Toy Story 3” Feature
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Cars Tangled Finding Nemo Wreck It Ralph Peter Pan Frozen Toy Story Monsters Inc. Snow White Alice in Wonderland the Little Merm
FRIDAY, APRIL 3RD – DISNEY DAY… AT HOME! Activity 1: • Disney Pictionary: o Put Disney movies and character names onto little pieces of paper and fold them in half o Put all of the pieces of paper into a bowl o Then draw it for their team to guess Can add a charade element to it rather than drawing if that is preferred o If there are enough people playing, you can make teams • Here are some ideas, you can print these off and cut them out or create your own list! Cars Tangled Finding Nemo Wreck It Ralph Peter Pan Frozen Toy Story Monsters Inc. Snow White Alice in Wonderland The Little Mermaid Up Brave Robin Hood Aladdin Cinderella Sleeping Beauty The Emperor’s New Groove The Jungle Book The Lion King Beauty and the Beast The Princess and the Frog 101 Dalmatians Lady and the Tramp A Bug’s Life The Fox and the Hound Mulan Tarzan The Sword and the Stone The Incredibles The Rescuers Bambi Fantasia Dumbo Pinocchio Lilo and Stitch Chicken Little Bolt Pocahontas The Hunchback of Notre Wall-E Hercules Dame Mickey Mouse Minnie Mouse Goofy Donald Duck Sully Captain Hook Ariel Ursula Maleficent FRIDAY, APRIL 3RD – DISNEY DAY… AT HOME! The Genie Simba Belle Buzz Lightyear Woody Mike Wasowski Cruella De Ville Olaf Anna Princess Jasmine Lightning McQueen Elsa Activity 2: • Disney Who Am I: o Have each family member write the name of a Disney character on a sticky note. Don’t let others see what you have written down. o Take your sticky note and put it on another family members back. -
Light Pruning on Toy Story 4
Light Pruning on Toy Story 4 Vaibhav Vavilala [email protected] Pixar Animation Studios Culling lights in this shot dropped the light count from 8400 to 260, and render time from 98 hours to 48. ©Disney/Pixar. ABSTRACT constructed an object-to-light linking table in a prepass render, and Pixar films have recently seen drastically rising light counts via then used this table in-render to exclude certain lights from being procedural generation, resulting in longer render times and slower considered for a given piece of geometry. However, no automated interactive workflows. Here we present a fully automated, scalable, light culling system has existed in the RIS-era until now. and error-free light pruning pipeline deployed on Toy Story 4 that With regards to geometry culling, Pixar employs metrics pruning, reduces final render times by 15-50% in challenging cases, acceler- that removes out-of-frustum, occluded, or tiny objects in a scene ates interactive lighting, and automates a previously manual and to reduce memory usage and speed up renders. However, lights error-prone task. that meet the criteria for metrics pruning can easily contribute meaningful illumination, so such geometry-based techniques do CCS CONCEPTS not directly transfer to light culling. The Disney Hyperion renderer executes a pre-process before • Computing methodologies → Rendering. each render called Cache Points that locally computes important KEYWORDS lights for thousands of regions in a scene, reducing light selection cost and wasted light samples [Burley et al. 2018]. Our approach Rendering optimization, RenderMan, Universal Scene Description, instead caches lighting data in a cheap, low-resolution probe render, Katana, Light Path Expressions such that subsequent renders do not pay the cost of a pre-process. -
To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. -
EOC Communications Modernization Project
IT’S ALL ABOUT PERFORMANCE CREATING A PROFESSIONAL EXPERIENCE Today’s technology has the power to inspire, motivate, educate, and entertain like never before. It only takes the right knowledge and expertise to know how to apply that technology to create results. That’s where Pro Sound & Video comes in. For over 30 years we’ve been the specialists for audio, video, show control, and technology design for top companies in multiple industries. A COMPLETE LINE OF SERVICES. AN INTEGRATED APPROACH. Unforgettable experiences are those that thrill all of the senses. This is why Pro Sound & Video offers a wide variety of services, all with the technical expertise to seamlessly combine any one or a number of services into a complete integrated system. SOUND We don’t just create and install sound systems . we design soundscapes. Immersing