EA SPORTS College Football 25 returned July 19 after an 11-year hiatus. The simulation-style football game鈥檚 focus provides an authentic college football experience that is specific to each school, including 麻豆映画传媒.

Game day elements that Knights fans are accustomed to are featured as part of College Football 25. Before kick-off, fans perform the signature U-C-F arm sign, while the team runs out the tunnel, running past the virtual Marching Knights playing 鲍颁贵鈥檚 fight song, Charge On. When the ball is kicked off, the fans yell out 鈥淯-C-F Knights,鈥� just as they do in real life. For the first time, real-life players will also be featured in the game, further replicating a realistic experience for gamers. 鲍颁贵鈥檚 reputation of being a leader in space research and education is showcased through an occasional in-game rocket launch, like the real-life SpaceX Falcon 9 rocket launch during a game against Kent State in Fall 2023.

Behind the scenes, dozens of 麻豆映画传媒 alums, including 42 graduates of the university鈥檚 Florida Interactive Entertainment Academy (FIEA), helped to create College Football 25. FIEA, the world鈥檚 top-ranked graduate video gaming school, is located at 麻豆映画传媒 Downtown, across the street from EA Orlando and is a strong pipeline of talent to the game developer.

Torres, a digital media alum who earned a minor in marketing, is one example of the invaluable experience 麻豆映画传媒 students can gain through internships. Last summer, she modeled and textured indoor and outdoor environmental assets based on real-life photographs taken at FBC Mortgage Stadium and Raymond James Stadium in Tampa for College Football 25 and the Madden NFL series.

Torres and her team used many tools, including LiDAR scanners to capture the lighting in the stadium. One scanner was placed in the middle of the stadium and scanned the entire facility, creating a 3D model. They also used individual scanners to capture models ranging from trash cans to cleats, which were then modified to the smallest detail. For example, a trash can in the stadium was scanned, then designers patched up any topology errors or holes, and added digital trash cans into the game.

Beyond scanning, the team took pictures of everything. Torres captured chairs at every angle, so artists were able to replicate them easily. She used a color palette, placing it next to the chairs, to help pinpoint the exact colors. Torres also worked with a pen-like scanner that identified the exact hex color of an object, adding further detail.

When scanning 3D objects, Torres says the main thing she tried to keep in mind was making sure the environment, whether it’s a prop or a whole scene, tells a story. An example of this was the first prop she created for EA, a coffee table for Madden NFL. The designers wanted the table to be around one or two years old, so she referenced her own coffee table that was around that age, mimicking details such as rings left from cold glasses and hot plates.

鈥淭hat’s something that you really need to have as an environment artist, you need that eye to tell a story of things as simple as a coffee table, that maybe most people won’t even notice,鈥� Torres says. 鈥淚 think that’s the main thing, and that’s something that I still follow today. And working on portfolio pieces now, just doing my very best to tell stories without there being text.鈥�

The lessons Torres has learned over her career come from a variety of places and mentors, such as EA SPORTS Environment Director Ingrid Aguero 鈥�07 鈥�08MS, a graduate of 鲍颁贵鈥檚 FIEA program. As a student at 麻豆映画传媒, the most useful information Torres says she learned was in the 3D modeling classes. Under the instruction of Nicholas Hunter 鈥�17 鈥�18MS, an instructor in and a FIEA alum, Torres gained knowledge on how to make assets that have good topology and UV mapping, which serves as a bridge between 2D textures and 3D objects. Torres also learned how to use Autodesk Maya, the industry standard program.

After being gone for over a decade, College Football 25 means many things to fans who have clamored for the game. For Torres, it鈥檚 a combination of her favorite things 鈥� Knight Nation, 麻豆映画传媒 football and video games.

鈥淚t honestly doesn’t feel real, I have a piece of my work inside my alma mater, in a game that is making a comeback after 11 years,鈥� Torres says. 鈥淓veryone’s hyped, and it’s 鈥� really cool to see the game.鈥�

The Florida Interactive Entertainment Academy (FIEA) has garnered the top spot, coming in ahead of New York University, Southern Methodist University, the University of Southern California and the University of Utah. 鲍颁贵鈥檚 undergraduate game design program also ranked highly at No. 13 for 2022.

