“I saw how much fun my dad had. And while I didn’t know what I wanted to go into at the time, I knew it would be a creative field,â€� says Beltran, who is currently completing a master’s in animation and visual effects at Â鶹ӳ»­´«Ã½.

Immigrants from Venezuela, Beltran’s family came to the United States to provide her with a better life and more opportunity. It’s something that keeps her grounded and motivates her to follow her dreams. She attributes many of her successes to her family’s unwavering support and her experiences at Â鶹ӳ»­´«Ã½ — home to some of the top digital arts and entertainment programs in the nation.

Most recently, Beltran helped turn visions into life for Walt Disney World’s 50th anniversary celebration. And just shortly before the scheduled Oct. 1 celebration, she had another once-in-a-lifetime opportunity: working with her inspiration, her father. Javier Beltran was added as an animator on one of the projects she was part of to help with the show’s final touches.

“It was such a sweet moment that I’ll always cherish,â€� she says. “I watched him work on cool projects growing up, and now I had the opportunity to work with him on something so significant. It was very special and something I didn’t think I’d ever get to share with him. He’s been a big inspiration in my life.â€�

Creating Magical Experiences

After graduating with her bachelor’s of fine arts in experimental animation and bachelor’s in game design, Beltran packed up and headed to New York City where she got her start at ABC News. While broadcast television gave her first-hand industry experience, she remained focused on forging a path within animation. So, when an opportunity to create magical moments for Walt Disney World became available, she jumped at the chance to return home.

“I believe it was the right opportunity at the right time, and I was so happy to be close to family again,� she says.

In January 2020, she started one of her first big projects: Beacons of Magic for Walt Disney World’s 50th anniversary. The beacons light up the four park icons — three of which she worked on — to welcome the magic that inspires guests. She helped Cinderella’s Castle, the Tree of Life and the Tower of Terror at Magic Kingdom, Animal Kingdom and Hollywood Studios, respectively, all come to life as the sun sets each day.

Creating the beacon for the castle was one of Beltran’s favorite memories. She was part of the previsualization process and modeled all the decor on the castle for the projection show purposes. And, today, the magic extends beyond just the parks. An image from the creative currently appears on McDonald’s Happy Meal boxes.

“It was an unexpected bucket list item for me,� she says. “I never expected to have my work appear on a Happy Meals box, but it was very cool and surprising to see it.�

Disney Enchantment was another project that Beltran was part of in preparations for the momentous celebration. The projection showcase adds touches of magic from Cinderella’s Castle all the way down Main Street USA — the first time that lighting effects encompass more than just the castle.

She relished the chance to animate on the same surface that she once walked down as a little girl, captivated by the magic. It’s something that still provides a sense of nostalgia.

“Being on the other side and getting to create some of that magic is just incredible.”

“Being on the other side and getting to create some of that magic is just incredible,� she says.

The opportunity to work on new shows and experiences to kick off the festivities for Walt Disney World’s 50th anniversary is a dream come true for Beltran. From visiting the parks with her family growing up to now creating some of that magic is something she never thought she would accomplish, especially at such a young age. Throughout each week, she still takes time to reflect on the impact of her work — ensuring that she never loses sight of the magic that embraces families at the parks every day.

It was an incredible experience to be part of. And being able to celebrate that moment with my dad? It’s something I’ll always treasure.

“I don’t think the magnitude of what we were working on hit me until I was in the park on Oct. 1 and had the chance to see people’s reactions. I thought about how this will be a special memory for everyone — especially the kids. Seeing their faces light up as they watched the show is something I’ll never forget.� she says. “It was an incredible experience to be part of. And being able to celebrate that moment with my dad? It’s something I’ll always treasure.�

A Path to a Better Future

Beltran and her family came to Celebration, Florida, when she was 4. And while Beltran acclimated quickly, it took her parents some time to adjust to their new life.

“My parents had to learn the language from scratch. They had to restart their careers,� she says. “It was a sacrifice they were willing to take, though, to give me the best life possible.�

Commitment to providing better opportunities for future generations is something that runs deep in Beltran’s family. Her grandparents moved from Spain to Venezuela to escape Francisco Franco’s rule during the Spanish Civil War.

“My grandmother didn’t have much of a formal education. She didn’t grow up reading or writing,� Beltran says. “But she always instilled in me the value of education. She wanted to ensure I had the chance to accomplish my dreams.�

With her grandmother’s advice in mind, Beltran was motivated to succeed inside and outside of the classroom. And when it came time to applying for college, she turned to a high school guidance counselor — a Â鶹ӳ»­´«Ã½ grad — to help navigate the process. Beltran was in the top 10% of her high school graduating class, so attending a university with a good design and animation program was one of her priorities. After narrowing down her college list, it was time to start visiting each school. And it so happened that one of the nation’s top animation programs was right in her backyard: Â鶹ӳ»­´«Ã½.

