This is about twice the number compared to most of the other characters in the film. Zeta’s animation rig has over 1,200 controls for her face, and over 600 controls for her body. Zeta has over 8.4 million hairs, and over 700 feathers. On Zeta’s wings and tail we have a majority of feathers versus hair, but on her torso it’s all hair. On most of the bird characters we have a base layer of hair, and then the feathers are added as accents. This feature gave the animators a fun element to work with as far as how her body moves. Additionally, Zeta has a very long and noodle-like torso.
This allowed for some shearing so that she was able to move her mouth as much as the animators desired, but not have her mane move up and down in a distracting way. Our solution involved adding some geometry spans in between the corners of the mouth and the first growth point of the long feathers. So, from the artwork to the final model and design, we had to make a few compromises to make it work for animation. With the original design, what was going to happen as Zeta was emoting – let’s say either talking or going from a smile to a frown – the hair and feathers attached to that area near her mouth would move up and down a lot and likely be very distracting. Our first instinct in looking at the artwork was that we’d have to come up with a creative solution. Stirling Duguid: The initial 2D artwork for Zeta, provided by production designer Pete Oswald, had her with a mane of hair and feathers which started directly around her face, almost attached to her eyeballs and her beak.
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