鈥淥耻谤 top rankings demonstrate that 鲍颁贵鈥檚 game design programs give students exceptional, real-world experiences that prepare them for successful careers, fueling one of the cornerstone industries in our community,鈥� 麻豆映画传媒 President Alexander N. Cartwright says. 鈥湵涔筲�檚 FIEA graduates are extremely attractive hires for the gaming industry鈥檚 leading companies 鈥� and our students thrive after graduation 鈥� because they are trained by outstanding faculty and study in an environments that mimics an actual studio, including opportunities to lead teams and manage projects.鈥�

The programs are located at 麻豆映画传媒 Downtown in Orlando鈥檚 Creative Village, where graduate and undergraduate students learn the tools and techniques to be artists, programmers and producers in the gaming industry. The Creative Village is also home to Electronic Arts鈥� new office, putting students just steps away from internship and job opportunities.

“We focus on the development of top talent that will drive the next generation of developers in Florida and globally.” 鈥� Ben Noel

鈥淲e appreciate the recognition of the tremendous effort of our faculty and students,鈥� says Ben Noel, executive director of FIEA. 鈥淭he success of the alumni in the video game and simulation industries is what continues to drive the growth and evolution of the program. We focus on the development of top talent that will drive the next generation of developers in Florida and globally. Electronic Arts鈥� relocation a block from our program is affirmation of our success.鈥�

Henry Bell, a FIEA student who earned his undergraduate degree in film at the University of Kansas, is leading a team of 19 student producers, artists and programmers who are developing a full-fledged video game this spring and summer as their capstone project.

鈥淚t has been an invaluable experience to get to do everything a lead would do in industry,鈥� says Bell. 鈥淚 feel so much more prepared to get a job. In addition to being able to get that professionally oriented learning, I鈥檝e met great people who will be invaluable contacts in the industry.鈥�

The FIEA program has over 850 graduates now employed by more than 300 companies around the world. The starting salary for graduates is over $70,000 annually. Top employers include Electronic Arts, Iron Galaxy and Epic Games.

鈥淔IEA鈥檚 alumni network is impressive, to say the least,鈥� says Bell. 鈥淚鈥檝e been able to able to talk to multiple alumni who now work at major studios and our capstone teams have alumni advisors. My fellow classmates are also strong connections as they will go on to do great things, no doubt, and we will all be able to help one another in the future. I had connections before I came here, but it pales in comparison to the resources I have now.鈥�

Gaming has become a $159 billion industry globally. Statistics from the Entertainment Software Association indicate video games and attached industries support more than 16,000 jobs and $2.6 billion in economic impact in Florida. According to WalletHub, Orlando is the sixth best city in the country for gamers, in part due to its developer opportunities. An estimated 2,000 game developers are employed in downtown Orlando, bolstering the city鈥檚 reputation as a technology and digital media hub.

鈥淭he continuing success of the graduate and undergraduate programs is evidence of the power of experiential learning in an environment that supports digital media,鈥� says Robert Littlefield, the director of the Nicholson School of Communication and Media.

Industry Reaction

Daryl Holt, vice president and general manager, EA Tiburon (Orlando) and EA SPORTS (Austin and Madrid: 鈥淔IEA continues to be a major source of talent for our EA development studio in Orlando and an important talent pipeline for Florida鈥檚 growing experience economy. We鈥檝e been fortunate to hire many FIEA graduates over the years and look forward to our continued partnership as neighbors in Downtown Orlando鈥檚 Creative Village, where together we are educating and inspiring next-generation electronic artists.鈥�

Dave Lang, Founder of Iron Galaxy: 鈥淔IEA and 麻豆映画传媒 have been essential to our efforts to recruit the new talent we need to grow our studio in Orlando. Their game development curriculum has a focus on real-world applications that empowers FIEA graduates to hit the ground running from day one. We鈥檝e seen enormous success partnering with them over the years to welcome students to an industry where they can have a positive impact on our games and the people who play them.鈥�

鈥淚 saw how much fun my dad had. And while I didn鈥檛 know what I wanted to go into at the time, I knew it would be a creative field,鈥� says Beltran, who is currently completing a master鈥檚 in animation and visual effects at 麻豆映画传媒.

Immigrants from Venezuela, Beltran鈥檚 family came to the United States to provide her with a better life and more opportunity. It鈥檚 something that keeps her grounded and motivates her to follow her dreams. She attributes many of her successes to her family鈥檚 unwavering support and her experiences at 麻豆映画传媒 鈥� 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鈥檚 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鈥檚 final touches.

鈥淚t was such a sweet moment that I鈥檒l always cherish,鈥� she says. 鈥淚 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鈥檇 ever get to share with him. He鈥檚 been a big inspiration in my life.鈥�

Creating Magical Experiences

After graduating with her bachelor鈥檚 of fine arts in experimental animation and bachelor鈥檚 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.