“I loved the idea of staying close to home,â€� Beltran says. “But it was during a campus tour with one of my friends who attended Â鶹ӳ»­´«Ã½ that sealed the deal.â€�

“Â鶹ӳ»­´«Ã½’s ties to space are ingrained in its core … I really enjoy stories that are so thought out and knew this was the school for me.”

While touring campus, Beltran’s friend told her the story of how Â鶹ӳ»­´«Ã½ was founded — the university’s roots in space exploration and its mission to support the growing space industry. The motto “Reach for the Starsâ€� also hit home for Beltran as it was the slogan of her elementary school.

“Â鶹ӳ»­´«Ã½â€™s ties to space are ingrained in its core. The entire campus was built with that idea in mind. The street names, the on-campus housing communities, the Pegasus … it’s in every fiber,â€� she says. “I really enjoy stories that are so thought out and knew this was the school for me.â€�

Pursuing a Creative Calling

From the moment Beltran was accepted to Â鶹ӳ»­´«Ã½ and started her first day of classes, she was eager to get involved. Throughout her undergraduate career, she was part of LEAD scholars, President’s Leadership Council, GameDev Knights, among other clubs and organizations on campus. She credits Â鶹ӳ»­´«Ã½ and the opportunities provided to students for her success.

“Â鶹ӳ»­´«Ã½ helped shape my creative and hard skills, but also my soft skills. For instance, I had the chance to get hands-on experience with presenting to various panels and groups — something that transferred to what I do today,â€� she says. “I remember the phrase ‘Â鶹ӳ»­´«Ã½ Stands for Opportunity’ and I truly believe that. Many of my opportunities started at the university and I’m so thankful for that.â€�

She still looks back on the football team’s undefeated seasons, attaining the Order of Pegasus — Â鶹ӳ»­´«Ã½â€™s highest student honor — and her graduation day as some of her all-time favorite memories as a Knight. Beltran hopes that receiving the Order of Pegasus as someone in the arts inspires those that come after her.

“Having that acknowledgement especially as someone in the arts means so much to me,â€� she says. “I want to show other creatives that they can get there, too …. that it is possible.â€�

When graduation day approached, Beltran’s family gathered together in the arena to watch her cross the stage. It was momentous for each of them as she became the first person in the family to achieve a college degree. She vividly remembers walking across the stage and looking up at her grandmother in the stands — the tears rolling down her cheeks and the smile that lit up her face.

“After the ceremony, my grandmother gave me an orchid lei and said ‘You have no idea how much I thought I’d never get to see this moment,’� she says. “Seeing her smile and how happy my parents were met the world to me. I work so hard every day to live up to the sacrifices they made for me … I want to make them proud.�

Thinking About the Future

Beltran often thinks about the future and what’s next. She understands the competitiveness and challenges that arise in the world of animation and wants to ensure she stays current with the latest techniques — which is why she enrolled in Â鶹ӳ»­´«Ã½â€™s master’s in animation and visual effects program, part of the .

“At the time, the MFA in animation and visual effects program was just getting started but was already well-ranked. I think that’s a testament to the professors and people in the program at the time,� she says.

“Being part of something so special every day is out of this world. I owe it all to my family who have been there to support me every step of the way.”

Along with taking graduate classes, she is currently working on her next big project. She can’t say what it is yet but is excited to see her next creation come to life.

“Being part of something so special every day is out of this world. I owe it all to my family who have been there to support me every step of the way,� she says. “I’m excited for the future and for all the experiences still to come.�

“I fell in love with the artistry complemented by the technical side of automotive design work,� says Viscione. “My passion is turning concepts into reality.�

And while he doesn’t build cars for a living, Viscione fuses these skills into his work as an art director and visual effects supervisor for FX — the television network that’s home to original shows, like American Horror Story and Mayans M.C. However, a career path in animation wasn’t always on his radar.

After high school, the New Jersey native landed in South Carolina where he studied international business.

“My family thought that business would be a great fit,� he says. “But after an accounting course, I knew it wasn’t for me. Sometimes you just have to try a couple different things before you land on what you want to do.�

Throughout his freshman year of college, he would take the train to Florida as a getaway. During one of the trips, he made his way to Â鶹ӳ»­´«Ã½ where he soaked in the campus atmosphere.

“I remember how welcoming campus felt. The people were great, and I could tell how much the university cared about their students which is something that drew me here,� he says.

