15,000, and submissions increased to over 4,200. The CFC-WSFF also hosted the largest digital marketplace for short films in North America. Several CFC-WSFF juried short films went on to be nominated for Academy Awards. A few, like Chris Landreth's animated documentary Ryan, won the 2004 Oscar for Best Animated Short Film, and the 25th Genie Award for Best Animated Short. Other Oscar winners include Harvie Krumpet by Adam Elliot (2003), Wasp by Andrea Arnold (2004) and The Danish Poet by Torill Kove (2006). IMAX Exhibition From 2004-to-2006, Festival Director Shane Smith, and festival researcher Peter Hasek pursued the idea of curating a 45-minute presentation of large format IMAX 15/70mm short films. This presentation was to have been screened at one of the IMAX theaters in downtown Toronto, as part of the CFC-WSFF program. The effort had support from Kodak Canada and the English Animation Department of the National Film Board of Canada. The event was to be promoted with tongue-in-cheek, but in fact, as "the only presentation at the Worldwide Short Film Festival that actually uses film." With only a dozen-or-so 15/70mm short films in existence, the long-term plan was to create a boutique distribution service and "circuit" for large format short films; with each festival offering its own pro-rated "audience choice" cash award system. The goal was to create a reliable source of income for large format short film makers. The debut screening of the 15/70mm large format short film platter was to have been held during the Worldwide Short Film Festival, at one of the IMAX theaters in downtown Toronto in June, 2006 followed by a screening for the Cinéfest Sudbury International Film Festival, at the Science North IMAX Theater in Sudbury, Ontario in September, 2006. Following these two festival screenings, the 15/70mm platter was destined for on-going, for-profit screenings at the Western Fair IMAX Theater in London, Ontario in exchange for their help with the project. The Western Fair IMAX projection room and other facilities were to be used for print traffic co-ordination and revision work needed to assemble a 45-minute presentation of 15/70mm short films. There were tentative plans for screening this ad hoc platter of 15/70mm short films at other IMAX theaters in Canada, and the United States, wherever the local IMAX theater had a strong partnership with their local, mainstream film festival that was similar to the working arrangement and relationship between the Cinéfest