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

In January 2020, she started one of her first big projects: Beacons of Magic for Walt Disney World鈥檚 50th anniversary. The beacons light up the four park icons 鈥� three of which she worked on 鈥� to welcome the magic that inspires guests. She helped Cinderella鈥檚 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鈥檚 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鈥檚 Happy Meal boxes.

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

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鈥檚 Castle all the way down Main Street USA 鈥� 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鈥檚 something that still provides a sense of nostalgia.

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

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

The opportunity to work on new shows and experiences to kick off the festivities for Walt Disney World鈥檚 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 鈥� 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鈥檚 something I鈥檒l always treasure.

鈥淚 don鈥檛 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鈥檚 reactions. I thought about how this will be a special memory for everyone 鈥� especially the kids. Seeing their faces light up as they watched the show is something I鈥檒l never forget.鈥� she says. 鈥淚t was an incredible experience to be part of. And being able to celebrate that moment with my dad? It鈥檚 something I鈥檒l always treasure.鈥�

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.

鈥淢y parents had to learn the language from scratch. They had to restart their careers,鈥� she says. 鈥淚t was a sacrifice they were willing to take, though, to give me the best life possible.鈥�

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

鈥淢y grandmother didn鈥檛 have much of a formal education. She didn鈥檛 grow up reading or writing,鈥� Beltran says. 鈥淏ut she always instilled in me the value of education. She wanted to ensure I had the chance to accomplish my dreams.鈥�

With her grandmother鈥檚 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 鈥� a 麻豆映画传媒 grad 鈥� 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聽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鈥檚 top animation programs was right in her backyard: 麻豆映画传媒.

鈥淚 loved the idea of staying close to home,鈥� Beltran says. 鈥淏ut it was during a campus tour with one of my friends who attended 麻豆映画传媒 that sealed the deal.鈥�

“麻豆映画传媒’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鈥檚 friend told her the story of how 麻豆映画传媒 was founded 鈥� the university鈥檚 roots in space exploration and its mission to support the growing space industry. The motto 鈥淩each for the Stars鈥� also hit home for Beltran as it was the slogan of her elementary school.

鈥湵涔筲�檚 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 鈥� it鈥檚 in every fiber,鈥� she says. 鈥淚 really enjoy stories that are so thought out and knew this was the school for me.鈥�

Pursuing a Creative Calling

From the moment Beltran was accepted to 麻豆映画传媒 and started her first day of classes, she was eager to get involved. Throughout her undergraduate career, she was part of LEAD scholars, President鈥檚 Leadership Council, GameDev Knights, among other clubs and organizations on campus. She credits 麻豆映画传媒 and the opportunities provided to students for her success.

鈥溌槎褂郴� 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 鈥� something that transferred to what I do today,鈥� she says. 鈥淚 remember the phrase 鈥樎槎褂郴� Stands for Opportunity鈥� and I truly believe that. Many of my opportunities started at the university and I鈥檓 so thankful for that.鈥�

She still looks back on the football team鈥檚 undefeated seasons, attaining the Order of Pegasus 鈥� 鲍颁贵鈥檚 highest student honor 鈥� 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.

鈥淗aving that acknowledgement especially as someone in the arts means so much to me,鈥� she says. 鈥淚 want to show other creatives that they can get there, too …. that it is possible.鈥�

When graduation day approached, Beltran鈥檚 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 鈥� the tears rolling down her cheeks and the smile that lit up her face.

鈥淎fter the ceremony, my grandmother gave me an orchid lei and said 鈥榊ou have no idea how much I thought I鈥檇 never get to see this moment,鈥欌�� she says. 鈥淪eeing 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 鈥� I want to make them proud.鈥�

Thinking About the Future

Beltran often thinks about the future and what鈥檚 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 鈥� which is why she enrolled in 鲍颁贵鈥檚 master鈥檚 in animation and visual effects program, part of the .

鈥淎t the time, the MFA in animation and visual effects program was just getting started but was already well-ranked. I think that鈥檚 a testament to the professors and people in the program at the time,鈥� 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鈥檛 say what it is yet but is excited to see her next creation come to life.