After wrapping up his first year of college, he decided to make the move and become a Knight. One question remained though: What should he major in? It wasn’t until after talking with an advisor at Â鶹ӳ»­´«Ã½ that he learned more about the BFA in animation program and how it tied to his creative and technical interests. The School of Visual Arts and Design — ranked No. 2 among top public animation schools and colleges nationally — helped Viscione strengthen his computer graphics and visual effects skills.

Upon graduating from Â鶹ӳ»­´«Ã½, he moved to New York City to pursue his dreams. Viscione jumped right into roles including artist, designer and project lead for major film and commercial houses. But after 10 years in the Big Apple, he had a creative itch for something new and different which ultimately brought him to Los Angeles.

Viscione shares his journey that led him to where he is today and provides a glimpse into what it’s like working in visual effects for a large television network.
What drew you to animation?
I originally wanted to do industrial design. But after talking with an advisor at Â鶹ӳ»­´«Ã½ about my interests, I learned more about animation and this world that I didn’t know existed. At the time, I never considered how 3D animation was done, like the behind-the-scenes of creating a Pixar film. But I found it interesting, so I decided to sign up for classes and go from there.
What was your career path after graduating from Â鶹ӳ»­´«Ã½?
Right after college, I moved to New York where I worked as a freelancer — essentially under my own business name. I did that for nearly a decade and it was great. I gained experience with companies like The Mill, Method Studios, Framestore, MPC and others. After years of being my own boss though, I was looking to push myself further into a supervisory or managerial role.

Around the same time, a friend reached out to me about a potential opportunity in Los Angeles. He talked about building a high-end visual effects shop inside of a network and wanted to see if it was something I’d be interested in. I jumped at the chance to help start something new — something that wasn’t the norm at the time. I was drawn to the idea of building a team from the ground up. Plus, it gave me the opportunity to fuse my creative and technical background.
What’s your current role at FX?
I currently work as the art director and visual effects supervisor for FX. My role focuses on helping produce high-end marketing for bigger budget shows — from full-fledged teasers to packaging graphics.

Take American Horror Story for example. Every year, there’s a campaign for the show. We build and drop advertisements before, during and after the show. Leading up to a season’s release, we’ll drop a teaser to generate interest and create a buzz around different forms of media. Other elements include short clips that remind the audience about what show they’re watching and where.
What does your day typically look like?
Most of my time is spent developing creative for different shows. The process can start anywhere from a few weeks to months before a new show or season. My team will get a creative brief or a pilot script to review and start brainstorming. Once we get approval on a concept, we’ll build and execute on the creative.

I really enjoy taking a concept and bringing it to life. Our team handles all the animation work in a traditional sense. We storyboard out the piece and help put everything together. After that, the piece goes to sound design and final color before it’s sent off to the masses.

Throughout the year, I’ll also be on set helping guide the shoot and ensuring that the visual effects team gets all the assets needed. Just a few weekends ago, I did my first Zoom on-set visual effects supervision. Filming was done in London, so I was online at 3 a.m. There was a lot of coffee involved, but it was a fun one to work on.

From a technical standpoint, I may get involved with helping fix problems or doing some coding. One of our early big shows, Mayans M.C., involved building these worlds made of motorcycle parts — thousands of them. To make things more manageable, I built a searchable library. It helped improve our team’s efficiency and was a great way to blend my creative and technical sides.
How would you describe the feeling of seeing your work on TV and around the web?
It’s one of those things that never gets old. The work I do can take anywhere from a couple of months to over a year. So when I see others — like the show’s fans or family and friends — reacting to it and appreciating the work we’ve done, it’s a really good feeling. It gives you that satisfaction of what you’re doing.

One of my good friends growing up points out things I’ve worked on to his family. If he watches something, whether it’s an FX show or back when I did commercials and film, he’ll tell people that he knows who worked on that. It really touched me to hear about the impact of my work.

You mentioned working on different FX originals. Can you share some of your favorites?
Some of my favorite projects have been on our bigger shows, like Legions, Mayans M.C. and American Horror Story.

Building advertisements for Legion season 3 was one of the trickiest, yet fun, things I’ve worked on from start to finish. Early on, I got the concept for the show and had to find ways to incorporate the storyline into the creative — a character whose power is tied to his mental illness. It was fascinating and challenging at the same time.

Then there was Mayans M.C. season 2 which was completed fully in house with a team of about five people. The 30-second spot is intensive and beautiful. Our team put a lot into it — I don’t think a lot of studios would get that complex with it. So the fact that we were able to do it with such a small team was incredible.

Another favorite project to work on was American Horror Story Hour season 8. I worked on the skull melting, which took a lot of practice and learning new techniques to get the final visual.

Never stop learning. Always push yourself, even if it’s learning something that’s out of your comfort zone.

