Audio-Animatronics ALL OTHER IMAGES ARE ©DISNEY

Home , Animatronics, Automaton, Avatar Flight of Passage, Eyvind Earle, E ticket, Indiana Jones Adventure

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Learn about IEEE Collabratec at ieee-collabratec.ieee.org THE MAGAZINE FOR HIGH-TECH INNOVATORS

September/October 2019 Vol. 38 No. 5

THEME: WALT DISNEY IMAGINEERING The world of Walt Disney Imagineering 4 Craig Causer

Disney tech: Immersive storytelling 10 through innovation Craig Causer

ON THE COVER: Come take an inside look at Walt Big ideas: The sky’s the limit Disney Imagineering, where 19 Craig Causer creativity and technology converge to produce the magic housed within Disney parks and resorts.

STARS: ©ISTOCKPHOTO/VIKTOR_VECTOR. Walt Disney Audio-Animatronics ALL OTHER IMAGES ARE ©DISNEY. 24 timeline

Inside the minds of two of Imagineering’s 26 most prolific creative executives Craig Causer DEPARTMENTS & COLUMNS The wonder of Imaginations 3 editorial 35 Craig Causer 52 the way ahead

Earning your ears: The value of internships 41 Sophia Acevedo

Around the world: International parks MISSION STATEMENT: IEEE Potentials 44 is the magazine dedicated to undergraduate are distinctly Disney and graduate students and young professionals. IEEE Potentials explores career Craig Causer strategies, the latest in research, and important technical developments. Through its articles, it also relates theories to practical applications, highlights technology’s global impact, and generates international forums that foster the sharing of diverse ideas about the profession.

Digital Object Identi er 10.1109/MPOT.2019.2919862

IEEE POTENTIALS September/October 2019 ■ 1 IEEE POTENTIALS—THE MAGAZINE FOR HIGH-TECH INNOVATORS

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2 ■ September/October 2019 IEEE POTENTIALS EDITORIAL

Imagination has no limits

by Clara Berendsen

t was a Sunday morning in the streets of Montevi- at Disneyland and Walt Disney World), you will learn how deo, Uruguay, when I first experienced an act of you can chart a path toward a career as an Imagineer. It’s magic. I must have been seven years old at the going to be a fun ride! Itime—walking alongside my mother—when I saw it: As members of the IEEE, it’s crucial that we keep the a statue in the middle of a pedestrian street; quite an fire of imagination shining bright because we have an odd place to put a statue, I thought. I asked my mom added responsibility to use our knowledge to work toward what it was, and she just gave me a coin to throw in a the betterment of society. I hope that you are inspired by little can placed in front of it. Suddenly, the statue the stories and experiences in this issue to keep on imag- started to move! It looked at me as it moved, my smile ining. May the force be with you! growing from ear to ear at the sight of something that was seemingly impossible just moments ago. A few sec- About the author onds later, it stopped and resumed its immutable state. Clara Berendsen ([email protected]) is the stu- Even though my mom would later explain to me the dent editor of IEEE Potentials. logic behind how the statue moved, at that precise moment, while looking at it come to life, my imagination was alive. Over the next month, I would look at the statues and wait for them to move, seeking that receptacle where a deposited coin would resurrect them from their sleep. As 䔀一䔀刀䜀䤀娀䔀夀伀唀刀倀䄀吀䠀䘀伀刀圀䄀刀䐀⸀ I grew up, that wonder at the moving statues would fade away, but something from that afternoon would always stay with me. You see, the real magic wasn’t the statue moving but rather that it made (and still makes) me question myself: If a statue can move, what else is possible? Imagination is a powerful tool. A person can’t do what he or she can’t imagine. Every breakthrough in knowledge came from a seemingly crazy idea brought forth by someone brave enough to imagine it. It’s a resource that all engineers should tap. We are problem solvers, but how can you build a solution without imagining it first? There is a well-known group that combines the power of imagination with cutting-edge engineering: Walt Dis- ney Imagineers. Imagineers are responsible for thinking, planning, and building everything you see at Walt Disney parks and resorts. This issue of IEEE Potentials provides an exclusive look inside Walt Disney Imagineering. In addition to exploring some of the groundbreaking technology created for Disney theme parks (including Star Wars: Galaxy’s Edge 䔀氀攀挀琀爀椀挀愀氀 ☀ 䌀漀洀瀀甀琀攀爀䔀渀最椀渀攀攀爀椀渀最伀渀氀椀渀攀䜀爀愀搀甀愀琀攀倀爀漀最爀愀洀猀

Digital Object Identifier 10.1109/MPOT.2019.2924158 Date of publication: 4 September 2019 戀椀琀⸀氀礀⼀眀瀀椀ⴀ瀀漀琀攀渀琀椀愀氀猀 The world of Walt Disney Imagineering

©DISNEY

Craig Causer

here is no bigger dreamer than Walter Elias Disney. Through the melding of imagination and engineering, Walt brought to life a Tmouse who matured into a global goliath. Classic animated films, Star Wars, Marvel, and Avatar are just a few of the heavy-hitting intellectual properties residing under the Dis- ney banner. When it comes to mass media and entertainment, a mouse shall rule them all. But if Mickey is the face of the Walt Disney Company, in many ways, its parks and resorts are the heart. It’s here that worlds, created through big ideas, technological acumen, and creative solutions, are experienced in three dimensions, lifting wonders off television and movie screens and into the real world for people of all DISNEY PARK—©ISTOCKPHOTO.COM/MONICANINKER, GEARS—©ISTOCKPHOTO.COM/MATEJMO DISNEY PARK—©ISTOCKPHOTO.COM/MONICANINKER, ages to see, touch, and hear. The driving force behind such wizardry is Disney’s Imagineers (a melding of cess to more than two dozen Imagi- ous pieces of original artwork are the terms imagination and engineer- neers, and a guided walk-through of scrolled in honor of the former ing), who operate in more than 140 Disneyland with a WDI site team designer, creative director, and Imag- varying disciplines across 12 theme member, this exclusive view inside ineering legend (as well as the official parks, four cruise ships, and a vast a global entertainment juggernaut is portrait artist of Mickey Mouse for array of consumer products. evidence that innovation requires a 50 years), who passed way in 2004. Earlier this year, Walt Disney Imag- combination of technical know-how, While there is plenty of retrospection ineering (WDI) hosted IEEE Potentials big ideas, teamwork, and even a little on display, the various departments for a weeklong visit to learn more bit of magic. at WDI are eyeing the future. about how creativity and technology Stopping at the Model Shop re- come together to produce the wonder If these walls could talk veals the core of Imagineering: draw- housed within Disney parks and Roaming the corridors at WDI is akin ings and scripts that have been resorts. With a tour of WDI’s Glen- to having one foot in the past and transformed into 3D pieces. Both old- dale, California, headquarters, ac- another in the future. The walls are and new-school methods are imple- lined with historical moments and mented, including traditional model creative tributes, including John building using foam, cardboard, and Digital Object Identi er 10.1109/MPOT.2019.2919883 Date of publication: 4 September 2019 Hench Graffiti Hallway, where vari- wood as well as 3D printing and laser

4 ■ September/October 2019 IEEE POTENTIALS 0278-6648/19©2019IEEE cutting. On display was a model of we are doing our first pass at them. We Avatar Flight of Passage at Disney’s the Guardians of the Galaxy: Mission are really blending legacy with a lot of Animal Kingdom, in the stretch Breakout! attraction at Disney Cali- really exciting technology.” room in the Haunted Mansion, and fornia Adventure in Anaheim, which Not far from where Julie Andrews’ as part of the new Soaring: Fantas- was a radical transformation of the head rests is where the sound of mu- tic Flight attraction in Tokyo Dis- Tower of Terror. The model was used sic comes together—the WDI Sound neySea. Despite the innovative in- to understand how to paint the build- Studio. Principal Sound Mixer and house technology, only about 40% of ing, and it was shipped down to Ana- Chief Engineer Greg Lhotka provid- the sound work is done in Glendale, heim, where the in-field art director ed insight into the studio, which he Lhotka says. Most of it is performed offered it up to the painting contractor describes as WDI’s “sandbox for au- in the field in the attractions. “We for reference. While models may ap- dio.” The room contains a 3D audio basically have a sound system in pear to be beautiful pieces of art, they system, where a piece of audio can road cases,” he notes. “We have 14 of are just working tools, explains Jona- be played in one particular spot in a these that we ship all over the world than Friday, creative director at WDI. room, essentially rendering audio in to wherever we need to go and work. At the end of a project, the models are a physical place. This audio system We’ll actually do our final mix- either put into storage or, in some cas- is utilized at Walt Disney World in es in the space, which is a lot of fun es, destroyed. “The experience you get as a guest is the actual ©DISNEY product we are making,” Friday adds. The tour continued to the Sculpture Studio, the only place at WDI where you can find Dick Van Dyke, former U.S. President Bill Clinton, and the visage of Johnny Depp Imagineers keeping a watchful work on eye on Julie Andrews a model designed to and Humphrey Bog- bring Aren- art. The Dimensional delle from Design Department the world of creates the study piec- Frozen to es that help Imagi- life. neers build all of the Audio-Animatronics that appear in the parks. “We are doing a lot of 3D print- The original Disneyland concept ing when it comes to sculpts map, hand drawn by Herb Ryman these days, especially if we in 1953, is housed have those assets available to at WDI us from our partners at Pixar Archives. Animation Studios or Walt Disney Animation Studios,” explains Friday. “Frozen was done in 3D, so why would we sculpt it when they can sculpt it digitally and provide that to us as a file that we can clean up and then mill out and provide to our partners here? We are doing a little bit of both these days, but all of our classic characters, including

Mickey Mouse, still get done ©DISNEY in a traditional sculpt when

IEEE POTENTIALS September/October 2019 ■ 5 mechanical designers, focuses on vehicle and track design/safety and follows a rigorous standard-based design approach to ensure that consistent and appropriate decisions are made. (WDI’s Ride Engineering Studio, which comprises electrical engineers and software engineers, numbers around 150 Imagineers.) RME projects follow similar steps. First, a creative lead defines an as- pirational experience—what Imagi- neers want the guests to see, hear, feel, and do. Once a consensus is reached, it gets pitched to senior leadership for approval, and the engineers

©DISNEY begin their involvement. For RME Step into the DISH, a virtual reality tool that helps evaluate the designs Imagineers, their job revolves around of attractions and determine audio cues and special effects. designing and building the machine that moves guests through the story, whether it’s a vehicle, simulator, or other one-of-a-kind mechanisms. because you can’t really mock up ment for looking at projects in virtual “[There are] boat rides, roller coast- your typical ride in a studio. It’s easier reality, including rides, parades, fire- ers, autonomous free-ranging vehicles, to just go there and sit in the space.” works shows, and resort rooms, among you have Level 5 driverless vehicles Being rooted in Glendale means others. “We are actually projecting on driving around our parks in some at- that sound is not the only set of waves all of the walls and the floors in here in tractions,” describes Dave Crawford, being created in the region. With the 4K and in 3D stereo,” explains Garrett executive, RME. “Engineers on my seismic activity that often occurs in Clark, creative technology designer. team typically aren’t narrowly special- Southern California, there is one par- The space is often used as a tool to ized. They are very capable and have ticular location where protection is look at upcoming attractions. But what diverse expertise. It’s not my expecta- paramount—Imagineering Archives, makes the DISH special, in addition to tion that when they’re cast on a new which is dubbed by Mike Jusko as its projection technology, is that it pos- project that they are an expert in this “the most secure room in all Imagi- sesses a motion-capture system able to area, but they are great at figuring it neering.” As the principal art archi- track various objects within the room. out, diving in, and learning what they vist, Jusko oversees a collection ex- What you see as you walk around the need to do to be successful. Siloing ceeding 80,000 works of original art space is the updates the system is someone in one component of work is crafted by more than 2,000 Imagi- making in real time based on your po- not the best thing for them, usually. neering artists going back to 1948. sition and where you are located in the We want to give them broad experi- He unveiled the single most important DISH. “What we can do here is gather ence. I’m trying to match skills, inter- and valuable work of art in the entire data and sign off on something before ests, and capabilities with the project Walt Disney Company: the first draw- we even break ground on attractions, needs at the time. It’s a fun and chal- ing of Disneyland, completed over the so once the construction has started, lenging puzzle. As an engineer, I’ve long weekend of 23 September 1953 we know that it won’t need any major moved from puzzles that are machines by artist and Imagineer Herb Ryman. changes,” Clark adds. to puzzles that are more about people’s Ryman’s work was reproduced and in- development and careers and trying to cluded as part of the pitch kit to sell Ride along put them together with project assign- people on the idea of Disneyland, since When an attraction moves into a con- ments in the best way for each person.” theme parks did not exist at that time. cept design effort, various teams One of the more interesting de- Visualizing the future is a continu- come together to begin working on velopment projects that Crawford ing Disney hallmark. In its Concept how the experience is going to be worked on was the Seven Dwarfs Lab, physical mock-ups and top-secret delivered. One of those groups is the Mine Train at Walt Disney World prototypes are created for upcoming Ride Mechanical Engineering (RME) in Orlando, Florida, which contained attractions in parks and resorts across Department, which supports the a swinging seat bucket on the ride the world. To aid in developing these con- development of new ride systems vehicle. The finished design resulted stantly changing creations, Imagineers being added to all Disney theme from exploring a guest compart- utilize the Digital Immersive Showroom parks. The team, consisting of approxi- ment that could freely swing with (DISH), WDI’s preeminent environ- mately 40 mechanical engineers and the dynamics of a ride. While it was

6 ■ September/October 2019 IEEE POTENTIALS immediately apparent that it was job of preparing people theoretically. development process, including the technically feasible, Crawford says, Having that hands-on knowledge and earliest writing, concept designs, the bigger question was will it be fun? bringing that into a job is very valu- illustrations, and ideas that inform “What we do in our development able. You’re not just designing somewhat Imagineers are going to create. processes is go through a series thing that looks good off of the com- Once a concept passes creative mus- of mock-ups and iterations and cycle puter; you’ve had experience making ter, it moves to the actual design for tests to address risk,” Crawford ex- a part using specific materials. Being production, spreading out to 20–30 plains. “That one had creative risk— able to have that in the back of your different disciplines spanning sets; is this going to make people sick? We head while you’re working is always scenic show lighting; show audio built a mock-up, nailed it down in the beneficial. Get your hands dirty, and design; show control; overall systems back of a truck, and drove it around learn how things work.” design for an attraction; media, visual, a parking lot for two weeks testing it and practical effect design; charac- with everyone we could. We tried Creatively collaborative ter animation; animatronics; rock different speeds and turn radii and Examining the potential of future work; and hardscape, among others. different iterations and variables and magical experiences is the job of the These include all the aspects that created the most exciting experi- WDI Creative Show Studio, which the guests feel, listen to, and see that ence that we could. We presented handles the front end of the creative informs their experience. it to the team that was in charge of the new Fantasyland at Walt Disney World, and they said, ‘We’ll take this right now.’ It turned out The Seven Dwarfs Mine to be a huge success.” Train at The RME team is similar Walt Disney to many WDI departments in World re- that it relies on the talents of sulted from Imagineers with varying back- exploring the ability of grounds and levels of experi- a ride com- ence. For Courtney Kobata, partment two WDI internships led to to naturally her current role as associate swing with ride mechanical engineer. Her the dynamics of an first internship exposed her attraction. to the way Imagineers work, and the second one tossed her right into the fire of working on drawings of the now-operational Incredicoaster at Dis- ©DISNEY ney California Adventure. In her first year and a half as an Imagi- neer, Kobata experienced nearly all the different phases of a ride through Avatar Flight design, production, and installation. of Passage “For students, I always recom- was created mend getting involved with projects through the where you get to build something input of many Imagineers yourself,” advises Kobata, who who answered earned her B.S.E. degree in mechani- the question: cal engineering and applied mechan- How do we ics and her M.S.E. degree in robotics, create an both from the University of Pennsyl- experience where you can vania. “Coming in here, I had done y through Formula SAE Electric, so I worked the world and on electric race cars, and I think that feel like you’re helped expose me to a lot of manufac- riding on the turing things, designing parts, and back of the Banshee? participating in larger skill efforts ©DISNEY that you don’t necessarily get in the classroom. A lot of colleges do a great

IEEE POTENTIALS September/October 2019 ■ 7 With decades of beloved attrac- only Disney castle whose construc- tions under its belt, WDI has devel- tion was overseen by Walt. oped confidence in knowing how long “We try to make sure that your Dis- it will take to complete a project that ney experience isn’t necessarily the is similar to an attraction at another same one you had as a kid but that Disney park or one in which Research it’s strikingly similar so that you feel and Development must work to come that connection,” explains Art Direc- up with something that hasn’t been tor Michael Dobrzycki during a walk- done before. According to Kubsch, through of the park. “When you come another facet that makes WDI’s ap- here with your kids, and you want to proach more efficient is that it re- have them in that picture with the

©DISNEY lies on unique ways of innovating in castle that you took when you were Along with a unique ride the virtual space, thereby providing a kid, we want to make sure that it’s vehicle, the Seven Dwarfs Imagineers with the knowledge of how recognizably that castle but may- Mine Train features various an attraction will operate long before be with a little more plussing. Every Audio-Animatronics gures. it is built. The information gathered time we do a castle repaint job, we’ll from virtual designs and tests is add things like the squirrels that are then shared among teams to further the drain pipes that come out of the In the past, how these concepts enhance the development process. castle, which were added a number of were assembled was a bit regiment- Ideas mature to become living refurbishments ago. There’s always ed, says Christian Kubsch, Creative concepts only through the input and going to be the same base of the cas- Show Studio executive. Originally, participation of numerous Imagi- tle, which is going to be the nice cool there was an isolated creative element neers spread throughout various de- blue-grays of the rock and the warmer that evolved into a story and then an partments. This ability to collaborate tones on top.” idea for how that story would unfold. and shift focus, when required, is ex- The rehab was spearheaded by At that point, it was handed over to a tended to WDI’s philosophy regarding Art Director Kim Irvine, who ex- team to execute that idea. WDI now its employees. ecuted a new, full-color board ren- touts a more collaborative process in “In this environment, being ex- dering of the castle. When dealing which input from engineers and soft- posed to 20, 30, 40 disciplines that with a canvas that is actually brick ware developers is part of the early are surrounding the area you’re and mortar, Irvine physically mixes creative process, resulting in a more working in is enlightening,” Kubsch the colors she is considering since holistic design intent that considers says. “The system that we’ve set up digital reproductions are not en- more ideas of what is possible. is loose enough that it allows you to tirely accurate, Dobrzycki adds. Ir- “When you’re looking at Avatar actually make a shift and be cast in vine then paints the various colors Flight of Passage, which is an attrac- something that you may not have on flat 2-ft × 2-ft panels. Either first tion that everybody is talking about, ever thought you would be interested thing in the morning or at the end of it’s really informed by an idea,” Kubsch in when you came into the organiza- the night, the panels are placed on clarifies. “The way that you interact tion. I think the younger generation the castle at a distance where Imag- with everything is sort of a reflection would like to have options and be ineers can view the range of colors of the inputs by many of the engineer- able to move and have quick upward and assess them. ing folks who came up with the an- mobility potential. The perception of “We use a lot of our industry swers to how do we actually create an this organization, maybe because tricks,” Dobrzycki acknowledges. experience where you can fly through it’s been around for so long, is that it “Forced perspective is not just an the world and feel like you’re riding on has a lot of rigor about moving ca- architectural feature; you can also the back of the Banshee? What are the reers. In the last four years that I’ve mimic the effect of natural haze over types of things we would need to come been here, we’ve been trying to break distance by desaturating your colors up with to allow someone to feel that that up and change, and we’re seeing as you go higher. This is known as way, and what story elements can we enormous enthusiasm around that atmospheric perspective, and we use set up as we get there that basically because it really allows people a lot it to give the illusion that the castle sell you the reality as you experience of opportunity to build their careers.” is taller than it really is. Enforcing it? That is a collaborative effort, where that, you want to make sure that your many people on the outside might Keepers of the castle whole range of colors works, so we have think, ‘Oh, that’s a bunch of story- From time to time, even Sleeping a lot of big color panels that we come board artists and a couple creative di- Beauty Castle needs a little pixie dust out and check pretty regularly. You’re rectors in a room dreaming this up.’ It to keep it fit for a princess. Approxi- doing this during the night. A lot of is really something that encompassed mately every 10 years, the local WDI the tricky subtle gradations can’t a whole variety of different people with site team at Disneyland undertakes happen at night, so the quieter work very diverse backgrounds.” the repainting and upgrading of the we can do during the day.”

