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To The Aotg.com Community,

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

Kodachrome, Pt. 1

November 17, 2016, 01:38 PM

http://boingboing.net/2016/11/17/kodachrome-pt-1.h...

Color slides were once the state of the art in family photography -- vibrant, immersive, ubiquitous. So ubiquitous, in fact, that millions, maybe billions of them survive. A conversation with midcentury pop culture expert Charles Phoenix: What can we learn from the vast shadow world of abandoned slides about the way we used to live in our homes?

NYC – ICA 201: Advanced Colorist Strategies with

November 7, 2016, 06:34 AM

http://feedproxy.google.com/~r/industryhappenings/...

This two-day class is designed around a small conformed sequence that you can take away. We will work through the project from start to finish not only looking at Resolve, but also using general colorist strategies. You will be able to keep the project and stills, a great way to continue your learning. What You Will Learn in ICA 201: Start with dailies. Grade a look for editing from the RAW camera files Making a LUT, exporting LUTs and Looks Render ProRes or DNxHD for offline editing, H264...

Colorfront ports 4K Transkoder to Mac and talks 8K

November 7, 2016, 06:33 AM

http://www.redsharknews.com/post/item/3916-colorfr...

Colorfront’s popular tool for DCP and IMF mastering gets a Mac Pro-oriented release, while the PC version adds 8K power and lots of new functionality. ColorfrontTranskoderTranskoder 2016IMFDCPTranscodingHDRQC

Colour Matching Two Cameras Using 3D LUT Creator

November 7, 2016, 06:32 AM

http://cinescopophilia.com/colour-matching-two-cam...

Oleg Sharonov demonstrates a technique to colour match the look of two cameras using the 3D LUT Creator software programme.

Adobe releases Photoshop CC 2017

November 4, 2016, 09:18 AM

http://www.cgchannel.com/2016/11/adobe-releases-ph...

Adobe has released Photoshop CC 2017, the latest update to its industry-standard image-editing software.

Get an ACES Crash Course with Mixing Light

November 1, 2016, 07:21 PM

http://www.studiodaily.com/2016/11/get-an-aces-cra...

Looking for a way into an ACES workflow? Trying to bone up on concepts like IDTs, ODTs, and the ASC CDL? Just want to be ready to speak intelligently when a client asks you about the technology formally known as … more » The post Get an ACES Crash Course with Mixing Light appeared first on Studio Daily.

Josh Haynie Moves from Efilm to Light Iron

October 24, 2016, 12:15 PM

http://www.studiodaily.com/2016/10/josh-haynie-mov...

Josh Haynie has been named VP of U.S. operations, working out of Light Iron's Hollywood facility. He wil be charged with helping manage the company's growth under Panavision's ownership. "To continue on this trajectory, we're bringing in a leader to … more » The post Josh Haynie Moves from Efilm to Light Iron appeared first on Studio Daily.

Review: Tangent Ripple color correction panel

October 20, 2016, 12:25 PM

http://postperspective.com/review-tangent-ripple-c...

By Brady Betzel Lately, it feels like a lot of the specializations in post production are becoming generalized and given to the “editor.” One of the hats that the editor now wears is that of color corrector — I’m not saying we are tasked with color grading an entire film, Continue reading →October 20, 2016

Color Finale Pro – a powerful grading plug-in fo

October 17, 2016, 05:52 AM

http://www.redsharknews.com/post/item/3866-color-f...

RedShark Review: Ned Soltz takes Denver Riddle’s ACES-compatible $149 Color Finale Pro for a spin and is impressed with what he finds. Color Finale ProXRite Color Checker Passport VideoGradingFCP XColor Correction

The color and sound of Netflix’s The Get Down

October 12, 2016, 04:58 PM

http://postperspective.com/the-color-and-sound-of-...

The Get Down, Baz Luhrmann’s new series for Netflix, tells the story of the birth of hip-hop in late 1970s in New York’s South Bronx. The show depicts a colorful world filled with colorful characters, all pulsating to the rhythms of an emerging musical form. Shot on the Red Dragon and Weapon in 6K, Continue reading →October 12, 2016

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