What advice would you give to someone interested in pursuing a career in animation?
When you’re younger, don’t be afraid to take career risks if you’re given the opportunity. Work in another county or take a position with a new startup if you want. I’m happy with the way my career has gone, but I wish someone told me to get out there and take chances. Don’t be afraid to do something new or different.
What’s next for you?
This is something I find myself thinking about a lot. COVID-19 has changed the landscape of many things. Before the pandemic, there was a lot of work to do on-site. But now after working remotely for more than a year, it’s opening other avenues that I didn’t expect to exist.

I really like what I do right now. I get to try and do different things and have my hands in a lot of aspects of this type of creation. I’m still pushing myself to become a better artist and manager. Maybe one day I can branch more into traditional directing. I think that’s my next goal. We’ll see though — that’s a completely new horizon for me.

Animation Career Review recently ranked the SVAD No. 2 among the nation’s top public animation schools and colleges in 2021.

Â鶹ӳ»­´«Ã½â€™s prestigious bachelor’s and master’s degree programs with a focus in animation include character animation, experimental animation, and animation and visual effects ­— resulting in a steady pipeline of exceptional talent to the industry.

Many graduates are working for major animation and gaming companies such as Walt Disney Animation Studios, PIXAR Animation Studios, Blue-Sky Animation Studios, Weta Digital, Framestore, MPC, Titmouse, Netflix, Genius Brands, Reel FX, Nickelodeon Animation Studios, Animal Logic, Blur Studios, Epic Games, Electronic Arts, Riot Games, Turtle Rock Studios, and Blizzard Entertainment or creating simulations for organizations including the U.S. Navy, NASA, DISTI, and Lockheed Martin.

From visual effects to animation to lighting, Â鶹ӳ»­´«Ã½ grads have been proud to be part of the team responsible for bringing the following films to life:

Avatar 2 (anticipated 2022): Caleb Hecht ’11

Avengers: Infinity War (2018): Ivanelis Carrasquillo ’11, Scott Knapp ’11

Big Hero 6 (2014): Mohanned Hassan ’11

Fantastic Beasts and Where to Find Them (2016): Annie Capps Wightman ’06

Frozen II (2019): Michael Anthony Navarro ’08

Kubo and the Two Strings (2016): Tim Garbut ’06

Moana (2016): Elissa Cordero Hansen ’09

Old (2021): Lance Ranzer ’03

Onward (2020): Theresa Falcone ’14 and Christopher Sanchez ’14

Soul (2020): Theresa Falcone ’14 and Christopher Sanchez ’14

Raya and the Last Dragon (2021): Kendall Litaker ’08

Ready Player One (2018): Philip Negroski ’12

“You can tell it feels special, when you know that people are going to love the movie when it is released,� Sanchez says. “I could feel it when I was working on Soul.�

Soul, which was released on Disney+ on Christmas, became an instant hit among audiences and critics alike, and earned the Golden Globe and Academy Award for best animated feature.

The first Pixar film to feature a Black protagonist, the story follows middle school music teacher Joe Gardner, who seeks to reunite his soul and his body after they are accidentally separated, just before his big break as a jazz musician.

As animators on the film, Falcone and Sanchez were tasked with bringing the characters to life through emotions that feel authentic and genuine.

The two are no strangers to working on beloved films since graduating from the School of Visual Arts and Design in 2014. They worked together before on Smallfoot, and in 2019, Falcone collaborated on Oscar winner Toy Story 4.

They took time to share about their experiences collaborating on Soul.
What goes into the process of bringing a character to life?
Teresa Falcone: It is a very collaborative process. First we’ll see the storyboards and the characters in layout in the scene. A lot of the time, we will shoot our own video of ourselves acting out the scene so we can reference that as well as pull video of other actors to try to find and bring that authenticity to the characters. For example, I worked a lot with Joe’s mom, Libba, and I’m very different from that character. I did shoot my own video reference for her, but I also researched a lot of other Black actresses in the process of animating her.

Chris Sanchez: The voice actors typically record their lines before we animate and we have access to those recordings of them in the sound booth. We will watch those to see if they do any cool gestures or any specific facial expressions that really fits the character and we can incorporate. So like Teresa said, you pull things from different references that you think fit the character and you show the director, and the director will say, “Yeah I really like this,� or “I like this part but let’s try to change something at the end or middle.� You just keep reiterating on it. Ultimately the director decides what stays and what goes.
Soul covers some really deep, existential themes. What did you think when you first were introduced to the story?
Falcone: It’s really different for an animated movie. I feel like a lot of people look at animated movies as kids movies but they’re not just kids movies. They’re movies for everybody and they have an important message. I think we knew it was going to be a big deal going out into the world.
Why do you think Soul resonated so well with audiences?
Sanchez: I feel like people needed the movie now more than ever because of the pandemic. I feel like this past year especially, people’s plans got put on hold because things were shutting down. The overlying message of Soul is to not forget about what’s really important in life — the relationships you have and the experiences you have. It’s not just about going out and achieving your dream job. I feel like that message resonates with a lot of people because they’re going through similar experiences the main character is going through.