鈥淏eing 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,鈥� she says. 鈥淚鈥檓 excited for the future and for all the experiences still to come.鈥�

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

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鈥檒l 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鈥檚 mom, Libba, and I鈥檓 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, 鈥淵eah I really like this,鈥� or 鈥淚 like this part but let鈥檚 try to change something at the end or middle.鈥� 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鈥檚 really different for an animated movie. I feel like a lot of people look at animated movies as kids movies but they鈥檙e not just kids movies. They鈥檙e 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鈥檚 plans got put on hold because things were shutting down. The overlying message of Soul is to not forget about what鈥檚 really important in life 鈥� the relationships you have and the experiences you have. It鈥檚 not just about going out and achieving your dream job. I feel like that message resonates with a lot of people because they鈥檙e 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, 鈥淚 know how that feels.鈥�
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鈥檚 Pixar鈥檚 first Black lead, and I think that鈥檚 awesome. I worked on Spider-Man: Into the Spider-Verse which had a half-Black, half-Latino lead, so I鈥檓 always really proud when I work on something that hasn鈥檛 been done yet.

Falcone: It feels like we鈥檙e helping progress forward and it feels really good to see people be able to see themselves represented on screen. It鈥檚 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鈥檚 exactly it (laughs). They鈥檙e both so special to us. I don鈥檛 think anyone is rooting for one over the other. We know the directors and we鈥檙e happy for them. It鈥檚 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鈥檝e had this feeling before in working on films 鈥� 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鈥檓 much more happy that the general public is reacting well to it.
What鈥檚 next for you?
Falcone: We鈥檙e working on a coming-of-age film called Turning Red which will be out in the spring of 2022.

鈥淥耻谤 game design programs have state-of-the art equipment and facilities, talented and experienced faculty and the advantage of being in physical proximity to some of the nation鈥檚 top gaming companies,鈥� says President Alexander N. Cartwright. 鈥淥耻谤 goal is to not just prepare students to enter the industry when they graduate, but to position them to excel in it.鈥�

The interactive entertainment graduate program at Florida Interactive Entertainment Academy (FIEA) and the digital media undergraduate program are offered at the 麻豆映画传媒 Downtown campus in Orlando鈥檚 Creative Village district, which will be home of the new Electronic Arts Tiburon studio later this year.

鈥淲e are again excited that the Princeton Review and PC Gamer have recognized the tremendous growth and success of the video game industry and education in Central Florida鈥� says Ben Noel, FIEA鈥檚 executive director. 鈥淭he vision 15 years ago was for a creative higher-wage district with sustainable jobs and a pipeline of talent. Through the commitment of the state, city, 麻豆映画传媒 and industry, there will be 2,000 game developers and students within a few blocks of each other in 2021鈥�.

The graduate program, which started in 2005 with 12 students, now has over 800 graduates at over 300 companies in 45 different states and countries around the globe 鈥� with an average starting salary over $70,000 and Iron Galaxy, Electronic Arts and Epic Games being the top three employers. The limited-access program is home to state-of-the-art studios and world-renowned faculty. Each year, students from around the world apply, and remain in Florida where they continue to expand the region鈥檚 digital media hub.

鈥溌槎褂郴� continues to see opportunities in the areas of communication and media. This recognition is evidence of the success we鈥檝e had and reflects the atmosphere of exploration and collaboration being developed at 麻豆映画传媒 Downtown that will enable us to meet and exceed our challenges in the next-generation of media,鈥� says Robert Littlefield, director of the Nicholson School of Communication and Media.

Epic Games provided 麻豆映画传媒 information scientist and artist Maria Harrington a $25,000 grant to expand her cutting-edge augmented and virtual reality work, which she began in 2016 with a website virtual field trip guide and resulted in the VR 1.0 version, . It is available for download from and use on any game or VR-ready PC.

The , which is home to 247 acres of unspoiled Florida habitat. The landscapes range from swamps to scrubby flatwoods. The virtual arboretum provides stunning images that look real because they鈥檝e been created based on detailed and botanically accurate information. The project pulls from field observations, photos, measurements, drone footage and historical geographic information system (GIS) data. Users can also access a virtual field guide that provides more detailed information about any object in the virtual model. As users traverse the landscape, they can get a close-up view of any plant they see, and can listen to the sounds of the creatures that call the property home.

