Camcorder Wish List By D. W. Leitner
In October 1989, as a contributing editor to Millimeter magazine, I went on the record with a wish list of six camcorder wants: Cine-quality, high aperture "prime" lenses; especially wide-angle. Bellows-type matte boxes for flair control. Extendable viewfinders for tripod and dolly work......
King Kong 
By Michael Goldman
Like the Lord of the Rings trilogy that preceded it through Weta Digital's production pipeline, King Kong is chock full of digital filmmaking innovations...
Contrasting Colors By Michael Goldman
Color grading was crucial for both King Kong and Munich, but radically different approaches exemplify the "traditional versus digital" debate. Peter Jackson's King Kong and Steven Spielberg's Munich basically have just two things in common. First, they are two of the most high-profile and important films to come out in late 2005, and second, both relied extensively on carefully crafted color schemes designed to help achieve creative goals and impact audiences emotionally....
By Michael Goldman
John Gross feels he has come full circle through his work on NBC's Surface. As president of Eden FX, Hollywood, he spearheads the facility's digital effects...
The Colors of Munich By Michael Goldman
The color design strategically planned for Steven Spielberg's historical drama about the consequences of terrorism, Munich, was so important to the story that it can almost be considered...
Data Driven, Part II By Michael Goldman
The postproduction industry continues to expand existing digital intermediate pipelines toward larger, seamless data pipelines for image acquisition, viewing, manipulation, transfer, editing, and finishing. In the process, new workflows — and differing opinions about them — are cropping up. As discussed in last month's issue, some major facilities (Efilm, Technicolor Digital Intermediates, and Laser Pacific) have recently instituted competitive new digital dailies services......
By Michael Goldman
Martin Scorsese's recent documentary No Direction Home: Bob Dylan, was "one of the more challenging multi-format jobs we have ever dealt with," says Ben...
Edit Review — Macromedia Studio 8 By Frank McMahon
The merger with Adobe has not diminished the push for advanced software from Macromedia. The division has created one of its biggest updates yet in Studio 8, with a range of new features. The suite contains Flash Professional 8, Dreamweaver 8, and Fireworks 8, as well as Contribute 3 and FlashPaper 2. Macromedia Freehand is not around this time, but the company is reportedly still going to keep it on a development cycle. Much of the cool stuff is in the new Flash...
Nonlinear Acquisition By Simon Wyndham
Considering the number of years since editing systems became predominantly nonlinear, I find it fascinating that we are still using tape-based cameras and acquisition. There are, of course, very sound reasons why tape has been retained as an acquisition medium...
By Michael Goldman
The independently produced CG film movement takes another step forward with this month's release from the Weinstein Company, Hoodwinked. Producers insist...
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