8 ■ September/October 2019 IEEE POTENTIALS Work during the day is limited to not disturb the guest experience. But what to do about all of the scaffolding required to refurbish a nearly 80-ft castle? The solution was enveloping the work in a scrim adorned with a 1954 concept illustration of Sleeping Beauty Castle by Disney artist Herb Ryman. While there may be no substitute for having your picture taken in front of one of Disney’s iconic castles, a scrim provides visitors with both an element of visual history and an original story to tell when looking back at their photos. While some of the projects in- volve significant refurbishments like the castle or the creation of entirely new lands such as Star (a) Wars: Galaxy’s Edge, the Disney- land local site team is also tasked with responding to the daily operational needs of the park, which occur on a much quicker turn- around schedule than the larger endeavors. The team is approximately 50 Imagineers strong, and it addresses issues and changes with the times, all within the con- struct of a 64-year-old park that may have not been built or have the optimal real estate available for many modern initiatives. “There was no such thing as

(b) (B) IS (C) DISNEY WIKIMEDIA COMMONS/JENNIFER LYNN. OF (A) IS COURTESY mobile ordering when we first opened,” Dobrzycki explains. Disneyland’s Sleeping Beauty Castle (a) during its 60th anniversary “Of course, we want to address in 2015 and (b) after its refurbishment in May 2019. things like that at a number of different locations. We don’t necessarily want to do it all at once because you don’t want to shut down half of it through is much more rigorous Acknowledgments your food operation for an untested than anything else on the planet. I would like to thank all of the initiative. We do a lot of pilot pro- We are here to make sure the Disney Imagineers who took the time out of grams, and if they are successful, experience is sustained through all their busy schedules to speak then we go about making it a per- those kinds of changes.” about their work. Special thanks to manent and ruggedized system. I Whether it is freshening up clas- Frank Reifsnyder, external commu- say ruggedized because most of the sic attractions or building entirely nications manager, for coordinating technical specifications we have on new ground-breaking amusements, interviews and tours during the any items that a guest will touch the Disney experience is driven by week and Erin Glover, senior man- need to be much more robust here Imagineers possessing broad sets of ager of communications, for provid- at Disneyland than almost any oth- both creative and technical skills. ing follow-up assistance. er industry that thinks they are a This IEEE Potentials theme issue on comparable entity. We have vendors Walt Disney Imagineering pulls back About the author that will say they do this [type of the curtain to reveal the work be- Craig Causer ([email protected]) is work] for stadiums or a bank, but hind the magic that has entertained the managing editor of IEEE Potentials. we found that the usage that we put guests for more than 60 years.

IEEE POTENTIALS September/October 2019 ■ 9 Disney tech: Immersive storytelling through ©DISNEY innovation

Craig Causer

ne approach that cuts autonomous robots were not roll- data and have it produce a human- across all departments at ing around the parks when Star like decision. Walt Disney Imagineering Wars: Galaxy’s Edge opened at What has catapulted the fields (WDI) is that everything Disneyland in May 2019, Jake’s forward is the current affordability starts with a story, and advancement is the new hope forg- of sensors that provide robust, high- Otechnology is utilized to serve those ing the future for AI and autono- fidelity information at the scale that tales. The constant advancement of mous robot experiences. Imagineers require, says Honeck, technology in WDI’s various disci- WDI was involved in the AI and “Now we are in a place where sen- plines has opened up entire new autonomous robot space before sors are going through another evo- worlds and their stories to genera- Star Wars: Galaxy’s Edge was ever lution,” he explains. “Things like li- tions of guests, old and young alike. proposed. AI is a “pretty squishy dar, for example, are beginning to be Decades ago, one could only dream term,” explains Michael Honeck, certified to international industrial of flying the Millennium Fal- con or watching astromech droids rolling through a crowd while essentially living inside a fictional universe. Here is an inside look at how some of the technologies being explored at WDI are powering new adventures at Disney parks around the globe.

Rolling with Jake When visiting Disney parks, it’s not uncommon to see scores of people marveling at the DROIDS—©DISNEY FRAME—©ISTOCKPHOTO.COM/ENOT-POLOSKUN, sights and sounds of dreams brought to life. But for Star Wars fans, witnessing an autonomous droid roaming Disney- land in Anaheim, California, is an entirely new type of magic. Jake, a weathered orange and senior R&D Imagineer. It can range standards. So we can be sure that white robot, was tested by navigat- anywhere from something that we’re getting quality data and hard- ing the crowds and greeting people is the very basic definition of AI, ware that will perform in the field. It in front of Star Wars Launch Bay in which is simply a computer using really extends the kinds of experi- Tomorrowland at Disneyland. While input to make decisions. There ences we can bring to life. Charac- is also the much more emerging ter interactions like this could once machine-learning space of being only be achieved through puppetry Digital Object Identifier 10.1109/MPOT.2019.2919851 Date of publication: 4 September 2019 able to feed a computer fuzzy or telepresence. Today, robotics can

10 ■ September/October 2019 IEEE POTENTIALS 0278-6648/19©2019IEEE build on this new generation of hardware that enables com- puters to make creative and operational decisions on their own, and to do so reliably.” At their core, robots like Jake are navigating, emoting, and interacting with guests. There is a physical struc- Honeck ture that can move around, performs but there are myriad other some droid components that execute in- maintenance telligent tasks. “You’ve got a on Jake. head that can express different emotions based on how it’s tilted,” Honeck says. “We went back to the basic animation principle of anticipation. If you have an animated character and you want it to look in a direction, you move the ©DISNEY eyes, and then the head, and then the shoulders along this line of action. We do the same thing Testing has proven that children are with this autonomous system. Its connecting with Jake’s personality. ©DISNEY head moves to look to where it’s going to walk, just like a human would. That both makes it seem alive and intelligent, and it also gives humans a subconscious cue about how this thing is going to behave and how you might want to adjust your behavior relative to it. A good example is how humans interact with their pets. Those relationships are going to tell you quite a bit about how humans are going to successfully communicate with an autonomous system.” Personality and emotion are essential to such a project, but the robots must also be robust, maintain- able, and able to survive interactions with throngs of people who are treating them as living and “breathing” things. As a result, WDI leverages the knowledge across all of its disciplines. standards, and wrap that in a design Honeck admits. In his day-to-day Since a droid has wheels and suspen- language that is authentic. experiences, Honeck says the team sion, the ride group is consulted. The While droids would be asked to spends as much time on regulatory head is essentially an Audio-Anima- weave their way through heavy challenges as they do on the tech- tronics figure, so show mechanical crowds on nonlinear pathways, pow- nical and creative aspects of robot engineers and show animators are ering an autonomous robot is less of building. Imagineers are out on the called upon to discuss best practices. a challenge for technical reasons; it’s bleeding edge of what is available as Of course, an autonomous robot must more a matter of addressing safety far as sensors, batteries, and com- look like an authentic character, so and regulatory issues. Batteries ponents go, and many of the com- model shop and shell technicians with appropriately safe chemistry panies that produce such evolved provide an understanding of how to and long life are available, although technologies just haven’t walked take requirements (such as sensor fitting them into the limited space of down the regulatory pathways that clearances), meet all of WDI’s safety a robot can be a bit of a challenge, WDI requires.

IEEE POTENTIALS September/October 2019 ■ 11 “These are very much early days,” World in Orlando, Florida. (The hasn’t been traditionally available Honeck explains. “We’re thrilled that land’s second attraction, Star Wars: through themed entertainment.” our guests connected so strongly Rise of the Resistance, is scheduled With the introduction of the Play with Jake. But when we look at the to open on 5 December 2019 in Walt Disney Parks app, Disney is look- sophistication of other robotic sys- Disney World and 17 January 2020 ing to take that type of content, tems we have in development and in Disneyland.) But the lynchpin customize it, and deliver stories how Jake fits into our extended tying it all together is Black Spire through guests’ smartphones. The creative vision, he’s kind of like an Outpost, the locale in which the app started with queue-based games amoeba. He’s the very beginning of Star Wars amusements reside. and music integration throughout what’s going to be possible here. The Black Spire Outpost is much more the parks. But Galaxy’s Edge goes beyond the queue to allow guests to build a reputation and let their story unfold throughout the land, if they choose to opt in. For example, in Mil- lennium Falcon: Smugglers Run, your participation and interaction within the attraction not only impacts the story as you play through it but also the other stories that you will experience throughout the land. If you do really well piloting the Falcon and depart with a lot of fanfare, credits, and success, that result will follow you throughout the land. If you perform poorly and, say, make your way over to the Cantina, people may have some choice words for you for bang- ing up the ship.

©DISNEY Creating this new “living land” from the ground up allowed Imagi- The hardware ecosystem built into Star Wars: Galaxy’s Edge utilizes various technologies, including innovative use neers to create a hardware ecosystem of Bluetooth, that allow the land to sense different activities throughout the area, utilizing vari- and events that guests have experienced throughout it. ous technologies, including innovative use of Bluetooth, that essentially allow the land to be a platform to sense different activities that you learning really begins once these than rock and steel and rebels and have done throughout it. “One of the experiences enter daily operation. rogues—the land itself is alive. challenges of creating these systems Over the long term, what do guests “We are treating the land as the of technology that talk and commu- expect of this thing? What are the third attraction of Star Wars: Gal- nicate with each other is creating a ways that we can push to meet and axy’s Edge,” says Casey Ging, senior team,” states Producer Rachel Sher- exceed those expectations? Once concept designer. “From the begin- bill. “It took a huge number of people you’re in that operational reality, ning, we’ve said there are going to be with incredible expertise in every- the people who are experts in oper- things that are familiar to you and thing from networking solutions to ating, maintaining, and sustain- things that are not so familiar, and electrical engineering to scheduling ing are in the driver’s seat. And you should be able to organically dis- to building construction, because all with their help, the technology goes cover what those things that are not of these things need to be maintain- places that we never even thought so familiar to you actually are. Ev- able for all of the years that this land to consider originally because we’re ery piece of content in this land, ev- will be around. It requires input from so focused on getting that initial ery droid and every mark on a wall, architects, technology designers, vision realized, out the door, and has a story behind it. Why is that engineers, and software developers, into operation.” droid broken? Where did those blast who have been a huge part of figur- marks on the wall come from? Who ing this thing out. These people and A living land not so far, far away are the characters that own these the systems that they are creating all Piloting the iconic Millennium Fal- shops? What are their relationships need to talk to each other and have a con has guests in a frenzy at Dis- to one another? All that stuff is dis- seamlessness to them.” ney’s new Star Wars: Galaxy’s Edge coverable organically through this Since the content is driven through in Disneyland and Walt Disney experience, and it’s something that individuals’ smartphones rather than

12 ■ September/October 2019 IEEE POTENTIALS singular installations throughout the outpost, the land can have multiple people Through the Play experiencing the same Disney Parks thing at the same time app, guests can or enjoying different interact with things at the same time Black Spire in different ways. Lever- Outpost activities such as hacking, aging smartphones scanning, tuning helps with bearing the into transmis- load of the thousands sions, and of people that will ex- participating in plore Galaxy’s Edge. missions. The project included the platform team and software developers to ensure that the dif- ©DISNEY ferent systems put in place understand the correct load so everyone who wants to participate in the interaction can do so. is building something that is flexible change over time. That impacts the way “Traditionally, we build these at- enough to still be relevant—not just that we think about these experiences.” tractions to last a very long time,” six months but 5–10 years down the For the first time since the original Ging adds. “The difference here is that line when technology is almost un- film was released in theaters in 1977, we are building a platform that needs predictable at that stage. We work fans now have the opportunity to live to be flexible to match the velocity of with some of the best technologists their own Star Wars adventure as they technology. Technology changes, par- around, just listening to their vision explore the Black Spire Outpost. The ticularly on cell phones, a lot faster and understanding their view of the web of living land technology ties than it ever has. So, a big challenge future and how technology is going to together an ecosystem designed to

The land came alive for some heavy-hitters during the 29 May dedication ceremony for Star Wars: Galaxy’s Edge (from left): Chewbacca (in the Millennium Falcon cockpit), George Lucas, Billy Dee Williams, Mark Hamill, Disney Chief Executive Officer Robert Iger, and Harrison Ford. ©DISNEY

IEEE POTENTIALS September/October 2019 ■ 13 allow guests to more deeply dive riencing it walking down the street Walt Disney animated features. One into the story details of the Star and discovering what’s in that crate or of the hallmarks of Disney films is Wars universe. looking at a drawing or a sketch on a the variety of woodland creatures There is an unprecedented num- wall,” says Sherbill. “Through leverag- that interact with human charac- ber of things with which to interact, ing technology, you can actually go up ters; they are smart and charming including activities such as hacking, to a droid and, using your phone, but don’t have the luxury of human scanning, and tuning into trans- receive content that helps you under- speech to convey their thoughts and missions. There is also a series of stand that droid’s history. Maybe it has feelings. Consequently, the dream of missions available for guests who important information that it needs to filling Disney parks with engaging, want to completely dig into their get to the Resistance. All of these sorts interactive, autonomous simple crea- own personalized narrative and of details expand as you are walking tures was born. get involved with deeper storytell- around throughout your day. One of “Essentially, we had to start out ing. There are items that people can the things about this type of content by making a choice: Are we going to collect digitally—seeing the land, existing digitally is that we can up- build a familiar Disney character, or looking through it, and discovering date, change things, and add more are we going to build a unique cre- items. For example, Ging explains, stories. It’s a key way to keep things ation?” recounts Leslie Evans, R&D there are many crates located all fresh, flexible, and timeless.” Imagineer manager. “In this case, we through the area. Guests can scan decided to build a unique creation them, discover what’s inside, learn We are Vyloo because we wanted to explore how where they are supposed to go, and There is no better example of how we can approach our animatronic collect some of the digital items. WDI projects can grow than the characters as actors. We want to be Each task furthers the in-land story. Vyloo, cute and fuzzy birdlike crea- able to teach each of our animatron- On this living, breathing, real-life tures who were developed with the ic characters a unique personality— planet, all of the droids, items, and goal of building compelling interac- you’re shy, and you’re outgoing, and characters found by guests are also tions with simple animatronic char- you’re really sleepy—and then let real, including the ones you get to acters. What began with this target- them use their programmed think- build yourself. At the Droid Depot, ed idea ultimately led to a home in ing patterns to interact with the visitors can assemble customized the Disneyland attraction Guardians world. Because we knew we wanted companions who utilize technology of the Galaxy–Mission: Breakout! to explore a breadth of personalities, to react with the land around them and a brief cameo in Marvel Studios’ we recognized it was more important as if they are truly living droids. Guardians of the Galaxy Vol. 2. to be flexible than to represent a spe- “You’re not just experiencing Star The inspiration for the Vyloo initi- cific character. So we decided to in- Wars on an attraction, you are expe- ated with a look back at the history of vent our own unique creations.” Development of the Vyloo started with puppets. Evans, who worked on the project with Executive R&D Imagi- The Vyloo were programmed, given their personalities, neer Alexis Wieland, created a simple and left to run all day, making their own choices while rod puppet from spare parts and ma- interacting with the people who move through the Guard- ians of the Galaxy–Mission Breakout! queue. terials from other WDI projects and used it to explore personality types. How would an introvert say hello to someone? If you are shy and see a new face, how do you move? Imagineers filmed and recorded these experimen- tal sessions and analyzed what each motion meant and how they could distill those motions down into something simple, yet autonomous. The result was a creature with no human in the loop. The Vyloo were programmed, told their personalities, and left to run all day, every day, making their own choices. There is no behind-the-scenes puppeteering; it’s AI, and the characters go about each day doing their own thing. There is some universal design in the Vyloo. ©DISNEY Evans learned which motions were

14 ■ September/October 2019 IEEE POTENTIALS (a) (b)

(a)–(d) The current iteration of the Stuntronics robot experiences 15-G acceleration and lands into a net at approximately 12 Gs.

really compelling and helped convey again, and watched how guests in- other projects, or the experience will the emotion of the character. Vyloo teracted with them.” inspire other teams to incorporate it have eight functions, and through The design of the Vyloo culminated into their work. But the diversity of playing with them, she realized that in a demonstration of the three origi- tasks—including app-based experi- body squash and stretch were im- nal characters to introduce them to ences, drones, character experienc- portant. However, any universality people across the Walt Disney Com- es, and robotics—allows Imagineers should not encroach on the unique- pany. The visibility led to a connection to tackle these new problems that ness of each character. with the team working on the Guard- all have a backbone of trying to use “They are all a little bit different, ians of the Galaxy–Mission: Break- new technology to bring experiences and each has its own agenda,” Evans out! attraction, and they thought it to life. explains. “We believe passionately would be an interesting addition to “I sometimes wish I had known that play-testing is important. You the ride’s queue, which is a display of earlier in my schooling just how im- build a thing, but you have to get peo- the menagerie of Taneleer Tivan, the portant technology and software ple in front of it to really understand Collector. From there, they caught would be to so many things that we how people perceive it, and then you the attention of Director James Gunn tend to take for granted,” she admits. can make tweaks based on that. We and the crew working on Guardians of “People are using game engines now had done some early testing at Imag- the Galaxy Vol. 2. resulting in a brief to prototype things that we couldn’t ineering, but when we installed the cameo in the film. “It was an exciting have imagined a decade ago. The ap- Vyloo in the park and shared them way for various business units within plications for technology in the en- with guests, we learned some new the Disney Company to work together tertainment industry are only grow- things. What was important in our to tell the story and bring these crea- ing, and I think it’s a super-exciting technology was retaining flexibility tures to life across a couple of differ- space, especially for people who want in the system, so as we learned, we ent mediums,” Evans says. to live halfway between the engineer- could quickly make changes. When Working in an advanced developing and design worlds.” we first turned them all on, it was ment group, Evans notes, often re- like they were real animals—they sults in physical projects and ideas Airborne bots were very overstimulated. So we had that do not leave the building in the When Tony Stark rockets across the to dial things down. We made those form in which they were realized. Marvel Universe, the visual wonder is changes, got them back running Pieces of technology may move to a result of computer-generated graphics.

