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  • AOTG

    Thoughts on Documentary Editing: Part One

    January 23, 2011, 11:47 am
    Part one of the lect. I often give these lectures, and thought that I might share one of them here with you. The program is broken down into two parts, and each section runs about 30 minutes. The total is shorter than I usually speak, but there were time constraints on this presentation. My lectures usually tend to run 90 minutes and can go as long as 2 hours.




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  • Other Postings By Member

    • AOTG
      EDITING

      Think the new Mac Pro is too expensive? It isn't.

      June 10, 2019, 5:54 am
      I’m going to say it right away: I really like the look of the new Mac Pro. It has a classic restraint and elegance, and yet looks assertively modern. If it resembles a cheese grater, then that’s a massive compliment to the kitchen utensil.

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    • Speed: a tale of many buses
      VFX

      Speed: a tale of many buses

      June 10, 2019, 5:54 am
      If it was made today, it’s possible that some of the on-the-bus sections of Speed would be filmed on a sound-stage against bluescreen. But that’s not at all how the 1994 Jan de Bont movie was staged. Every bus shot takes place on a real bus, and there were actually around ten different buses retro-fitted for different kinds of action in the film.

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    • AOTG
      SOUND

      Mixing For Television And Delivering To Spec From

      June 9, 2019, 7:53 am
      At NAB 2019 on the Avid Stage, re-recording mixer for TV Scott Weber, who has mixed shows like Lost, Person Of Interest and Westworld, discussed how to mix TV shows to meet the different US broadcaster’s and Network’s delivery specs and how things vary from network to network and what impact that has on the mix and deliverables.

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    • AOTG
      SOUND

      Why Don't Both The Pro Tools Clips In The Clip Lis

      June 8, 2019, 6:06 am
      In this premium video tutorial, Julian Rodgers examines the possible reasons why, when selecting a clip in the clips list the corresponding clip in the Edit window doesn’t get selected too. There are a few reasons, not all of them obvious.

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    • AOTG
      VFX

      Every VFX supe needs one of these

      June 6, 2019, 12:09 pm
      Today, Oscar-winning visual effects supervisor Andrew Whitehurst posted a very fun project on his Twitter account – a dice inspired by http://pocketartdirector.com that would be a quick way to give some of the hilariously common feedback in VFX dailies.

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    • AOTG
      VFX

      The Silence VFX Supervisor

      June 6, 2019, 12:09 pm
      Matt Glover began his career in visual effects in 2007 at Mr. X. He has worked on many films such as DEATH RACE, SCOTT PILGRIM VS. THE WORLD, TRON: LEGACY, ROBOCOP and THE STRAIN.

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    • AOTG
      VFX

      Total Recall Models and Skeletons

      June 6, 2019, 8:34 am
      TBT! Thanks to Studio Canal for the release of this really interesting documentary about the Special and Visual Effects on the original TOTAL RECALL featuring Miniature Effects Co-Supervisor Mark Stetson and CGI Director Tim McGovern!

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    • AOTG
      VFX

      VFX Artists React to Resurrected Actors

      June 6, 2019, 8:34 am
      The Morning Watch is a recurring feature that highlights a handful of noteworthy videos from around the web. They could be video essays, fanmade productions, featurettes, short films, hilarious sketches, or just anything that has to do with our favorite movies and TV shows.

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    • AOTG
      SOUND

      Catch-22's Composers Speak

      June 6, 2019, 8:34 am
      Composers Harry Gregson-Williams and Rupert Gregson-Williams are featured in a new episode of The Hollywood Reporter's Behind the Screen podcast series.

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    • Shooting 'Speed’s' opening titles almost destroy
      VFX

      Shooting 'Speed’s' opening titles almost destroy

      June 6, 2019, 4:32 am
      Has there ever been any opening titles quite like those in Speed? For the uninitiated, the three-minute long sequence follows the path of an elevator shaft from above the 40th floor right down to the basement, immediately segueing into the film’s action. All the while, composer Mark Mancina’s score is introduced, while the titles themselves wipe on and off the elevator beams.

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