For the 2015 competition, teams are asked to address the following project challenge:
Disney has world class theme parks, resorts, cruise ships, and other entertainment venues that are highly popular with families from all around the world. We challenge you to take what Disney does best today and apply it to transportation within a major city. Your uniquely Disney transportation experience should include station/stops and vehicle designs that reflect the diversity of the city, and are accessible, energy-friendly, and fun!
Upon qualification, your team will be provided a Microsoft PowerPoint® template to submit its project:
Submission must include:
Overview of your project
Story behind your design
Description of the Guest experience
Project images, photos and/or video
Team members’ roles and project contributions
Submission may not exceed eight slides.
Submission may include only one video, not to exceed one minute in length.
All images and photos should include a description.
Do not include the name of your college/university or any team member on any page, image or video.
You may create your own characters or use existing Disney characters for the purpose of the Imaginations Competition only.
Your project submission must be sent by mail on a CD-ROM or flash drive and received by the project submission deadline. Project submission must not exceed 10MB in size.
If selected as a finalist team, you may bring artwork, illustrations, storyboards, story treatments, models, building designs and any other materials you have developed to the final competition.
Projects, entries and/or ideas may not be posted or displayed online until the culmination of the competition. Doing so will automatically disqualify the team.
All materials submitted to Walt Disney Imagineering will become the property of Walt Disney Imagineering and will not be returned.
The San Francisco International Film Festival (SFIFF), recognized throughout the world for its eclectic, intelligent and adventurous programs and live events, is accepting submissions to SFIFF58 (April 23–May 7, 2015). Works in all genres, forms and lengths are considered.
Early deadline – Monday, October 6 Regular deadline – Monday, November 3 Final deadline (shorts) – Monday, December 1 Final deadline (features) – Monday, December 8
“Premiering my film at SFIFF truly was a dream come true. Each screening was met with such warmth from the community. I couldn’t have asked for a more engaged and thoughtful audiences nor a more welcoming experience for me and my crew.”
—Sara Dosa, director of The Last Season
2014 Golden Gate Award Winners Jesse Moss (The Overnighters) and Sara Dosa (The Last Season). Photo: Pat Mazzera
Laika has made a name for themselves with their hand-crafted stop-motion animated feature films like Coraline, ParaNorman and the upcoming movie Boxtrolls. But the Portland-based animation studio wants to help hand-drawn animation make a comeback. During the Boxtrolls Hall H presentation at 2014 San Diego Comic Con International, Laika head Travis Knight would like to do a 2D hand-drawn animated feature film. Find out more about a possible Laika hand-drawn animation feature film, after the jump.
He says that every one of the Laika stop-motion movies feature small bits of hand-drawn animation composits, but he would like to one day do a whole movie in the medium. It seems like they don’t have any definite plans but you could tell from his tone that it’s something he’s been considering for a while now.
Since Walt Disney Animation Studios has abandoned hand-drawn animation feature films since the unsuccessful release of The Princess and the Frog, I’d be glad to see another animation studio get their hands back in the game. And Laika’s brand of hand crafted storytelling would be the perfect place to make it happen.
Laika is owned by Nike co-founder and Chairman Phil Knight, and run by Knight’s son Travis (who acts as its President and CEO). Laika Entertainment’s feature films are distributed by Focus Features, a division of NBC Universal.
Back in Spring, the Animag editorial team was invited on a delightful, mind-boggling tour of LAIKA studio in Portland, Oregon, where teams of craftsmen, artists and animators were hard at work on the upcoming Focus Features release The Boxtrolls (September 26). According to producer David Ichioka, “Stop motion is not the stupidest, but it is the wackiest possible way to make a film.” Here are some of the wacky things we learned about this neo-Victorian family adventure.
By the Numbers
1 week; the average amount of time for an animator to complete 3.7 seconds of footage
3.5 inches, the cuff-to-cuff measurement of baby Eggs’ sweater (created on an embroidery machine to produce irregular lines, like a hand-knitted garment). His little socks are only ⅝” long
4 scenes per week was the goal for each animator
14 different fabrics were used in Lord Portley-Rind’s white hat
24 kinds of weeds were created for backgrounds by the greens department
55 different sculpts of prop cheeses were made; different scale sizes were needed for wide, medium and close shots
56 ½”; the size of the terrifying Mecha Drill vehicle; every joint is articulated for jostling and the prop required its own stage rig
30 to 300; the range of crew at work between the beginning of shooting and the height of production
1,300 shots required vfx touches, which were accomplished by 50 artists
20,000+ props were handmade for the film; the smallest prop is a tiny sewing needle with thread
55,000 facial expression pieces were 3-D printed, with the potential for approximately 1 million combinations
125,280 individual character poses are needed to create the 87-minute film
The Puppet Department
With different artists creating delicate armature (both for characters and their costumes), hemp hair wigs and intricate costumes, there was a lot to take in.
This is the first LAIKA film that started with a silhouette lineup of characters (by artist Mike Smith).
Key influence words were: Fantasy Dickensian world, nervous lines, Ballet Russe, Impressionism.
Costumes were really pushed for this third film thanks to Deborah Cook’s period-inspired designs including lace created on an embroidery machine and cut-outs, panels and patterns made with a laser cutter.
European expressionism even factored into the “skin” painting — faces and hands were stylized with blocky colored lines and contrasting areas.
Mechanical challenges included the villain Snatcher’s belly, which has its own gear for jiggling, the Boxtrolls’ bendy midjoint and the big ballroom scene which required jointed rigs in the ladies’ skirts to create a Gone with the Wind effect.
Quote of the Day
During an informative lunch with directors Graham Annable and Anthony Stacchi, Anthony gave the best summary of the film’s dichotomy of the above-ground, cheese-filled world of oppulence and color and the dreary night world of the trolls and their antagonist: “The Boxtrolls is like if Terry Gilliam did Oliver Twist.”