Falcone: I think even the fact that it was released at Christmas instead of June like it was initially scheduled for made it the perfect time for families to sit down together and digest everything that happened though the year.

Falcone: Yes that moment in the movie in particular, so many of us as artists were like, “I know how that feels.�
What was most rewarding about working on Soul?
Sanchez: I feel like it was this big Band-Aid that the world needed right now. But also it’s Pixar’s first Black lead, and I think that’s awesome. I worked on Spider-Man: Into the Spider-Verse which had a half-Black, half-Latino lead, so I’m always really proud when I work on something that hasn’t been done yet.

Falcone: It feels like we’re helping progress forward and it feels really good to see people be able to see themselves represented on screen. It’s just special knowing we helped in some small way.
You both also worked on Onward, which along with Soul were both nominated for the Golden Globes and Academy Awards best animated feature. Is this moment sort of like when parents are asked which kid is their favorite?
Falcone: Yes, that’s exactly it (laughs). They’re both so special to us. I don’t think anyone is rooting for one over the other. We know the directors and we’re happy for them. It’s great knowing that we made some good films.

Sanchez: Onward was my first Pixar movie so this has been an extra special year for me. I’ve had this feeling before in working on films — you can tell it feels special, when you know that people are going to love the movie when it is released. I could feel it when I was working on Soul. The nomination is great but I’m much more happy that the general public is reacting well to it.
What’s next for you?
Falcone: We’re working on a coming-of-age film called Turning Red which will be out in the spring of 2022.

Motion Capture + Acting

Theatre Assistant Professor David Reed, who specializes in stage combat and movement, is “routinely looking for projects that will challenge and inspireâ€� his acting students. He reached out to Cheryl Briggs and Rich Grula, animation faculty members from Â鶹ӳ»­´«Ã½’s Florida , with his idea: to give his acting students the chance to be involved with motion capture technology, simultaneously providing student animators mocap footage for their projects.

“The hope is for students to walk away from the process with animation footage samples showcasing their ability, as well as new connections that bridge industries,� says Reed.

Grula and Briggs were on board, and the collaboration was born.

Acting professors Be Boyd and John Shafer joined Reed to take their students to the Â鶹ӳ»­´«Ã½ Downtown campus for mocap workshops. Theatre students were given a behind-the-scenes lecture by Briggs before select students developed a performance for mocap. By wearing a specially-designed suit that captures the imprint of the performer, the acting students gain storytelling experience they wouldn’t have had inside the Theatre building.

Briggs, an animation professor, wanted to better prepare her students for the intricacies of the modern animation process. One of her senior character animation classes attended an acting workshop with Boyd where they learned more about the art and intention behind motion. Student Crissy Peters was thrilled to take part.

“This collaboration is really important for us. It helps to know more about acting and human motion so that we can make our animation more realistic and believable,� Peters says.

Another student, Kenna Hornibrook, agreed.

“The best way to understand how the body moves and works is to experience it firsthand. It’s exciting to do things like professionals and see the results.�

To Briggs, collaboration is always a good thing.

“There are a lot of possibilities. The key is finding a mutual benefit for everyone involved,� Briggs says.

Her students now have mocap footage from actors that can be put in a “library of motion� to be used in future projects.

Acting + Film

Boyd saw the opportunity for another collaboration for her Camera Acting and Auditioning classes.

“I had been looking for practical on-camera experiences beyond our classroom for our acting students.�

She contacted Tim Brown, radio/TV program coordinator at the , and he joined in her enthusiasm.

Students in the acting classes worked with several film and media classes like Narrative Production, Videography and Cinematography lead by faculty members Tim Ritter, Stephanie Rice and Kevin Smith to develop scripts specifically for student actors. This gave acting students the opportunity to connect with budding directors and script writers, becoming the first readers and performers for exciting scripts in development by film and media students.

Acting student Robbie Toussaint felt he gained several skills from working with film students: from the chance to play a myriad of characters, to working with directors of different styles, to learning how to dub over poor audio. To him, the collaboration better prepared both classes for their future careers: “When we get in the real world, we have a head start on everyone else.�

Rice believes her R/TV students have grown immensely from the crossover. “It has been great for the R/TV students to work with professional actors. Their student projects look better than ever because of the theatre involvement.�

Moving Toward the Future

These two collaborations have had profound success, and the hope and potential for similar collaborations in the future is high. The experiences add to the students’ resumes and portfolios, providing an edge in competitive fields and building relationships across disciplines that could open doors in the future.

