Director Paul Goldman, whose storytelling campaigns span such clients as Fiat, Yellow Pages, Toyota, Kraft, PetCo and Canal Plus, has joined ModOp Films. Goldman’s first project at his new roost is a Nutrish campaign starring Rachael Ray.
Goldman first established himself in the business as an agency creative. Throughout his career, behind the camera and as a creative director at Deutsch New York and copywriter at TBWA, Goldman developed and executed campaigns in every sector of advertising. While an agency creative, his work earned such awards as Cannes Gold, Silver and Bronze Lions, London International Awards, and British Television Advertising Awards. Goldman’s first directing project, for Ikea, was a stroke of opportunity and encouragement by his then boss Donny Deutsch.
“It was a true gift. It was the first time I experienced having ideas and feelings translated through actors to be delivered to the unseen audience. It was moving and powerful–from then on, I had to do it.” He continued to direct in house at Deutsch for the next two years, before moving exclusively to the production side. He had a nine-year run at production house Partizan and was later repped by Supply&Demand before now joining ModOp headed by co-founders/executive producers Rossi Cannon and Steve Schofield.
“When I saw Paul’s work I was immediately struck by the attention to artful detail in every frame,” said Cannon. “He’s also a big idea person and has incredible depth of industry knowledge–it isn’t common to find that in one person. Just as important, he’s is genuine and really enjoys the creativity of advertising which shows in the work.”
From Restoring To Hopefully Preserving Multi-Camera Categories At The Emmys
When Gary Baum, ASC won his fourth career Emmy Award earlier this month, it was especially gratifying in that the honor came in a category--Outstanding Cinematography for a Multi-Camera Half-Hour Series--that had been restored thanks in part to a grass-roots initiative among cinematographers to drum up entries. Last year the category fell by the wayside when not enough multi-camera entries materialized.
In his acceptance speech, Baum appealed to the Television Academy to keep multi-camera categories alive. He later noted to SHOOT that editors also got their multi-camera recognition back in the Emmy competition this year. Baum hopes that after resurrecting multi-camera categories in 2024, such recognition will be preserved for 2025 and beyond.
A major factor in the decline of multi-camera submissions in 2023 was the move of certain children’s and family programming from the primetime Emmy competition to the National Academy of Television Arts and Sciences’ (NATAS) Emmy ceremony. For DPs this meant that multi-camera programs last year were reduced to vying for just one primetime nomination slot in the more general Outstanding Cinematography for a Series (Half-Hour) category. It turned out that this single slot was filled in ‘23 by a Baum-lensed episode of How I Met Your Father (Hulu).
Fast forward to this year’s competition and Baum won for another installment of How I Met Your Father--”Okay Fine, It’s A Hurricane,” which turned out to be the series finale. Two of Baum’s Emmy wins over the years have been for How I Met Your Father, and there’s a certain symmetry to them. His initial win for How I Met Your Father was for the pilot in 2022. So he won Emmys for the very first and last... Read More