鈥淣ot only are they photorealistic and beautiful, but what you see is information that represents the data颅 颅鈥� truth 鈥� and not creative or artistic fantasy.鈥�

鈥淭hese immersive models are different than others, because they are data visualizations of the botanical and ecological information,鈥� Harrington says. 鈥淣ot only are they photorealistic and beautiful, but what you see is information that represents the data颅 颅鈥� truth 鈥� and not creative or artistic fantasy. Much like botanical illustrations of the past, they are a form of scientific communication, ideal for constructing museum exhibits and in support of educational and informal learning activities desired by the public, especially now during COVID-19.鈥�

Epic Games provided the money through its MegaGrants program, which seeks to encourage development of the unreal engine ecosystem (all the components that make virtual reality possibly online) or 3D graphics community that makes games like Fortnite more realistic. According to Forbes, the gaming industry was worth $138.7 billion worldwide in 2019. Game-based learning is estimated to account for more than $2 billion in the United States alone.

The grant will allow Harrington to explore new techniques to improve the experience and to potentially broaden the collection to initially include botanical gardens and university arboretums from the American Southwest and Pacific Northwest.

The project became a reality because of the collaboration among colleagues from the College of Arts and Humanities, and the 麻豆映画传媒 Arboretum and , in the , and the team at 麻豆映画传媒.

Harrington鈥檚 research and experimentation over the past decade has resulted in many programs that have earned local, national, and international recognition.

For example, the allows users to create a perpetual garden of native Appalachian flora with a finger tap on the surface of a smart phone or tablet. The app lets you see the world the way an expert scientist might imagine it and to experience the wild variety of flowers and plants in a springtime forest bloom surrounded by the accurate sounds of birds and insects thriving off of the nectar, wild fruits, and nuts of that habitat.

She collaborated with the Carnegie Museum of Natural History鈥檚 botanist and ecologist to authenticate all the facts, figures and plant populations of the ecosystem and then created a multi-modal, three-dimensional spatial, information visualization. With any AR enabled device, a user can create a virtual garden of wildflowers anywhere, from the kitchen to the subway station. Users can get a close look at the veins on a leaf of a Wake Robin (Trillium erectum), and can also listen to a variety of creatures in the garden including the Black-throated green warbler singing or insects like the Katydids humming. Users can experience many details and complexities of a natural world, Harrington says. The app is available on Apple iTunes and Google Play stores.

The app鈥檚 quality is so good, that in March it was named a finalist in the international GLAMi Awards. The international awards recognize the best innovative projects in the cultural heritage sector that engages, informs and excites the public. Some of the others in the competition included the Smithsonian and the Metropolitan Museum of Art.

Harrington was inspired by museum dioramas that she saw as a child at the Carnegie Institute, which had 鈥渢ons鈥� of information, but for today鈥檚 tech savvy audience, may be a bit dull. She wanted to create a way to connect people to the rich information and stories quietly locked away behind the beautiful traditional glass displays, and in a technologically modern and engaging way to help retain knowledge. That鈥檚 one reason the app can be used inside or outside museums to extend the learning impact of real dioramas and gardens, and at home or in backyards for casual social experiences.

The project became a reality thanks to an international collaboration among the members in Harrington鈥檚 lab at 麻豆映画传媒, The Powdermill Nature Reserve at the Carnegie Museum of Natural History, and the MultiMedia Technology program of the Salzburg University of Applied Sciences, Austria.

鈥淚t is all about bringing teams of experts who share a vision and have complementary skills, applying innovative technologies to create transformative and impactful applications for humanity, and to help people experience new and beautiful environments, without them even realizing it, and to learn from the experience in a personally meaningful way鈥� Harrington says.

Harrington joined 麻豆映画传媒 in 2016. She is an assistant professor of digital media in the 麻豆映画传媒 and she is part of the university鈥檚 Learning Sciences Cluster. Her research covers the development of digital media artifacts from human-computer interaction, user centered design, and data visualization perspectives. She鈥檚 had numerous papers published in peer-reviewed journals and been a speaker at several national and international conferences. She鈥檚 earned multiple awards and fellowships and is a research associate with the Carnegie Museum of Natural History, Powdermill Nature Reserve. She has several degrees including a doctorate in information science from the University of Pittsburgh and undergraduate degrees in economics and art from Carnegie Mellon University.

鈥淚 was always the kid who would stay in his room playing video games growing up,鈥� he says. 鈥淎 lot of those games left an impression on me and I thought 鈥榃hat kind of video games could I make?鈥� But, I always assumed I鈥檇 be an engineer.鈥�

At 12 years old, Pring attended a summer camp for coding and game development. He was immediately hooked. He worked for the camp every summer after that teaching kids programming, programming languages and software to make video games. He would later move to private lessons and online tutoring, where he started to appreciate how much kids like to learn.

