鈥淚 was 9 when the first movie came out and in my 20s when the third movie came out,鈥� Falcone says. 鈥淪o I really grew up with these movies and it really hit me hard emotionally when Andy gave his听toys away [in Toy Story 3] because he was growing up also.鈥�

Since she was a child, Falcone鈥檚 love for Toy Story, drawings, cartoons and movies continued to grow, but it wasn鈥檛 until she had been performing for local theme parks for 12 years that she realized animation combined all her passions. So in 2011, she began pursuing a bachelor of fine arts in character animation at 麻豆原创鈥檚 . Some of her work since then includes Sony Pictures Imageworks鈥櫶�厂尘补濒濒蹿辞辞迟听and Pixar鈥檚 Coco.

Falcone shares what it was like to work on the series’ latest installment:

What was it like working on听罢辞测听厂迟辞谤测听4?

I had a blast working on the movie. It was so fun being immersed in this听toy听world with these beloved characters. Everyone brought in听toys that were special to them and they were used to decorate our 鈥渨ar room,鈥� so it was a really special and nostalgic experience. The whole team, from the animators to the leads and production staff, were always having a good time and spirits seemed high even in crunch.

What are some details in the movie that you worked on?

I was on the Fix Team, which our leads describe as being the last line of defense before the movie goes out into the world. Fixes can include adjusting pops in animation, retiming something, completely reanimating something or even polishing a shot for someone who had to go onto something else. We actually nicknamed ourselves the Swiss Army because, like a Swiss Army knife, we were always ready for anything and we were able to help out wherever they needed us to, beyond typical fixes.

There’s a sequence that takes place inside of a pinball machine in the antiques shop and I actually got to animate Woody in one of those shots. It was so surreal and such a dream come true. I also got to animate some shots of the lady that runs the shop and also some of Bonnie’s parents and the听toys in the RV. The awesome part of this role was that I got work in almost all of the sequences in the movie, so I got to do a little bit of everything.

What did it mean for you to work on this one?

I have always been a huge fan of the听罢辞测听厂迟辞谤测听franchise, as I think most people are, but I also had another extra special connection to the movies. I used to work as a performer at Disney World and was good “friends鈥� with Jessie. I loved seeing firsthand what these characters mean to the world, and I constantly had that in my head as I worked. That job is what really made me want to be an animator, and so actually getting to work on this movie with these legacy characters was an absolute dream come true. I had to keep pinching myself. The fact that I was working alongside people that worked on the first three movies made it all the more surreal. I’ve seen the movie twice now, and the second I heard the first notes of 鈥淵ou’ve Got a Friend In Me鈥� play in the theater I cried both times. I just couldn’t believe I was part of it.

What was the biggest challenge of working on the movie?

I think one challenge for me was sometimes unlearning certain things in order to animate a听toy, as they obviously move differently than humans do. Each听toy听is made of something different, so in order to stay true to materials, they each needed to be animated differently. In one shot, I had to animate Buttercup the unicorn doing a kind of army crawl out from under a car seat and then maneuver his way around to the gas pedal. It was very daunting trying to figure out how a four-legged plush doll would do an army crawl. There was also just that pressure of knowing these characters are beloved and you want to do right by them and to the fans as well. It was definitely a fun challenge, though.

What sets this movie apart from the other听罢辞测听厂迟辞谤测听movies?

One really fun part of this movie is all the new characters we introduce. We don’t know them from the other movies but throughout the movie we grow to love them just like the other [characters from the previous movies], and it still feels like a听罢辞测听厂迟辞谤测听movie. We’re diving deeper into what it means to be a听toy听and we’re seeing for the first time Woody questioning what his purpose is. There’s definitely a theme of self-discovery and helping others realize what their purpose in life is. Woody takes on more of mentor role in this movie and I think that helps him on his own personal journey. You can expect a ton of laughs and tears too!

Smallfoot is an animated journey for all ages, with a star-studded cast including Channing Tatum, James Corden, Zendaya and LeBron James. The film turns the Bigfoot legend on its head, following a young yeti who encounters a human鈥攁 legendary 鈥淪mallfoot鈥濃�攁nd the duo鈥檚 ensuing adventures.

Both alumni say they have been fascinated by cartoons, movies, drawing and creating ever since they were young children. Falcone drew and cut out her own paper dolls, loved performing, and for 12 years, performed at Orlando theme parks.

鈥淚 can only describe it as having had an epiphany when I realized that animation is all of these things combined,鈥� Falcone says. 鈥淭he universe was slapping me in the face with clues my entire life that I was meant to be an animator.鈥�

Sanchez started his 麻豆原创 studies as a computer science major. However, he switched majors when he learned about the character animation program.

鈥淸Animation] was a combination of everything that I loved growing up and it just felt like the most natural thing for me to do,鈥� Sanchez says.

Falcone and Sanchez discuss their experience working as junior animators with Sony, their future projects, and advice they have for current students.

How did 麻豆原创 help get you to where you are today?