IEEE POTENTIALS September/October 2019 ■ 15 The vast collection of Disney intellec- “We used the infrastructure around it it’s just doing projectile parabolic mo- tual property is ripe with characters to have all the smarts and the robotic tion. Knowing those things and the that take to the sky, but current controls and the show control system. parameters we have to work with, we theme park animatronics tend to be We launched this entirely passive fig- let the IMU interrupt when we know rooted to the ground. Stuntronics—a ure across the room, and it landed it needs to have a final position in a combination of the terms stunt double 13 ft down on a long table. It would certain orientation. We now have an and animatronics—aims to uproot the be picked up by a magnetic base, and understanding of the behavior of how status quo and launch robotics into it would skid. Because it was a very this thing needs to move through the the heavens. WDI is working to bring cleverly designed automaton, if you air because we’ve studied acrobats. to life a realistic robotic figure with will, with dampened springs in it and We have one on our team who gives the ability to execute complex, acro- latches, it would come up and do a us his intuition about when you need batic stunts. Imagineers designed a very simple animation. We soon real- to move. If we assume a robot that is 90-lb Stuntronics figure that makes ized that we could spend all of this de- more anthropomorphic, we are look- its own real-time decisions, such as sign work trying to come up with this ing at moving things asymmetrically when to tuck its knees or maneuver very clever but passive thing, or we at the right time and inducing a twist its arms, while flying through the air. could switch gears and start to actu- depending on the configuration and The project began with the BRICK ally put the smarts back into the ro- which axis is the most stable as this (Binary Robotic Inertially Controlled bot, keeping it untethered and mak- thing goes through the air.” bricK), says Tony Dohi, principal R&D ing it as autonomous as possible.” Knowing the center of mass for Imagineer. WDI Associate Research The next stage evolved into the Z- every part of the entire system is es- Scientist Morgan Pope started off shaped “Stickman,” which was a body sential to the robot’s execution upon with a rectangular robot that weighed with three sections and two flexible launch, Dohi adds. Therefore, the approximately 5 lb, and it included joints and also utilized an IMU and robot is disassembled, the arms and weights, an inertial measurement unit laser distance finders so that calcula- legs are weighed, it’s put together as (IMU) on board, a laser distance finder, tions could be conducted on board the a system, and the center of gravity is and a simple microprocessor. Pope robot. The goal was to move beyond determined. Imagineers also perform took it up to a high ceiling, spun it on a just a timing-based series of moves to simulation work to see how it should threaded rod, and let it go. The BRICK actually control the variables that you perform and get a rough guideline of whirled at various rates, dropped, and get from a robot (for example, swing- when the timing cues will occur. They shot its weights out at the right time so ing from a pendulum, having it re- then see if the robot is matching the that they passed through an opening lease, and then executing an action). simulation; the more precise the mea- that was approximately 3/4 in larger Imagineers wanted it to land in a very surements on the robot pieces, the than the actual size of the robot. This specific orientation but have control of more accurate the simulation. “We’ve early test would lead to a much more the performance as to when it would had really close correlation between humanlike evolution. tuck and untuck to change its rota- the two,” Dohi says, “which is nice “We started off with something tional velocity. be cause sometimes simulations don’t quite simple, and it was a robot that “There’s a timed sequence of events, get you anywhere close.” you could barely even call a robot— and then we’ll let the IMU feed it data From Stickman, Imagineers start- it had no motors or CPU on board or based on its spin rate and its height,” ed pushing the robot into the shape sensors, but it was tough and durable Dohi indicates. “Because we can al- of a human and began to work in and it wasn’t tethered,” explains Dohi. ways know where it’s going to land, multiple axes. Dohi admits that the human-shaped robot was “a pretty rough looking thing.” It was all pneumatic, approximately 150 lb, and it did not have body shells on it. The current version is a much more WDI Imagi- polished robot. It was a two-year pro- neers (from left) cess to progress from the BRICK to Victoria Thomas, John Larena, the more-advanced robot iteration. and Brian Orr The giant leaps forward are still evaluate an just scratching the surface of what A-1000 Audio- WDI will be able to do with robots Animatronics in roles that are too dangerous for figure. human performers. “You would never put a stuntman in the parks to do show after show, six to 12 times

©DISNEY a day, where they are being thrown 65 ft in the air, which is what our

16 ■ September/October 2019 IEEE POTENTIALS robot is doing,” Dohi explains. “There’s a 15-G acceleration on this thing that would make a human in a vertical With A-1000 tech- orientation blackout. There’s also a nology, Imagi- hit into the net that is about 12 Gs. If neers are bringing you land the wrong way, as a human, Star Wars charac- you’ve broken your spine. But if you ters like Weequay look at what we have currently, it’s pirate Hondo Ohnaka to life. about 4.5 s in the air. It’s pretty neat to watch, but our shows are much longer than that, and you have to fill that time with other aspects of a performance. So we are not looking to replace human performers; ©DISNEY we’re looking to enhance entire performances.”

A-1000-times more animated electric motors are rectangular and pretty expensive, so we asked, how Disney parks have been renowned have harsh corners, which presents can we develop something that’s a for their Audio-Animatronics figures packaging issues. little more generic, a little more off that have brought characters to life “With hydraulic, you can get a lot the shelf? If a project team comes including Captain Jack Sparrow, of punch from a much smaller actua- in and says, I need some human the Seven Dwarfs, and U.S. presi- tor,” Yancey says. “Now we’re having figures—I’m not exactly sure which dents. With A-1000 advanced robot- to do a lot of rigid body dynamics humans—I just need them to be a ics, WDI is producing the next and analysis in order to make sure reasonable human size and I’d like generation of the A-100 Audio-Ani- that our motors and the bearings to just buy them. I don’t want to wor- matronics figures that were pro- within our motors can have a long ry about having to spend years de- duced in the 1980s. life because we are putting so much signing these complicated things; I Improved movement and func- on them. They’re going through a lot just want a tall guy and short lady. I tionality resulted from replacing of stress, especially with our dynam- want them to stand and to give them traditional hydraulic systems with ic and speed requirements. With the a couple minutes of performance. electric motors. Most of the figures torque we need at the speed that we That’s kind of where our project produced by WDI have been hydrau- need, we are definitely asking a lot kicked off with the A-1000.” lic, and, while they have been en- more from our electric motors.” The A-1000 Audio-Animatronics tertaining audiences for years, Both Yancey and fellow show me- project focuses on what Thomas their performance degrades over time. chanical engineer Victoria Thomas terms “human humans,” those with Moving to electric motors presented worked on one of the first attrac- proportions falling between a 5-ft, its own set of unique challenges. tions that was all electric—Frozen 5-in female and a 6-ft, 2-in male. Ex- For every motor, electric figures re- Ever After at the Norway Pavilion amples of some rides that feature fig- quire a power and encoder cable, of Epcot’s World Showcase. At the ures with these types of dimensions and they all need to route all the way same time, Imagineers were work- are Pirates of the Caribbean and down the figure and through the foot ing on the Shaman of Songs figure some of the new Star Wars: Galaxy’s and the base frame. There is a large for Na’vi River Journey in Pandora– Edge attractions. The idea is to cut range of motion, so cable stress The World of Avatar at Disney’s Ani- down the time it takes to design new points are significant. mal Kingdom. characters while still providing high According to Kathryn Yancey, “Both projects were breaking all functionality. show mechanical engineer, Disney kinds of new ground,” Thomas elab- “We wanted to take that idea of constructed its own actuators and orates. “The Na’vi Shaman was aim- having a kit of parts and being removed many of the seals and ex- ing for top of the line—every bell and able to create a new character from terior shielding, so they were nice whistle—and Frozen was aiming for those,” Yancey explains. “We are cre- and small. Those actuators were a as much functionality as possible ating subassemblies where you can perfect fit for the organic shape of the with more common-grade materi- defunction your figure. A function is human body. For example, a wrist als so you could afford more stuff. what we call an articulation point, is long and skinny as is a hydrau- Between those two projects, we like an elbow. We sum up the level of lic actuator. Since there are three were able to learn a lot about what complexity of a figure off of how many functions in a wrist, Imagineers works well with electric figures, and functions it has. You can define a packaged three actuators into the we took all of that information and price based off of function. With the wrist to make it move. The current incorporated it. Both projects were subassembly, we’ve broken out these

IEEE POTENTIALS September/October 2019 ■ 17 “You recognize that people will want to adjust the range, so we’re providing as much range as we can for every function,” Thomas adds. “There’s a lot of changes that trick- le down like a domino effect: How much longer do my cables need to be? What do the shells that cover the mechanism need to be shaped like? Do they need different clearance cuts? What kind of costume adjustments need to be made? It ends up affecting a lot of things. While we have tried to provide for every sce- nario, there’s always going to be more that come up.” Dealing with the adjustments and challenges of working on the A-1000 project is a reward in itself, Thomas Groot welcomes guests to Guardians of the Galaxy–Mission: says. “One of the biggest reasons that Breakout! at Disney California Adventure. I wanted to work here, as opposed to the aerospace or automotive industries, was because if I started as an intern in those industries, I would key functions that you can pair with ures. Both are the standard 6-ft, 2-in be doing double checks on someone a head or pair with just a torso, male and have the same assemblies else’s work, paperwork, or the mun- and it’s not necessarily like one and along with slight variations for their dane for years until I proved myself done. You can have the option, like a specific characters. But in terms of competent enough to be able to han- menu—we are calling it ‘configurable creating the figures, Imagineers are dle minor design work. As an Imagi- in CAD.’ You have your CAD designer able to design once and produce nine neer, every time I walk out into the or engineer that can use this library times. Since there are often great shop and see the Hondo figure, my and you will have some design time to variations between characters’ faces, jaw drops even though I know every- create your new character based off heads are their own stories. As a re- thing that’s going inside of the figure.” what creative gives you but it’s signifi- sult, the A-1000 program came up cantly less time spent in design.” with a simple head that contains 10 About the author The characters Hondo Ohnaka functions, but the functions can be Craig Causer ([email protected]) and Kylo Ren in Galaxy’s Edge are adjusted depending on a character’s is the managing editor of IEEE all examples of first-article A-1000 fig- unique need. Potentials.

Star Wars: Galaxy’s Edge offers the opportunity to step into the cockpit and pilot the Millennium Falcon.

Elsa, Anna, and Olaf are “electric” in Frozen Ever After at the Norway Pavilion of Epcot’s World Showcase in Walt Disney World.

18 ■ September/October 2019 IEEE POTENTIALS Big ideas: The sky’s the limit

©DISNEY

Craig Causer

he genesis of any Disney hotel, a ship, or even an entirely new teams to understand the needs we park, attraction, hotel, or park. The approach focuses on put- are trying to solve. We start with writ- cruise project begins with ting together interesting and creative ing down the requirements and the people—creative and diverse people with different perspectives, wish list, and that absolutely informs and with varying perspec- giving them meaningful challenges to our development. That being said, we Ttives. These people, Imagineers, are solve, and then removing barriers so also like to have a portfolio of projects involved with everything from design they can create the next big thing in in Blue Sky, some of which are heav- through delivery—and the earliest theme park entertainment. ily informed by needs and others that phases are Blue Sky. Contrary to pop- “It was Disney Legend and famous are less directly informed by immedi- ular belief, Blue Sky is not a Walt Dis- Imagineer Marty Sklar who said, ate needs but are a bit more strategic ney Imagineering (WDI) department; ‘There’s nothing more frightening in and high level. No two projects are it’s a phase of a process where Imagi- the world than a blank sheet of pa- truly the same but, at the end of the neers explore all the possibilities of per,’” recalls Josh Gorin, creative day, what Imagineers do is create ex- what an experience will be, whether development executive at WDI. “The periential entertainment—entertain- it’s an attraction, a restaurant, a truth is that we rarely start with a ment that you touch, see, feel, and truly blank sheet of paper. Imagi- walk inside. Blue Sky is about explor- neers often work with our site opera- ing the next great thing that is really Digital Object Identifier 10.1109/MPOT.2019.2919850 Date of publication: 4 September 2019 tions, business, and market research going to blow our guests away.” BACKGROUND—©DISNEY, NA’VI SHAMAN—©DISNEY NA’VI BACKGROUND—©DISNEY,

0278-6648/19©2019IEEE IEEE POTENTIALS September/October 2019 ■ 19 ■ What is the core concept of this thing that you want the guest to experience? ■ Why is it fun and compelling? ■ How do you want the guest to feel? Addressing these queries among collaborative teams creates a peer review process that often strength- ens ideas. “There is an incredible importance on the interplay between creative and technology and between concept and engineering,” Gorin adds. “Imag- ineering really is a place that lives up to its name of imagination and engineering. We believe the art and creativity and the technology, science, and engineering are so deeply interlinked that you cannot separate them. I think there’s a misper-

©DISNEY ception that somehow someone goes off and draws a pretty picture and Disney has a history of taking technologies before they have been then an engineer figures out how to made available to the consumer market and putting them in its parks. One example is the Indiana Jones Adventure at Disneyland, which make it so. What we have discovered uses an early prototypical form of Wi-Fi. is that the best and most innovative ideas come when that creative artist and the engineer are sitting side by side at the table together, working through an idea. And, really, everyone has that creative potential within them. Engineers, illustrators, and writers just express it through different kinds of deliverables.”

