Jeff Wozniak

Work History

• 

  Pro Workflow (VFX + Color)

  Apple Inc.

  January 2018 - Present

  Los Angeles, California

  • Our goal on the Pro Workflow team is to enhance Apple’s ecosystem for professional content creators, and thereby enable them to work at the speed of creativity.
  • My specific area of concentration is visual effects (leveraging my decades of experience in the VFX industry), as well as topics related to color (for example, HDR).
  • Learn more here: https://techcrunch.com/2018/04/05/apples-2019-imac-pro-will-be-shaped-by-workflows/
• 

  VFX Supervisor

  FuseFX

  July 2016 - Present

  • Collaborate directly with clients on a daily basis, and provide creative insights and guidance to help them flesh out their vision and tell their story. Provide end-to-end service throughout the production process, and ultimately be responsible for on-time and on-budget delivery.
  • Manage large teams across multiple projects, including Doug Liman’s "The Wall," NBC’s "The Blacklist: Redemption," CBS’ "Bull," AMC’s forthcoming "The Son," and Amazon’s "The Tick."
  • Partner closely with producers to create accurate and competitive bids, establish and enforce detailed production schedules, and ensure total client satisfaction at all stages.
  • Foster and maintain relationships that lead to new and return business for the company.
• 

  Independent Visual Effects Supervisor

  Self-employed

  April 2016 - June 2016

  Greater New York City Area

  • Contributed to the AMC series "Feed the Beast," FX's "The Americans," and Doug Liman's VR project, "Invisible."
• 

  Visual Effects Supervisor

  Zoic Studios

  July 2015 - March 2016

  Greater New York City Area

  • Key manager hired to help establish Zoic’s new NYC office and lead inaugural projects.
  • Shepherded NBC’s "Blindspot" through the studio as the sole VFX vendor for the series. Acted as client-facing creative liaison during pre-production, supervised on-set work, and led a large team of artists during post-production for multiple concurrent episodes.
  • Worked closely with Zoic’s LA team on additional Blindspot shots that were completed there, and established processes to maintain consistency and quality throughout.
  • Actively involved in the bidding process. Implemented new shot-targeting procedures for artists in order to consistently meet ambitious weekly episodic production deadlines.
  • Also supervised Zoic’s work on several episodes of CBS’ "Limitless," and provided on-set supervision for ABC’s "Quantico."
• 

  Head of CG / Senior Visual Effects Supervisor

  Industrial Color

  September 2014 - July 2015

  Greater New York City Area

  • Developed a custom standards-based production workflow, and oversaw the final implementation of an entirely new VFX pipeline for the company. This production infrastructure is flexible and scalable by design, and is capable of handling a wide variety of VFX needs from start to finish, both for short- and long-form full-motion projects, as well as for still work.
  • VFX Supervisor / Product Manager role: Assembled and led a team of developers, artists, and production personnel toward the successful completion of an ambitious, first-of-its-kind CG project commissioned by a multi-billion dollar consumer products company.
  • Actively involved in the bidding of new projects, as well as high-level strategic decisions with senior management regarding how to best position the CG department for continued success, both internally and externally.
• 

  Independent Visual Effects Supervisor & Senior Digital Artist

  Self-employed

  July 2014 - August 2014

  Greater New York City Area

  • Seasoned VFX Supervisor and Senior Digital Artist with 20 years of wide-ranging industry experience on high-profile feature film, television, and feature animation projects.
  • In addition to overall supervision, on-set supervision, client relations, and pipeline development, I have extensive experience as a sequence supervisor, as well as a senior Nuke compositor and lighting artist.
  • Contributed to the Netflix series "Marco Polo" and HBO's "Boardwalk Empire."
  • References and link to Reel available upon request.
  
