Christophe Vacher 10240 Camarillo Street Toluca Lake, CA 91602 Home Phone (818) 763 0666 !

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Christophe Vacher 10240 Camarillo Street Toluca Lake, CA 91602 Home Phone (818) 763 0666 ! Christophe Vacher 10240 Camarillo Street Toluca Lake, CA 91602 Home Phone (818) 763 0666 ! Website: www.vacher.com Qualifications -Art Director (2D and 3D Animation) Two-time Emmy Award Winner for Art Direction on the TV series “Transformers Prime” in 2011 and 2012. Two-time Annie Award Nominee for Art Direction on the movie “9” in 2010 and on “Transformers Prime” in 2012. -Production Designer/Visual Development Artist (traditional and digital) -Head of Backgrounds -Background painter (traditional and digital) 2D softwares: excellent in Photoshop and similar programs. Fair knowledge of After Effects. 3D softwares: Fair knowledge of Maya ( modeling, texturing, lighting, rigging, particles), ZBrush and similar 3D painting proprietary softwares. Experience Currently: -Transformers TV series (2010 until now) Hasbro Studios, Burbank, CA Visual Effects Art Director/Supervising Color Designer Feature Films: -Despicable Me (2009) Universal Studios, CA Concept Designer -“9” (produced by Tim Burton) (2007-2008) Focus Features, Los Angeles, CA Art Director -Oz 3D (aborted) (2009) Hot Donut Productions, OH Concept Designer -Talekeepers (aborted) (2008) Tale City Productions, Tel Aviv, Israel Production Designer/Art Director -Enchanted (2005-2006) Walt Disney Studios, Burbank, CA Art Director -Shark Tale (2003-2004) Dreamworks SKG, Glendale, CA Visual Development artist/Designer -Treasure Planet (2002) Walt Disney Studios, Burbank, CA Visual Development artist and Backround/Matte painter -Tarzan (1999) Walt Disney Studios, Burbank, CA Backround/Matte painter -Fantasia 2000 (1998) Walt Disney Studios, Burbank, CA Visual Development artist and Backround/Matte painter -Hercules (1997) Walt Disney Studios, Burbank, CA Backround/Matte painter -Dinosaur (1996) Walt Disney Studios, Burbank, CA Visual Development artist -The Hunchback of Notre-Dame (1995) Walt Disney Studios, Paris, France Backround/Matte painter -A Goofy Movie (1994) Walt Disney Studios, Paris, France Head of Background Special Projects: -Mars Bar (short movie) (2004-2005) Studio Arts, Los Angeles, CA Art Director, Designer, Modeler, Texturer -Sinbad (dvd added segment) (2003-2004) Dreamworks SKG, Glendale, CA Background/Matte painter -Runaway Brain (short movie) (1995) Walt Disney Studios, Paris, France Backround/Matte painter TV: -Bamboo Bears (1992) Le Daf Studios, Paris, France Visual Development artist -The Tales of Pere Castor (1992) Typhoon Studios, Paris, France Visual Development artist -Highlander (Animated TV show) (1992) IDDH Studios, Angouleme, France Visual Development artist -Back to the future (1992) IDDH Studios, Angouleme, France Visual Development artist -The Legend of Prince Valiant (1991) IDDH Studios, Angouleme, France Visual Development artist -Conan The Adventurer (1991) IDDH Studios, Angouleme, France Visual Development artist -Bucky O’Hare (1991) IDDH Studios, Angouleme, France Visual Development artist -My little Pony Tales (1991) IDDH Studios, Angouleme, France Visual Development artist -Little Dracula (1991) IDDH Studios, Angouleme, France Visual Development artist -Ninja Turtles (1989) IDDH Studios, Angouleme, France Visual Development artist, Layout artist From 1989 to 1992, worked as a Visual Development artist for IDDH Studios, Angouleme, France on the following projects: -Arabian Nights -The Silver Skates -Arsene Lupin -Puss in Boots -Robin Hood -Gulliver Travels -Tom Sawyer -Nicolas Hulot’s Adventures -Proteo -20,000 leagues under the sea -Night Flight -Prince Eric Awards in Entertainment: -2011 and 2012 Emmy Award Winner for Individual Achievement in Animation on the TV series “Transformers Prime” (Color and Lighting Design) -2012 Annie Award Nominee for Art Direction on the TV series “Transformers Prime” -2010 Annie Award Nominee for Art Direction on the movie “9”, produced by Tim Burton. Clients Hasbro Studios Walt Disney studios Dreamworks SKG Universal Studios Focus Features Harper Collins Publishing, New York Wizards of The Coast, Seattle Duirwaigh Publishing, Atlanta Parmenides Publishing, Las Vegas Quarto Publishing, London Data Becker Videogames, Germany Fine Art Permanently exhibited at: - Galerie Petits Papiers, Paris, France One Man shows: Oct 2005 Jean Helion Gallery, for the city Hall of Issoire, France May 2004 Kaleidoscope Gallery -Mission Viejo, CA May 2003 Kaleidoscope Gallery -Mission Viejo, CA Dec 2001 Disney Feature Animation Gallery – Burbank, CA Dec 1999 Disney