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

FCPX and the new Retina iMac: Another real broadca

February 1, 2016, 06:39 AM

http://www.fcp.co/final-cut-pro/articles/1766-fcpx...

I recently took delivery of a new iMac 27-inch with Retina 5K display. So what better opportunity to test it out than the hardest broadcast job I do all year. So how did it and Final Cut Pro X cope? The last two years were with a Mac Pro, would it be fast enough?

ARRI Alexa dailies workflow with DaVinci Resolve 1

February 1, 2016, 06:39 AM

http://www.digitalrebellion.com/blog/posts/arri_al...

I've been working on a feature film shot on the ARRI Alexa and Alexa Mini and had to come up with a workflow for syncing and rendering out dailies. DaVinci Resolve 12 proved useful because all of the prep work could be done in one application all at once, with the added bonus of being able to roundtrip again after picture lock. Step 1: Offloading I used our very own Auto Transfer tool to offload the memory cards to two hard drives at once with checksum authentication to ensure the copies ...

Cutting for Meaning and Impact

February 1, 2016, 06:38 AM

http://sevencamels.blogspot.ca/2016/01/cutting-for...

Often, when we talk about cutting in film, we think about cutting as a way to expand time (using lots of cuts to stretch out an important event) or contract time (cutting to skip over lengthy, boring unnecessary moments in the story).

Media Composer 101 - ADVANCED - Multicam Editing i

January 31, 2016, 02:12 PM

http://www.provideocoalition.com/media-composer-10...

In this lesson, Kevin P McAuliffe takes a specific look at Multicam editing with the new Waveform Sync option, and how super easy it is to multicam edit, even if you have no matching timecode on any of your streams.

Week in Premiere 1/29/16

January 31, 2016, 10:57 AM

http://www.premierebro.com/weekinpr/week-in-premie...

Premiere Pro Week in Review: Premiere Pro CC 2015.2 Update • Premiere Pro at Sundance 2016 (Part 2) • Screenlight Marker Import Add-on • Premiere Bro is going to Editors Retreat

#premiere pro#news#screenlight#sundance#editors retreat
Working Faster in After Effects With the Array & S

January 30, 2016, 02:06 PM

http://lesterbanks.com/2016/01/work-faster-after-e...

Bart LAAK Verlaak shares some script tips for working faster and more efficiently in After Effects. The Post Working Faster in After Effects With the Array & Sortie Scripts originally appeared and published on %%BLOGLINK%,by lesterbanks

2016 EDDIE AWARDS ANNOUNCED

January 30, 2016, 02:06 PM

http://www.provideocoalition.com/2016-eddie-awards...

2016 Eddie Awards were given out last night. Here are the nominees and winners.

Kicking the tires on Avid Media Composer 8.5

January 30, 2016, 07:16 AM

http://www.provideocoalition.com/kicking-the-tires...

Media Composer editors can rejoice with the update of Avid Media Composer to version 8.5. It’s a big release by Avid standards as there’s a number of important additions both in the video format world (UHD support) and the editorial features world (better trimming, waveform sync). Avid’s done a great job of making short videos to show us these features so I’m going to hijack them below to help with a little commentary and kicking the tires on this release.

Adobe Premiere Pro CC Tips

January 30, 2016, 07:15 AM

https://digitalfilms.wordpress.com/2016/01/29/adob...

Adobe Premiere Pro CC is the dominant NLE that I encounter amongst my clients. Editors who’ve shifted over from Final Cut Pro “classic” may have simply transferred existing skills and working methods to Premiere Pro. This is great, but it’s easy to miss some of the finer points in Premiere Pro that will make you […]

ACE Eddies Winners

January 30, 2016, 07:12 AM

http://www.hollywoodreporter.com/behind-screen/mad...

Margaret Sixel, editor of George Miller's post-apocalyptic Mad Max: Fury Road; and Hank Corwin, editor of Adam McKay's economics dark comedy The Big Short, won the awards for best edited dramatic feature and best edited comedy feature, respectively, at American Cinema Editors' 66th annual Eddie Awards, Friday at the Beverly Hilton Hotel.

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