Dream teams The most important part of managing the Blue Sky process, according to Gorin, is casting. Great people are required to come up with amazing ideas, and those people must be consistently supported along the way. With this philosophy in mind, WDI typically organizes teams into port-

©DISNEY folios that focus on a particular Dis- ney franchise, park, or type of expe- The original Hatbox Ghost in the Haunted Mansion attraction existed rience, like a cruise ship or a hotel. for only a short time because its vanishing and reappearing head did These portfolios of Imagineers, com- not produce the desired effect during its initial implementation. With the prising both creative and technical- advancement of technology, Disney was able to reintroduce the Hatbox Ghost in 2015 during Disneyland’s 60th anniversary celebration. minded people, work on delivering projects. Often, requests or opportunities are submitted by parks or properties, and diverse teams are While there is a time to evaluate explains. Prior to discussing spe- assembled to brainstorm ideas with- the economic and technical feasibil- cific ride systems, control schemes, out editing, criticism, or a significant ity of an idea, this does not intrude or formats, Imagineers tackle ques- focus on feasibility, just to see the on the early Blue Sky process. The tions including breadth of what is possible. initial phases focus on “generating ■ What is the experience you are Going forward, a team may be as- mode” and not “editing mode,” Gorin trying to create? signed to work through those ideas,

20 ■ September/October 2019 IEEE POTENTIALS find common themes, see what reso- is almost turning on your own naiveté The concept was that the character’s nates the most, peer review it with and saying, ‘I’m going to think big head would disappear, reappear in the a few other teams, and develop about what I want to achieve and hat box the ghost was holding, and some concepts. Those concepts may what I want people to do, think, then disappear again only to find its be evolved a little further, for example, and feel. Then once I get something home back on its body. With the with some form of visualization such that’s truly compelling, I’ll figure out advances in technology over the as a 3D model, a piece of concept art, a how to do it’.” years, Disney was able to reintroduce sketch, and a physical model, and then the Hatbox Ghost to the Haunted a story treatment may be written. This Taking the time to shine Mansion in 2015 during Disneyland’s peer review and evolution process can Sometimes, regardless of the will 60th anniversary celebration. lead into a holistic creative pitch that and effort, ideas cannot be realized While a Blue Sky concept may or describes the details of an idea, and it’s because the technology has not yet may not be realized in the current at that point when additional subject caught up to the concept. Walt Disney landscape of the various Disney parks, matter experts are brought in to look conceived the idea of Space Mountain, individual ideas never truly die. “Ideas at aspects such as site feasibility, eco- but it failed to be built during his life- are important and powerful, but they nomics, engineering, and architecture. time because the technology didn’t are not precious,” Gorin says. “You can Teams then put together a presenta- exist. Another example is the Hatbox love them and care about them and tion that aligns with business, market- Ghost from the Haunted Mansion. The want them to succeed but also be okay ing, and consumer insights partners to ghost was an original figure in the with knowing that maybe it just wasn’t ensure that the idea is both creative- Haunted Mansion that only existed its time and possibly it will come ly exciting and meets the actual need for a short time before being re moved. up again in the future.” WDI houses of Disney’s operating business. If it passes muster, a pitch is presented to senior leadership and then put on the slate, or “menu,” to ultimately to go into Some of production and be built. WDI’s big “Almost every at- ideas are traction we build has available to view at the some amount of inven- Blue Sky tion—sometimes it’s a Cellar located little and sometimes at Disney it’s a lot,” Gorin notes. California Adventure. “We don’t wait for the technology to be perfect, but we need it to exist. If you look at Indiana Jones Adventure at Disneyland, it used a very early prototypical form of Wi-Fi before it was a consumer standard. We do have a history of taking technologies before they have been made available to the consumer ma rket and putting them in the parks first. I would imagine that many guests had their first face-to-face video conversation on a video phone at Epcot or rode CRAIG CAUSER their first monorail at Disneyland. A big part of the Blue Sky process

IEEE POTENTIALS September/October 2019 ■ 21 hard drives, servers, drawers, and at that technology; they are having for us.” The Shaman is an extremely racks containing thousands of ideas— a truly emotional transformative complex figure containing 45 func- more ideas than you can build in a experience,” Gorin explains. “That’s tions in the head alone and twice that lifetime, Gorin adds. By saving the art a big part of what we do here at number in the body. (Think of each and the presentation, sometimes even Imagineering—hide the complexity muscle movement being one function, recording the idea pitch itself, Imagi- in order to bring through the mean- for example, an eye blink or a jaw neers can access that information in ing and the story and ultimately a opening and closing.) the future when the technology land- really powerful guest experience.” “The Na’vi Shaman was a fully scape has taken another inevitable electric figure, and we knew that we generational leap. Cutting-edge R&D had to have precise control of ev- The WDI R&D philosophy is best One of the more moving guest expe- erything,” Snoddy explains. “We encapsulated by a quote from sci- riences can be witnessed at Walt said, let’s build an ultimate figure ence fiction writer Arthur C. Clarke Disney World’s Animal Kingdom, using these new electric actuators that is scrolled on a wall in the R&D where the lush sights and sounds of that we can now use. In the past, we offices: “Any sufficiently advanced the natural world of Pandora belie would go through a lot of trials first. technology is indistinguishable from the technology beneath its surface. You would try something, dial it down magic.” Disney is in the business of On the Na’vi River Journey, guests a little bit, and build another ver- creating magic for people, and, very board a boat and ultimately come in sion of it. This was the first one that often, it’s an intense technology pow- contact with the Na’vi Shaman of was virtually all done electronically. ering that experience. Songs, an Audio-Animatronics figure It was all done in CAD and with a “When we’ve done our job correct- that R&D Studio Executive Jon Snod- digital workflow. That means in as- ly, guests aren’t thinking, wow, look dy describes as “a Moonshot mission sembling it, it’s no longer people with hacksaws, files, and sanders making parts. You go up and design the part, run it through your simulation The Na’vi River Journey Shaman is a very complex to make sure finite element analysis figure that contains 45 functions in the head and twice that number in the body. tells you that it is strong enough, then you have one made and go drop it into place and screw the screws in and you know it’s going to fit. We took that all the way through the process, and it was one that sort of advanced our whole workflow. It’s way more complex than is needed for most figures, but we wanted it to be.” This Shaman project eschewed any parts from the previous generation of Audio-Animatronics figures, and almost no concepts crossed over. It was a new way of thinking in terms of moving from hydraulic

©DISNEY to electric actuators. In the past, there was a hydraulic cylinder that would act on a space frame, and with this system, the motors became the joints. If super-high energy density is required, hydraulics are still useful, but WDI is building a whole new gen- Ideas do not start with eration of electric motors in-house technology; the technology that possesses significant energy has to “earn its own way,” density, and it can now utilize them says Snoddy. to achieve the required performance. “If you look at how the Na’vi Sha- man was done, it was all R&D for the alpha figure,” Snoddy says. “By the end of it, it was probably around

©DISNEY 50% R&D, and the actual figure that went into the park was 90% the

22 ■ September/October 2019 IEEE POTENTIALS Animation [department] team. That’s how we want to do things.” The evolution of the Collaborative R&D Haunted The WDI R&D studio comprises Mansion is three groups, starting with Disney proof that Research, which looks at emerging ideas never truly die. science to push the boundaries in areas such as materials and artifi- cial intelligence, as applied to Dis- ney’s problem set. The Research group performs open-ended experi- mentation that often ends up in an advancement that is interesting and gets passed on to another group within the R&D segment. hire someone who is a specialist in and Imagineers can begin to design The second segment, Advanced De- every new thing.” that experience from the inside out. velopment, is a group of artists, engi- This type of experiential testing neers, and scientists figuring out how Earning its own way results in more questions: What if to apply what is going on in all of the Despite the high level of technical a turn is moved farther down a few various projects and the philosophy proficiency in the R&D building, the feet? What if the audio cues begin a and the strategy that drives each one. notion is reinforced that ideas do not little earlier? The level of detail pro- Imagineers in Advanced Development start with technology; the technolo- duced by these VR experiences was take emerging technologies from Dis- gy has to “earn its own way,” accord- previously accomplished through ney Research and package them into ing to Snoddy. For instance, Imagi- the use of storyboards and mod- ideas that could be used by design- neers are not starting with virtual els, which are still relied upon, but ers of theme parks or consumer prod- reality (VR) and dreaming up ways the advanced technology provides ucts. You can’t just hand someone a to use it for an attraction. In Snod- greater insight into how designers machine-learning algorithm, Snoddy dy’s mind, VR has not earned the can mold the physical experience of explains, so Advanced Development ability to serve as the centerpiece of an attraction. will show an artist or designer what an attraction. a particular technology can do. The “It’s still isolating—I mean, it’s No limits third group is the Tech Studio, and it unique and it’s amazing—but it’s very At WDI R&D, the job is ever moving builds the hardened code needed to low resolution,” he reasons. “People get forward, and Imagineers are encour- run the parks and their attractions. sick from it, and it’s really hard to track aged to examine pie-in-the-sky ideas Imagineers that call R&D home people. Imagine you are there with that are confined only by the limits are required to excel in various dis- your kids in a Disney attraction. You of their imagination. It’s more follow- ciplines as well as have the ability to can look over, and just in a millisec- ing the path of exploration than work in a highly collaborative envi- ond, you can see that she’s scared, he’s adhering to top-down mandates. ronment. “For everybody here, we can freaking out, or they’re both having a “I report to the president of Imagi- drop them onto a project and they add great time. You can just see that in an neering, so I’m expected to be in those value, and that was what got them in instant, and that connection is part of planning meetings where we think the door,” Snoddy says. “You can be a your personal experience. That’s really about what’s going on down the road,” really great programmer, controls per- what a Disney park is about.” Snoddy says. “If you tell us what you son, a brilliant mathematician, a great One of the more noted technologies want, that just limits so much of our mechanical engineer, but that’s not that has been utilized in the parks is thinking. What you really want to do enough. We are a really collaborative free-ranging vehicles that can drive is tell us, of things going out the door, organization, so this is not a place for anywhere within a specific attraction. what you really like, and we can re- those people who are not very social Such vehicles are currently developed flect that into our own complex feed- but who are brilliant. They may think with CAD, and there is a model of every back loop. The stakes are high, but so very deeply about a subject, but it single one in production. R&D Imagi- we get to kind of explore everything really takes an organization around neers can take a model, run it through as long as what comes out the door them to extract the value. What’s an automated system to produce a file is amazing.” important for us is the ability to col- that can run in VR, and designers then laborate, somebody who likes to be sit together on a vehicle that is the same About the author on a team, work with others, and is size and shape as the one in which Craig Causer ([email protected]) is the curious about everything. The world guests are situated. It travels the same managing editor of IEEE Potentials. changes so fast, and we can’t just go speed and exerts the same G forces,

IEEE POTENTIALS September/October 2019 ■ 23 Walt Disney Audio-Animatronics Timeline

EARLY 1950S

EARLY 1950s: Walt Disney purchases a 1965: Great Moments with Mr. Lincoln— mechanical bird while vacationing in Europe. featuring a duplicate Audio-Animatronics It serves as the inspiration for Audio-Anima- figure of Abraham Lincoln (since the original tronics technology. was still performing at the World’s Fair)— opens at Disneyland. 1951 1951: Work begins on Project Little Man. Imagineers and Audio-Animatronics pioneers 1970: Audio-Animatronics technology enters Roger Broggie and Wathel Rogers create a the computer age with the use of the Digital miniature figure that is programmed with Animation Control System, a computer-con- cams, cables, and tubes to mimic tap-dancing trolled playback system for Disney shows and routines performed by actor Buddy Ebsen. attractions. Imagineers also begin employing the Anicon-Animation Console for animating and programming figures. 1963: Walt Disney’s Enchanted Tiki Room 1963 opens at Disneyland in Anaheim, California, becoming the first show to feature Audio- 1989: The first A-100 Audio-Animatronics Animatronics technology. figure, the Wicked Witch of the West, debuts as part of The Great Movie Ride at Disney’s Hollywood Studios (then known as Disney– 1964: The world’s first fully animated human MGM Studios) at Walt Disney World in figure, Abraham Lincoln, debuts at the New Orlando, Florida. The A-100 figures incorporate York World’s Fair in the attraction Great Mo- compliance technology that gives the charac- ments with Mr. Lincoln. Audio-Animatronics 1964 ters more fluid and realistic movements. figures are also present in three other World’s Fair shows designed and produced by Disney: Carousel of Progress (featuring figures animated using a programming harness, a precursor of today’s motion-capture systems), Magic Skyway, and “it’s a small world.”

1964: Two Audio-Animatronics birds, Robin 1965 and Umbrella, appear in Mary Poppins. Walt Disney reinvests profits from the film to create MAPO (a name derived from MAry POppins), an organization within Walt Disney Imagi- 1970 neering dedicated to creating and innovating Audio-Animatronics figures. Mr. Potato Head (2008) 1989 ALL IMAGES— ©DISNEY, WITH EXCEPTIONS OF: LUCKY—WIKIMEDIA COMMONS/AMBER_H, Digital Object Identifier 10.1109/MPOT.2019.2921531 MUPPETS—WIKIMEDIA COMMONS/DAWN ENDICO, DWARFS—WIKIMEDIA COMMONS/THEME PARK TOURIST, Date of publication: 4 September 2019 BACKGROUND IMAGE— LICENSED BY INGRAM PUBLISHING

1998

2002

Na’vi Shaman of Songs (2017) 2003

1992: Pirates of the Caribbean opens at 2004 2007: The Muppet Mobile Lab (tested Disneyland Paris. The attraction features at Disney California Adventure), featuring sword-fighting figures. Dr. Bunsen Honeydew and his assistant Beaker, marks the first time that free-roaming 1998: Hopper, the grasshopper from Audio-Animatronics characters can interact A Bug’s Life, is the most sophisticated and converse with each other as well as with guests they encounter along their journey. Audio-Animatronics figure produced to date. 2006 Featuring 74 functions, the character appears in It’s Tough to Be a Bug at Animal Kingdom 2008: Mr. Potato Head in Toy Story Mania! at Walt Disney World. (at both Disney California Adventure and Disney’s Hollywood Studios) marks the 2002: The first portable, all-electric Audio- first time that an Audio-Animatronics figure Animatronics figure, Meeko the raccoon from features lips with such a wide range of lifelike Pocahontas, appears at Disney California movements, can remove and re-attach a Adventure. He resides in a basket carried by body part (his ear), and possesses digitally Pocahontas. animated eyes that can look directly at the particular guest with whom he is conversing. 2007 2003: The first totally autonomous Audio- Animatronics figure, Lucky the Dinosaur, is 2014: The Seven Dwarfs Mine Train at Walt play-tested at Disney California Adventure in Disney World features ride vehicles that slow Anaheim, California. down so guests can spot Snow White and the 2008 Seven Dwarfs Audio-Animatronics characters appearing in various scenes. 2004: In Stitch’s Great Escape at Magic Kingdom in Walt Disney World, Stitch becomes the first Audio-Animatronics figure 2017: The Shaman of Songs is unveiled as to spit at guests. part of the Na’vi River Journey attraction at 2014 Disney’s Animal Kingdom. The Shaman is the most advanced Audio-Animatronics figure to 2006: The yeti scares up thrills on Expedi- date, containing approximately 45 functions tion Everest at Disney’s Animal Kingdom. in its head and twice as many in the rest of Standing more than 18 ft tall, the thrust of the its body. yeti’s arm has the equivalent amount of force 2017 as a 747 jumbo jet. It is the largest and most powerful Audio-Animatronics figure ever 2019: A-1000 Audio-Animatronics take created by Walt Disney Imagineering. center stage with the opening of Star Wars: Galaxy’s Edge at Disneyland. Hondo Ohnaka represents the next generation of lifelike, 2019 electric-powered figures.

IEEE POTENTIALS September/October 2019 ■ 25 Inside the minds of two of Imagineering’s most prolific creative

©DISNEY executives

Craig Causer

he allure of Disney parks is neer Leota Toombs—a.k.a. Madame Paris; and Aulani, a Disney Resort fueled by both new and nos- Leota) to get up close and personal and Spa in Ko Olina, O’ahu, Hawai’i. talgic attractions designed with an Imagineer. IEEE Potentials Rohde led the team that conceptual- to build memories for the sat down with two current Imagi- ized, de signed, and built Disney’s Ani- millions of guests who visit neers, Joe Rohde and Tom Fitzger- mal Kingdom at Walt Disney World. Teach year. Once inside the park ald, to pick their brains about top- He is also responsible for the creative gates, the sights and sounds created ics including creating new parks design and content of Aulani. He by generations of Imagineers come and attractions, adapting to vari- spearheaded the team that designed into view. If you look closely, you can ous cultures, and the importance Pandora–The World of Avatar at Dis- spot tributes to the people who of soft skills in the workplace. ney’s Animal Kingdom as well as the helped bring the parks to life. On Main Street, U.S.A. in Disneyland, Walt Dis- ney World, and Disney- land Paris, the names of Disney luminaries are creatively embellished across the windows on the various buildings. “Open Since ‘55—Disney- land Casting Agency—‘It Takes People to Make the Dream a Reality’—Walter Elias Disney, Founder & Director Emeritus” and “Center Street—Painting & Sculpture—Collin Camp- bell, Her b er t R y m a n, Blaine Gibson, Mary Blair, Dorothea Redmond” are BRAIN—©ISTOCKPHOTO.COM/GREMLIN, TOM FITZGERALD AND JOE ROHDE—©DISNEY FITZGERALD TOM BRAIN—©ISTOCKPHOTO.COM/GREMLIN, just two of the fictional business facades that pay tribute to various Imagineers for Into the wild with Joe Rohde Guardians of the Galaxy—Mission: a ll posterity. Joe Rohde is a portfolio creative Breakout! attraction at Disney Cali- You don’t have to take a glide on executive at Walt Disney Imagineer- fornia Adventure in Anaheim. the Haunted Mansion’s Doom Bug- ing. He has spent 37 years with the In the process of developing Dis- gies (where you can witness the company, beginning his career as a ney’s Animal Kingdom, Rohde was disembodied head of former Imagi- model designer on Epcot and continu- instrumental in promoting a strong ing with projects at Disneyland in wildlife conservation message, in- Anaheim, California; Walt Disney cluding the development of the Dis- Digital Object Identifier 10.1109/MPOT.2019.2919882 Date of publication: 4 September 2019 World in Orlando, Florida; Disneyland ney Conservation Fund, which has

26 ■ September/October 2019 IEEE POTENTIALS 0278-6648/19©2019IEEE allocated more than US$75 million to projects around the world. His work at Aulani involved significant cultural collaboration with representatives from the Hawaiian community to develop the content and artistic interpretation of the resort. IEEE Potentials: How do you approach the job in terms of creativity and authenticity? Rohde: I very strongly believe in using narrative structure as the fundamental organizational structure. A lot of people, when they talk that way, they’re only talking about the product. We’re going to tell a story, and ©DISNEY obviously a story needs story structure, and we’re going to have to pro- Rohde spearheaded not only the sights and sounds vide some architecture of thought to at Disney’s Animal Kingdom but also the architecture build a story around. That’s all true. of thought around which the park’s story was built. But I’m talking about human nature and the way people process the world, how the brain is put together, how human groups relate to each nature of the final product. You are Before we did anything, we sat other—all of that is also all narrative. not leading by telling people what to down for a long time—weeks—and Part of what I try to work on is the do nor are you telling them material- worked on just getting to the bot- story of the team itself. Who are we, ly what the goal is because you want tom of animals. What do they mean and why are we doing the thing that to discover what the goal is. Right? to people: freedom, innocence, sur- we’re doing? You’re trying to build You’re leading by telling them the un- prise, exoticism. This is what the up a framework for future unknown derlying ideal behind any decision. project is going to be about. It won’t decisions. You can’t make these deci- What kinds of things is this project really be about animals; it will be sions yet; you don’t know what they’re even meant to express? about these ideas that are inside the going to be. With a big complicated animals. We’re going to find the ones project, if you attempt to meet these Keys to the Kingdom that are consistent with the ability to decisions one by one on the merits IEEE Potentials: How did the Dis- build something. of the decision alone, you’re going to ney’s Animal Kingdom project We ended up with this little set, lose narrative control of the project. start? This park was something and you can see how it will govern Because the merits of individual de- entirely new to Disney and involved future decisions. If my subject is cisions vary completely. Like, this a lot of moving parts. How did that animals who will not cooperate with is an economic decision. Is this one idea that we eventually see as a choreography or planning because cheaper or is this one more expen- fully functional park come about? their behavior is natural, then the sive? This is a practical production Rohde: You start with the subject: intrinsic value of nature itself must decision. Which one of these is more animals. It’s not a theme; it’s a be one of the foundational values of feasible? This is a political decision, subject. So, the first thing you need this project. The fundamental un- which is the most powerful person to do is say we have a subject, ani- tradable value of nature must be one who wants to see something hap- mals, which violates all of the of our foundational design values pen. So rather than contributing to a existing themes that make a theme because our primary subject will single idea, these things tend to pull park work. They’re not idealized, not cooperate with any other value. an idea apart unless there’s a center. they’re not predictable, they do not If that is true, if our foundational Before you make any decisions come from established narrative, value is the intrinsic value of na- about anything whatsoever, you need they’re going to be nonrepeating. ture, what then does that tell me a decision about why we assembled, These are all things that make a about the nature of the space? Is my what we stand for, and what the proj- theme park work, and they’re things space more likely to be laid out in a ect is going to be about. I don’t mean that animals do not do. Therefore, if geometric grid or in a symmetrical subject-wise; I mean as a value set. I’m going to create a theme park with set of loops and curves? It’s probably What this does is that you can actu- this as the subject, I first need to cre- loops and curves. Is it more likely ally create a really predictive model ate a new set of evaluative values that to be dominated by architecture or that says nothing about the material are consistent with those animals. landscape? Probably landscape. Will

