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A native of Los Angeles, David has been working in the visual effects industry since 1993. With a degree in Business Management and a background in traditional art, computer technology, and graphic design, David has worked for numerous studios large and small on a significant number of major motion pictures, animated features, commercials, episodic/streaming television, real-time immersive content, theme park rides, and special venue installations. David was most recently the Global Head of CG at Crafty Apes, overseeing all 3D artists, supervisors, and related department heads while providing general management, facilitating and coordinating communication, and administering technical oversight of the CG department across eight global locations of the studio (Los Angeles, Atlanta, New York, Baton Rouge, Albuquerque, Vancouver, Montreal, and London). As the Global Head of CG at FuseFX (Los Angeles, Vancouver, New York, and Atlanta), David focused on managing an incredibly talented team of artists and supervisors across many disciplines, while spearheading the development of a fully integrated software pipeline for producing that work in an efficient, artist-friendly workflow. David has worked at a number of major studios such as BrickyardVFX, Sony Pictures Imageworks (Beowulf, Open Season), Digital Domain (Stealth, I,Robot, The Day After Tomorrow, Looney Tunes Back In Action), Walt Disney Feature Animation and The Secret Lab (Kangaroo Jack, Mickey's Philharmagic, Treasure Planet, Home On The Range, Reign Of Fire, The Little Matchgirl, One By One, Wildlife, Dinosaur), and Tricoast Studios (The Story Of O, Dead Of Night/Lighthouse, Blue Ridge Fall, Killing Mr. Griffin, The Mangler 2). He was also the owner of Image In Motion, a small visual effects and post facility based out of Van Nuys, CA. David specializes in nearly all aspects of visual effects creation and on-set supervision.Specialties: Global Artist/Supervisor Management, Creative Direction and Design, On-Set VFX Supervision, Pipeline Development & Architecture, Hardware Infrastructure Improvement, Research & Development, Project Bidding, Script & Treatment Development, Directing, Animation, and Previz.
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Global Head Of CgCrafty Apes Jan 2023 - Jul 2024Los Angeles, California, United StatesI oversaw all 3D artists, supervisors, and related department heads while providing general management, project bidding, facilitating and coordinating communication, and administering technical oversight of the CG department across eight global locations of the studio. I was also responsible for cross-departmental research and development, including implementation of innovative processes and procedures, deployment and procurement of related hardware and software systems, expansion of technical capabilities and workflows, and the overall company 3D strategy and execution. -
Global Head Of CgFusefx Aug 2020 - Jul 2022Sherman Oaks, CaliforniaI oversaw the daily operations and strategic vision of all 3D CG for all four North American FuseFX locations (LA, BC, NY, and GA) while also providing integration and shared pipeline implementation for our international subsidiaries (FolksFX in Montreal, Toronto, Saguenay, and Bogota, along with Rising Sun Pictures in Adelaide and Brisbane Australia). My responsibilities spanned managerial, technical, artistic, and organizational planning and execution, including hiring and recruitment, internal training and development, company-wide verbal and written communication, disciplinary action, strategic vision and partnerships, vendor and client outreach, and research and development. During my tenure, I helped pioneer new motion capture-driven crowd system technology, architected and oversaw the development of a cutting-edge application agnostic database-driven pipeline, refactored the computer graphics division into a fully departmentalized specialist driven environment, and championed a team oriented multi-disciplinary workforce built around a foundation of diversity and inclusion. I transitioned the company into new software including Maya, Clarisse, Redshift, and other specialized toolsets, and was responsible for researching, recommending, and approving capital expenditures for new hardware and software, along with drawing on my considerable experience to help guide the future needs and strategic direction of the department and company as we grew and partnered with others through mergers and acquisitions. I helped manage the use of the AWS EC2 for cloud rendering on multiple shows and provided solutions for improving workflows and turnaround time to meet constantly growing demands. During my time here, I was nominated for a Creative Arts Emmy Award for my artistic and supervisory contributions to Deadwood - The Movie, and I was instrumental in the overall success of FuseFX's global industry leading role in episodic and streaming visual effects content creation. -