鈥淚 realized this is something fun and is both a creative outlet and art form.鈥� – Thomas Pring 鈥�20

鈥淚 realized this is something fun and is both a creative outlet and art form,鈥� he says. When it was time to go to college, he told his parents he wanted to make video games. 鈥淏oth of my parents work in incredibly different fields than anything I鈥檝e ever been interested in. But they were quick to say 鈥楪o for it! We鈥檒l help however we can to try to make sure you can do what you want to do.鈥� 鈥�

Pring transferred to 麻豆映画传媒 his sophomore year and eventually settled on a game design major and computer science minor. Today, Pring is working at two research labs at 麻豆映画传媒.

At , Pring works on the Video Game Training Team and is advised by assistant professor of Game Design Peter Smith 鈥�05MS 鈥�12PhD. The team develops video games to assist bionic kids as they learn the mechanics of their new prosthetic arm. Unlike purely entertainment games, Pring says these games 鈥渉elp kids learn to react to the game and flex their hands or make gestures through video games. It鈥檚 all about making their reactions natural or second nature.鈥�

鈥淭homas has been one of our most accomplished game design students and has been a big part of the new training games arriving in both Android and Apple app stores as well as our bluetooth flex controller for the phones,鈥� says Albert Manero 鈥�12 鈥�14MS 鈥�16PhD, co-founder and chief executive officer of Limbitless Solutions. 鈥淲e are really proud of his accomplishments.鈥�

鈥淭homas has been one of our most accomplished game design students.鈥� –聽Albert Manero 鈥�12 鈥�14MS 鈥�16PhD

The second lab would fulfill Pring鈥檚 interest in virtual reality 鈥� and would help push him professionally. He applied to participate in The Harrington Lab, which investigates Virtual Nature, using augmented reality and virtual reality as a technical artifact to better understand perceptual phenomenon as it relates to human-computing-environment interactions that cause emotional, learning and aesthetic outcomes. Pring鈥檚 work hinged on discovering how people learn best, using a virtual recreation of the 麻豆映画传媒 Arboretum as the classroom. The idea is to understand how people can learn about nature and plants in a virtual environment.

鈥淚f you want to learn about plants, you could do a virtual walk and get information from a pop-up window,鈥� he says. 鈥淥r you could go out into the environment with a phone and get information on your device. Or you could be sitting in a classroom and watching the tour on a screen.鈥�

He and his fellow researchers started with a first-person version of the project to test how it worked. The team then moved on to VR to create a more immersive experience.

鈥淚n March, we developed a controller to work with a treadmill desk so you could literally take a walk through the Arboretum with a projector,鈥� he says.

Pring is complimentary of the artwork in the game, which was worked on by others before he joined the team. 鈥淚鈥檓 not an artist in any way, shape or form but that art is amazing. The plants are as real as you can get. The team went out and took photos of the leaves and what they look like up close 鈥� same for the water, sand, even tree bark 鈥� and they made those in game as real images. It鈥檚 really impressive.鈥�

Pring says he could see VR experiences like Virtual Nature useful in a variety of formats.

鈥淔or people who live in northern areas where you can鈥檛 go outside in the winter, imagine being able to go out and have a walk in nature,鈥� he says. 鈥淥r even on the International Space Station. Astronauts are sitting in metal all day and night. They could use this to be around plants again, which is good for emotional and mental health. It鈥檚 also good for learning about plants and learning overall. I鈥檓 an experiential learner, so staring at a screen all day 鈥� I can鈥檛 take that in. But if I can interact, I can learn a lot more about the subject, enjoy the experience and retain more detail.鈥�

Of all the projects he鈥檚 worked on, Pring says he鈥檚 most proud of his contributions to Virtual Nature, which both challenged him and allowed him to expand his skills among several disciplines. He credits Assistant Professor Maria Harrington, who directs the Harrington Lab, for mentoring him.

鈥淪he has guided me professionally, taught me, and gave me so many opportunities,鈥� he says. 鈥淚 wouldn鈥檛 be here today if it wasn鈥檛 for her.鈥�

He says an important lesson he learned from Harrington was getting over Imposter Syndrome, which he says is prevalent among game-design majors. 鈥淪he taught me to be proud of my own work, not to downplay myself and believe that I can program and make products鈥� he says.

