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
June 22, 2012, 08:34 AM
http://library.creativecow.net/devis_andrew/Premie...
In this tutorial, Andrew Devis introduces the vectorscope and explains what information it gives and how to select specific parts of a shot to see if the color is within legal (broadcast-able) limits.
June 22, 2012, 08:33 AM
http://library.creativecow.net/devis_andrew/Premie...
In this tutorial, Andrew Devis introduces the RGB Parade and explains how it can give us information to quickly see how well balanced a shot is and what problems there may be.
June 22, 2012, 08:32 AM
http://www.macworld.com/article/1167386/meet_the_n...
If you were looking for a bright side to Apple's underwhelming updates to its Mac Pro line of tower computers, it would have to be that Apple hasn't forgotten that it makes such a product.
June 22, 2012, 08:31 AM
http://library.creativecow.net/devis_andrew/Premie...
In this tutorial, Andrew Devis starts to deal with color problems on a shot by introducing some tools within the fast color corrector - specifically looking at the issue of white balance and color cast.
June 22, 2012, 08:30 AM
http://www.larryjordan.biz/app_bin/wordpress/archi...
June 21, 2011. Apple released Final Cut Pro X and our industry changed overnight. It's been a year since that release, and I'm interested in your comments on the impact, if any, that Final Cut Pro X has had on your life – personally or professionally.
June 22, 2012, 08:22 AM
http://www.studiodaily.com/2012/06/true-comp-dupli...
This demo for Brennan Chapman's popular After Effects script, updated for CS6, explores expanded features for duplicating comp hierarchies, including sub-comps, and new in version 3, multiple comps at once.
June 22, 2012, 08:21 AM
http://library.creativecow.net/devis_andrew/Premie...
In this tutorial, Andrew Devis starts by explaining the difference between Color Correction and Color Grading, and then goes on to show the reference monitor, the Color Correction workspace and how to find the various scopes available in Premiere Pro CS6.
June 22, 2012, 08:20 AM
http://blog.abelcine.com/2012/06/21/applying-luts-...
Working with Log material can be difficult at times, so we have put out a couple of different LUTs for use when using the Sony F3′s S-Log or Canon Log from the Canon C300. You can download the F3 LUTs here and the C300 LUTs here, as many of you have already done. Arri has their online LUT Generator, and the Technicolor CineStyle LUTs are available when using the CineStyle profile on the 5D Mark II.
June 22, 2012, 08:18 AM
http://library.creativecow.net/devis_andrew/Premie...
In this tutorial, Andrew Devis explains the level sliders in the 'Fast Color Corrector,' which help us to set up the contrast of a shot as well as change the brightness of a shot. This way of dealing with brightness and contrast is significantly better than using...
June 22, 2012, 08:16 AM
http://www.creativeplanetnetwork.com/dv/news/adobe...
Editors looking for an alternative to Apple Final Cut Pro view Adobe Premiere Pro CS6 as the logical choice, but there's more to this release than just a hypothetical FCP 8. I've reviewed and used each version of Adobe's Creative Suite for many years and can say that Premiere Pro is one of the few NLEs in which each new version exhibits tangible performance improvements.
Daniel George McDonald sits down to discuss creating the finale for Cheer Season 2.
Gordon sits down with the editorial team of The Black Lady Sketch Show to discuss their approach to ...
Gordon sits down with Philip to discuss his work with Tyler Perry and his latest film A Madea Homeco...
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