Feature Animation Gallery – Burbank, CA Aug 1998 Galerie Morpheus – Beverly Hills, CA July 1990 Mural Fresco for the Cultural Center of Universities Clermont-ferrand, France April 1990 Cultural Center of universities – Art gallery - Clermont-Ferrand, France July 89 Mural Fresco for the House of the Arts – Clermont-Ferrand, France Aug 89 “ Espace-Photo” Gallery – Clermont-Ferrand, France Group shows: Sept 2005 Spectrum 11 years Exhibit, New York, NY Aug 2005 Chalk Farm Gallery, Santa Fe, New Mexico Dec 2004 Studio Stage -Los Angeles, CA Dec 2004 Kaleidoscope Gallery -Mission Viejo, CA July 2004 Kaleidoscope Gallery -Laguna Beach, CA Mar 2004 Brave Destiny –Miami, Florida Jan 2004 Brave Ddestiny - Brooklyn, New York Dec 2003 Kaleidoscope Gallery -Mission Viejo, CA Sept 2003 The Gallery in Cork Street -London, England July 2003 Kaleidoscope Gallery -Laguna Beach, CA June 2000 Powell Street Gallery – San Francisco, CA Nov 1998 Masterpiece Gallery – Laguna Beach, CA July 1998 Kaleidoscope Gallery – Mission Viejo, CA Apr 1998 Every Picture tells a Story – Westwood, CA Oct 1997 Art Expo ’97 – Los Angeles, CA Jul 1997 Art-a-Fair – Laguna Beach, CA Dec 1993 CFT- Gobelins – Paris, France Dec 1992 “Le Salon”, Grand Palais - Paris, France July 1992 Arfeuilles – France July 1990 Arfeuilles – France Mar 1990 Palace of Congresses - Clermont-Ferrand, France Sept 1989 House of the Arts – Clermont-ferrand, France Aug 1989 Chateaugay Castle, France July 1989 Murol castle, France June1989 Palace of Congresses – Clermont-Ferrand, France May 1989 Cordeliers xxi Gallery – Clermont-ferrand, France Apr 1989 Representative of Auvergne in Thonon-les-Bains, France Apr 1989 Palace of Congresses – Clermont-Ferrand, France Nov 1988 Palace of Congresses – Clermont-ferrand, France Mar 1988 Representative of Issoire in the Reader’s Digest’s “Grand Prix National de Peinture”- paris, France Oct 1987 Cultural Center Pomel – Issoire, France Honors -Two-time Emmy Award Winner in 2011 and 2012 for Art Direction on the TV series “Transformers Prime.” -Two-time Annie Award Nominee for Art Direction on “9” (2010) and “Transformers Prime (2012) -Silver Award for the category Fine Art in the 2005 book “Aphrodisia”with the piece “The Long Sleep”. -Winner of the 2004 New Masters of Fantasy Award in the category Best Imaginative Work with the piece “Untouched Gardens” -Winner of the CG Choice Award (CGtalk.com) for the book cover “Predator’s Gold”. -Nominee for the 2003 Chesley Awards, in the category Best Unpublished Color Work -2002 International Juried Online Symbolist Art Show Finalist "The Dreamer and the Dreamed" Education 1971-1984 Baccalaureat A2 (languages, philosophy), France 1984-1987 Fine Arts School and History of Arts University of Clermont-Ferrand, France. Memberships -Society for the Art of the Imagination, England -Animation Guild (IATSEE local 839) Interests Movies, Arts and culture, Sports, Martial Arts, Travel..
Recommended publications
  • Journal of Religion & Society
    Journal of Religion & Society Volume 6 (2004) ISSN 1522-5658 David, Mickey Mouse, and the Evolution of an Icon1 Lowell K. Handy, American Theological Library Association Abstract The transformation of an entertaining roguish figure to an institutional icon is investigated with respect to the figures of Mickey Mouse and the biblical King David. Using the three-stage evolution proposed by R. Brockway, the figures of Mickey and David are shown to pass through an initial entertaining phase, a period of model behavior, and a stage as icon. The biblical context for these shifts is basically irretrievable so the extensive materials available for changes in the Mouse provide sufficient information on personnel and social forces to both illuminate our lack of understanding for changes in David while providing some comparative material for similar development. Introduction [1] One can perceive a progression in the development of the figure of David from the rather unsavory character one encounters in the Samuel narratives, through the religious, righteous king of Chronicles, to the messianic abstraction of the Jewish and Christian traditions.2 The movement is a shift from “trickster,” to “Bourgeoisie do-gooder,” to “corporate image” proposed for the evolution of Mickey Mouse by Robert Brockway.3 There are, in fact, several interesting parallels between the portrayals of Mickey Mouse and David, but simply a look at the context that produced the changes in each character may help to understand the visions of David in three surviving biblical textual traditions in light of the adaptability of the Mouse for which there is a great deal more contextual data to investigate.