鈥淚 always wanted to help others 鈥� it鈥檚 a lot of fun to teach people. At some point in my life, I鈥檇 like to be a professor.鈥� – Thomas Pring 鈥�20

鈥淭homas is聽an amazing undergraduate student whose work rivals what I have seen Ph.D. students do. He could easily make contributions to projects at NASA,鈥� says Harrington. 鈥淭homas has taken advantage of opportunities at 麻豆映画传媒 to help advance his studies. I know he will go on to do great things in this field.鈥�

As for what鈥檚 next, Pring says he hopes to land a job in the gaming industry.

鈥淲orking for a VR company would be ideal for me, but whoever has availability,鈥� he says. Ultimately, Pring says he wants to continue giving back and helping others learn. 鈥淚 always wanted to help others 鈥� it鈥檚 a lot of fun to teach people. At some point in my life, I鈥檇 like to be a professor.鈥�

Because VR isn鈥檛 widely used beyond the entertainment industry, Morales decided to research ways it could be used to help open opportunities to underrepresented groups such as low-income and first-generation students that often struggle to get access.

A VR headset could make all the difference, he says.

Morales is a fourth-year student finishing his undergraduate studies in digital media with a minor in computer science. He is also a McNair Scholar. To complete his research, entitled Project VictoRy, he collects footage from universities and colleges to build an immersive experience. He has already developed a virtual tour of the Michigan State University grounds. Overall, the hope is to encourage underrepresented groups to envision themselves in a higher education atmosphere.

Morales鈥� cutting-edge research is in the field of human-computer interaction, which is ever-evolving. VR is typically used in video games or museum experiences; what is less studied is its potential use in physical therapy and in aiding those with visual disabilities.

As of yet, there is very little empirical research regarding the cognitive effects of virtual reality, he says. 聽Morales showcases his work at conferences and networking events because he believes his research can help shape the uses of VR tools beyond video games.

He says his work has helped him appreciate the synergy between research and art because the mental hurdles to be overcome are the same.

鈥淎rt in and of itself requires repetition to present a perfected final outcome,鈥� Morales says. 鈥淥nly in figuring out how best to depict something can a great final product come about.鈥� In research the mental faculties and processes are identical. Repetition is key to secure useful answers to questions. Both researchers and artists seek to present new discoveries and one鈥檚 own hard work.

Morales is applying to doctoral programs in human-computer interaction and intends to continue researching virtual reality tools. He will present his research during March 30-April 3.

This is the second time in the past five years that 鲍颁贵鈥檚 interactive entertainment graduate program at the Florida Interactive Entertainment Academy has taken the top spot. 鲍颁贵鈥檚 undergraduate program in game design also ranked highly at No. 14.

Both programs are both located at 麻豆映画传媒 Downtown, where approximately 130 graduate and 770 undergraduate students learn the tools and techniques to be artists, programmers and producers in the gaming industry.

鈥淥耻谤 students are primed and ready to work well before they leave our labs and classrooms,鈥� says Ben Noel, FIEA鈥檚 executive director. 鈥淲e teach the most advanced game-design skills, but we also provide the skills employers want in terms of problem solving, teamwork and project management.鈥�

As part of the graduate program, students must either complete an internship or take a course that prepares them to start their own companies. FIEA, now celebrating its 15th year, has over 700 graduates working at over 230 entities around the world. Upon graduation, student entrepreneurs can also choose to develop their own business plans from FIEA Venture, a digital media business incubator on campus.

Gaming has become a $130 billion industry. According to WalletHub, Orlando is the fourth best city in the country for gamers, in part due to its developer opportunities. Game-design companies EA Sports and Iron Galaxy studios are based in Orlando, and regional leaders are focusing on attracting more esports tournaments to the area.

Access to the talent provided through 鲍颁贵鈥檚 programs is one of the key reasons EA Sports announced it will relocate from Maitland to the Creative Village in downtown Orlando in 2021. There are more than 100 麻豆映画传媒 graduates currently working in EA Tiburon鈥檚 office in Maitland and dozens more FIEA graduates at other EA Worldwide Studios.

鈥淔IEA is a major source of talent for our EA Sports development studio in Orlando, resulting in one of every two new graduates hired over the last 2 years,鈥� says EA Sports vice president Daryl Holt.

