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  • AOTG

    All Hollywood VFX Removed! What Movies Really Look

    November 1, 2017, 4:39 pm
    It used to be that what you saw on a movie set would pretty much be what you saw in the final movie. If you wanted to have a mountain in the background, you'd have to go to one. However with modern technology, CGI has made it possible to have that mountain in the background without even leaving your home. Just whip up a green screen and you're good to go! This advancement in technology has meant for some big differences between what is filmed and what we see in the final movie.





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  • Other Postings By Member

    • AOTG
      EDITING

      Top 3 Templates on Adobe Rush

      November 17, 2018, 7:26 am
      This round-up presents three of the best YouTube templates for Rush, the new easy-to-use video editing app from Adobe. Rush supports some templates previously only available for use in Premiere; great news for video makers in a hurry.

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    • AOTG
      ANIMATION

      The Art of The Grinch

      November 17, 2018, 7:26 am
      Illumination Entertainment’s The Grinch is everywhere: it’s been the highest-grossing film in the United States for the past week and it has dozens of corporate promotional partners spreading it to every corner of the consumer marketplace. Considering its visibility, it’s a little surprising then that there’s such a lack of behind-the-scenes content about the making of the film or exposure for the artists who created it.

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    • AOTG
      VFX

      The Meg Previs

      November 16, 2018, 1:13 pm
      Come have a look at the previs work by Halon for THE MEG...

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    • AOTG
      EDITING

      Secondary Timeline Editing Tip for FCPX

      November 16, 2018, 10:05 am
      Most FCPX users know well that getting to grips with the Magnetic Timeline (Primary Storyline) takes some time and effort before one can unlock its full potential. What’s more, there is a myriad of users who have been accustomed to the layout and functionality of the good old FCP 7 who find the FCPX innovative editing workflow too odd and overwhelming, to say the least.

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    • AOTG
      EDITING

      Frame.io now integrates closely with FCP X, potent

      November 16, 2018, 10:05 am
      There has always been one aspect of FCP X that has held it back as a modern post production workhorse: third party integration. For a long time now rival NLEs like Premiere Pro have been able to integrate directly with online review services, which allow clients to make comments and highlight areas of a video to suggest modifications or to offer an opinion on the edit.

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    • AOTG
      ANIMATION

      Foundry lance Modo 12.2

      November 16, 2018, 5:43 am
      Foundry launched version 12.2 of Modo, its general-purpose 3D solution.

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    • AOTG
      VFX

      Foundry ships Modo 12.2

      November 16, 2018, 5:43 am
      Foundry has released Modo 12.2, the last of three linked updates to its modelling and animation tool forming the Modo 12 Series, following the release of Modo 12.0 in March and Modo 12.1 in June.

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    • AOTG
      EDITING

      Apple Updates FCPX and Motion

      November 15, 2018, 2:20 pm
      This morning, Apple released free updates to Final Cut Pro X (10.4.4), Motion (5.4.2) and Compressor (4.4.2). This is the 28th free update to Final Cut since it was first released in June, 2011. There are a variety of new features in this update, here are the highlights.

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    • AOTG
      EDITING

      Frame.io Introduces Workflow Extension for FCPX

      November 15, 2018, 2:20 pm
      (New York, NY--November 15, 2018) Frame.io, the world’s most popular video review and collaboration platform used by over 650,000 filmmakers and mediaprofessionals, today released Frame.io in Final Cut Pro X, a first of its kind workflow extension that combines the core functionality of Frame.io with the advanced editing toolsin Final Cut Pro X. Developed in collaboration with Apple, Frame.io in FinalCut Pro X is the first collaborative videoreview toolset that can be accessed right in Final Cut Pro X.

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    • AOTG
      SOUND

      A Quiet Place Sound Editors Discuss the film

      November 15, 2018, 2:20 pm
      On examination of those behind the filmic curtain—creating the sonic palette through which to feel a world—any number of descriptors seem to apply. Magicians, wizards and puppet masters who have trained themselves in the art of emotional manipulation, sound editors are too often among those craftsmen and women taken for granted, when the reality is that no film could function, or pull the audience in toward the screen, without their dedicated, passionate work. The supervising sound editors behind Paramount Pictures’ surprise horror smash A Quiet Place—deftly directed by John Krasinski—Erik Aadal and Ethan Van der Ryn are among those whose contributions are so undeniable that they happen to elevate the craft as a whole.

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