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    Walt Disney Classified: WEFT and the 3-Point Identification Systems By David A. Bossert (Title card for the WEFT System of Aircraft Identification, 1943) On December 8, 1941, the day after the bombing of Pearl Harbor Naval Base on the island of Oahu, Hawaii, Walt Disney received a call from a Naval Officer in Washington, DC. The call from Navy Lieutenant Cottle was to offer Walt Disney Productions a contract for approximately twenty training films on ship and aircraft identification. The actual number of films changed over time as the requirements shifted. (1) This contract was a direct result of correspondence between the studio and a Lieutenant Hutchinson in November 1941 outlining the need for these training films and the specifications of how they would be created. These first Military training films were the WEFT, an acronym for Wings, Engine, Fuselage and Tail, and the 3-Point Identification System for recognizing and distinguishing between friendly and enemy aircraft and Navy ships. Hutchinson had corresponded with the Disney Studio on the Navy’s need for this series of films that could train military personnel in identifying aircraft and naval ships. That correspondence dictated the requirements needed by the Navy and the response detailed what the studio could provide to satisfy the need. Walt had determined that the films didn’t need to be in color and that black and white 35MM film would be the best approach for the series of films. (2) Although, it would have been less expensive to use 16MM, using the larger format 35MM film was better suited for the planned double-exposure special effects that were to be used in illustrating clearly the various educational points.
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  • Celebrations-Issue-31-DV75620.Pdf
    Enjoy the magic of Walt Disney World all year long with Celebrations magazine! Receive 6 issues for $29.99* (save more than 15% off the cover price!) *U.S. residents only. To order outside the United States, please visit www.celebrationspress.com. To subscribe to Celebrations magazine, clip or copy the coupon below. Send check or money order for $29.99 to: YES! Celebrations Press Please send me 6 issues of PO Box 584 Celebrations magazine Uwchland, PA 19480 Name Confirmation email address Address City State Zip You can also subscribe online at www.celebrationspress.com. On the Cover: “5 Years of Disney Magic” Photos © Tim Devine and Disney Issue 31 Five Years of Magic at Walt Disney World 42 Contents Calendar of Events .............................................................6 Disney News & Updates................................................. 8 MOUSE VIEWS ..........................................................13 Guide to the Magic by Tim Foster............................................................................14 “Ghost” Writers: Hidden Mickeys by Steve Barrett ......................................................................16 The Story of the 52 Photography Tips & Tricks by Tim Devine ..........................................................................18 Haunted Mansion Disney Legends by Jamie Hecker ....................................................................22 Disney Cuisine by Allison Jones ......................................................................24 Disney Secrets by Jamie Hecker
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  • Phantoms in the Brain.Pdf
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  • It Was All Started by a Mouse: Walt, Trains, and Mickey & Minnie Through the Years
    It Was All Started by a Mouse: Walt, Trains, and Mickey & Minnie Through the Years From their first appearance aboard a black-and-white steamboat … to their latest adventure searching for the perfect picnic spot, Mickey Mouse and Minnie Mouse are cultural icons spanning generations and nations. In celebration of Mickey & Minnie’s Runaway Railway at Disney’s Hollywood Studios in Florida, here is a look back at some of the finest moments for these true originals, and the man who created them. It’s a good reminder that, as Walt Disney said, “It was all started by a mouse.” Iconic On-Screen Moments Walt Disney arrived in Hollywood in August 1923 and founded Disney Brothers Cartoon Studio in October of that year. Just five years later, Mickey Mouse debuted on the silver screen and went on to appear in a series of 130 animated short films from 1928 to 1953, with four additional shorts released between 1983 and 2013. Since 1955, he has been a frequent presence on television, too. Following are some notable highlights of Mickey’s onscreen career: “Steamboat Willie” (1928) – The first Mickey Mouse cartoon released (although it was the third Mickey cartoon made) was also the first animated short with synchronized sound. Mickey is a mischievous deckhand on a riverboat under the command of the tyrannical Captain Pete; Minnie is a tardy passenger who joins Mickey in music-making. “The Karnival Kid” (1929) – The first cartoon where Mickey speaks (“Hot dogs! Hot dogs!”). He also famously tips his ears to Minnie, foreshadowing the Mickey and Minnie ear headwear popular today.
