monsters Inc. (Monsters Inc.)" which was followed by a collection of retro-futuristic clothes that could be See "The Incredibles (The Incredibles)." RATATOUILLE (Ra.ta.tui) presents a more complex tissue with many layers and models of fabrics for tablecloths and napkins. Eventually created more than 190 different models. Christine Waggoner and his team, the simulation supervisor, addressed most of this work also included the simulation of hair. "With RATATOUILLE (Ra.ta.tui), the technical bar is very high," says Waggoner. "The characters have more clothes and that means more layers and more movement than ever. We had to create all that chef clothes with jackets cross and buttons, an apron and a pair of pants, and a cap over the hair. " The clothes he likes to Waggoner is the leading Auguste Gusteau himself, which was a very big but has become a ghost sprite. "First we design the clothes for the real version of Gusteau, then shrink it to make it the sprite that we see in the film," says Waggoner.
"But we also wanted his clothes were very sophisticated and very well done. There is no precedent in the design of some of the styles of clothes you see in the film, so it was very interesting. "
Simple things that may seem as simple as tablecloths or napkins, become something terribly complex in the world of computer generated imagery. "We must take into account a lot of details, eg the interaction between the legs of the character and fabric hanging from the tables," says Waggoner.
To Waggoner, who is both an artist and a programmer, the most fun was to assemble all the elements to have a global vision. "To me, the hardest part was nailing the look and that Brad likes things to be realistic and cartoony at the same time. So it was not to solve a scientific problem of how fabrics move and do the numbers. In fact, it was a much more subtle for all the elements fit into the overall aesthetic of the film, "he says.
The result is that the clothes, along with sophisticated designs, which makes for each character makes the world of RATATOUILLE (Ra.ta.tui) into something much more credible. "By simulating all clothes and fabrics and reproduce the natural wrinkles and all the movements produced a realistic feel incredible," says Waggoner.
Galyn Susman, associate producer, sums it up: "Most Pretty clothes and fabrics RATATOUILLE (Ra.ta.tui) is that they are so natural that do not attract attention, and that's a real feat. "