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Michael Goldman
Michael Goldman is a longtime entertainment industry journalist who served as Senior Editor for the award-winning film journal, Millimeter, for 11 years, and before that, was an editor at Daily Variety. He's the author of four books and is currently hard at work on his fifth. Michael has penned articles for numerous consumer and trade publications, but his specialty is in covering the worlds of production and post-production for movies, television, and new media. Over the years, he has written for Millimeter and other publications about the people, tools, workflows, innovations, and trends behind projects large and small--ranging from blockbuster Hollywood movies to corporate videos and everything in-between. In that time, he has gained unique access to, and insight from, many of the world's leading filmmakers, particularly directors, cinematographers, editors, and visual effects' professionals. He was among the earliest industry journalists to cover the birth and maturation of the digital intermediate process and has been reporting on digital cinematography and workflows in professional environments for as long a such tools and techniques have existed. He can be reached at michael.goldman@me.com, and you can find an extensive archive of his Millimeter articles at www.millimeter.com. 
January 2011October 2010July 2010April 2010February 2010December 2009November 2009Complete Archives |
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Invictus: “The Largest Rotoscoping Job of All Time”FX Boss Michael Owens Explains Clint Eastwood’s Subtle Use of Visual Effects
Awash, like everyone else, in “Avatar” madness (see here and here the two parts of my recent conversation with camera guru Vince Pace about the stereoscopic camera technology developed for that movie), it’s been hard to ponder the fact that there are, in fact, other things going on in the world of visual effects. With effort, I forced my mind to examine the concept, and have come to realize that one of the quietest, yet significant, visual effects developments in the last 12 months came out of a feature film that is getting all sorts of notice, but none for its visual effects. I’m talking about Clint Eastwood’s “Invictus”—about as traditionally made a film as you are likely to find, and a film not even on the short list for Academy Award consideration in the visual effects category this year. more »Page 1 of 1 pages Advertisement |
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LIGHTING: Advanced Cucoloris Use Illustrated by a Solar Eclipse
Q: What happens when you stack several pattern-making devices in front of a light? A: Extreme lighting goodness. Learn why here…
I love stacking cucolorii (plural of “cucoloris”) and I thought it was time to write an article about how this technique works and why I like it so much. I was a bit stretched for ideas that would illustrate this concept… and then an eclipse happened. Why that made a difference is a very interesting story…
Compositing in FCP X
On this week’s MacBreak Studio
On this week’s MacBreak Studio, I show Steve Martin from Ripple Training a few things I’ve discovered in my exploration of the compositing features in Final Cut Pro X.
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