“This experience was a good test, and I think we should continue to define and shape a collaborative environment between our programs,� says videography faculty Smith. “In the professional world, collaboration is the key to success. Much of what we do is rarely an individual endeavor.�

In upcoming semesters, Boyd hopes to develop a specific class in mocap for acting students so both acting and animation students alike have consistent access to collaborative opportunities for their projects.

“This is a very exciting first step in a relationship that I am sure will continue to grow. Our acting students have gained more practical performance experience in film, media and animation through these collaborations,â€� says Boyd. “The filmÌý²¹²Ô»åÌýmedia students will gain a better understanding of coaching actors through the acting process while on set, as well as utilizing their performance skills to enhance their projects. This will lead to more engaging characters in their film and media projects and ultimately better final products for their portfolios. It’s been a wonderful relationship that has benefitted everyone involved in the experience.â€�

What was it like being in the Army?

I did my basic training in Fort Jackson, South Carolina, and so it was pretty much a lot of the drill sergeants shouting in your face and 4 a.m. wake-up calls and constant PT [physical training], rappelling from towers, M16 training, grenade training and all of that.

What is 71 Lima?

They call the jobs the MOS [military occupational specialty] that you select, so I selected something safer — 71 Lima. So that would be admin and personnel. And then I went on to also do some Fox 5 training, which was postal. So a lot of data entry, and memorandums and payments, things like that. Invoicing. I did go to Korea and did a lot of basically working out of a cave, computers everywhere, data entry going on, 15-hour shifts — in that kind of environment. I lived in tents. Choosing a Lima position and something safer allowed me the flexibility I needed to continue college at the time.

What was it like working for Bloomingdale’s?

I worked with Bloomingdale’s for several years as an image editor for their catalogues. I did a lot of photo retouching and consulting with photographers to see which photograph might be the one to use. Just production work and putting everything as a whole together and sending it off.

How do you think your background in the military and the workforce has prepared you for FIEA?

I would say those high-stress environments and having to perform despite obstacles has been definitely helpful and an eye-opener for me. And also just working as a team and counting on each other to get a specific job done was crucial for me.

What are you most looking forward to in coming back to Â鶹ӳ»­´«Ã½?

Checking out and getting into the whole different spectrum of animation is what I’m looking forward to. Seeing how much design has evolved over the years in so many different spectrums and just really kind of seeing what goes on behind the scenes for what comes together to make a game or a simulation.

As a mother, how do you handle work-life balance?

I have two little ones, seven and four, and my husband is my support team, so we will be rotating. Now that my son is going to school as a kindergartner, all of us will be going to school.

What is your favorite smell?

The baby scent – you know what I mean. But in addition, chocolate chip cookies fresh out of the oven.

At FIEA, you get to decorate your desk. What is going to be the first item you place on your desk?

Oh yeah my family. My kids. My two little ones for sure.

What are you most worried about when starting the program?

Probably the coding. Also I am a part of a volunteer organization called Soldiers to Scholars at Â鶹ӳ»­´«Ã½, where I participate in the Walking School Bus after-school program. I am worried about balancing my time between volunteer hours, school and my family.

Why did you choose FIEA?

You have these great professors with all these great backgrounds along with these wonderful creative minds of students and being able to learn from them, too. Also the innovative technology on site. Everything’s kind of a real-world set-up from what I understand. I think that will be crucial in giving me that insider view for the next step in my career.

This is the third year of the university and festival’s growing partnership, which this year also begins WÂ鶹ӳ»­´«Ã½ TV’s involvement as the festival’s media partner. The PBS station and film festival are developing some joint projects.

The college’s free Education Day will kick off the four-day festival of more than 70 short films from a dozen countries. Three of those films in competition were directed by Â鶹ӳ»­´«Ã½ graduates.

Lisa Mills, an associate professor of film in the college’s School of Visual Arts & Design who is leading the workshops, said this year’s sessions focus on animation because she said she’s never seen the topic offered as an educational component at other festivals. The workshops are geared for anyone who’s ever thought about writing, producing, animating or directing a film.

A 9 a.m. panel discussion on “Animation Adaptions to the Digital Age� and a 10 a.m. discussion on “Careers in Animation� will be led by Mills at the Greater Sanford Regional Chamber of Commerce, 400 E. 1st St. The panel will consist of:

At 11:30 a.m., Mark Seppala, a Sanford artist and Walt Disney World’s former general manager for character merchandise, will talk about “My Life in Animation,â€� including his time in the field of merchandise design and animation. A graduate of the New England School of Art and Design, he majored in animation and advertising design. After 25 years at Disney, he retired three years ago and now has a studio at the Gallery on First in Sanford.