鈥溌槎褂郴� Downtown has quickly become a hotbed for media and innovation,鈥� says Robert Littlefield, director of 鲍颁贵鈥檚 Nicholson School of Communication and Media. 鈥淲e鈥檙e an anchor to Orlando鈥檚 Creative Village and our students are experiencing the benefits of being immersed with some of the industry鈥檚 top players in the rapidly growing game-technology sector.鈥�

鈥淚t is a tribute to all at 麻豆映画传媒 who have played a leadership role in the program鈥檚 continuing growth and transformational 麻豆映画传媒 Downtown campus. To all involved, including the program鈥檚 dedicated faculty, researchers and students who contribute so much to game design and to the Orlando community, we join in the praise,鈥� says Rob Franek, editor-in-chief of The Princeton Review.

Carolina Cruz-Neira, based in the 麻豆映画传媒 College of Engineering and Computer Science, is a pioneer in the areas of virtual reality and interactive visualization, having created and deployed a variety of technologies that have become standard tools in industry, government and academia.

Cruz-Neira is a member of the National Academy of Engineering, which is considered the highest professional distinction for engineers in the United States. 麻豆映画传媒 now has seven NAE members on its faculty.

Her CAVE system enables face-to-face discussions while immersing all users in the same shared physical and virtual space.聽It has been used by many industries such as car manufacturers to anticipate problems and plan accordingly before creating real world versions. Scientists also use the system to explore problems that are difficult to do so in the macro world.

鈥淲hat really attracted me is that 麻豆映画传媒 is a vibrant place that fosters innovation, partnerships and unique initiatives centered in student and faculty success.鈥� 鈥� Carolina Cruz-Neira

She plans to bring that environment to 麻豆映画传媒.

鈥淚n engineering, CAVEs are used to better analyze and understand ways to plan things such as factory floors, complex 3D constructions, flow visualization and simulation analysis,鈥� Cruz-Neira says. 鈥淚n sciences like biology, chemistry, astrophysics or mathematics they allow users to experience three-dimensional structures, concepts and data and exploration of worlds that are too small, too large, too hostile or just plain impossible in ways that support faster and more complete understanding.鈥�

Cruz-Neira plans to build several CAVEs at 麻豆映画传媒 which would help students get hands-on experience with some of the latest technology being used in industry and could propel new ideas and research projects across multiple disciplines.

Recently, Cruz-Neira was named a fellow of the Institute for Electronics and Electrical Engineers. The IEEE distinction recognizes her significant scientific contributions that have advanced the field of virtual reality. IEEE is a professional association focused on advancing technology for humanity with 400,000+ members in 160 countries.

Throughout her career, Cruz-Neira has worked to expand opportunities for others, spearheading several open-source initiatives to disseminate and grow VR technologies, and leading entrepreneurial initiatives to commercialize research results.

A prolific researcher, Cruz-Neira has been awarded more than $75 million in grants, contracts, and donations, and has authored more than 100 scientific articles, book chapters, magazine editorials and other publications. She is also recognized for having founded and led highly successful virtual reality research centers, including the Virtual Reality Applications Center at Iowa State University, the Louisiana Immersive Technologies Enterprise and the Emerging Analytics Center at the University of Arkansas at Little Rock.

Among her numerous national and international recognitions, Cruz-Neira is an Association of Computing Machinery Computer Pioneer. She is a recipient of the IEEE Virtual Reality Technical Achievement Award and the Distinguished Career Award from the International Digital Media & Arts Society. She has appeared as a subject expert on TV shows and podcasts and served as a keynote speaker at conferences and forums worldwide.

Cruz-Neira joined 麻豆映画传媒 along with her longstanding research team of 15 years 鈥� husband Dirk Reiners and research scientist Carsten Neumann 鈥� crediting 鲍颁贵鈥檚 strong reputation in computer science.

鈥溌槎褂郴� is a nationally-recognized leader in computer science, modeling and simulation, and in virtual and augmented reality,鈥� Cruz-Neira says. 鈥淲hat really attracted me is that 麻豆映画传媒 is a vibrant place that fosters innovation, partnerships and unique initiatives centered in student and faculty success. 麻豆映画传媒 has demonstrated that it can rapidly change and adapt to the needs of the region,聽that it can quickly expand to take advantage of new trends in technology, and that it can be a model for 21st century academic institutions. I definitely want to be part of all this!鈥�

Before joining 麻豆映画传媒, she was the Donaghey Distinguished Professor in Information Sciences and the executive director of the Emerging Analytics Center at the University of Arkansas at Little Rock and an Arkansas Research Scholar through the Arkansas Research Alliance.

She holds a doctoral and a master鈥檚 degree in electrical engineering and computer science from the University of Illinois in Chicago; and a bachelor鈥檚 degree in systems engineering from the Universidad Metropolitana in Caracas, Venezuela.