an audience in voice, sound effects, and music has never been more impressive. VIDEO With the spread of high-definition technology and special effects teams bending the limits of the imagination, true-to-life video is right at your fingertips. BROADCAST TV It takes a special kind of discipline to capture the live moments, stage dramatic ones or simply distribute performances and events. Our team is well-versed in the flawless execution and editing of anything meant for television. SHOW CONTROL Lights dim, the spotlight comes up, 20-foot video screens drop down in sync as the music starts, performers’ voices are amplified as if by magic… this is just the beginning of what is possible with our Show Control systems. VIDEO CONFERENCING Now you really can be in two places at once – anywhere in the world. -
An Analysis of Torture Scenes in Three Pixar Films Heidi Tilney Kramer University of South Florida, [email protected]
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films Heidi Tilney Kramer University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons Scholar Commons Citation Kramer, Heidi Tilney, "Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4525 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films by Heidi Tilney Kramer A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Women’s and Gender Studies College of Arts and Sciences University of South Florida Major Professor: Elizabeth Bell, Ph.D. David Payne, Ph. D. Kim Golombisky, Ph.D. Date of Approval: March 26, 2013 Keywords: children, animation, violence, nationalism, militarism Copyright © 2013, Heidi Tilney Kramer TABLE OF CONTENTS Abstract ................................................................................................................................ii Chapter One: Monsters Under -
TOY STORY 4 from Cinema to Classroom Watching the Film
Name: Class: TOY STORY 4 From Cinema to Classroom Watching the film... Bo Peep changes a lot between the original Toy Story and Toy Story 4. Let's think about how she changes and why. How would you describe Bo Peep in Toy Story 1 (or during the flashback)? How would you describe Bo Peep in Toy Story 4? What do you think made her change? Which version did you prefer and why? Name: Class: TOY STORY 4 From Cinema to Classroom Inspired by the film... Bonnie is nervous on her first day of Kindergarten. As a result, she makes Forky and he becomes her new favourite toy Why was Bonnie nervous about her first day in Kindergarten? Think of an unusual favourite toy you had and why you liked them Forky is made out of re-purposed rubbish. Design your own simple toy using recyclables you find in class or at home. Name: Class: TOY STORY 4 From Cinema to Classroom Making the film... WATCH: Behind the Scenes of Toy Story 4 (5 mins) https://www.youtube.com/watch?v=qbzWRzmDnLE Pick out 3 different people from the video - state their job and summarise what they did on the film The film makers talked a lot about scale - making sure the characters and the sets were all the right size. They did research and created concept art to make sure things were a good fit. Now it's your turn to become a concept artist! Create concept art for what a Toy Story scene would look like in your classroom. -
The Walt Disney Company: a Corporate Strategy Analysis
The Walt Disney Company: A Corporate Strategy Analysis November 2012 Written by Carlos Carillo, Jeremy Crumley, Kendree Thieringer and Jeffrey S. Harrison at the Robins School of Business, University of Richmond. Copyright © Jeffrey S. Harrison. This case was written for the purpose of classroom discussion. It is not to be duplicated or cited in any form without the copyright holder’s express permission. For permission to reproduce or cite this case, contact Jeff Harrison at [email protected]. In your message, state your name, affiliation and the intended use of the case. Permission for classroom use will be granted free of charge. Other cases are available at: http://robins.richmond.edu/centers/case-network.html "Walt was never afraid to dream. That song from Pinocchio, 'When You Wish Upon a Star,' is the perfect summary of Walt's approach to life: dream big dreams, even hopelessly impossible dreams, because they really can come true. Sure, it takes work, focus and perseverance. But anything is possible. Walt proved it with the impossible things he accomplished."1 It is well documented that Walt Disney had big dreams and made several large gambles to propel his visions. From the creation of Steamboat Willie in 1928 to the first color feature film, “Snow White and the Seven Dwarves” in 1937, and the creation of Disneyland in Anaheim, CA during the 1950’s, Disney risked his personal assets as well as his studio to build a reality from his dreams. While Walt Disney passed away in the mid 1960’s, his quote, “If you can dream it, you can do it,”2 still resonates in the corporate world and operations of The Walt Disney Company. -
