Walt Johne 沃特.琼斯 视觉特效艺术家
Walt Jones 个人网站 http://www.waltjones.com/
Walt Jones is both a still photographer and producer, as well as someone who utilizes CGI on a daily basis. Over the years he has worn many hats including fine art photographer, visual effects artist, film and television producer, director of photography, lighting designer for stage and screen and software developer. He has contributed to the visual effects of numerous music videos and over a dozen films, including Superman Returns and The Chronicles of Narnia. Walt was part of the teams that won Academy Awards for their work on The Golden Compass in 2008 and Life of Pi in 2013. 沃特琼斯既是摄影师也是制作人，同时还用CGI进行日常创作。在过去的几年当中他拥有一系列的头衔，包括优秀艺术摄影师、视觉特效艺术家、电影和电视剧集制作人，摄影指导、舞台灯光设计和软件开发工程师。他曾经为一系列音乐电视和电影制作过视觉特效，比如超人归来和纳尼亚传奇。沃特还是奥斯卡最佳视觉效果奖获奖团队成员（2008年的黄金罗盘和2013年的少年派）。
Visual effects (17 credits)
2015Bahubali: The Beginning (visual effects supervisor)
2015Evil Nature: Proof of Concept (Short) (visual effects producer)2014Winter’s Tale (lighting and shading – uncredited)
2013Percy Jackson: Sea of Monsters (cg supervisor)
2012Life of Pi (lighting supervisor: Rhythm & Hues Studios)
2011Hop (look development supervisor) / (sequence supervisor)
2010Marmaduke (water lighting supervisor)
2009Aliens in the Attic (look development supervisor)
2009Night at the Museum: Battle of the Smithsonian (pre-lighter: Rhythm & Hues Studios – as Walter Jones)
2007The Golden Compass (lighting lead: Rhythm & Hues)
2006Happy Feet (lighting technical director)
2006Superman Returns (sequence supervisor)
2005The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (technology development – uncredited)
2005Ice Princess (lead lighting technical director – uncredited)
2005Elektra (lighting technical director)
2004Flight of the Phoenix (lighting technical director: Rhythm & Hues)
2004The Chronicles of Riddick (lighting technical director)
SELECTED CGI FILM CREDITS
Percy Jackson: Sea of Monsters (2013)
Life of Pi (2012)
Hop (2011)
Night at the Museum: Battle of the Smithsonian (2009)
The Golden Compass (2007)
Happy Feet (2006)
Superman Returns (2006)
The Chronicles of Narnia (2005)
The Chronicles of Riddick (2004)
AFFILIATIONS
Visual Effects Society (VES)
American Society of Media Photographers (ASMP)
ACM Special Interest Group on Computer Graphics (SIGGRAPH)
As a visual artist, Walt Jones swings a double blade to slice what’s shared from what’s different between the organic and the constructed, the abstract and the concrete, solitude and congestion. He’s drawn to the ancient and natural, even as he builds with man’s newest, most powerful creative tools. His concepts and compositions emerge from mathematical precision, yet each includes at least one intentional flaw.
To see Walt Jones rushing among LA’s concrete and post-production studios, you wouldn’t think he spent his youth hiking and paddling northern Minnesota’s woods and lakes. But after learning to tie knots and stay warm in the outdoors, he came inside and partnered with others during high school to produce shows for local cable, design theatrical lighting and write computer programs.
As he built this early résumé, Walt developed a love for creative technologies and collaboration. This led to work as a rock concert roadie; a lighting designer for plays, music, opera and ballet; a software developer during the dot-com era; and a television producer. Those proclivities also trumped his need for untamed nature when he found a home amid LA’s creative, fast-paced culture. For the past half-dozen years, Walt has focused a split lens on tweaking and twisting reality for Hollywood while seeking reality’s essence with his own art, both near home and during regular escapes. Between traveling to some of the world’s wildest places, he has pushed pixels to help build a long list of film projects. He has shared Academy Awards for Achievement in Visual Effects for his work on The Golden Compass and Life of Pi. And his art works grace walls in galleries across the United States, as well as in private and corporate collections around the world.
Walt discovered a passion for art when he realized a used Nikon FE could help him record his lighting projects. But he found much more when the camera captured dancers sculpted by his lights. From those early experiments with composition, exposure and zonal compression grew a love for grabbing and saving moments when light, shape and form gather to tell new tales. That love helps define Walt’s aesthetic: He embraces technology to get things done, while eschewing any manipulations beyond straightforward enhancements readily available in his darkroom.