Teresa Falcone: 麻豆原创 gave me a really solid foundation for my career. It was great getting to learn different aspects of the pipeline like modeling and texturing as well because those skills have been helpful in getting jobs after school. It鈥檚 always helpful as an animator to know what鈥檚 going on in the other departments of a shot you鈥檙e working on. I鈥檓 also really grateful for the experience of working on a team because that鈥檚 something that鈥檚 really important in a studio and you wouldn鈥檛 get that experience at a lot of other places. Studios always like to see that you鈥檙e a team player and work well with others and this program definitely prepares you for that.

Tell me about working on Smallfoot.

TF: I had a great experience working on Smallfoot, and I felt like I really grew as an animator. This was my first time in a junior animator position, so I wasn鈥檛 really sure what to expect as far as what kinds of shots I would be cast. I ended up being really happy with the opportunities I was given there and got the chance to step out of my comfort zone with most of my shots. I also made some great friends at Sony, who are all crazy talented animators. Even in the most stressful times, going to work was always a blast. Most importantly I learned that I could actually do it! I always considered myself a really slow animator and was worried I wouldn鈥檛 be able to hit deadlines and create decent animation in a certain amount of time. I had such a great lead and supervisor that really helped me improve my animation and speed. It was also a lot of fun listening to all the songs from the movie over and over again as I worked. It was just such a fun movie in general to be a part of.

Chris Sanchez: The experience was amazing. I was learning so much from everyone. It felt like animation boot camp. There were very experienced animators there who were always willing to help you out or show you their process if you asked. There were animators from all over the world that worked there, but everyone was extremely passionate about animation and it was inspiring to be in the kind of environment.听听

What was your favorite part about working on the film?听

CS: Every day I felt inspired. There was never a day where I dreaded going to work. I was constantly challenged and was always determined to overcome those challenges and over time that built up my confidence. Each day I got to collaborate with talented people and work on something that was greater than myself.

TF: My favorite part about working on the film was getting to share the experience with fellow 麻豆原创 grad Chris Sanchez. We could always watch each other鈥檚 shots run in dailies and help each other with feedback.

What鈥檚 next for you?

TF:听I have just started a fix animator position at Pixar where I am currently working on Toy Story 4. I am so excited to be a part of such a legacy movie franchise.

CS:听After I finished on Smallfoot, I began working on Spider-Man: Into the Spiderverse. And after Spider-Man, I am taking some time off to further my education by taking a class at The Animation Collaborative in the Bay Area.

What tips do you have for students interested in animation or students in the program right now?

TF:听Always keep going if this is what you want to do. Take negative feedback or rejections and turn it into motivation. Don鈥檛 be defensive, but instead ask what it is you could be improving on or what you could be missing. Always ask others for feedback and look for opportunities for growth. When you have the opportunity, take more classes. Always be a student wanting to learn more, even when you get a job. Always keep shooting for your plan A.

麻豆原创鈥檚 animation programs were ranked No. 4 among the Top 40 Public Animation Schools and Colleges in the nation by the Animation Career Review.

The films produced by this year鈥檚 senior character animation students are more than art for art鈥檚 sake. Both 鈥淯kelayla鈥� and 鈥淣ight Light鈥� are decidedly message-driven. And after two years spent creating the films, students in 麻豆原创鈥檚 character animation听program are working to ensure their films reach new audiences beyond premiere night on Monday, April 23, at the Center for Emerging Media in downtown Orlando. The showings are free and open to the public.

Meet Layla of 鈥淯kelayla鈥�

鈥淯kelayla鈥� tells the story of Layla, a young girl living with childhood apraxia of speech (CAS), a motor speech disorder that makes it difficult for children to send oral messages from their brain to their mouth. Children with CAS will often know what they want to say but are unable to verbally communicate it.

鈥淚t was really important that Layla portray herself the way that somebody with [childhood apraxia of speech] would,鈥� Thomas says.

Layla鈥檚 frustration with the inability to express herself leaves her isolated, but she eventually learns to express herself through the power of music and friendship. The film鈥檚 title is a mash-up of the main character鈥檚 name and the ukulele, the instrument Layla uses as a medium to communicate.

鈥淚 wanted to bring light to this situation that many kids go through and give them representation in media where there really hasn鈥檛 been any,鈥� says senior Character Animation major Haleigh Mooney, who pitched the story for 鈥淯kelayla鈥� and acts as student director on the film.

To make sure they got the details right, the 鈥淯kelayla鈥� team partnered with the nonprofit organization Childhood Apraxia of Speech Association of North America to ensure that CAS was depicted authentically.

For the film鈥檚 production manager Tabitha Thomas, 鈥淯kelayla鈥� was especially personal. The senior鈥檚 younger brother has CAS, which provided her with insight into the disorder.