Space is limited so reservations are recommended through the festival’s website, LoveYourShorts.com.

At 7 p.m., the student films that were completed last year will be screened at the Wayne Densch Performing Arts Center, 201 S. Magnolia Ave.

With titles such as Grizzly Girl by Destiny Deming, Mirrored Canvas by Christine Paul, Ape and Turtle Versus the Fire Monster by Rick Lee, and Burp by Benjamin L. Gill, there’s a little something for all film fans. Some of the films have mature themes and language, so viewer discretion is advised.

Three student films that were submitted and accepted by the festival for competition are:

The rest of the festival weekend at the Wayne Densch Performing Arts Center will showcase short films in seven categories (comedy, drama, animation, documentary, sci-fi/horror, Florida Flavor, and E for Everyone), plus an opening-night variety of films, and a Best of the Fest competition on closing night. Also on Saturday during the festival, a workshop will be offered for middle and high school students to see what it is like to be on a working film set, and a panel of visiting filmmakers will present a discussion and Q&A on techniques, tips and current projects. All the workshops and panels are free.

For a schedule of films, events and ticket information, visit the festival website. And for updates: .

More than 1,000 Â鶹ӳ»­´«Ã½ students and faculty members will participate in the festival of performing and visual arts that will showcase studio art, music, theatre, dance, gaming, animation, photography and film. This is the first time all the Â鶹ӳ»­´«Ã½ artistic endeavors can be experienced in one place, and all activities are free and open to the public.

The week also will provide invited high school music and theater students unique access to workshops led by Â鶹ӳ»­´«Ã½ faculty members and an opportunity to showcase their talents during select performances at a state-of-the-art venue.

“We’re presenting the depth and breadth of Â鶹ӳ»­´«Ã½â€™s arts units to Orlando, taking them off campus and presenting them in one of the best spaces in the southeast,â€� said Jeff Moore, director of the Â鶹ӳ»­´«Ã½ School of Performing Arts and artistic director of the festival. “Also, this shows how arts integration across all disciplines happens at Â鶹ӳ»­´«Ã½. This creative environment is necessary to develop community outreach.â€�

Events are still being added to the Â鶹ӳ»­´«Ã½ Celebrates the Arts schedule, but some of the highlights will feature:

*  Icarus at the Edge of Time. The Â鶹ӳ»­´«Ã½ Symphony Orchestra will perform the music of composer Phillip Glass with an accompanying movie by Al & Al, based on a children’s book by Columbia University physicist Brian Greene about a boy traveling in outer space who challenges the power of a black hole. Friday, April 10, at 7:30 p.m.

Kate Mulgrew, who portrayed Capt. Katharyn Janeway in the Star Trek: Voyager TV series, will provide live narration for the fable.

The Icarus presentation is part of a National Science Foundation project that seeks to broaden the participation of students in STEM (Science, Technology, Engineering and Mathematics) research activities, and each year Â鶹ӳ»­´«Ã½ organizes some STEM activities in an artistic way. This event will be an interdisciplinary arts-and-sciences collaboration involving the School of Performing Arts and the College of Sciences. “It is an excellent example of the integration of science, literature, and the performing and visual arts,â€� said Debra Reinhart, Â鶹ӳ»­´«Ã½ assistant vice president for Research and Commercialization.

*  Several musical collaborations are planned with Â鶹ӳ»­´«Ã½ partners. The Flying Horse Big Band will perform a cabaret with the Orlando Shakespeare Theater, themed “Shakespeare in Loveâ€� (Saturday, April 11, at 8 p.m.); Â鶹ӳ»­´«Ã½ Choirs will provide the vocals for the Orlando Repertory Theatre’s production of Civil War Voices, which uses diaries and letters to tell the true stories of people who lived through the war (several matinee productions throughout the week); and the Orlando Philharmonic Orchestra will hold a rehearsal for Tosca with an instructional class for voice students following.

*  Theatre Â鶹ӳ»­´«Ã½ performances will include scenes from Nine, Hair, class projects, alumni cameos, and scenes from students who have been nominated for Kennedy Center Irene Ryan Acting awards. The Theatre Â鶹ӳ»­´«Ã½ Dance showcase will feature a selection of dance pieces choreographed and performed by Â鶹ӳ»­´«Ã½ students and faculty members.