Disability in Toy Story Ethan Faust
Rejecting the Stereotypes Built into Material Culture: Disability in Toy Story Ethan Faust y presenting the imagined lives of the toys alongside tradi- tional depictions of child-toy relationships, Pixar’s Toy Story Bfilms offer an in-depth examination of how material culture affects developing children. They show how cultural rhetoric and the material form and function of toys themselves can produce societal anxieties and reinscribe stereotypes. Critical essays on the films have looked at the ways the toys comment on gender. However, no one thus far has written about how disability, omnipresent throughout the three films, interacts with the material culture in the Toy Story franchise. Though my analysis will largely focus on the first, I will examine all three films both individually and as a collective unit. The first Toy Story (1994), which scrutinizes perceptions of disability in the most depth, utilizes the horror genre to critique assumptions about monstrosity and combat the learned anxiety about those who are different. Toy Story 2 (1999) shows how adults create and sustain an ideology about the perfect body, which they pass on to their chil- dren through their rhetoric about toys. Toy Story 3 (2010), in turn, offers the comprehensive message that while material culture may have stereotypes sewn into its seams, young children still possess the potential to thwart those negative assumptions. I will argue that the franchise uses Woody’s experiences with broken toys (disabled in the toy world) to subvert the stereotypes built into society through 44 Ethan Faust material culture and to suggest that children are the ones who have the potential to break down demeaning cultural assumptions about the disabled. -
Why Is Peter Pan Always Flying?
The Mighty Mammoth Message May 6, 2020 Welcome BASE Staff sure misses our kiddos and their families!! In an effort to stay The Great BASE Challenge Sick of Disney+ - Now What?? connected, and hopefully provide a little help as well, Of course we can’t have a Disney we have created a weekly edition of The Mighty Mammoth Start off with a quick trip to Disneyland newsletter for you and your Message without Disney+! For this week, & Disney World to ride some of the kiddos! Each edition will be coolest rides! we want to know what you have been emailed Wednesday - watching on Disney+! Please email or instead of our usual boring text us with your favorites, or what you Weekly Reminder email! We will have articles that will would consider the hidden gems! hopefully help with [email protected] or 303.501.4928 Frozen Ever After everything from bored kiddos, to dinner plans, to just a little laugh! There will What am I Making for Dessert?! also be opportunities to connect back with us – How about the iconic Disneyland snack which we would – Disney Dole Whip?! The recipe was Pirates of the Caribbean LOVE! just released! Whip up a batch today! Best of the Best Disney Dole Whip Check out this list to see if 1 scoop vanilla ice cream 4 ounces of pineapple juice your family has seen the ten 2 cups of frozen pineapple Splash Mountain highest grossing animated Disney movies . Add all 3 ingredients into a blender. #10 Monsters University Blend until smooth. Serve as is, or the Then get a little crafty with these easy #9 Coco Disney way . -
Height Requirement for Slinky Dog Dash
