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Shi doesn’t look like other Pixar directors — just 28 years old, she’s not white, nor male — but her short “Bao” fits beautifully into the studio’s oeuvre, and the company’s so-called Brain Trust so loved one of her other original ideas that they’ve invited her to develop it into a feature.

Not bad for a semi-recent Sheridan College grad who was selected for a 2011 story internship at Pixar, then hired on to work as a story artist on “Inside Out.” You can see her contributions in the scenes where Joy drags Sadness through the mind, and when the characters first meet Bing Bong.

Two years into the job, Shi started developing “Bao” as a possible hand-drawn, Miyazaki-style short she intended to made on the side. At one point, Shi approached “Inside Out” director Pete Docter for advice, and he encouraged her to pitch “Bao” as an official Pixar short, insisting that she fight to keep trhe twist.

“I wanted to do a modern fairy tale, like ‘The Little Gingerbread Man,’ but a Chinese version,” says Shi, who was inspired by her upbringing as an only child raised by immigrant parents in Toronto. In “Bao,” a mother wrestling with empty-next anxieties hatches a fantasy in which one of her handmade dumplings comes to life. “Food is how my mom expressed her love to me. In Chinese culture, you don’t say, ‘I love you.’ You say, ‘Have you eaten yet? You look skinny! Eat more!’”

Even after the project was greenlit, Shi spent her days doing storyboards for “Toy Story 4,” devoting nights and weekends to working on “Bao.” The short premiered last month at the Tribeca Film Festival and will be attached to “The Incredibles 2” in June, but Shi is already hard at work on her next project: Last fall, she was invited to pitch three feature projects. One got the go-ahead, putting Shi on the path blazed by Peter Sohn, who went from making “Partly Cloudy” to directing “The Good Dinosaur” at Pixar.

Shi credits Docter (who executive produced “Bao”) with being her champion at what has proven to be her dream job. “He’s been kind of like our fairy godfather,” Shi says.

Shi reported that she was particularly influenced by Japanese animation, like My Neighbors the Yamadas, as she gathered up examples of animation styles as references for animation supervisor Juan Carlos Navarro. “I loved how squishy their character looked, and how pushed their expressions are,” she says. “We drew inspiration mostly from 2D animation, which became a challenge in 3D because of how big the characters’ heads are, and how exaggerated their limbs are.”

But, says Shi, as they were going into animation, they soon realized that some of the expressions that worked well in 2D were not right for 3D at all. “3D is its own medium,” she explains. “Design elements that might look good on paper look really strange when you turn them into 3D shapes. Cartoony eyeballs look like they’re popping out of a character’s head. And so we really had to work closely with the animators and modelers to translate our designs into 3D.

Pixar has released the entire short online: https://twitter.com/DisneyPixar/status/ ... 8082328577

It was funny, and heartfelt, and disturbing!

When I saw it for the first time, I was shocked when she ate the dumpling.

I think it's one of my favorite Pixar shorts from the latest years. I love the metaphor with the dumpling, the relatable characters, and the humor. Adolescent Bao was hilarious.

Watching Bao made me more excited to see what Domee Shi cooks up (pun intended ) for her first feature-film at Pixar.

By the way, she started posting production artwork from Bao on her Instagram account.