鈥淚t really spoke to me,鈥� she says. 鈥淚 would call my mom, and she would tell me stories about my brother when he was younger and how he would act at that age,鈥� Thomas says. 鈥淲e did a lot of research. It was really important that Layla portray herself the way that somebody with CAS would.鈥�

Meet Fin of 鈥淣ight Light鈥�

The film 鈥淣ight Light鈥� follows a baby sea turtle named Fin on his journey from nesting beach to the ocean.

The film touches on the threat of light pollution to hatchlings, who are drawn to the brightest nearby light.

The film touches on the threat of light pollution to hatchlings, who are drawn to the brightest nearby light. Artificial light from sources like street lamps can distract baby sea turtles away from the reflection of natural moonlight off the ocean鈥檚 surface, exposing them to moving vehicles and other threats. On his journey, Fin is joined by Abueluna, a maternal spirit, and Lumin, a friendly light bulb. Abueluna supplies wisdom and guidance by following the moon as a natural light source, while Lumin represents humankind鈥檚 curiosity and ignorance about nature.

The 鈥淣ight Light鈥� team consulted with sea turtle expert and 麻豆原创 associate professor of biology Kate Mansfield, as well as the 麻豆原创 Marine Turtle Research Group, to ensure accuracy in even the smallest details, such as nailing the texture of Fin鈥檚 shell. Students from the program also visited nesting sites in Melbourne Beach with the research group to see the sea mammals up close. The film鈥檚 creators were careful not to dissuade people from interacting with nature, but rather inform the audience on how to do so safely.

鈥淲e鈥檙e saying that there is a correct way to have a relationship with nature. People need to know that because it affects the turtles,鈥� says senior Character Animation major and co-art director Jonathan de la Uz. 鈥淚t鈥檚 better if we can teach people the right way to be with nature instead of separating people from it completely.鈥�

The teams hope the short animated films live on beyond the premiere. The 鈥淯kelayla鈥� team hopes to provide DVDs of the film to speech clinics for children, while the 鈥淣ight Light鈥� creators are in talks with the Brevard Zoo and the Barrier Island Sanctuary to start educational showings for visitors. And for about a year after the听premiere, the films will be submitted to short film festivals. Both teams have opened ongoing fundraising pages to help pay for admission to the festivals.

More About 麻豆原创鈥檚 Animation Programs

The animation programs at 麻豆原创 continue to gain national recognition. Along with experimental animation, the character animation program was ranked No. 4 among the Top 40 Public Animation Schools and Colleges in the nation and No. 3 among of Top 10 Animation Schools and Colleges in the South by the Animation Career Review this year.

鈥淵ou鈥檙e not here to suffer consequences for trying something new and not succeeding,鈥� Mooney says.鈥淵ou鈥檙e here to find out what you鈥檙e good at.鈥�

The two-year specialization accepts only 30 students each year and prepares and trains them for careers in the animation and visual effects industry as animators, modelers, texture artists, and more. Graduates have gone on to careers with film and visual effects giants like Disney, Universal, Framestore and Blizzard Entertainment.

鈥淲e have students at all the major studios, and also working in gaming and special effects,鈥� says Lecturer Jo Anne Adams, who has worked with the character animation program since 2008 and served as the faculty director for this year鈥檚 student films. 鈥淏ecause of their success, employers are noticing us and then students are more attracted [to the program].鈥�

As a result of its exclusivity, the program is intensive, with students devoting anywhere from 40 to 80 hours per week on their films.

鈥淚t鈥檚 like a full-time job. The farther into the semester you get, the more you鈥檒l see people coming in earlier and staying here later and later,鈥� Thomas says.

And even though the hours can seem daunting, faculty members foster an environment that allows room for failure without fear of punishment.

鈥淭he faculty here really help you try to learn,鈥� says Mooney. 鈥淵ou鈥檙e not here to suffer consequences for trying something new and not succeeding. You鈥檙e here to find out what you鈥檙e good at.鈥�

Reserve free tickets to the 麻豆原创 School of Visual Arts & Design鈥檚 Character Animation Premiere.听

The free event will be 6 to 9 p.m. at the 麻豆原创 Center for Emerging Media, 500 W. Livingston St., Orlando, just south of the former Amway Arena.

The two films, which were two years in the making, will be shown at 6:30, 7:30 and 8:30 p.m. The students involved will be introduced and the audience will have an opportunity to discuss these projects and plans for next year鈥檚 animations.

The films are:

Also featured in the showcase:

鈥淲e are excited about the opportunity to showcase our students鈥� work,” said Dr. Michael Moshell, professor of Visual Art and Design and coordinator for the show. “We welcome local digital media businesses and anyone who appreciates the visual arts to attend and meet these talented students doing what they love.鈥�

SVAD is an interdisciplinary, multimedia school offering academic programs and areas of faculty research that include the visual arts, film, architecture, animation, game and web design, and interactive media. The school emerged from a partnership between the former Art, Film and Digital Media departments.

SVAD also incorporates a 2+2+2 Bachelor of Design in Architecture program in collaboration with Valencia College and the University of Florida.

For additional details about the showcase, contact Moshell at 407-694-6763 or jm.moshell@cs.ucf.edu.