IEEE POTENTIALS September/October 2019 ■ 27 individual trees in that landscape unpredictability and surprise is also This goes back to this notion of be more likely to have a straight one of these ideas. So, buildings that narrative foundation. This is a sto- trunk or a crooked trunk? Probably look like they’re not really main- ry-making foundation that’s very crooked. None of these decisions tained—if they were maintained that different from a linear task set or a have been made, but it is so clear as means they were under control and checklist; it’s more like the strange to the nature of what they would be you couldn’t have a surprise. In a attractor in a fractal mathematical because you have predicated them place like that, would I expect my formula, where I’m going to write all on an idea. There’s a small set interaction to be scripted or unscript- this little formula, and then I’m going of these ideas: the intrinsic value of ed? Probably unscripted. Because to push go, and it’s going to start to nature manifested by dominance of someday a giraffe is going to stand in generate all these weird fern shapes. landscape over architecture, domi- front of a vehicle, and you’re not Then there’s going to be all these lit- nance of asymmetrical form over going to be able to move. That has to tle inflections, and I don’t know what symmetrical form, dominance of or- be a good thing because it’s going to they’re going to be. And if it comes ganic form over geometrical form. happen inside of your story. up against an impediment, it’s still IEEE Potentials: When focus- In the third set of ideas was this going to be like ferns; it’s just going on these core animal-based personal call to action. There’s al- ing to grow around the impediment. ideas, how much did unpredict- most a moral obligation, if this is Whatever it is that this thing is, it’s ability and conservation play into your story set, to tell people things all one big idea, it all fits together, the conversation? so that they can make real decisions and you let that drive. That way, Rohde: Another focus of ours was about how they fit in this world. All you can discover what it might be this sort of idea of adventure as the of that existed before any idea for instead of starting at the beginning confrontational with the unexpected any attraction whatsoever so that we of a project, one that’s going to be in the new. Since we have animals, knew how to filter ideas. five or six years long or longer, and

(a) (b) IMAGES—©DISNEY (c) (d)

(a) and (b) The construction of the Tree of Life at Disney’s Animal Kingdom and (c) the finished product. The tree reaches 145 ft high and contains (d) 300 animal carvings.

28 ■ September/October 2019 IEEE POTENTIALS try to predict what it’s going to be. IEEE Poten- Rohde (right) tials: During the put his Na’vi- design process, sized shovel how do you deter- to the earth mine what is fea- during the 2014 ground- sible? For example, breaking of in Disney’s Animal Pandora–The Kingdom, there World of are boundaries Avatar. that people can’t see and that the animals can’t get past. Another instance was the idea ©DISNEY behind Expedition Everest, which in- corporates switch- ing roller coaster tracks and a gi- not have others; let’s just make sure Rohde: Projects live and die on the ant animatronic yeti. How long does there’s one crucial innovation that we basis of the dynamic of the team it- it take to decide if those are things can deal with so we can get it done. self. It’s the ability to communicate, you can actually accomplish? With Expedition Everest, the one in- negotiate, describe, enlist—to get Rohde: The less you want to inno- novation that allows the ride to ex- people to want to be on your team— vate, the faster you can go, which ist is to take the principle of a track which have only so much to do with works great in a lot of industries. A switch, which exists—yes, there is a what you’re building and another lot of industries can go a long, long track switch that allows a coaster to whole thing with who are these time with small incremental adjust- be diverted from one track to anoth- people, and do I want to spend four ments to a predictable product. This er. There did not exist a track switch years of my life for at least eight is not one of those. The entertain- built on a curve that can allow a hours a day dealing with them? ment industry is predicated on nov- fully loaded coaster moving at high You have to think in terms that elty; it’s predicated on something speed to be diverted to another track these are huge enterprises. Huge being patently, obviously rich and and to do so by flipping over at a enterprises get done because of re- new. You have to surprise people. very high speed. If that can be made, lational issues. For example, I need That means, first, it’s going to take which is a series of really mathemat- those park guys to actually ask for time. We’ve gotten better and better ical engineering questions, then we this thing. It’s not a big surprise if at previsualization tools. Even when have an idea. This idea’s validity is I ask for this attraction. I’m a de- we were doing Disney’s Animal based on stopping and going back- signer, of course I’m going to ask for Kingdom, we were one of the first wards, and we can only do that with an attraction. I need to be a service parks to do a big digital model of a this track switch. Really, in the end, provider in this relationship. It all section of the park. We did the entire the rest of the coaster is very coast- goes together, you cannot take it safari as a huge, CAD, topographic er-like. It’s all been done except for apart, you can’t extract the physi- drivable model. But back in the day, this, but if you can do this, you can cal product from the social milieu in the file was so big that we had to do something no one has done. They which it’s going to get done because pick a ride path, send it away for like won’t see it coming, and they won’t the only way it’s going to get done is 24 hours to grind out fixed video of expect it because they don’t have it through this milieu of people work- a particular thing, and then we in their framework of experience. ing with each other. The product could watch it. We were previsualiz- You try to isolate what is it about this does not exist except through hu- ing. So, you previsualize as much as [idea] that is unique and protect it by man agency. The human part of a you can: models, digital models, not having unnecessary innovations product is superimportant. mock-ups, tests, full-scale proto- that are distracting from the core. IEEE Potentials: How can stu- types—anything you can do to help dents improve upon their own get as close as you can to what you The strength of soft skills soft skills? are trying to create. IEEE Potentials: Soft skills have Rohde: Certainly, practice will The other thing I think you try been important in the progres- increase familiarity. Phobias like to do is isolate the arena of innova- sion of your career. Talk a little speaking in front of a group will tion. Where exactly is the crucial in- about why these types of skills lessen by actually doing it. There novation in this thing? Maybe let’s are so essential. are a couple of principles. I used to

IEEE POTENTIALS September/October 2019 ■ 29 be a teacher. One of the core princi- super exciting, never been done, really For Disneyland Paris, he led the ples of teaching is you have to be love it, and I’m perfectly happy to tell Imagineering team in the creation of able to shift from thinking in terms you that this is my favorite part right Ratatouille: The Adventure as well as of what you know, and simply trying here. But I’ve also taken the time to the Bistrot Chez Remy restaurant. to dump knowledge, to imagining say don’t freak out, this is feasible, IEEE Potentials: Talk about all of the ways in which some other responsible work has been done, just your contributions to Star Tours. person would fail to understand or so that you’re relaxed enough that I What was it like not only trying be emotionally gripped by [a con- can now indulge myself and talk to get a Star Wars ride up and cept]. So, forget what you know; for- about the part that I’m really interest- running but also creating an at- get how smart you are. Forget how ed in. That’s fine to do—it humanizes traction that met with George Lu- much sense this thing makes that and personalizes, and it attaches you cas’s approval? you’re trying to describe and flip it to the idea so that it transcends just Fitzgerald: The one thing that I’ll completely over and go, okay, imag- being an object in the universe. probably be remembered for when I ine I was not me at all. I am some retire is Star Tours. It was a big deal other kind of person. I exclusively Tom Fitzgerald: and a fun collaboration. George only care about the financial impli- Looking to the stars Lucas was the Walt Disney for me cations of this decision, for example. Tom Fitzgerald is a creative executive when I was a young adult. I was a How would I be looking at this and at WDI. He is currently responsible for huge Star Wars fan. I was the writer what needs to be said for me to the creative direction of two portfolios: and show producer for Star Tours, understand it and to feel some Disneyland Paris and part of Epcot at and Tony Baxter [former senior vice sense of solidarity to it? Or I am cul- Walt Disney World. Born in New York, president of creative development at turally predisposed to be enthusias- his dream of becoming an Imagineer WDI] was the show director. We tic about completely other things. I began when he saw the Disney attrac- worked very closely together. don’t care about this subject; what tions showcased at the 1964–1965 What was interesting about Star would I have to perceive in this to be New York World’s Fair. Fitzgerald Tours was something that came along able to find a place in it? began his Imagineering career in later. It was a step into simulation, IEEE Potentials: You’ve given 1979, and he has presided over the which was a new form of entertain- presentations in front of some creation of more than 400 media proj- ment, a motion-based simulator that very large audiences. How do you ects across the globe including Star found other uses and continues to approach the process of commu- Tours, Soarin’, Mickey’s PhilharMagic, find uses in simulation attractions. nicating big, technical ideas? Cinémagique, It’s Tough to be a Bug!, When we created it, the technology Rohde: When I’m presenting, I sort of and MuppetVision 3D. was there for the motion base, but have two modes: one in which I’m try- Fitzgerald was the writer–producer for the show portion, we weren’t quite ing to build confidence; I want you to for the original Star Tours attraction ready for video yet, so we had to use understand that this is a responsible and continued as the creative direc- film. Our Imagineers had to figure out idea. It can be done. Then I can tor of Star Tours–The Adventures how to take a 70-mm projector and a indulge myself and go, now I can be Continue, both of which provide a loop cabinet, which is the thing the more expressive about how this part 3D, motion-simulator flight experi- film runs through instead of a reel— is really cool, this is the part that’s ence through the Star Wars universe. it’s a big loop of film that can continue all day. We had to figure out how to put a loop cabinet and a projector on a motion base that would be rugged enough to run all day long, every day. That was amazing for its time period. Expedition What we thought was so interest- Everest’s ing about Star Tours initially was be- innovative cause it was a film, you could change track-switch experience the film and change the show. Well, provides we never did because the attraction guests with was so popular for so many years, a high-speed the parks would say, we don’t need Himalayan to change it. And we said, yeah, but adventure. we can do more with it. IEEE Potentials: At what point were you able to enhance the ride

©DISNEY and include additional adventures? Fitzgerald: It wasn’t until George started doing the prequels that we

30 ■ September/October 2019 IEEE POTENTIALS said, now he’s changing the story. in number three? By the time we had done Star By the time he Tours, he had wrapped episodes 4, finished three, we 5, and 6. We opened in 1987, and now had six films, Return of the Jedi came out in 1983. so we asked, what So George was done. For George, one ride are we go- the interest of Star Tours was that ing to do? That’s it would keep his franchise alive when, for me, it until such time that he made any was a very “Imagi- new movies, and at that point he neering thing” mo- wasn’t planning on doing any new ment: How many ones. Every day at Disneyland, and Imagineers does in Florida and Tokyo, R2-D2 and it take to change C-3PO—along with that music and a light bulb? Why

those adventures—would be play- does it have to be a ©DISNEY ing in front of the public. So, his light bulb? So, we franchise wouldn’t fade away. asked, why does Fitzgerald served as the writer and When he started the new movies, it have to be one show producer for Star Tours. Here, he is getting up close and personal with a it was a chance to say he’s now add- ride? Because now picture-perfect Gran. ing more stories. To stay relevant, we that we could use need to change as well. When he was video, we could do doing Episode 1, he called us and said, more than one. “I know what Star Tours should be IEEE Potentials: What were changed. When we were planning from the movie I’m making.” We went some of the most important deci- Star Tours, we were still in an age up, and he showed us the pod race. sions made regarding Star Tours that had ticket books, where you That’s all he showed us. We didn’t and its evolution? would pick your e-ticket out and go know how it fit into the story, so we Fitzgerald: For me, what’s important use it. That changed with [former actually worked up storyboards and about Star Tours, when you ask The Walt Disney Company Chair- got the whole story together and then what do you think you’ve done man and Chief Executive Officer] stopped and said, well, what’s going that’s been important for the indus- Michael Eisner and [former Presi- to be in Episode 2? Maybe we should try, it was less about the simulator dent] Frank Wells pretty quickly wait and see what’s in number two the first time and more about say- after they came on board. and then decide if there is a stronger ing that in the time that we created What happened was that once ride in that film. As you can imagine, Star Tours and went back to do Star you took away the ticket books and after he was done with number two, Tours–The Adventures Continue, went to the unlimited ride-whenever- we naturally asked, what’s going to be the way guests used the parks had you-want model, it became a buffet.

Star Tours allows guests to face (and flee) Darth Vader. ©DISNEY/LUCASFILM

IEEE POTENTIALS September/October 2019 ■ 31 And once it became a buffet, people Once you could go on it again and ings, different act ones, different trans- could get off and get right back on again, the fear was that people would missions, and different finales, and it. They could just churn through it. say I’ve done that. Well, that can’t be each of those segments in each wheel When I was a kid, I grew up on the possible because these things cost a will be exactly the same length so that East Coast, and when going to the lot of money, and they have to last a you can, like a slot machine, pull the parks, you had to really look at those very long time. The idea of having the wheel and get different combinations, e-tickets and say I only have one more branching storyline was that if we not and they would line up through the ticket, am I going to do Haunted Man- only have new adventures but we fig- hyperspace jumps. You would be able sion or Pirates? I had to make a choice ure out how to make it even more ran- to have 54 combinations, and that, to and only get to do one, and it would be dom, then we can have lots of differ- me, was the breakthrough of The years before I would get to come back. ent combinations of the show, which Adventures Continue. Because in a means it’s going to world where people are absorbing our take you a lot more product with annual passes and rides to see every- much more, how do you keep it flexi- thing. And even once ble? How do you keep it surprising? you have seen them I think that’s something you see all, you never know more now in things that we’re doing in which combo you’re the parks. There’s The Nightmare Be- going to get. fore Christmas overlay at the Haunted IEEE Potentials: Mansion in the parks, there’s an “it’s How has Star Tours a small world” holiday overlay, and in influenced the theme the Ratatouille ride in Paris—depend- park attraction land- ing which vehicle you are in—you get scape? slightly different versions of the show. Fitzgerald: The way I That is really important for our busi- laid out Star Tours– ness because flexibility and change- The Adventures Con- ability have to be part of how we look tinue is like a slot at our projects now because we have machine: I’m going to an audience that just churns media have different open- so much, and we also have so much

Fitzgerald (center) gets a rat’s-eye view of the culinary delights featured in Ratatouille: The Adventure at Disneyland Paris. ©DISNEY

Cars Land was a game-changer for Disney parks in terms of “going big,” Fitzgerald says. ©DISNEY

32 ■ September/October 2019 IEEE POTENTIALS media coming out from the company that you want the ability to say, “I’d like this attraction to have this Marvel story now, but now that a new film has come out, I want to do a ride based on those characters and stories.” Al- right then, I need to think about the ride being like Star Tours. Somehow, it has to be media based so I can change out segments, and it has to be on a scale like Avatar Flight of Pas- sage, which is a modern-day version of Star Tours that is unbelievable in its immersion and programming. We all build on what’s been done before us and learn from that and also from what the parks need. ©DISNEY Change and adaptation IEEE Potentials: What are some Fitzgerald (left), who has been a driving force behind Disneyland Paris, focuses on a model designed to bring a Ratatouille attraction to Epcot in of the significant changes you’ve Walt Disney World. seen in the parks over the years? Fitzgerald: Cars Land [at Disney Cali- fornia Adventure] was a game-changer for us in terms of “go big.” We are shifting from “theme” park to more things, I want to step into Star Wars And then you go on Radiator Springs “franchise” park, in a way, and I don’t land or into Pandora. Racers, have fun on the Mater’s Junk- think that’s a bad thing. What I I’m sure that there are many yard Jamboree ride, and go to Flo’s think the guests are saying is that of our guests who would say their fa- V8 Cafe for some food. The best com- they want to be more immersed in vorite Pixar film is something other ment I heard came from a kid when it the world. I don’t want to go through than Cars, but the audacity of had opened. The boy asked his dad, a New Orleans facade and then be in stepping into Radiator Springs “Is this where they filmed Cars?” It Pirates of the Caribbean. I want to be just makes you smile because you was so believable to that kid that he in a pirate land. I don’t just want to cannot believe that you are in Radia- thought there was a movie crew that go into Star Tours and see those tor Springs with all of that rock work. came in and filmed the movie there.

