Jordan Boyd Email & Phone Number

Texas, United States

New York, Ny, Us

Led the Cheil Dallas Emerging Technologies creative team. Oversaw all CGI, motion capture, virtual production, gaming, and XR related projects for our primary client, Samsung Electronics of America. Hired, onboarded, and mentored up to twelve direct reports at any given time including designers, art directors, copywriters, CG artists, motion graphics designers, concept artists, video editors, game designers, senior producers, VFX supervisors, and developers. Comfortably managed constantly changing priorities, often under strict embargo or secrecy around unannounced products. Directed projects completed by external vendors such as Brazen Animation, managed our relationship with concept art studio Atomhawk, and collaborated with internal developers and the DevHouse Agency on game design.Notable Projects:-Led visual development and directed CG assets for a virtual character meant to promote Samsung's global live commerce initiatives.-Redesigned Samsung's Superstar Galaxy concert experience on Roblox as a musically-themed sci-fi RPG with rhythm-based combat mechanics. -Directed numerous CG videos for retail experiences meant to educate shoppers about mobile device features. (Galaxy S23, Galaxy Tab A7 Lite, Galaxy Tab S7 FE, Galaxy Connected Experience)-Spearheaded digital campaign for Samsung's hard drive division's 980 Pro SSD that targeted PS5 owners. Animated the CG ad spot and developed key visuals for a series of animated banner ads.

New York, Ny, Us

As a founding member of the Cheil Dallas in-house video team, I contributed to concepting, pitching, video and art directing, producing, animating, and color-correcting much of the team's output. My work with Samsung included creating videos and graphics for their Twitch channel to promote streaming events. I also produced and directed a live-action trailer for a PUBG streaming event, and animated broadcast graphics for a 14-day streaming series featuring custom Fortnite game maps with Samsung-specific features and gameplay. Additionally, I animated the CG trailer for a Samsung-sponsored Overwatch League match-up between the Dallas Fuel and Houston Outlaws. My work on Samsung's Flex Your Way social campaign for the Galaxy Z Flip 5G included leading post-production and VFX work on a series of TikTok videos and a music video featuring influencer/dancer Bailey Sok. I also completed numerous VFX shots and performed digital color grading for all footage. I led content creation for a training campaign to educate retail sales associates on new product features of the Samsung Galaxy S21. Additionally, I animated CG marketing assets used online and for digital signage for a campaign promoting the Samsung Galaxy Z Fold 2. I also acted as the cinematographer and color grading technician on live-action photography for Samsung Galaxy Z Flip 3 and Samsung Galaxy Z Fold 3 mobile devices' Retail Mode content, and performed VFX and oversaw post-production on numerous Samsung Retail Mode and Galaxy Ecosystem live-action shoots. Lastly, I helped conceptualize events and produce renderings of experiential fixture designs for Samsung's Galaxy Rovers, a fleet of branded vehicles for pop-up events ranging from large conventions to local sporting events throughout Texas and eventually, the entire US to increase brand awareness and engagement.

Collaborated with publishers to enhance mood and storytelling clarity of art with an emphasis on cinematic lighting, evocative palettes, and digital painting. Followed specifications to ensure accurate color reproduction across print and digital editions. Utilized differing artistic styles per project and properly followed brand guidelines for licensed properties. Supported artists, writers, editors, and production teams of all major U.S. comic book publishers to enhance the mood and storytelling clarity of provided line art with an emphasis on cinematic lighting, evocative palette building, and digital painting in Adobe Photoshop. • Caried out each publisher’s technical guidelines and workflows for producing accurate color reproduction across both print and digital distribution channels. • Utilized a variety of artistic styles depending on the project, properly following reference for all pre-existing characters or licensed properties. Managed three to eight monthly print deadlines at a time making prompt revisions when requested through disciplined time-management. Notable Projects:Multiple Star Wars titles for both Dark Horse and Marvel, requiring close partnership with the Lucasfilm Story Group. The Black Panther movie prequel comic which involved highly confidential access to a secure Marvel Studios reference imagery server long before the film’s release. Frequent collaborations with artist Gabriel Hardman, director Christopher Nolan’s go-to storyboard artist when not drawing comics. Invisible Republic from Image (nominated for a 2016 Hugo Award for Best Graphic Story), Green Lantern: Earth One from DC (nominated for a 2019 Eisner Award for Best Graphic Novel), and The Plot from Vault (nominated for a Bram Stoker Award). Thirty issues of Rick Remender and Wes Craig’s Deadly Class, published by Image, which was recently adapted for television by SyFy. Dozens of superhero titles including Batman, Avengers, Hulk, Ant-Man, Deadpool, Spider-man, and more.

Spearheaded Arphax Publishing's Family Maps book series into an online format by launching the geography-based family history research subscription service HistoryGeo.com. Coded front and back-end libraries to produce a web application combining a custom-styled OpenStreetMap function. Created geospatially aware databases for the drawing of new maps and labelling of historical documents. Implemented a full Content Management System (CMS) for compiling and sharing users' research, as well as a suite of tools for managing both personal and county library subscriptions. Further designed print materials for genealogy trade shows and produced in-depth video training materials. • Combined MapBox, Leaflet, OpenStreetMaps, Tilestache, and PostgreSQL to style and managed a customized Google Maps style interface on Amazon Cloud Servers using a combination of open source and proprietary geospatial data. • Constructed UI/UX focused on a predominantly mature user demographic’s interaction, including CMS-like features for documenting and sharing users’ research.• Created a suite of back-end management tools for subscriptions and updating cached map tile images in the cloud, based on newly available data. • Edited map images in Adobe Illustrator and copy-edited entire titles from the Family Maps series of reference books using Adobe InDesign. • Delved into C#, PHP, HTML, CSS, JavaScript, MySQL, and host of other technologies to design a complex front-end interface for HistoryGeo.com.

Co-wrote the screenplay for The Gunslingers, a quarter of a million-dollar budgeted feature film created by a three-person production company that was eventually released direct-to-DVD by Lionsgate Home Entertainment. Executed 300+ VFX shots including extensive matte painting, miniature photography, greenscreen keying, rotoscoping, and digital gunplay. Managed conceptual design work which determined the aesthetic of several sets as well as the wardrobe of the nearly all major characters. • Directed second unit photography during production and acted as camera operator or Steadicam operator on first unit. Supervised the on-set capture of nearly three hundred visual effects shots throughout the course of production, ensuring that proper lighting and photographic references were captured, green screens properly lit, and camera information accurately recorded. Completed the effects work on those same shots in post-production while under tight scheduling restrictions.• Matte painted set extensions to give life to the partial western town sets and augment the drama or beauty of exterior wide shots using a combination of photo elements, miniatures, and digital painting. Inserting muzzle flashes to guns when safety regulations would not allow for the use of blanks, adding additional gore elements to wounds, and heightening the violence during action sequences using various compositing techniques. • Supervised the conversion of a small warehouse into a green screen stage for the film’s subterranean climax and built a miniature cave environment that would culminate in replacing all green screen in the final effects scenes.

Bachelor Of Fine Arts - Bfa, Film/Video And Photographic Arts

Visual Effects For Film & Television