*  Music concerts will include performances from the Collide Percussion Music Festival, Â鶹ӳ»­´«Ã½ Symphonic Band, Â鶹ӳ»­´«Ã½ choruses, and the chamber and wind ensembles.

*  Students in the School of Visual Arts and Design will have works from digital media, film, animations, games and studio arts showcased on every floor at the Dr. Phillips Center. SVAD faculty will present lectures on the arts and will be available for portfolio reviews from high school students. A Game Jam will be held so patrons can watch games being developed during a 24-hour period.

* The Florida Interactive Entertainment Academy also will demonstrate the interactive development process of video-game design. Final products and artwork will be on display showcasing the works of students and professionals.

* Performances will be scheduled for select high school musicians. There also will be clinics and workshops for the participating musicians. Schools that would like to participate can contact Kelly Miller, coordinator of music education, at Kelly.Miller@ucf.edu.

Organizers of the festival hope to expand its length and scope in coming years.

“We are using this opportunity to share the products and performances of our university students and faculty. We want the world to know that Â鶹ӳ»­´«Ã½ invests in the arts, and this festival makes that statement,â€� Moore said. “This celebration is a showcase for Â鶹ӳ»­´«Ã½ to share the return on that investment with the city and the entire Central Florida region. We are looking forward to this inaugural event and sharing Â鶹ӳ»­´«Ã½â€™s arts activities, both on and off campus, with everyone for years to come.â€�

Visit  for more information and updated scheduling. All events are free, but tickets are required for many of the programs. Tickets will be available on the website later this month.

“They offered me the job by email, and all of the paperwork was by email too,” he explains. “I only got one phone call, so as I was driving out to California, all I could think of was, what if they made a mistake and called me instead of the name above mine or something? I still thought there was a small chance they wouldn’t let me through the gates!”

But, they did let him through the gates, and he went to work as a lighting apprentice on “Frozen,” the highest-grossing animated feature film of all time.

Mo lit shots for the songs “Let It Go” and “Do You Want to Build a Snowman,” as well as the scene right after “Fixer Upper.”

As a fan of Disney, he wasn’t surprised when the film won the 2014 Oscar for “Animated Feature Film.”

“It’s a beautiful movie, and I still get choked up during some scenes,” Mo says.

Although he didn’t get to attend the star-studded ceremony, he says the directors, producer and all of the studio heads gave speeches and toasted the rest of the creative team the next day, even giving them a photo op with one of the golden statues.

Mo originally applied for the character animation program at Â鶹ӳ»­´«Ã½, but when he didn’t get in, he decided to pursue the experimental animation program. But, Mo didn’t always want to work in the field. Instead, he dreamed of being an architect, like his grandfather. He says what he does now is a bit like it, but without all of the math, and everything he makes exists only in a computer.

His advice to current experimental animation students? “Your education is a state of mind, not just credit hours and a diploma. As long as you’re trying to learn and working hard, you will succeed. All of the answers are out there — you just have to be persistent enough to find them.”

BREAKING THE ICE Q&A

Q. Did you have a favorite professor?

A. Matt Dombrowski and Scott Hall were great. Scott has a really keen eye and a lot of experience in a lot of different areas. Matt, at the time, was a fairly recent Â鶹ӳ»­´«Ã½ graduate from the same program, and he really cared about his students a lot. He’d go out of his way to help everyone.

Q. Favorite Disney movie?

A. “Aladdin” is my favorite Disney movie. I loved Genie and the music. I remember my older brother telling me that artists hand drew every frame and that there were tens of thousands of drawings in each movie, and I distinctly remember thinking, ‘That’s crazy! I don’t ever want to do that!’

Q. What or who inspires you?

A. Working at Disney every day is really inspiring because you’re surrounded by amazing artists, many of whom have contributed to some of your childhood memories.

Q. What was your reaction when you won the Oscar?

A. We had an Oscar viewing party at the studio and everyone just flipped out. It got really loud and there were a bunch of big bear hugs all around. It was great!

Q. What are you currently working on?

A. I’ll be working on “Big Hero 6” soon.

Read more stories about alumni at .

This week, he and four other aspiring Â鶹ӳ»­´«Ã½ student artists were awarded the J.R. Hopes Art Scholarship, named after the senior vice president of marketing at AOL-Time Warner during the height of the Internet boom.

The scholarship was established to encourage talented arts students with financial need to further their artistic careers. Each winner will receive a $2,000 scholarship for the 2011-12 school year for tuition, textbooks or other items for their art education.

This year’s winners are Lukas (3-D animation), Nicole Gayton (sculpture), Natasha Kinsley (painting and sculpture), Michael Ryan Reboyro (2-D animation) and Kwok Yin Mak (digital media).

To view the winners’ works and learn more about the award, visit the website.