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
Category: Blog
Lisa Bromwell, ACE on "House of Cards"
December 2, 2017, 10:00 AM
https://www.provideocoalition.com/art-cut-lisa-bro...
Lisa Bromwell, ACE has been working in feature film and TV editorial for more than 30 years. She moved into the editors chair in 1992 and has edited more than a dozen feature films and numerous TV series, like The Practice, Weeds, Better Off Ted, Cold Case, Gravity, and Criminal Minds. Art of the Cut talked to Bromwell about her work on the Netflix series, House of Cards. (There are specific examples of editing scenes that you can watch if you have Netflix or even a trial subscription to Netflix...
Foundry Upgrades Cara VR for Nuke to v2.0
December 1, 2017, 01:32 PM
http://www.studiodaily.com/2017/12/foundry-upgrade...
Foundry released Cara VR 2.0, adding new stitching tools, automated 360-degree tracking and 3D stabilization, and stereo tools from Ocula that have been adapted to work with 360 video. The Cara VR plug-in for Nuke was introduced at NAB 2016 and shipped last summer, bringing camera-solving and stitching, plate-correction, compositing and headset-review tools into Nuke for […] The post Foundry Upgrades Cara VR for Nuke to v2.0 appeared first on Studio Daily.
Shape of Water Editor Sidney Wolinsky Interview
December 1, 2017, 01:31 PM
http://collider.com/shape-of-water-sidney-wolinsky...
With director Guillermo del Toro’s fairy tale The Shape of Water opening in select theaters this weekend, I recently sat down with editor Sidney Wolinsky for an exclusive video interview. He talked about how he first met del Toro, the way they collaborated in the editing room, how the first cut compares to the finished film, the toughest sequence to edit, deleted scenes, what people would be surprised to learn about working with del Toro, and so much more.
Monthly Theme: Spectrum
December 1, 2017, 10:24 AM
http://designingsound.org/2017/12/monthly-theme-sp...
Spectrum: “a broad range of varied but related ideas or objects, the individual features of which tend to overlap so as to form a continuous series or sequence” — Dictionary.com I can’t imagine I’m alone in my initial draw to audio; its range of disciplines—recording, composing, acoustics, programming, performance, etc.—were all too fascinating to ignore, though I […]
The making of Justice League: A fully-CG Supervill
December 1, 2017, 10:24 AM
https://www.productionhub.com/blog/post/the-making...
4K: Only the beginning for UK’s Hangman Studios
November 30, 2017, 07:50 PM
http://alex4d.com/notes/item/4k-only-beginning-uk-...
Some think that Final Cut Pro X has problems working with 8K footage. Hangman Studios has been making concert films with this workflow since 2015. There’s a new case study by Ronny Courtens of Lumaforge at fcp.co: Two years ago I made a conscious decision to get rid of all of my HD cameras. We decided that everything from now on had to be 4K and up. …our boutique post production services in London are newly designed and built for 8K workflows and high end finishing. Drawing upon 17 y...
FilmLight adds colorist Andy Minuth as workflow sp
November 30, 2017, 01:19 PM
http://postperspective.com/filmlight-adds-colorist...
FilmLight has hired colorist Andy Minuth as color workflow specialist. Minuth, originally from Germany, was most recently lead colorist at 1000Volt Post Production in Istanbul. There he was responsible for the grade of commercials as well as feature films, and worked on FilmLight Baselight. He brings a deep technical knowledge of image processing and color management to the job, Continue reading → November 30, 2017 The post FilmLight adds colorist Andy Minuth as workflow specialist appe...
James Tonkin Tours with the Biggest Music Artists
November 30, 2017, 01:19 PM
http://www.fcp.co/final-cut-pro/articles/2022-jame...
AC/DC, Coldplay, The Rolling Stones, Robbie Williams, Metallica, David Gilmour, Duran Duran, Placebo, Dixie Chicks, Zipperface, Beyoncé, Björk… You name them, James Tonkin has worked with them. In this extensive interview, he talks about the gear he takes on the road to shoot and edit concerts of the world’s greatest bands, and about his new high-end post house in London. A good read for anyone who is interested in camera gear and post production technology.
A’fonte Customizable Animated Fonts for FCP X
November 30, 2017, 01:19 PM
https://fxfactory.com/blog/effects-2/afonte-custom...
Adjust color, speed and other properties and let it animate everything on screen for you.
*Cuéntame cómo pasó*, por Santiago Parysow (SAE
November 29, 2017, 12:40 PM
http://saeditores.org/Novedades/Cuentame-como-paso...
Una síntesis personal de la edición por sus artífices.
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