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  • Disney Animation Furniture by Dave Bossert
    7 Things That You Didn’t Know About the Disney Animation Furniture By Dave Bossert During the course of researching and writing Kem Weber: Mid-Century Furniture Designs for the Disney Studios, I jotted down some interesting facts about the Disney Animation furniture. These are bits of information that, unless you spent years working on this furniture, you likely didn’t know anything about. From the outset, most are unaware that Walt Disney had the most optimal animation furniture designed for use at the new studio he was building in 1939. Just like the pencils and brushes, the tools of the trade, his artists used to create the those animated masterpieces, the desks were in essence the toolboxes of the trade. So, unless you worked at Disney Animation, here is my list of 7 Things That You Didn’t Know About the Disney Animation Furniture: 1. While the Studio was in production on Pinocchio, Walt asked Kem Weber to work with Frank Thomas, one of his top animators, on designing an efficient animation desk. A prototype of the Weber animation desk was built and Thomas animated on it to help work out and refine the design before the desks were mass produced. Pictured above is an early concept of the animation desk by Kem Weber. ©UCSB 2. The metal drawer pulls on the Disney animation furniture are perfect bottle openers. Whether this was by design or a happy accident doesn’t matter as many a beer bottle was opened using them. But, as societal norms have changed such frivolity has been curbed and in some cases frowned upon in the workplace.
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  • An Analysis of Clothing in Disney Cartoons
    "I Might be a Duck, but I'm Human": An Analysis of Clothing in Disney Cartoons Luke Baldwin Dubin JAMES A GIBSON LIBRARY BROCK UNIVERSiTY , r'"i I~" YES' < ' ¥-"'J; ''<'11 r ST.• CJ\THAR,.. ...... ..!. v ,t_#.", ~ Thesis completed in partial fulfillment of the requirements of the Interdisciplinary MA Program in Popular Culture Brock University © 2008 Dubin i Abstract Mickey Mouse, one of the world's most recognizable cartoon characters, did not wear a shirt in his earliest incarnation in theatrical shorts and, for many years, Donald Duck did not wear pants and still rarely does so. Especially when one considers the era in which these figures were first created by the Walt Disney Studio, in the 1920s and 1930s, why are they portrayed without full clothing? The obvious answer, of course, is that they are animals, and animals do not wear clothes. But these are no ordinary animals: in most cases, they do wear clothing - some clothing, at least - and they walk on two legs, talk in a more or less intelligible fashion, and display a number of other anthropomorphic traits. If they are essentially animals, why do they wear clothing at all? On the other hand, if these characters are more human than animal, as suggested by other behavioral traits - they walk, talk, work, read, and so on - why are they not more often fully clothed? To answer these questions I undertook three major research strategies used to gather evidence: interpretive textual analysis of 321 cartoons; secondary analysis of interviews conducted with the animators who created the Disney characters; and historical and archival research on the Disney Company and on the times and context in which it functioned.
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  • VM Checklist
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  • Wave 1 December 4, 2001 - 150,000 Tins Produced
    Wave 1 December 4, 2001 - 150,000 tins produced Mickey Mouse Davy Crockett: in Living Color Silly Symphonies Disneyland USA The Complete (Volume 1) Buy Buy Televised Series Buy Review Review Buy Review Review Celebrate Mickey Mouse's This groundbreaking series Celebrating Walt Disney's Experience the hit television career in color cartoons of 31 uncensored cartoons, pioneering efforts in the show that became a national with 26 original shorts released between 1929 and medium of television, sensation and made released between 1935 and 1939, includes six Academy DISNEYLAND USA features coonskin caps a staple for a 1938 -- a timeless Award(R) winners and four vintage episodes of generation of American collection chronicling provides an astonishing Walt's beloved prime-time youngsters. With a rifle Mickey's first steps out of look inside the evolution of program. Take a wonderful named Old Betsy, Davy the world of black and animation. Each boasting a look back at the origins of Crockett fought for justice white, ushering in a new unique cast of characters, the park, beginning with with his own brand of era of animation. This these musical shorts served the very first episode of the homespun ingenuity. Enjoy classic uncensored as Walt Disney's proving DISNEYLAND TV series, as every episode of the popular compilation includes a wide ground for emerging Walt Disney leads a tour of Disney television series, array of special features, technology, new musical the studio and lifts the presented as originally including an inside look at styles, and experimental curtain on a model of the broadcast, complete with the creation of selected forms.
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  • The Art of Andreas Deja Dynamic Exhibition Features Animator
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  • Checklist (Updated 8/15/2013)
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