Guests are immersed in Radia- tor Springs during a spin on Luigi’s Rollickin’ Roadsters in Disney California Adventure. ©DISNEY

IEEE POTENTIALS September/October 2019 ■ 33 neyland. He would have his engineers figure out how to move more people through the shows. Then, of course, Disneyland got the benefit of all of that when all those shows came back. Suddenly Pirates went from a walk-through to a boat ride, and the drive system that moved the Ford car in the Ford ride became the same ride system that he used for the PeopleMover at Dis- neyland, and a version of it was used for Adventure Thru Inner Space and then the Haunted Mansion. ©DISNEY Balance and divergence Rohde signs a beam during construction of Pandora– As veterans of the themed entertain- The World of Avatar in Disney’s Animal Kingdom. ment industry, Rohde and Fitzgerald are adept at juggling the myriad issues that go into large-scale proj- IEEE Potentials: What are the do something with it for this audi- ects. “The business we do is a bit like attractions and interests that are ence. I never thought it would go fly fishing,” Rohde explains. “I’m unique to the region that have been anywhere else, and now we’re put- working on about four to six projects integrated into Disneyland Paris? ting it in Epcot. You never know right now. There are teams, and How do you adapt to a culture? where things are going to go. they’re working and talking. We have Fitzgerald: How do you adapt to a IEEE Potentials: But adapta- no idea in the world if these are all culture? As we have grown, we’ve tion is not just matching intellec- going to happen yet. And yet, as far gotten better at it. There are things tual properties with cultures. How as we know, they are feasible and that are universal. Physical things has Disney approached moving affordable. And we vouch for the fact are universal. Space Mountain is technology forward? that they seem interesting. But that going to be pretty popular wherever Fitzgerald: Walt hated the fact that, in does not always continue to bear out you drop it. When you get into more his day, when he released a movie, it as you go deeper and deeper into a narrative stories, more of a boat ride was done, and there were things he model. As it gets later in a project, you or a theater show, you have to be a wanted to change and he couldn’t, have to be more nimble about react- lot more careful and ask what kind and it would never be fixed. Today, ing. You have to decide whether I’m of storytelling is going to resonate filmmakers get to go do their “special going to fight this through, or do I stop with this audience? What properties edition” and fix it. But he loved the it, adapt, and go around [the issue]?” are they interested in? park because he said it was a living Fitzgerald adds that replication They’re not the same everywhere. thing and would evolve. Walt was try- versus diversification is a discussion In Paris and elsewhere around the ing to figure out what it was that the that is often revisited. “There’s obvi- world, we have groups in our compa- guest wanted to come and step into. ously an efficiency in replication, and ny that perform studies focused on As the park got more sophisticated, it started with Walt Disney World’s franchise strength in a marketplace. his team had to invent ride systems Magic Kingdom,” Fitzgerald says. I’m so old that when I started with that could carry greater numbers of “You were going to have a Haunted the company, and for many years, we people because the park was getting Mansion and “it’s a small world” at- didn’t have a live-action picture that so popular. You could no longer have tractions—you can’t imagine not was successful that we could base a simple ride that could handle 400 having those. Will every park build a ride on. We had animation that people per hour. You needed 2,000 everything exactly the same? I don’t we could, but now—between all the or 3,000 an hour, and that required think so, and they shouldn’t. Part of Marvel films, Lucasfilm, Pixar, fea- inventing ride systems like Pirates of the fun of going to different Disney ture animation, and Fox—we have so the Caribbean, “it’s a small world,” parks around the world is seeing dif- much [intellectual property] that we Carousel of Progress, and Haunted ferent things.” have to be more selective now when Mansion. All of those were ride sys- we look to build something that could tems that really got their start at the About the author be around for 50 years. New York World’s Fair, where Walt re- Craig Causer ([email protected]) Ratatouille was a natural for us; alized that a fair that was only open is the managing editor of IEEE it’s a Valentine to the French and to a few months was going to have enor- Potentials. Paris and to food. We really should mous crowds—much bigger than Dis-

34 ■ September/October 2019 IEEE POTENTIALS The wonder of Imaginations

©DISNEY

Craig Causer

ne of the most popular Walt success requires that any industry graduates from a wealth of disci- Disney Company adages attracts the next generation of dream- plines ranging from fine arts and ar- is “If you can dream it, you ers and doers. To that end, in 1991, chitecture to engineering and urban can do it.” [It’s a quote often former WDI executive Marty Sklar planning, among others. A project attributed to Walt Disney introduced Imaginations, a design challenge is provided, and the teams Obut actually coined by current Walt competition designed to cultivate the work to produce a concept in a way Disney Imagineering (WDI) Portfolio next generation of Imagineers. similar to how Imagineers develop Creative Executive Tom Fitzgerald Imaginations provides students their Blue Sky projects. The 2019 for the Horizons attraction at Epcot.] and recent graduates with the competition, which ran from August Regardless of the source, sustained opportunity to display their tal- 2018 to February 2019, instructed ents to WDI through a Disney-re- entrants to create an experience that lated project. Teams include two to explores a natural or ancient Won- Digital Object Identifier 10.1109/MPOT.2019.2919881 Date of publication: 4 September 2019 four college students and/or recent der of the World. The projects could BACKGROUND—©ISTOCKPHOTO.COM/GRANDFAILURE BACKGROUND—©ISTOCKPHOTO.COM/GRANDFAILURE

It all began back in August 2018 inside a small coffee shop create a feasible and safe experience for everyone as well as tell in Orlando, Florida. That’s where we all met up to discuss a compelling story. our ideas for Walt Disney Imagineering’s 28th Imaginations While working at our summer internship in Orlando, we design competition before heading back to begin our fall quarter agreed that our variety of backgrounds and skill sets would at Savannah College of Art and Design (SCAD) in Georgia. be a perfect combination to create a unique project. From our Knowing that this year’s project was going to be a challenging industry experience, we learned that it takes many different one, we discussed ways that themed entertainment can be skills to be able to tackle such an expansive creative endeavor. pushed to become even more immersive and impactful than Before starting the project, we knew it would take months of we’ve seen it before. research, creative writing, visual development, engineering, The competition directed students of all skill sets and architecture, and more to be able to make the cut among so backgrounds to create an experience that explores a natural or many brilliant students. ancient Wonder of the World. The contest proved challenging Creating a world of wonder with a focus on places that are difficult to enjoy either because Once we had regrouped back at SCAD in the fall, each of us they are remote, inhospitable, or no longer exist. Students began figuring out what expertise we could bring to the table created experiences that explore and share these wonders to push design limits and create a project that would impress safely for a wide range of guests, at or near the original the Imaginations judges. Over the next three months, the team presumed location. worked together many hours a week alongside our challenging From a list of 14 world wonders provided by Disney school schedules to compose a compelling competition entry. Imaginations, we quickly decided on The Hanging Gardens As a senior working toward his B.F.A. degree in architecture, of Babylon. Because the original site was rumored to be in Nick assisted with the visual development of the project. He modern day Iraq, we designed an attraction on location that helped to create the concept architecture of the experience and would ultimately serve as a means to give back and revitalize the push the elements of feasibility within the project. His goal was surrounding community and country. The location alone resulted to make sure everything would fit and flow together to create a in challenging and extensive research to make sure we could cohesive story. Zeke, a senior pursuing a B.F.A. degree in production design, prepared the script and presentation that were presented to Imagineering executives in Glendale, California. He also worked diligently to develop the most effective way to communicate the team’s concept. On the technical side, Zeke undertook the 3D modeling of the building and helped develop a virtual fly-through of The Rose of Babylon. Carolyn, a senior completing her B.F.A. degree in production design, took all of our collective ideas and combined them into a cohesive story, which we ended up using for the basis of the project. She also assisted with visual concept development, constructed the physical model of the building structure, and fabricated paper props from the story that were used at the competition finals in California.

©DISNEY, PHOTO CREDIT: GARY KRUEGER GARY CREDIT: PHOTO ©DISNEY, Remi, a graduate student pursuing an M.F.A degree in The 2019 Imaginations winners (from left) Zeke Waters, Caro- illustration, was the leading illustrator on the project, and it lyn Teves, Nicholas Hammond, and Remi Jeffrey-Coker with their project The Rose of Babylon, a botanical inquisitorium was her job to direct the project visually from beginning to for people of all ages. end. From the initial stages where we conceptualized early

not include virtual-, augmented-, or In addition to spending a week here Disney careers and internships.] Our mixed-reality-based solutions and at Imagineering, getting industry in- finalist teams are the ones that fly must not contain Disney intellec- sight and mentoring opportunities, out here, so they have the opportuni- tua l property. there is no better way to literally have ty to participate in interviews during “For us, Imaginations is both a your work in front of the key decision the week, and semifinalists are also competition and an acquisition tool,” makers at Imagineering. You do not included in this pool of people that explains Sariya Singsanong, pro- need to be a winner to become an are considered for internships.” gram specialist at WDI in Glendale, intern, and anyone can apply for in- The top six teams in the 2019 California. “I always tell students ternships online. [Visit https://jobs competition, comprising 21 finalists, that a good opportunity at getting .disneycareers.com/professional- represented a variety of schools in- into WDI is through Imaginations. internships for more information on cluding the University of Southern

36 ■ September/October 2019 IEEE POTENTIALS ideas, all the way to the final presentation, she problem- solved and helped her teammates create the most compelling imagery we could to bring the emotional story of The Rose of Babylon to life. We ultimately designed the concept for The Rose of Babylon, a one-of-a-kind botanical inquisitorium that offers eclectic entertainment for guests of all ages. The Rose of Babylon is an entertainment venue that invites its visitors to formulate their own adventure based on their curiosity. The overall goal of the experience is to change the world for the better by cultivating a community with our global neighbors. ©DISNEY, PHOTO CREDIT: GARY KRUEGER GARY CREDIT: PHOTO ©DISNEY, As guests travel through The Rose of Babylon, they experience activities such as excavating for historical The SCAD team collects its first-place prize during the Imagi- artifacts, a water play lab that illustrates the importance of nations Award Luncheon on 8 February 2019. the Euphrates river, and a vine course that allows visitors to observe the bond between guests from around the world The rest of the week was filled with visits to different Disney throughout the building. Along with educating the public departments, speed interviews, a trip to Disneyland, and on environmental, cultural, and social issues, The Rose of bonding with the other six finalist teams. On the last day of the Babylon is also designed to help aid in environmental relief trip, we awaited the results of this year’s competition. When for the Euphrates river due to the advanced water filtration they announced our team for first place, we did not expect to systems used in the building. win. We accepted the awards with tears of joy and relief, and Our project also highlights a family garden, where guests to add to the surreality of the scene, as we were walking off the learn about agriculture and hydroponics. Each family has the stage, we looked up and saw that the visuals of our project had ability to plant a new seed in the garden, and the vegetation enveloped the entire room. Overall, it was a really magical and that is grown is distributed throughout Iraq to communities in rewarding experience. need. As more global visitors come to The Rose of Babylon, The Disney Imaginations competition exposed us to many the gardens will grow in size. We want guests to visit years life-changing experiences. All four of us accepted internships later and see the difference that they’ve made. The Rose of with Walt Disney Imagineering and worked together in Orlando, Babylon will bloom new life into Iraq, and it provides a notable Florida this past summer. Nick, Zeke, and Carolyn graduated in experience for the country to proudly share with the rest of May from SCAD, and Remi will continue her education remotely the world. to earn her degree in the upcoming year. Up-close Imagineering We attribute our success to a wide variety of ideas and After we discovered that we made it into finals and that we skills, perseverance and support from SCAD, and our Disney would be traveling to Walt Disney Imagineering headquarters in Imagineering mentors. We felt prepared going into the Glendale, California, we went forward to push the visuals and competition and that we had done as much as we could to get presentation to new heights. Upon arrival, the fun began with on stage and present our project in front of Disney executives. technical runs of the presentation and networking opportunities We had amazing mentors who prepared us as much as they with Imagineers. It was amazing being able to meet these could for the weeks leading up to the final competition, but we people that you dream of becoming for such a long time. With also knew that the other teams’ ideas and projects were going initial introductions complete, the second day was spent giving to be spectacular. the final presentations in front of a room of judges from various By Carolyn Teves, Zeke Waters, departments of Imagineering. Remi Jeffrey-Coker, and Nick Hammond

California, Los Angeles; Olin College First place was awarded to Nick guests can relax and appreciate ag- of Engineering, Needham, Massa- Hammond, Remi Jeffrey-Coker, Car- riculture from around the world and chusetts; the University of Texas at olyn Teves, and Zeke Waters from actively contribute to the spread of Austin; California Polytechnic State SCAD for The Rose of Babylon, a resources and the growth of new life. University, San Luis Obispo; Sa- botanical inquisitorium for people (See “Coming up Roses” for further vannah College of Art and Design of all ages. The project is a modern details on the SCAD team’s project.) (SCAD), Georgia; and the University reimagining of the ancient Hanging Second place accolades went to of Florida, Gainesville. The first- Gardens of Babylon and serves as a Kyle Branch, California Polytech- place team scored a US$1,000 cash spark to rebuild the nation of Iraq. nic State University; Triet Nguyen, prize and an additional US$1,000 One of the centerpieces of the experi- University of Southern California; grant for its sponsoring university. ence is the Hanging Gardens, where Brooke Pandos, SCAD; and Jessica

IEEE POTENTIALS September/October 2019 ■ 37 Blending Worlds: The Value of Design in Engineering

When we chose to go to a school with “Engineering” in the name The Northern Lights have been watching over Alaska ever since (Olin College of Engineering), we never expected that we would humanity first crossed the Bering Land Bridge. The Kiig˙uyaruq be flying out to Disneyland to tour the park with incredible art and Express takes visitors on a fantastical journey through the architecture students. To be honest, being the only all-engineering memories of the Northern Lights. At night, guests sleep under team in the finals of the 2019 Disney Imaginations competition the stars in a timelessly elegant glass-topped train. Every day, made us stick out a little, but our ability to blend the worlds of the train stops in a lovingly recreated town from Alaska’s past. engineering and design was ultimately the key to our success. Guests experience a 1970s Iditarod sled-dog race, an 1890s Disney Imaginations is an annual design challenge presented gold rush, a 1700s fish bake, and the first human settlements of by Walt Disney Imagineering (WDI), where college students Alaska. They work with their fellow passengers to solve puzzles from around the world are tasked with a hypothetical challenge through these immersive towns, while learning about Alaskan about the future of family entertainment experiences and then culture and history. Through the use of a small cell phone-like present their visions through digital art, written text, and, in the compass device, guests capture photos and interact with their finals, a 15-min live presentation. This year’s topic challenged environment. The photos they take, the people they meet, and us to design an experience built around the location of an the memories they make then culminate in the final day as they ancient or natural Wonder of the World. These designs must are contributed to the Northern Lights, leaving guests with a address the wonder’s unique historical, cultural, economic, and scrapbook to commemorate their unforgettable adventure. ecological impact on the surrounding communities. We chose to Like many designers, we were inspired by personal focus on the Northern Lights. experiences and desires and informed by our expertise as Our project, the Kiig˙uyaruq Express, is a five-day train engineers. We have always wanted to see the Northern Lights, journey through the heart of the snowy Alaskan wilderness. but the logistical difficulties of traveling to the far north during the winter make it difficult. The primary Alaskan airport is in Anchorage, in the south of the state, and we wanted to show visitors the far north, above the Arctic Circle. That meant we needed a transportation solution that was spacious, fast, and magical. We chose our favorite form of transportation: a train. As engineers, we were committed to making it as realistically plausible as possible. From figuring out how many rooms can fit in a single train car, how wide hallways need to be for Americans with Disabilities Act compliance, and what power sources work best in the Alaskan wilderness, we left no stone unturned in researching and modeling every last detail. We integrated our technical knowledge of these traditional engineering problems into our presentation. ©DISNEY, PHOTO CREDIT: GARY KRUEGER GARY CREDIT: PHOTO ©DISNEY, Once we were selected as one of the top six finalists teams Olin College of Engineering third-place winners (from left) MJ McMillen, Eric Miller, and Benjamin Ziemann created The and received the invitation to visit Imagineering headquarters, it Kiig˙uyaruq Express, a five-day Alaskan wintertime train journey. rapidly became clear that the Disney Imagineers love this kind

Woody, University of Florida, for Port Each day, the train stops at the site team. We recommend having a re- Pharos. Their work produced a re- of a historical event or culture, and ally diverse team because it’s dif- sort formed by fleets of ancient ships guests disembark to experience a ficult if you have four graphic de- traversing waters surrounding a re- recreated vision of the past where signers on the same team, although born Lighthouse of Alexandria. Port they can use a personal compass to you can be a graphic designer and Pharos was designed to honor the act as agents of the Northern Lights, have multiple skill sets. The most history, architecture, and ecosys- assisting the people they meet with important thing is to show us what tem that is local to the Lighthouse various challenges while collecting you do best. That mirrors how we of Alexandria. memories along the way. (For further work—we don’t have entire teams of MJ McMillen, Eric Miller, and details on Olin College of Engineer- just graphic designers or engineers. Benjamin Ziemann from Olin Col- ing’s project, see “Blending Worlds: But there are exceptions. This year, lege of Engineering secured third The Value of Design in Engineering.”) the team from Olin College of Engi- place for The Kiig˙uyaruq Express, “The teams that typically shine neering was all robotics engineers. a five-day wintertime train journey through are usually the ones that It’s really interesting to see where originating in Anchorage, Alaska, are the most cohesive,” Singsanong all the skill sets shine through even and extending north to some of the says. “They are able to pinpoint when all of the students are of the most secluded regions in the world. all of the different talents on their same discipline.”

