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

The AE Color Space

November 20, 2010, 01:35 PM

http://library.creativecow.net/devis_andrew/Assign...

"You spend a lot of time making sure your project looks just right, but if you don't embed a colour profile into your final output, then you have no control over how that precious project will look on other machines and devices! In this After Effects video tutorial, Andrew Devis explains how this works and shows how to set up a colour profile for your project; and then how to embed it into your output so that you can be sure all your hard work will be properly represented on other devices."

Twixtor v. FCP Speed

November 20, 2010, 01:06 PM

http://www.dcfcpug.org/2009/11/22/twixtor-v-fcp-sp...

A brief comparison of how Twixtor FxPlug and FCP’s own Speed tool handle extreme slow-motion.

Final Cut Pro - Scrubbing the Playhead

November 20, 2010, 12:40 PM

http://www.larryjordan.biz/tips/tip257.html

Here’s a fast way to scroll the Playhead in the Timeline, Viewer, or Canvas.

Blackmagic Design demonstration of Da Vinci Resolv

November 20, 2010, 08:53 AM

http://www.macvideo.tv/editing/features/index.cfm?...

Blackmagic Design EMEA Resolve Specialist, Dan Moran demonstrates the world's most advanced colour correction software. Using raw video files, Dan takes everyday clips through the colour correction process and demonstrate key features such as primary and secondary correction, tracking and keying.

Adobe Premiere Pro CS5 Six Months Later

November 19, 2010, 05:08 PM

http://www.dvinfo.net/article/post/adobe-premiere-...

My, how time flies! Can it really be six months since CS5 was released? Shortly prior to the official release, I was offered the opportunity to briefly test-drive a beta version of the Master Collection CS5 suite (see that article here). It sure looked tantalizing. But being a beta and available to me for only a limited time, it left many questions. Having by now done many HD projects in CS5 and closely followed the lively discussions on our CS5 users on our Adobe Creative Suite forum...

Blend Modes in Adobe Premiere Pro

November 19, 2010, 05:07 PM

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

As a motion graphics artist, one of our favorite tricks to enhance an uninspiring clip is not to use effects, but instead to combine it with other clips using Blend Modes (also known as Blending, Composite, or Transfer Modes). Modes provide simple, high-quality ways to drop out the black or white background in a clip, enhance its saturation and contrast, give it a tint, and add lighting effects or a filmic glow in post.

Avid Screencast #47: Audio Basics VII – Effe

November 19, 2010, 11:28 AM

http://avidscreencast.com/2010/11/47-audio-basics-...

In this last episode in the audio series, I’ll show you how to apply audio effects in Media Composer and a couple of neat real-world tips (like limiting you master output) that will hopefully help you out one day or another. You should know what a compressor/limiter is, how it works and how you set it up. This website explains it — don’t be fooled by its gruesome looks (after all, it was designed by an audio guy):

ARRI ALEXA post, part 3

November 19, 2010, 11:25 AM

http://digitalfilms.wordpress.com/2010/11/18/arri-...

Thanks to Avid Media Access (AMA), the Media Composer application starting with version 5 can natively handle Apple ProRes media. This means you can bring in files from an ARRI ALEXA and immediately start editing. But ProRes 422 (HQ) or ProRes 4444 might be more taxing than you want to deal with on a long project, so I’m going to outline a suggested workflow for an ALEXA project using Avid Media Composer 5.

Vegas Pro 10 - 3D Basics

November 18, 2010, 11:28 AM

http://library.creativecow.net/hurwicz_michael/3D-...

Stereoscopic 3D (S3D) is a new feature in Sony Vegas Pro 10. Creative COW leader Michael Hurwicz takes you through the basics of creating S3D in Vegas, including setting the 3D mode, importing clips for the left and right views, pairing the clips, adjusting and correcting the 3D footage, and rendering. Includes the .VEG file and left and right eye clips used in the tutorial, as well as two 3D renders: anaglyphic and side-by-side.

Xserve is dead... so now what?

November 18, 2010, 11:26 AM

http://jeffvlog.wordpress.com/2010/11/18/xserve-is...

pple also published a PDF talking up the "new" server solutions, namely a Mac Pro running Mac OS X Server or the company’s Mac mini with Snow Leopard Server product. The latter is a solid server, but the idea that you can replace an Xserve with one is somewhat silly. You don’t buy a Mac mini to do an Xserve’s job. You don’t even buy four. You buy an Xserve because you need a box with power that can...

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