Head Of Cg - Los AngelesFusefx Dec 2018 - Aug 2020Sherman Oaks, CaliforniaI was responsible for managing a team of 50+ CG artists and supervisors in the creation of award winning visual effects for episodic television, feature film, commercial, and special venue/location based entertainment, as well as guiding the future development of the multi-facility pipeline systems. -
Cg SupervisorFusefx Aug 2018 - Dec 2018Sherman Oaks, CaliforniaI was responsible for supervising the creation of CG visual effects for various live action and fully digital projects. -
Head Of Cg / Vfx Supervisor / Creative DirectorBrickyard Vfx May 2009 - Jul 2018Santa Monica, CaliforniaI was responsible for heading up and supervising the studio's bi-coastal computer graphics division, as well as providing on-set visual effects supervision for numerous commercial projects, overseeing the entire process through completion of delivered materials. I oversaw a team of 3D and 2D artists and designers, and was involved with staffing and managing these departments. I was responsible for bidding work with clients as well as developing and designing concepts and treatments for myself to direct, as well as for outside directors and agency creatives. I was also in charge of the technical development for the CG department, which encompassed the facility pipeline (a large part of which I designed and implemented) as well as project-specific research and development for the various technical challenges posed by the multitude of productions. During my tenure, I completed over two hundred and fifty different projects in this role for clients large and small with a significant number of well established advertising agencies, including Goody Silverstein and Partners, BBDO, Chiat Day, Mullen, Arnold, Hill Holiday, 72 & Sunny, Leo Burnett, Saachi & Saachi, Wieden+Kennedy, Deutsch, Young and Rubicam, and many others. -
Cg SupervisorBrickyard Vfx Aug 2007 - May 2009Santa Monica, California -
Character Pipeline LeadSony Pictures Imageworks Apr 2005 - Sep 2007Culver City, CaliforniaAs the character pipeline lead on Beowulf, my primary function was to supervise the design, development, and implementation of a completely new front-end pipeline, for which I was responsible for up to seventeen software developers and technical directors on my team. Part of the challenge involved implementing and maintaining a new system for a show which was larger in scope of work and physical size of data than had ever been done at this studio up until that time, all while training the artists on its usage while completing an entirely CG motion picture production. Of the over seventy toolsets which we created, the core items included a fully featured Maya-based file-referencing management system, a database shot lineup tracking/editing framework, a scene build and data update system, a robust C++ library-based animation/data block I/O transfer toolset and file format, a new render management system, a Maya/Mental Ray based z-depth rendering/automated compositing system, two multi-tier data publishing systems, and a new streaming vertex offset geometry data cache deformer and I/O system. As a layout TD on Open Season, my primary function was to develop toolsets for the layout department, including various MEL-based utilities, Perl scripts, and C-Shell scripts. -
InstructorThe Art Institute Of California, Los Angeles Jul 2002 - Jul 2005Santa Monica, CaliforniaI taught two upper division courses: Advanced Rigging and Animation - This course was broken down into two major components. The first portion was devoted to teaching the major set of tools that Maya has for deforming, constructing, and animating models in order to replicate a wide range of motions and behaviors. The second portion of the class was devoted to the animation process, including timing, framing, story development, color and lighting, and effective use of dialogue and sound. MEL Scripting - This course was tailored to provide Maya users with the knowledge and tools necessary to create MEL tools, ranging from simple shelf buttons and scripts to complicated, full-featured embedded programs complete with graphical user interfaces. Students learned basic programming architecture and workflow, but more importantly, spent a great deal of time actually producing scripts and shortcuts inside Maya for their own use. -