38 ■ September/October 2019 IEEE POTENTIALS of thinking, and it showed, as we ended up placing third. During the event-packed week of the finals competition, we were able to see how WDI approaches its engineering processes by focusing on building experiences for their park guests that tell cohesive narrative stories and inventing the technology needed to bring those stories to life. We experienced everything from how Imagineers develop Audio-Animatronics figures to their approach for sculpting huge rock facades and how that comes together into massive and immersive narratives. Embracing uniqueness Replicating this approach to storytelling was both the most

difficult and most fun part of making our own project: distilling KRUEGER GARY CREDIT: PHOTO ©DISNEY, six months of ideation, late-night talks, and details into a short Sorcerer Mickey presents the third-place award to (from left) presentation for a diverse audience. A big part of helping guide Ziemann, McMillen, and Miller. us in this process were our mentors. In addition to our college professors, we also received guidance in the form of our Disney mentors, Ray Scanlon, Allison Masikip, and Matt Ho, previous Although we are all robotics engineers by major, each of us finalists who ended up working as full-time Imagineers. Wanting brought our own diverse set of skills and experience to the to pass on their knowledge and experience to prospective team, both in the technical and the storytelling sense. Using the Imagineers through the Imaginations program, they gave us tools with which we were comfortable and had experience, we advice on direction, format, and how to make our presentation visually told the story of the Kiig˙uyaruq Express how we knew memorable. Their help was invaluable. They pushed us to focus it best. All of the digital art was done by MJ, whose love of art on user interactions and embrace what made us unique. and painting helped her to learn and experiment in Photoshop All three of us are undergraduate students at the Olin College just weeks before the competition due date. Details that were of Engineering, where this philosophy is common. Here, our hard to convey in painting were shown through Benjamin’s entire curriculum is built around the idea that engineers are computer-aided design models of the compass and titular most successful when, in addition to the more traditional Kiig˙uyaruq Express. Finally, Eric brought the compass to life in engineering tasks, they can understand and optimize the entire a functioning prototype that was used in a live tech demo during process of creating a product or experience with users in mind. our final presentation. From this perspective, every engineering task ultimately comes From learning and researching, presenting our design, and from some human desire, and understanding how human nature meeting and touring with the other finalists, every step of connects that desire to the design requirements is as important this experience was a blast. More than anything, though, it as understanding how the laws of physics and mathematics further cemented the importance and potential of design in any relate the design requirements to the final specification. That curriculum and in our futures as engineers. means that “design” isn’t a separate discipline but an integral By Eric Miller, Benjamin Ziemann, and inevitable part of the engineering process. and MJ McMillen

A magical week The teams unwound a bit by spend- every day. Our interns don’t go and get Imaginations goes beyond a typical ing a day soaking in the sights at people coffee. Some of our interns are competition and awards ceremony. both Disneyland and Disney Cali- Ph.D. students, and others have built The weeklong experience allows the fornia Adventure Park, where they robots before they come intern with finalists to peek behind the curtain were able to speak with Imagineers us, so we’re not going to make them go and view some of the inner workings and learn some tricks of the trade. make photocopies and do busy work. of WDI including tours of headquar- For many of the finalists, the ul- There’s no real entry-level position for ters and Research and Development timate prize was scoring one-on-one interns; you come in immediately and as well as other interesting areas of time with Imagineering hiring man- start doing the job in the department Disney such as Disney Studios and agers. Internships can last anywhere that you are assigned.” Feature Animation. They also broke from three months to one year and of- The 2019 iteration of Imaginations off into functional sessions designed fer the opportunity to walk in the shoes attracted more than 360 teams and to explain the work conducted by of an Imagineer. “Our interns aren’t 850 individuals, but the competi- the various WDI studios and took really interns; they become colleagues tion is always looking for new blood. time to meet with WDI mentors who from the moment they start here,” Singsanong takes a road trip during were assigned to each group to help says Singsanong. “They’re going to the year to pitch the competition to guide them through the competition. work side by side with Imagineers schools that are not familiar with it,

IEEE POTENTIALS September/October 2019 ■ 39 (a)(a) (b)

Imaginations finalists cut loose with a little leisure time at (a) Disney California Adventure and (b) Disneyland.

Second place in the 2019 Imaginations competition went to (from left) Kyle Branch, Brooke Pandos, Jessica The Imaginations finalists gather with Sorcerer Mickey Woody, and Triet Nguyen at WDI headquarters in Glendale, California. for Port Pharos.

and the exposure has proven success- sets that we need to do what we do. we really want to see those technical ful, as one of the schools she visited in The people who really thrive here work talents. It’s called a ‘design competi- 2018, the University of Texas at Austin, well on teams, work well across disci- tion,’ so many people’s first instinct placed two teams in this year’s finals. plines, and understand what it takes is to focus on the art. But it’s really “SCAD and MIT are world class in to do original research on projects and about focusing on what you do best narrow things like art and engineer- tell a story within your medium.” and showing us those talents.” ing,” adds WDI Program Manager Mk To all prospective entrants, and To learn more about how can get Haley. “Some of the other universi- particularly those with more of a involved in the 2020 Disney Imagi- ties where we get a lot of bang for technical background, Haley offers nations project challenge, visit www our buck have great engineering the following advice: “A lot of the time, .disneyimaginations.com. or business management programs, students will go on the Imaginations and I can selfishly pick and meet with website and see some projects that About the author folks from all of those programs. You were really art heavy and think that Craig Causer ([email protected]) is also need to have those soft skills on we are looking for just art-heavy-type the managing editor of IEEE Potentials. top of your technical and creative projects. If they are very strong tech- abilities. We are very diverse in skill nically, they should understand that

40 ■ September/October 2019 IEEE POTENTIALS Earning your ears: The value of internships

©DISNEY

Sophia Acevedo

was born and raised in the San pulsion Laboratory working on space in religion. I enjoyed ceramics and Fernando Valley in Los Angeles, technology, with my favorite being cooking and thrived when I was able California. From a very young midinfrared instrument thermal to work on projects where I could help age, I was interested in science, testing for the James Webb Space my teammates formulate strategies technology, engineering, and Telescope. I then earned my mas- for design and execution. It was dur- Imathematics (STEM) fields. I was ter’s degree in mechanical engineering a conversation with a mentor that good at math, and I had a knack for ing. With this rigorous experience in I realized that I had so much more to putting things together. In high STEM, I decided to pursue tradition- offer. To have a fruitful career, I need- school, I held leadership positions on al engineering roles. ed to foster my STEM side as well as my robotics team, and as a college What I had neglected in that my creative and gregarious nature. undergraduate student, I majored in thought process are the other inter- I wanted to pursue a career where I physics. I participated in six sum- ests and skills that I had developed worked with teams of engineers in mer internships at NASA’s Jet Pro- during my early growth in the STEM a way that I could help them get to fields. In high school, I held a leader- a finish line, be their advocate, and ship position on the Student Council. serve as a translator in a world that Digital Object Identifier 10.1109/MPOT.2019.2919884 Date of publication: 4 September 2019 As an undergraduate, I also majored often does not understand the needs KYLO IMAGE—©DISNEY, STORMTROOPER—©ISTOCKPHOTO.COM/JOAQUIN OSSORIO-CASTILLO STORMTROOPER—©ISTOCKPHOTO.COM/JOAQUIN IMAGE—©DISNEY, KYLO

0278-6648/19©2019IEEE IEEE POTENTIALS September/October 2019 ■ 41 As a WDI projects control mechanical engineering from Carn- ple that the recruiters had to meet planner, Acevedo is “the egie Mellon University in Pittsburgh, us in groups of five. My turn came to glue” binding the engineering, Pennsylvania. As I neared the end of give my elevator pitch that I practiced artistic, and business sides of my education, I thought a lot about in the mirror that morning. I pre- a project. what my next step looked like. I re- sented my spiel and actually felt good alized that I wanted to work for a about it. I never ditched class, but company that took engineering to this time I skipped to wait for the end the next level, one that was able to of the event so I could meet the re- do something creative and beautiful cruiters again. (Sorry, heat transfer with technology. class!) It was during this encounter Like many other students who are that I secured a WDI business card. reaching the end of their academic A couple of months went by until program, I attended every network- an opportunity came across the Dis- ing session, meet and greet, and ca- ney Careers website that interested reer fair the university provided in me. I applied and reached out to my the hope of creating a postgradua- contact from the networking event, tion opportunity for myself. When I and the process was pretty smooth. saw posters advertising the chance I accepted an internship position as to meet with WDI, I knew that I had a project controls specialist for the PHOTO CREDIT: SOPHIA ACEVEDO SOPHIA CREDIT: PHOTO to attend. summer following graduation. The day of the networking session, I rushed from the job I held at Force perspective and decisions of high-functioning en- the local Starbucks to campus with My internship at WDI began in June gineering teams. my resume in hand and mocha syr- 2016. Interning with a project-based Many people have asked me about up in my hair. Nervous, and wanting company, I was eager to find out how I was able to secure an intern- to make a good impression, I made on which project I was going to be ship at Walt Disney Imagineering my way into the room where a horde placed. To my excitement, I joined (WDI). At the time, I was working to- of other hopefuls crowded with their the team that was creating both Star ward finishing my master’s degree in portfolios. There were so many peo- Wars-themed lands for Disneyland

Acevedo’s 2016 internship involved joining the team tasked with creating Star Wars- themed lands for Disneyland and Disney’s Hol- lywood Studios at Walt Disney World Resort. The first of the two lands, Star Wars: Galaxy’s Edge in Disney- land, opened on 31 May 2019. ©DISNEY

42 ■ September/October 2019 IEEE POTENTIALS at the Disneyland Resort in Anaheim, California, and Disney’s Hollywood Studios at Walt Disney World Resort in Orlando, Florida. I did not grasp the magnitude of the project at the time, but I knew this was going to be big. As a project controls specialist, my primary assignment was to serve as the earned value manager for all facility design efforts. I entered a group in which I had no formal education. I didn’t know anything about how to build a building, but I learned quickly. My engineering background taught me how to analyze systems, and ©GOOGLE MAPS/JOHN GESSING that is what I did. I took the CRAIG CAUSER (a) (b) system apart and then figured out how to put it back together. Soon (a) WDI offices are located in Glendale, California, but (b) an enough, my internship was extended on-campus sign post shows just how far its work reaches. from that one summer to a full year. Before my time as an intern was complete, I was converted to a full-time hire. What I learned during that intern- and I finally had the chance to work strong, motivated, and supportive ship was how to be resourceful and with some of the best engineers mak- women. At WDI, I feel that my pro- to ask for help. At WDI, people are al- ing the coolest things for Star Wars: fessional and personal growth is ways willing to talk about what they Galaxy’s Edge. being fostered. do. As a new person to the organiza- As I transitioned to a full-time Although I am not a traditional tion, I asked a lot of questions. My hire, I absorbed more responsibili- engineer, I am still deeply immersed job was to help groups formulate plans ties. I was involved with the planning in a STEM environment because for executing design, and for me to of the design, production, and instal- STEM is in everything we do at WDI. guide that formulation, I needed to lation of all show elements in Black I get to be the glue between the engi- understand what it was we were plan- Spire Outpost for Star Wars: Galaxy’s neering, artistic, and business sides ning for. Asking questions is a great Edge. The show group of Black Spire of all aspects of a project. My science way to learn about anything. Outpost consisted of teams that cre- and engineering background helps I also discovered that, in the ated special effects, Audio-Animatronics me to ask more informed questions way that students learn differently, figures, show sets, and props, among and provides a different perspec- people in a professional organiza- others. As the planner for this team, tive in the constant problem solving tion work differently. In addition to I was able to provide an execu table that we work through. I wouldn’t learning about the work itself, I had framework for the tremendous work have pursued a career like this if I to understand the engineers them- they had to accomplish. had not been honest with myself or selves—how they work, process in- The best part about working for had the support to broaden my idea formation, and communicate. My WDI, even more than the amazing of opportunity. ability to be empathetic to the hu- experiences we create for our guests man aspect of my job coupled with (and that’s very significant), is the About the author comprehending the physical work people I work with each day. Imagi- Sophia Acevedo earned her B.S. became crucial to becoming a valu- neering is full of passionate people degree in physics from Dickinson able member of the team. with unique stories. Every person College, Carlisle, Pennsylvania, and you meet has an eclectic skill set her M.S. degree in mechanical engi- Back in “Black” that he or she brings to the table. neering from Carnegie Mellon Uni- It’s one thing to have a great intern- Especially motivating were the versity in Pittsburgh, Pennsylvania. ship, it’s another to want to stay on women on my team working on She is a projects control planner at permanently. It didn’t take long into Black Spire Outpost. Never in my Walt Disney Imagineering in Glen- my time at WDI for me to decide that educational and professional ex- dale, California. I wanted to stay. The work was great, perience had I been led by such

IEEE POTENTIALS September/October 2019 ■ 43 Around the world: International parks are distinctly Disney

©DISNEY

Craig Causer

he United States is the all corners of the world. In addition cultural perspectives. “It’s interest- epicenter of the Disney to the U.S.-based destinations, ing because, in Shanghai, we went in parks—Disneyland in Hong Kong, Paris, Shanghai, and there and were very respectful of the Anaheim, California, is the Tokyo also host a variety of parks culture and tried to make design deci- original and the heartbeat, that showcase classic attractions sions that would be appealing to the Twhile Walt Disney World in Orlan- as well as park exclusives. These local audience,” Rubinstein recalls. do, Florida, is a behemoth that resorts capture the Disney aesthet- “We wrote our scripts in Mandarin. attracts tens of millions of visitors ic, but each presents unique chal- Conversely, when we did Hong Kong, a year. Walt may have spent his for- lenges and cultural sensitivities. originally, we went in with a much dif- mative years in the American Mid- Walt Disney Imagineering (WDI) ferent attitude. First of all, it was 10 west, but his imagination spread to Executive Producer Ali Rubinstein years before Shanghai. It was the first worked on the Shanghai and Hong Disney park in China, and we really Kong parks, sites that are both lo- wanted to introduce the Disney aes- Digital Object Identifier 10.1109/MPOT.2019.2919864 Date of publication: 4 September 2019 cated in East Asia but offer differing thetic. We didn’t copy, but we came MAP—©ISTOCKPHOTO.COM/UGURHAN, SHANGHAI AND TOKYO STAMPS—©ISTOCKPHOTO.COM/TANG90246, STAMPS—©ISTOCKPHOTO.COM/TANG90246, SHANGHAI AND TOKYO MAP—©ISTOCKPHOTO.COM/UGURHAN, GLOBE—©ISTOCKPHOTO.COM/ROST-9D, STAMP—©ISTOCKPHOTO.COM/AQUIR, HONG KONG STAMP—©ISTOCKPHOTO.COM/1001GECE, PARIS MICKEY AND MINNIE—©ISTOCKPHOTO.COM/PHAKIMATA

44 ■ September/October 2019 IEEE POTENTIALS 0278-6648/19©2019IEEE as close as possible to the original 1955 Anaheim Disneyland Mystic Manor at Hong Kong as we could in Hong Disneyland inte- Kong. Also, at the grates traditional time, Hong Kong was Chinese stories somewhat more west- and myths into its ernized. There are plotline, and WDI was careful to en- more English speak- sure that the tales ers, and that is slowly were properly evolving and chang- represented so ing. It’s becoming the content would much less of an ex- not be perceived as insulting or pat community, and appropriating. there’s much more of a local presence.” One of the larger ©DISNEY ongoing projects at Hong Kong Disney- land is the transformation of its castle. The reproduc- tion of the Anaheim castle will make way for an iconic structure unique to Hong Kong. This four-year project in- volves raising the castle to quadru- ple its current height and adding a nighttime show. The new castle will be joined by another kind of kingdom when Arendelle and the world of Frozen arrive in 2021. The land is a full expansion toward the back of (b) the park and will include an inside boat ride attraction and an outdoor roller coaster. There’s a universal understanding of recent global blockbusters, like Frozen, that often translates to the attractions that they have inspired.

It becomes a little trickier when de- IMAGES—©DISNEY signing stories based on traditional (a) (c) myths or entirely new stories, as Imagineers consider varying degrees Hong Kong has proven to be a hotbed of Marvel action. (a) The popular- of local cultural sensitivities. ity of the Iron Man Experience led to more heroic adventures. (b) Ant-Man actor Paul Rudd approves of the new Ant-Man and The Wasp: Nano Battle! “Cultural appropriation is a sen- attraction. (c) (From left) Marvel Studios President Kevin Feige and Ant-Man sitive topic right now, both here in and The Wasp Director Peyton Reed bring up the rear in battling Arnim Zola America and over there,” Rubinstein and his army of Swarm Bots alongside Rudd and actress Jessica Hsuan. explains. “There are different types of sensitivities. There’s an attraction in Hong Kong called Mystic Manor, and it’s basically our haunted house people locally, but we also hire his- Kong audience has stated, “Make in Hong Kong. In the storyline, we torians and professors and go to the Mine Marvel.” The Iron Man Experi- used a couple of traditional Chinese universities and seek out academ- ence was Disney’s first-ever Marvel stories and myths, and we had to be ics. We spend a lot of time talking to attraction, and it was unveiled in very careful and sensitive to make people and asking questions to make Hong Kong in 2017. The popularity sure we were representing them sure everything’s okay and that it’s of the Iron Avenger’s ride resulted right and weren’t doing anything going to fly with the audience.” in the park going small for its next that would be perceived as insult- Each park has its own specific endeavor: Ant-Man and The Wasp: ing or appropriating. We work with needs and interests, and the Hong Nano Battle! opened in March 2019.

