It is with a heavy heart that we announce we will no longer be updating Aotg.com. Back in 2007, when we started, there was a lack of access to information about film, television, and commercial editing. We wanted to fix that by creating a central location for content about editing to be stored.
Since then, we've watched the amount of content about editing on the internet grow exponentially. We've also watched social media tools come and go with that growth. Does anyone remember Google Wave!? These social media tools changed how people access and search for media and information. People tend to turn to Facebook, Youtube, Twitter, and Instagram for their news and information, and those are all great tools to promote your sites, but as a site that aggregates links to other sites for users, it just doesn't work for us.
We will keep the site live but archive the ability to add links and comments. We will keep our database live with the links for those who desire to use it to search for editing information and research.
Our podcast, The Cutting Room, will move over to the Filmmakeru.com website and will continue to be a place for interviews with editors and other film professionals.
Everyone who worked for Aotg.com loved what we created and are proud that we could help so many editors find content that spoke to them.
I look forward to seeing everyone at the various post events worldwide in the coming years!
Yours truly,
Gordon Burkell
Aotg.com Founder
November 26, 2020, 01:40 PM
https://postperspective.com/company-3-adds-gareth-...
Company 3 in London has hired Gareth Spensley as senior colorist. He joins from Molinare where he worked on episodic television and feature film projects. Spensley has colored many UK episodic dramas, including Doctor Who, The Durrells, Killing Eve and Bodyguard. His feature work includes Florian Zeller’s The Father and Wes Anderson’s eagerly anticipated The French Dispatch. Continue reading → November 25, 2020 The post Company 3 Adds Gareth Spensley as Senior Colorist appeared firs...
November 25, 2020, 01:28 PM
https://cuttingroomtales.wordpress.com/2020/11/24/...
Should we be defaulting to colour? ☛ During the first film on which I worked, I got chatting to an old-timer in the camera department who bemoaned the lack of black-and-white films being shot. “You’ve got to have a reason to shoot in colour,” he argued. I should add that this was in the ’90s […]
November 17, 2020, 02:12 PM
https://www.provideocoalition.com/exploring-colour...
If we didn’t care about efficiency, tungsten lighting is the best technology ever developed. It has near perfect colour rendering, it’s lightweight, inexpensive and dimmable. It’s great. Sadly, we do have to care about efficiency, although instead of efficiency we should really talk about luminous efficacy, since the term takes account of the way the [...]Read More...
November 15, 2020, 06:17 PM
https://digitalfilms.wordpress.com/2020/11/14/5-ea...
Color correction plug-ins are certainly fun to use, but Final Cut Pro X has plenty of horsepower on its own. There are also a number of features and techniques that often get overlooked. Here are five simple tricks you can use to enhance the look of your videos. (Click any image to see an enlarged […]
November 14, 2020, 02:26 PM
https://postperspective.com/color-grading-netflixs...
Light Iron and the series’ post producer on shooting this series to make it look like a Zoom project. By Daniel Restuccio Netflix’s Social Distance is a new COVID-themed series brought to you by creator and executive producer Hilary Weisman Graham (Orange Is the New Black). Continue reading → November 12, 2020 The post Color Grading Netflix’s Anthology Series Social Distance appeared first on postPerspective.
November 10, 2020, 02:23 PM
https://www.provideocoalition.com/top-seven-featur...
Resolve 17 is now out in the wild (in beta form that is!) I think everyone expected this updated version around the April NAB timeframe but instead we’ve it via Blackmagic CEO Grant Petty webcast in November. This 7 month delay might have made many think this was going to be a revolutionary release of [...]Read More...
November 7, 2020, 10:39 PM
https://www.premiumbeat.com/blog/introduction-to-c...
The curves tool is one of the founding tools for color correction. In this tutorial, you will learn just how powerful they truly are.
November 7, 2020, 10:38 PM
https://postperspective.com/colorist-chat-lightben...
By Randi Altman Before opening his own color grading shop LightBender, colorist Juan Cabrera worked as a freelancer for studios like Paramount, Bad Robot, Sony and Deluxe (Stereo-D). When he opened Santa Monica-based LightBender six years ago, he was determined create an intimate, boutique environment. “We like to be accessible and offer a place where clients feel comfortable and creative,” says Cabrera. Continue reading →November 5, 2020
October 29, 2020, 12:33 PM
https://www.provideocoalition.com/exploring-colour...
Everyone knows there are colour quality issues with at least some LEDs, and everyone wants a nice easy number that we can all use to figure out which one is best without having to spend too much time worrying about it. A purist will tell you that’s it’s impossible to express all the possible problems [...]Read More...
October 21, 2020, 01:53 PM
https://www.bouncecolor.com/blogs/news/free-luts
It's super useful being given a sample pack. LUTs can be complicated to get your head around when you first use them, so we thought you would appreciate some free LUTs to try for your very own.
#free lutsDaniel George McDonald sits down to discuss creating the finale for Cheer Season 2.
Gordon sits down with the editorial team of The Black Lady Sketch Show to discuss their approach to ...
Gordon sits down with Philip to discuss his work with Tyler Perry and his latest film A Madea Homeco...
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