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

SURVIVING AND THRIVING

August 16, 2010, 03:15 PM

http://www.postmagazine.com/ME2/dirmod.asp?sid=639...

We often talk about how the economy has affected post businesses. And while many studios have closed their doors and sold off their gear, others have planned and plotted and operated in really smart ways, allowing them to actually expand their existing business. In our "Studios" feature on page 24, you will read about some success stories — studios with enough work or potential work that they are able to add rooms, gear and talent, or branch out to other cities. Some pros have taken the leap.....

CLOUD COMPUTING for Editors

August 16, 2010, 03:14 PM

http://www.postmagazine.com/ME2/dirmod.asp?sid=639...

Generally speaking, cloud computing is Internet-based computing, where shared resources, software, and information are provided to computers and other devices on-demand, similar to how the electricity grid provides electricity. In today’s market, people are struggling to define what cloud computing means and how it could change our lives. Cloud computing presents new opportunities for working remotely. In the near future, cloud computing may make it possible for a workstation to only include.....

The Terence and Philip Show - Episode 4

August 16, 2010, 10:44 AM

http://www.theterenceandphilipshow.com/2010/08/epi...

This week Terence and Philip start in on format wars and how we deal with them, particularly acquisition formats vs editing and delivery formats. Is native better? Terry tells us about Super LoiLoScope, which apparently can play anything. Discussion moves to the advantages of "new code" and the role of Randy Ubilos at Apple. Then on to the relative merits of ProRes and DNxHD codecs, including "offline" quality. Plus working from multiple sources.

Scott Simmons July 2010 Linkage

August 15, 2010, 10:55 AM

http://www.scottsimmons.tv/blog/2010/08/14/hot-jul...

Scott Simmons July 2010 Linkage for editors. Editing links from around the web.

Adobe Premiere Pro CS5 "saves" an interv

August 13, 2010, 07:48 PM

http://www.philiphodgetts.com/2010/08/adobe-premie...

One of the reasons my direct posting here has been light lately is that we’ve been working on a small documentary, partly for the exercise but mostly to a) have demo material for prEdit that isn’t 10 years old and b) prove to myself the prEdit is indeed a great new workflow for documentary editing. Plus a documentary gets made to store the memories of the early 60’s drag racing community.

A Case for Mastering Codecs

August 13, 2010, 12:00 PM

http://blog.jayfriesen.com/2010/08/a-case-for-mast...

Traditionally (can there be much tradition here yet?), this would be used in a DI process when not going out to film. This is becoming quite common now as theater deliveries are becoming increasingly digital. You want something that hits film’s final resolution of approximately 1.5K and does that very well without being hugely taxing on space and processing power. Currently Cineform and DNxHD are the only codecs I know if being used in this process (caveat: I don’t work in Hollywoodland, thi...

When Avid Met Apple – Bill Warner Interview

August 12, 2010, 05:22 PM

http://hollywoodreinvented.com/2010/08/12/when-avi...

The final segment of my interview with engineer, inventor and entrepreneur, Bill Warner, the man who created Avid Technology. In this segment Bill talks about getting the initial investment, the period leading up to the launch of the company and how an encounter with some Apple employees at the SIGGRAPH show helped him and his team make a last minute decision to move development of the Media Composer to the Macintosh.

RED POST - The Easy Way II

August 12, 2010, 12:28 AM

http://digitalfilms.wordpress.com/2010/08/11/red-p...

The RED camera company has succeeded in shaking up the industry and getting all other camera manufacturers to rethink what a digital cinema camera should be. This year, the ARRI Alexa presents the first serious challenge by another system designed around a camera raw workflow.

Review - Loader for Final Cut Pro

August 11, 2010, 01:33 AM

http://provideocoalition.com/index.php/editingpost...

Final Cut Pro’s greatest strength is also its greatest weakness, and that is its open-endedness. What I mean by that is that Media Composer has a very "rigid" way of working, and importing media means that you take a clip, and upon import, MC converts it to an MXF (or possibly an OMF) file, and once it’s in your system, the external file that it came from is essentially useless.

To Transcode or NOT to Transcode

August 10, 2010, 04:11 PM

http://provideocoalition.com/index.php/adobe/story...

With the release of Premiere Pro CS5 earlier this year, the topic of native editing, and more specifically, native DSLR editing has been a big one...worldwide. From literally every country I’ve visited, people are discovering the power of DSLR video and leveraging it to it’s fullest. But the questions I’m continually asked are, "Why does Final Cut Pro/Avid Media Composer force you to transcode? Why don’t you transcode in Premiere?"

© 2007-2026 www.aotg.com Ver. 3.0 All Content created and posted by Art of the Guillotine users Art of the Guillotine graphics, logos, designs, page headers, button icons, scripts, and other service names are the trademarks of Art of the Guillotine Inc. Use of this material outside of this site is strictly prohibited.