IEEE POTENTIALS September/October 2019 ■ 45 Imagineers worked closely with Ant- mainland, and Southeast Asia, working at improving the parks with Man and The Wasp Director Peyton according to Luc Mayrand, portfolio something really new and different. Reed and the film’s stars, Paul Rudd creative executive at WDI. The goal You can’t be cavalier; you have to be and Evangeline Lilly, to craft an at- with Shanghai was to answer the really respectful of the guests.” traction that is both light hearted question, what is a Magic Kingdom Two of the most popular IPs in and action packed, as guests join for the mainland? Shanghai range from the nostalgic the heroes’ mission to destroy Arnim To address this question, Disney to the new. After it was released in Zola and his army of Swarm Bots. developed the Authentically Dis- China, Zootopia became a US$1 bil- “Ant-Man and The Wasp: Nano ney, Distinctively Chinese program, lion box office hit. The story reso- Battle! is an interactive gaming tech- which provides a series of insights nated with audiences, and WDI an- nology similar to Buzz Lightyear’s about how Imagineers work and de- nounced earlier this year that work Space Ranger Spin but much more ploy all of their experience of learning would commence on a Zootopia- advanced,” says Rubinstein. “We’ve from Chinese history and culture, themed land. The park also bet big gone in and redone the gaming inter- franchise research, working with ex- on Disney stalwart Pirates of the face—there’s no more joystick, and perts and consultants on location, as Caribbean, but the classic boat ride the targets are more reactive. We are well as building its teams. One of the was given a bit of a makeover. actually focusing you toward targets. most important things for its teams “The original Pirates of the Carib- It’s a much more enhanced system. is to provide the proper perspective. bean rides were very cool and are still For this attraction, we knew the ride “I’ve spent a lot of time working classics, but we took our Chinese part- system first, so it was a matter of look- on Shanghai projects and other lo- ners in the project through our parks, ing for the right story and the right cations abroad, and it’s nice to not and it was very interesting,” Mayrand overlay that would work with the at- have that built-in filter,” Mayrand says. “They really liked it, and loved traction we already had. But it does go admits. “On the positive side, there’s the movies, but because they hadn’t both ways; other times we’ll have the less of a tendency to be attached to grown up with the classic Pirates ride, IP [intellectual property] set first and things in new markets, but the au- some of them said, ‘That’s cool but you then we’re looking for the attraction.” dience sometimes also doesn’t have know, I’m kind of feeling like I want to the same background in movies. be deeper into it.’ That’s our freedom A Magic Kingdom They haven’t seen movies that our to change and improve. We also had for the mainland audience [in the United States] would all the movies, so we had new angles Approximately 760 mi north of take for granted. It’s both an asset to kind of build a new story, and what Hong Kong, on China’s east coast, and a risk. When there is nostalgia, it we came up with in the end is different lies Shanghai Disney Resort, which can be an obstacle in that you always than the original.” serves a completely different demo- have to be cautious of the guests and The Shanghai version, Pirates of graphic than its sister park to the their likes and dislikes. At the same the Caribbean: Battle for the Sunk- south. Approximately 97% of the time, I’m a big believer that if you en Treasure, is still a boat journey, Shanghai resort’s guests are from take something out and replace it but the ride vehicle is highly control- mainland China, as opposed to with something that’s better, then lable in that it moves both forward Hong Kong, whose visitors are split the audience will eventually come and backward thanks to underwater into thirds between Hong Kong, the around, because we are generally magnetic motors. The narrative is also new, and the attraction received modern projection and Audio-Anima- tronics technologies. An artist’s How new projects and refurbish- concept ments are handled depends upon rendering their scope. For instance, if it’s a of Shang- matter of updating a restaurant to a hai Disney Resort’s different theme, the local Imagi- anticipated neering team will handle the heavy Zootopia- lifting. In the case of a brand-new at- themed traction or land, the work begins by land. taking pictures and conceptualized ideas in 3D. One of the first evalu- ations performed is the balloon test, according to Mayrand. When a location has been identified for an attrac-

46 ■ September/October 2019 IEEE POTENTIALS structures and flies bal- Shanghai’s loons up on strings that Pirates of the Caribbean: Battle are the intended height for the Sunken of the buildings. Prior to Treasure is a boat the park opening, work- journey just like ers take pictures of the the Disneyland balloons from various classic, but it differs in that the locations of the park. ride vehicle is That information is highly control- used to determine sight- lable and travels lines and refine plans both forward and accordingly. backward. “There’s a lot of ex- perimentation and dis- covery that happens,

which is what I really ©DISNEY like,” says Laura West, senior concept designer. West often works on front-end delivery of projects in- cal way—beyond what I can even con- ity. Like many Disney parks, Shang- cluding Blue Sky visioning and the fi- ceive. If I can think of it and draw it, a hai is consistently dressed for various nal illustrations. “I sometimes think lot of times they can figure out a way special events, including Halloween about feasibility when I’m drawing, to make it work.” and Chinese New Year. Add in an- but many times I just think outside These various projects happen at nual celebrations, updates to shows of that because I know the people different time frames and among the that are currently running, ever- here are so imaginative in a techni- backdrop of a bustle of ongoing activ- changing food programs and retail

Two major ongoing expansions are currently taking place in Tokyo’s parks. (a) Beauty and the Beast and (b) Big Hero 6 attractions are slated for Tokyo Disneyland. The (c) Tokyo DisneySea development focuses on the addition of an eighth port, which will include (d) the kingdom of Arendelle from Frozen. (All images are artist concept renderings.)

IEEE POTENTIALS September/October 2019 ■ 47 Disney. When you walk through the resort, all of the marquees are in Eng- lish, and it may not initially seem that you are in Japan. The park boasts rides including Big Thunder Moun- tain, Space Mountain, Splash Moun- tain, and “it’s a small world” that are all high-performing favorites. There are also unique attractions: Journey to the Center of the Earth; Pooh’s Hunny Hunt, which was Dis- ney’s first trackless ride vehicle in any park; and all of Tokyo DisneySea is a completely unique theme and story. Two major expansion projects plus a Soarin’ attraction are currently on the docket. The first is the largest expansion of Tokyo Disneyland ©DISNEY How do you stand out in a country that boasts historic since its opening in 1983. It includes castles? By creating a stylized version of Sleeping a brand-new Beauty and the Beast Beauty Castle for Disneyland Paris. e-ticket ride, which is the first attraction based on the 1991 animated film in any Disney park. Jue describes it locations, and deploying or developing Tokyo Disney Resort must be ap - as “a technological marvel that uses campaigns around characters, and it proved by Disney. free-ranging vehicles to tell the story seems like a never-ending evolution. “We rely heavily on OLC to guide of when Belle first enters the Beast’s “If you talk to an Imagineer, we us with localization and what content castle, meets the enchanted objects, want to build everything everywhere,” will resonate with the Tokyo guest,” and eventually falls in love with the Mayrand says. “We have ideas for ev- explains Daniel Jue, portfolio creative Beast.” Adjacent to that area will be erything. But there’s only so much executive. (Each of Disney’s resort lo- a new indoor 1,500-seat, Broadway- time and so much money, so we plan cations is referred to as a portfolio.) style theater with a balcony, loft, and out how we’re going to do things. “But we also do our own research. pit, the first indoor theater at Tokyo There’s a lot of great stuff that’s hap- There is a branch of Disney in Tokyo Disneyland. The Tomorrowland area pening both internationally and in as well, and we heavily utilize them as will add a Baymax attraction, and the U.S. right now. All these things a resource to guide us as far as what Toontown introduces a new Minnie around Marvel, Star Wars, a nd works and what doesn’t work and how Mouse character encounter. The To- Frozen—it’s just crazy.” to adapt our content for the resort in kyo Disneyland expansion is sched- Tokyo. When we are master planning, uled to open in 2020. By land and by DisneySea a lot of times we will develop, with our The second expansion, which is ap- Tokyo Disney Resort represents two own understanding of what resonates proximately 22 acres, focuses on Tokyo parks, several Disney-branded in Japan, a product. Sometimes we DisneySea. Whereas Tokyo Disney- hotels, a monorail, and an area that will develop several ideas early on and land has lands, Tokyo DisneySea con- houses other hotels and shopping then review those with OLC to see tains seven ports of call, with an eighth experiences. It follows the blueprint which ones resonate the most. Ap- to be added. The new port is going to set by the other resorts but with one proximately 70% of the guests that have four areas, one of which serves caveat—Disney does not own or go to Tokyo Disney Resort are female, as the connective tissue of the entire operate the property. It’s owned by with a very high affinity for Disney, land—a magical spring that is able to Oriental Land Company (OLC), a and they are character driven. What’s travel to different stories. The three sto- Japanese corporation that was interesting is that the number one en- ries that Tokyo DisneySea will tell are formed in 1960. Disney signed an try point for the Disney brand is the Neverland, with Peter Pan and Tinker agreement with OLC in 1979 and Japanese resort rather than movies Bell attractions; Rapunzel, where you then, in 1983, the first international or television or anything else. When can experience the Lantern Festival park was built. It’s not a joint ven- people think of Disney in Japan, they from Tangled; and Arendelle from Fro- ture; Disney does not invest in the think of Tokyo Disney Resort.” zen (which will differ from Hong Kong’s resort financially (although it does The original park was a combina- upcoming Frozen offerings), with the receive a percentage of the revenue), tion of Magic Kingdom in Florida and ice palace and Arendelle Castle. but it is Disney’s IP and name on the Disneyland in California. OLC wanted Tokyo DisneySea took to the property. Anything that goes into a western park that was authentically friendly skies when Soaring: Fantastic

48 ■ September/October 2019 IEEE POTENTIALS Flight opened earlier this year. The graphics, but has progressed to learn- make a beeline for the majestic cas- project proved to be a challenge since ing how to lead her own teams. tles that welcome guests to a world it was housed in the park’s Medi- “Each time I join a project, I’m of Disney attractions. The castles of terranean Harbor, which is an Italian working on something I haven’t done Cinderella and Sleeping Beauty are setting from the 1800–1900 t i mel i ne before,” Lieu explains. “First it was inspiring to millions of Disney guests but the film features modern-day a project dealing with interior design around the world, but when you’re a airplanes and architecture. and a few special effects, and now country like France that is steeped in “We created an extra backstory to I’m learning about new ride systems history, how do you “out-castle” Che- bring us to that place in time,” says and the process of creating animated nonceau and Chambord in the Loire Danielle Lieu, producer. “We have a figures. I’m constantly building on a Valley? The answer for Disneyland new character named Camellia Falco, base that I started with but knowing Paris was to flip the script and opt for she’s a member of the S.E.A. [the So- that I will always continually learn stylization over realism. ciety of Explorers and Adventurers], because no project is ever the same. According to Tom Fitzgerald, and that is a story unique to Tokyo. And that’s the exciting thing about creative executive, Imagineers Tom She really resonates with our fans and working here. It keeps it interesting.” Morris and Tony Baxter focused on makes them feel like the park is theirs, artist Eyvind Earle’s designs from and they want to learn more about A Valentine to the French Sleeping Beauty that were super styl- these characters that are unique to Visitors by the millions flock to Disney ized. With Le Château de la Belle Tokyo DisneySea. Soarin’ in Tokyo is parks each year, and throngs of p e op l e au Bois Dormant, the duo pushed a different attraction. It’s still an experience where your feet are leaving the ground but getting to that experience, you queue through the Mu- seum of Fantastic There is only Flight—all of these one Disney castle that displays and art- can boast work that talk about of having a our imagination dragon living about flight back beneath it, and before planes were it’s located in Paris. invented. That’s the queue area. We have a preshow where you meet Camellia Falco, and her spirit comes to life as she talks to you about ©DISNEY her passion for flying. That leads you to the theater where you take off.” For Lieu, working on an international property allows her to constantly build upon her knowledge base The Iron and acquire new skills and responsi- Avenger bilities. She came to WDI as an intern takes to the skies who was studying architecture. Once in Hong she arrived on the Glendale, Califor- Kong Dis- nia, campus, she was tasked with neyland’s design support for creative—sketches Iron Man or model building—anything that was Experience. used to help explain an idea. Lieu re- turned after graduation and was ultimately hired by Jue to work on the Tokyo Disney Resort portfolio. She helped with whatever they needed, ©DISNEY such as taking notes and making

IEEE POTENTIALS September/October 2019 ■ 49 In 2017, want to build a mountain,’ there aren’t Disneyland’s many people who do that. We do it all Space Moun- the time, but it’s a specialty trade. A lot tain received a Star Wars of those people fall in love with what makeover we do and then they end up asking if and became they can sign on and stay with us. One Hyperspace of our goals, as we go into the future, is Mountain but to determine how we get each of these the Georges Méliès can- sites to be able to take on more of the non (right) Imagineering themselves and then remained. what do we keep for the home office.” As with the other international parks, local culture plays heavily into Disneyland Paris’ design. For its version of Tomorrowland, the designer, Tim Delaney, decided to tip

WIKIMEDIA COMMONS/WILLIAM WARBY his cap to visionaries H.G. Wells and Jules Verne, both of whom made significant contributions to science fiction. As a result, the version of To- the fantasy aspect of the castle to we’ve learned over time. Plus, beauti- morrowland in Paris is called Discov- include a swooping landmass and ful stone is very available in Europe.” eryland, and it’s based thematically box-shaped trees. To engage fur- Fitzgerald equates the mainte- on the works of Wells and Verne. In ther fantasy elements, a dragon was nance of the parks to painting the the land, Space Mountain is the Bal- added in the basement—the only Golden Gate Bridge—the work is con- timore Gun Club cannon from the Disney castle to feature such a crea- stant. Every year, there are hundreds Georges Méliès-directed film, A Trip ture. The fantasy aspect was accen- of items that need to be addressed to the Moon, and the attraction is a tuated because Imagineers knew if from refurbishments and replace- launched coaster, a first in the Space they didn’t go in a distinctly different ments to entirely new looks. For ex- Mountain series. (While Paris’ version direction, the structure would seem ample, when rehab was scheduled of Space Mountain was transformed underwhelming to an audience that for the scrollwork on the sides of the into the Star Wars-themed Hyper- grew up in the vicinity of some of the walkway that lead up to the castle, space Mountain in 2017, the Méliès world’s most beautiful castles. it turned out that it was going to be cannon remained.) Each of these While the architecture in France more cost-effective to bring in stone nods, according to Fitzgerald, was the is consistently beautiful, the weather carvers from Europe to perform the result of getting in touch with what is a different story. Dealing with Pari- work. Disney has learned to capitalize resonates locally and paying homage sian weather patterns presents more on the Paris location, one where old- to the French, who had contributed so than a few design dilemmas. Weather world craftmanship still exists. Using much to people’s dreams of the future. plays an important role and in ways local craftspeople reduces the need to of which you wouldn’t normally think, import and train such workers. Consistency across cultures Fitzgerald notes. What color do you In every one of its resorts around The traditions, styles, and sensi- paint the castle? What’s the color of the world, Disney has Imagineering bilities of guests visiting Disney light? Since the light in Paris is differ- offices. When projects are underway, parks in Paris, Tokyo, Shanghai, and ent than the color of light in Florida or WDI works to find a balance between Hong Kong are incredibly diverse, but California, colors need to be adjusted which services need to be brought the underlying Imagineering element to account for the gray skies of Paris. over from the United States and is consistency, according to Mayrand. “Weather is definitely going to which can be sourced locally. “Every office in every park will develop affect the materials you choose,” “In most places in the world, cer- their own culture, which is good, Fitzgerald adds. “You’re going to have tainly in Europe, where you have the but our job is not just to have these freezing and water, and that’s going U.K., France, Spain, and Italy, you separate cultures with them operat- to get into cracks and break things. have a lot of motion-picture-trained ing in parallel; we want to have one We use less concrete in our walkways people; so, it’s not hard to find sculp- Imagineering creative culture of how and more stone pavers. When you go tors or the kinds of trades that we use,” we build things inside Disney.” to Europe, you see stone pavers every- Fitzgerald explains. “There are some where because they don’t crack, they specialty things that you have to train About the author look beautiful, and they’re easy to like rock work carving. Who does that? Craig Causer ([email protected]) is swap out if you need to change them Mountains are real everywhere else, the managing editor of IEEE Potentials. out. Those are some of the things but we make them. When you say, ‘I

50 ■ September/October 2019 IEEE POTENTIALS (PHOTO CREDIT: JOE PENNISTON/CC BY-NC-ND 2.0) BY-NC-ND JOE PENNISTON/CC CREDIT: (PHOTO ©ISTOCKPHOTO.COM/OLEGBACK STARS:

“One thing you hear across the board in Imagineering is ‘We worked on that’ and ‘It’s our project.’ Everything here is huge collaborative teams with technical and nontechnical work. The soft skills are just as important as the technical skills because everything is done working hand in hand, and you need that type of capability to positively and optimistically negotiate scope. The Creative group is going to ask for the impossible, and you work with them to ground [the idea] in reality. You meet in the middle, and hopefully, it results in something everyone is excited about.” —Dave Crawford Executive, Ride Mechanical Engineering

Digital Object Identi er 10.1109/MPOT.2019.2928443 Date of publication: 4 September 2019 Walt Disney Imagineering

What is electrical engineering?

by Elisa H. Barney Smith

s a professor of electrical engineering, I’m often with our broad membership. The IEEE’s objectives are the asked, “What is electrical engineering?” My goal “educational and technical advancement of electrical and is to describe our field to prospective students, electronic engineering, telecommunications, computer en- A both those who are looking at admission in the gineering and allied disciplines.” Consider the IEEE Engi- coming year as well as younger students who may be a neering in Medicine and Biology Society, IEEE Geoscience decade away from college. According to Wikipedia, “Electri- and Remote Sensing Society, IEEE Intelligent Transporta- cal engineering is a technical discipline concerned with tion Systems Society, and IEEE Society on Social Implica- the study, design and application of equipment, devices tions of Technology to see how broad the field and IEEE and systems which use electricity, electronics, and electro- have become. magnetism. … Electrical engineering is now divided into We have many members who are not electrical engineers. a wide range of fields including computer engineering, While electrical engineers are the majority, there are many power engineering, telecommunications, radio-frequency computer scientists as well as mechanical engineers, in- engineering, signal processing, instrumentation, and elec- dustrial engineers, and quite a bit more in other fields. Our tronics.” Does that cover all of it? In my TEDx talk, one tagline is “Advancing Technology for the Benefit of Human- of my opening lines was “Hi, I’m Elisa. I’m an electrical ity.” We have expanded way beyond what Edison and Tesla engineer and computer scientist… Most people, when they could ever imagine. Does your Student Branch reach out to think of electrical engineering, think of circuits, power students in the allied fields for membership? The Student grids, radios, and, in Boise, Idaho, perhaps printers and Branch at my university had a business major (who was memory chips. Well, electrical engineering is quite a bit also interested in engineering) as an officer recently. more.” The talk is on digital humanities, using computing What engineering is today likely is not what it will be to advance studies in the humanities. Most people don’t when you reach the middle of your career. This issue of know electrical engineers can work directly with the IEEE Potentials focuses on Walt Disney Imagineering. humanities. Even when you look at more traditional elec- Imagineering is certainly beyond what Edison and Tesla trical engineering fields, such as what’s taught at univer- envisioned (Walt Disney was born in 1901, after AIEE was sities and the types of jobs many bachelor’s degree stu- formed). How can you prepare for a career in a field that dents accept upon graduation, there’s still quite a bit more. has not yet been invented? The answers sound very boring: When the American Institute of Electrical Engineers get a solid foundation, and then keep reading and learn- (AIEE), the predecessor of the IEEE, was founded in 1884, ing. Join some IEEE Societies. The publications produced its originators included people such as Thomas Edison and by the IEEE give you the opportunity to stay up to date Nikola Tesla. They were thinking about electrical engineer- with the new things coming in our fields. When you read ing as electric power, lighting, and the telegraph. Electri- an article, ask yourself: what other things could possibly cal engineering, and the IEEE today, encompass quite a follow or be based on them? (Even if you don’t fully under- bit more. In the IEEE, we have 39 Societies spanning stand how the technology in the article works.) Can you many different fields of interest. While we are the Institute be your own type of Imagineer? We are counting on you to of Electrical and Electronics Engineers, the acronym IEEE imagine the future of electrical engineering and the IEEE. is used more often, not just because it is short but also to increase the connection of our professional association About the author Elisa H. Barney Smith ([email protected]) is the IEEE Member and Geographic Activities—Student Activities Digital Object Identifier 10.1109/MPOT.2019.2924159 Date of publication: 4 September 2019 Committee chair.

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