Lead Character/Pipeline Technical Director; Interim Anim Supervisor; Character Technical DirectorDigital Domain Nov 2002 - Apr 2005Venice, CaliforniaAs lead character and pipeline technical director on Stealth, my primary function was to supervise the development and implementation of a unified system for the front end Maya pipeline, named CoPilot. This tool had five core functions: 1. A relative-path enabled file referencing system with various levels of load, update, and swap control. 2. A model and rig version release system. 3. An animation rendering and data publishing mechanism. 4. A graphical rig-control animation interface. 5. An embedded suite of utilities, tools, and scripts for previz, modeling, rigging, integration, animation, color and lighting, and rendering. In addition to this system, I was responsible for supervising the development of all the animation rigs, including airplanes, vehicles, human pilots, weapons, cameras, and props. In addition to leading three technical directors, a modeler, and a character setup artist in this process, I was also the interim animation supervisor for the beginning portion of the show. I was responsible for training eleven animators on the techniques to be used in the film as well as supervising seven while approving animation for production and director review. As a character TD on The Day After Tomorrow, I was responsible for co-developing the crowd system and creation kit for the character department of the project. This included setup work on a level-of-detail rig that could accept retargeted motion capture data as well as keyframed offset animation which was applied to various shapes and sizes of human character meshes. I developed advanced systems for populating scenes with upwards of 100,000 crowd characters in addition to dynamically assigning selective and random clips to characters based on particular events in the scene (such as impact/collision from walls of water and tornadoes). On all other projects, I was responsible for rigging, software development, animation, dynamics and fx, lighting, and rendering for other film and commercial projects. -
Character Technical Director; Assistant Technical Director; Scene Setup AdministratorWalt Disney Feature Animation Jun 2000 - Sep 2002Burbank, CaliforniaOn Kangaroo Jack, I was part of the team responsible for the development of the fur, muscle, and skin systems for the kangaroo characters and cloth simulations for the jacket. I assisted in the clean-up animation of shots in the dream sequence and wrote tools to assist in shot cleanup and character finaling. On Mickey's Philharmagic, I was responsible for the development of various pipeline tools, including format conversion, rendering, automated scene setup, element release, rigging utilities, and file optimization. I also performed cleanup animation for layout and character finaling. I was promoted to a Character Technical Director from assistant level during this project. On all other projects, I was responsible for the setup of Maya scenes for animators, file conversion, utility development, allocation and management of disk space, troubleshooting of rigging and animation issues, and general artist support. -
Lead Animator / CompositorTricoast Studios, Inc. Aug 1999 - Feb 2000Playa Del Rey, CaliforniaI was responsible for developing the concept, design, and execution of animated CG sequences and elements for feature film trailers, television broadcasts, video sales reels, and other related projects.
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Graphic DesignerTriangle Advertising Mar 1999 - Aug 1999Woodland Hills, CaliforniaI was responsible for creating specialized layouts incorporating artwork and typography within Illustrator, Photoshop, and QuarkXPress for coupon book mailers with distribution of over 200,000 copies. -
Graphic DesignerAlfred Publishing Co., Inc. Jun 1998 - Mar 1999Van Nuys, CaliforniaI was responsible for photo retouching, creation of graphical elements, and page layout for various music training publications utilizing Illustrator, Photoshop, and QuarkXPress. I also assisted with typesetting duties and general design and copy-proofing work including pre-flight checking. -
Owner / 3D & Motion Graphics ArtistImage In Motion Jul 1995 - Jun 1998Van Nuys, CaliforniaI owned and operated a small visual effects post production company, where our primary work involved music video titling and graphics, trailer editing, compositing, and television/commercial graphics.
David Blumenfeld Skills
David Blumenfeld Education Details
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Business Administration - Management -
Birmingham High SchoolDiploma
Frequently Asked Questions about David Blumenfeld
What is David Blumenfeld's role at the current company?
David Blumenfeld's current role is Global Head of CG / Creative Director.
What is David Blumenfeld's email address?
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What is David Blumenfeld's direct phone number?
David Blumenfeld's direct phone number is +161726*****
What schools did David Blumenfeld attend?
David Blumenfeld attended California State University, Northridge, Birmingham High School.
What skills is David Blumenfeld known for?
David Blumenfeld has skills like Visual Effects, Animation, Character Animation, Film, Maya, Rigging, Motion Graphics, Commercials, Computer Graphics, Graphic Design, Scripting, Lighting.
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David Blumenfeld
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David Blumenfeld
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David Blumenfeld
Los Angeles Metropolitan Area1emcore.com
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