  Partial Filmography:
  "The Tick"
  "The Blacklist: Redemption"
  "The Wall"
  "Bull"
  "The Son"
  "Blindspot"
  "A Most Violent Year"
  "Noah"
  "The Secret Life of Walter Mitty"
  "Europa Report"
  "Disconnect"
  "The Great Gatsby"
  "Marvel's The Avengers"
  "Transformers" Trilogy
  "Rango" *
  "Iron Man 2"
  "Avatar"
  "Star Trek" (2009)
  "Indiana Jones and the Kingdom of the Crystal Skull"
  "Pirates of the Caribbean: Dead Man's Chest" **
  "Harry Potter and the Prisoner of Azkaban"
  "Master and Commander"
  "Pirates of the Caribbean: The Curse of the Black Pearl"
  "Hulk"
  "Harry Potter and the Chamber of Secrets"
  "Minority Report"
  "Star Wars" Prequel Trilogy
  
  * Winner of the Academy Award for Best Animated Feature
  ** Winner of the Academy Award for Best Visual Effects

• Associate Visual Effects Supervisor

  Look Effects, Inc

  July 2012 - July 2014

  New York, NY

  • Guided Look Effects’ successful two-year collaboration with ILM and renowned filmmaker Darren Aranofsky on "Noah." Codeveloped a new EXR-based stereo pipeline for the show, instituted new workflows, and enforced best practices amongst a diverse team.
  • Collaborated directly with clients, provided guidance, and lead a large multidisciplinary crew of artists toward ensuring the director’s creative vision was ultimately achieved on a wide range of projects.
  • Worked closely with producers to bid projects and find creative solutions to complex production problems.
  • Supervised or co-supervised full range of concept work, modeling, texturing, layout, animation, dynamics, look development, digimatte, lighting, and compositing on shots.
  • VFX Supervisor role on "Noah" (3D stereo version), "Broadway 4D," "A Most Violent Year,"
  "Babylon Fields," "Disconnect," and "Europa Report"; Associate VFX Supervisor role on "Noah,"
  "Foxcatcher," and "The Secret Life of Walter Mitty"; On-set VFX Supervisor for NBC's "Black Box"
• 

  Sequence Supervisor / Senior Digital Artist

  Industrial Light & Magic (Lucasfilm Ltd.)

  January 2001 - June 2012

  San Francisco, CA

  • Shepherded overall look, color balance, and aesthetic consistency of sequences, and established technical workflows toward that end. Provided leadership, concise feedback, and creative and technical guidance to fellow artists over the course of each production.
  • Efficiently executed simultaneous work on numerous complex shots requiring a broad 2D / 3D skill set, exceptional problem solving skills, relentless creativity, and strict attention to deadlines.
  • Supervised a large, relatively inexperienced team of artists at ILM Singapore on a key sequence for "Transformers: Revenge of the Fallen," and guided them to produce work on par with ILM SF.
  • Well-versed in lighting as well as compositing, and was often tasked to perform both roles in parallel on shots for live-action visual effects, as well as ILM’s first animated feature, "Rango" (winner of the Academy Award for Best Animated Feature in 2011).
• 

  Digital Artist - Cinematics Department

  LucasArts

  February 2000 - December 2000

  San Rafael, CA

  • Lead artist in a small team responsible for the creation of high-res, story-driven cinematics.
  • Conceived and edited promotional trailers for several video game titles.
• 

  Previsualization / VFX Artist

  Fox Animation Studios

  August 1999 - December 1999

  • Composed, staged, and animated highly detailed and character-driven 3D animatics for "Titan A.E.," most of which were inspired by traditional storyboards and concept art.
  • Animated, lit, and composited several full-CG shots for the final film.

• Previsualization / VFX Artist

  JAK Films, Inc. (Lucasfilm Ltd.)

  March 1998 - August 1999

  • Created several hundred animatics that clearly established the composition, blocking, timing, and desired overall look for shots that appear throughout "Star Wars: Episode I."
  • Quickly iterated on shots in close collaboration with the editor and director as the film was fleshed out and assembled.
• 

  Technical Services and Information Systems Administrator

  Lucasfilm Ltd., THX Division

  1994 - 1998

  • Designed, built, and implemented a complex relational database to manage and exploit a vast trove of data.
  • Developed innovative and enhanced services for clients by leveraging this newly established information infrastructure.
  • Served as a technical resource regarding motion picture presentation quality issues.