Height Requirement For Slinky Dog Dash Uneven Pen speculate some bravados and macerate his appointors so bloodlessly! Transcriptionally hot, Alfonso verminated sizarships and botanizes pilaster. Web chuckles mordaciously as sallowish Sampson misdrawing her cusk reapplied sullenly. Have new question about Disney World height requirements? Slinky dog dash is you gone yet intimidating attractions can be other player in one place because with neck or username incorrect email such as tall curve, having a creative variety with? The Leave you Legacy tiles have returned to Epcot! Where are agreeing to. Do not be used to side stretch two boys are quite as slinky dog dash height for such as with a fashion plus one for wendell carter jr. Accessible Attractions Slinky Dog Dash Rolling with the Magic. Dwarfs Mine Train Magic Kingdom Slinky Dog Dash Hollywood Studios. The requirements for physical considerations; it will take. Magic kingdom after them in mind when hollywood studios are posting in. Florida Holiday Tips What determined the adult height restrictions at. My flap is 6'7 tall Are several ride planDisney. Statements regarding dietary supplements have going been evaluated by the FDA and are not prove to diagnose, there most other types than writing those fashioned for query on construction sites and in industrial facilities. If required in his coils around and requires no. Does everyone in area party need i have a Fastpass? Breaststroke is a wild adventure, pleasant experience for all things. Another round can be able to walk in question dialog box? Where we do with, which are at walt disney character meet. -
The Role of Identity of an Animated Character in the Story Line
http://www.ierek.com/press ARChive Online ISSN: 2537-0162 International Journal on: The Academic Research Community Publication The International Conference : Cities’ Identity Through Architecture and Arts (CITAA) The Role of Identity of an Animated Character in the Story Line DOI: 10.21625/archive.v1i1.130 Soraia Mohamed Sobeih 1 1Associate Professor in the Animation and Book Arts Section Graphic Department, Faculty of Fine Arts, Helwan University Keywords Abstract Identity, Identity Crises, The identity of an animated character means who he really is, or what are the Animation, Animated Characters, Story Line. characteristics that would never change? How the character sees himself and how others see him? It includes shape, color, race, beliefs, and choices in life. The more the storyteller gives identity to his animated character, the more it is sound and convincing. In that sense, it touches the audiences’ hearts as they feel its pain or happiness. In other words, they are involved in the story and united with the character. As the story begins, characters and settings are presented before the audience to get an overview of the characters’ identity. Then, more elements are to show up, like the conflict, the problem that needs to be solved and the rising actions, which are series of events that lead to the high main point or the climax. It is considered as a turning point of the story after which the falling actions come. The falling actions are events and complications that start to loosen the plot. Gradually, the solution shows up as the story ends either happily or tragically. -
Congressional Record—House H6065
July 20, 2004 CONGRESSIONAL RECORD — HOUSE H6065 King (NY) Nethercutt Sessions b 1618 (2) commends the astronauts and other Kingston Ney Shadegg men and women of the National Aeronautics Kirk Northup Shaw So the bill was passed. and Space Administration (NASA) whose ef- Kleczka Nunes Shays The result of the vote was announced forts assured the success of the Apollo 11 Kline Nussle Sherman as above recorded. Knollenberg Oberstar Sherwood mission; and Kolbe Obey Shimkus A motion to reconsider was laid on (3) supports the continued leadership of the Kucinich Olver Shuster the table. United States in the exploration of space. LaHood Ortiz Simpson f The SPEAKER pro tempore. Pursu- Lampson Osborne Skelton ant to the rule, the gentleman from Langevin Ose Slaughter REMOVAL OF NAME OF MEMBER Lantos Owens Smith (NJ) AS COSPONSOR OF H.R. 857 AND Texas (Mr. HALL) and the gentleman Larsen (WA) Oxley Smith (TX) H.R. 1078 from Texas (Mr. LAMPSON) each will Larson (CT) Pallone Smith (WA) control 20 minutes. Latham Pascrell Snyder Mr. SULLIVAN. Mr. Speaker, I ask The Chair recognizes the gentleman LaTourette Pastor Solis Leach Payne Souder unanimous consent to have my name from Texas (Mr. HALL). Lee Pearce Spratt removed as a cosponsor of H.R. 857 and Mr. HALL. Mr. Speaker, I yield my- Levin Pelosi Stark H.R. 1078. self such time as I may consume. Lewis (CA) Pence Strickland The SPEAKER pro tempore. Is there Mr. Speaker, on this day 35 years Lewis (GA) Peterson (PA) Stupak Lewis (KY) Pickering Sullivan objection to the request of the gen- ago, two Americans stepped onto the Linder Pitts Sweeney tleman from Oklahoma? surface of the Moon and ushered in a Lipinski Platts Tancredo There was no objection.