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Skin care Face Body. The girls held their breath and the boys started staring. The door on the driver's side opened and Merida heard Rapunzel gasp. A boy about their age stepped out of the low Lamborghini and took off his shades. His eyes were a blend of blue and brown. He wore low slung jeans and sneakers. His navy blue t-shirt accented his wide shoulder and muscular chest. What kind of teenager has white hair?!

Maybe he dyed it. He draped a blue hoodie over his shirt and reached in to take his bag. He muttered something to the boy on the other side of the seat. The door on that side opened and another boy came out. This time Merida gasped. Okay, so did a few other girls like when the first boy came out. The boy had dark auburn hair that reached to his shoulders. He had green eyes and he wore similar clothes to the other guy only instead of a hoodie, he had a leather jacket.

And he had on a white shirt. He also wore low slung jeans and Converse shoes. He was also as muscular and wide shouldered as his friend. As he reached in for his bag, they were immediately surrounded by girls that flirted and boys that admired their car.

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Rapunzel's green eyes widened and Merida laughed. You can stop drooling now.


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As they sat in Science class, the door opened and Principal Princeton entered and behind him the two newcomers. All the girls in the class room except Merida and Rapunzel sighed dreamily. Rapunzel sighed and Merida playfully bumped her shoulder. The teacher smiled and gestured for the boys. The girls groaned and some of them whimpered.

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Rapunzel looked at Merida with panicked eyes. Jack smiled and came over to sit beside Rapunzel.

The Royal Treatment

She was quite confident that she will not be- "Merida. Some have backgrounds in computer science and programming. We built our team to have a full gamut of backgrounds and to rely on one another. The cool thing is that as a simulation artist, you might understand how to program, to write a simulation, and understand physics, but you also have to understand the flow and dynamics of cloth and hair to make it realistic.

That requires a different eye. The artists are the people who know when something looks wrong and can figure out how to make it right. That way, we could run the simulations somewhat independently while keeping track of whether the groups cared about each other. Beyond that, the overhead caused by having the groups talk to each other outweighed the advantages of multiprocessing.

Witkin also devised a solution to handle the volume of curls. That provided dynamics in a more stable way.

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If you swing the cord, it stays curly. The motion was on this filtered core curve. The fun was taking that physical model and figuring out how to translate it into a point and spring system. Again using the phone cord example, if you were to fling a phone cord very fast, it would uncurl and then bounce back into place. They lengthen, but at a certain point, snap back into place. His way of explaining things was the key to understanding what the problems were. He was very much like a teacher.

The very fact that I can explain this to you now is because he was able to explain it to me. Wise describes the process: We define the curl and sculpt how we want the curve to flow. This forelock must go here.

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It must be this thick. It must curl that way. When the hair relaxed, the artists evaluated the look. Did it sag too much, as if she had just gotten out of the shower? Is it too stiff? Later in production, we ran fast-motion and slow-motion shots to be sure the simulator could handle those situations and that the parameter settings were correct. The challenge was in creating appropriate motion for his long, silky mane and tail. He has some of the most extreme motion in the film. However, the simulation engine uses the laws of physics, those for velocity and gravity, to move the digital hair, which sometimes resulted in hair moving in non-artistic ways.

That was true for the other characters, as well. For example, Merida might turn her head quickly, causing her hair to cover an eye during an important emotional moment. There were so many shots. And, with all those vertices and hair layers colliding, the simulation times were pretty high, but it was a huge help to use eight cores simultaneously for her hair. Her hair was faster than her cloth simulation. The big change was in how the tailors modeled the costumes that FizT would move. In the past, tailors created all the costumes for all the characters in Pixar films from flat panels in the same way tailors in the real world make clothes out of cloth cut from 2D patterns.

The 2D planes fed the simulator pristine UV coordinates. They tested the system on Toy Story 3 to help Ken with his costume changes, and put it into full production on Brave. Even so, for some costumes in Brave, the tailors adopted a hybrid approach, using flat panels for ruffles and folds. Instead, the tailors created flat planes, seamed them together in an accordion shape, and let the simulator relax the pleated accordion into soft folds.

We had two tailors working on those two. And then we got another tailor and started on Elinor and the triplets. Fergus had the most layers, usually 10 or more including a shirt, a chain mail tunic, a leather tunic with metal studs, the kilt, a leather strap, a belt around his waist, and a cloak with a bear pelt on it. They started with his belt, worked inward, and then put his cloak on top.

Although a cloth simulation could affect how the hair moved, the simulation artists tried to avoid those collisions. Otherwise, some shots would have been onerous. In one sequence, for example, Merida rides Angus while holding a tapestry on her lap. That was a moment.