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

Review: Tangent Wave 2: Color Correction Surface

March 8, 2019, 07:21 AM

https://postperspective.com/review-tangent-wave-2-...

By Brady Betzel Have you ever become frustrated while color correcting footage after a long edit due to having to learn a whole new set of shortcuts and keystrokes? Whether you’re in Adobe Premiere, Avid Media Composer or Blackmagic Resolve, there are hundreds of shortcuts you can learn to become a highly efficient colorist. Continue reading → March 5, 2019 The post Review: Tangent Wave 2: Color Correction Surface appeared first on Randi Altman's postPerspective.

Review: Tanget Wave 2: Color Correction Surface

March 6, 2019, 07:15 AM

https://postperspective.com/review-tanget-wave-2-c...

By Brady Betzel Have you ever become frustrated while color correcting footage after a long edit due to having to learn a whole new set of shortcuts and keystrokes? Whether you’re in Adobe Premiere, Avid Media Composer or Blackmagic Resolve, there are hundreds of shortcuts you can learn to become a highly efficient colorist. Continue reading → March 5, 2019 The post Review: Tanget Wave 2: Color Correction Surface appeared first on Randi Altman's postPerspective.

Blackmagic Design Announces New URSA Mini Pro G2

March 5, 2019, 09:37 AM

https://www.aotg.com/blackmagic-design-announces-new-ursa-mini-pro-g2/

Next generation URSA Mini Pro camera features new electronics, Super 35 4.6K HDR image sensor, 15 stops of dynamic range, 300 fps high frame rate shooting, Blackmagic RAW and more!

#blackmagic design#ursa mini pro g2
Colorist Christopher M. Ray talks workflow for Ale

March 4, 2019, 12:56 PM

https://postperspective.com/colorist-christopher-m...

By Randi Altman Christopher M. Ray is a veteran colorist with a varied resume that includes many television and feature projects, including Tomorrowland, Warcraft, The Great Wall, The Crossing, Orange Is the New Black, Quantico, Code Black, The Crossing and Alpha. These projects have taken Ray all over the world, Continue reading → March 4, 2019 The post Colorist Christopher M. Ray talks workflow for Alexa 65-shot Alpha appeared first on Randi Altman's postPerspective.

Channel Combiner – Alternate Color Spaces

March 4, 2019, 12:55 PM

https://www.provideocoalition.com/classic-course-c...

After Effects converts all of your source material into RGB color space, with a separate alpha channel. However, sometimes it is useful to process an image in an alternate color space, such as video’s native YUV. This separates the luminance channel out from the color channels. Our eyes are far more sensitive to luminance than color.

Behind-the-Scenes on "Pretty Broken"

March 4, 2019, 09:13 AM

https://www.aotg.com/behind-the-scenes-on-pretty-broken/

DP Michael Ferry shoots with a Blackmagic URSA Mini 4.6K while Colorist Mark Todd Osborne used DaVinci Resolve Studio in post,

#blackmagic design#davinci resolve studio#ursa mini
SGO upgrades Mistika Ultima finishing system

February 27, 2019, 11:48 AM

http://www.postmagazine.com/Press-Center/Daily-New...

MADRID, SPAIN — SGO (www.sgo.es) has released a substantial upgrade to Mistika Ultima, its finishing system that offers tools for color grading, compositing, editing, VFX, Stereo 3D and HDR work. The latest release adds Apple ProRes support and enhancements for collaborative workflows.

Veteran colorist Philip Azenzer returns to Encore

February 26, 2019, 01:43 PM

http://www.postmagazine.com/Press-Center/Daily-New...

HOLLYWOOD — Senior colorist Philip Azenzer, an industry veteran with a vast credit list covering television and features, has returned to Encore (http://www.encorepost.com). Azenzer was one of the company’s original employees, starting as a color assistant and learning the craft while building a client base. Over his post  career he has collaborated with many notable directors, including David Lynch, Steven Spielberg and David Nutter.  His credits include work on The X-Files,  Six ...

Sigma Announces Lenses in L-Mount & MC-21

February 26, 2019, 07:45 AM

https://www.aotg.com/sigma-announces-lenses-in-l-mount-mc-21/

The new products include 11 Art prime lenses for full-frame cameras in L-Mount and a converter for Sigma’s SA mount and Canon EF mount lenses on L-Mount camera bodies.

#panasonic#leica#sigma#sigma corporation#sigma corp#l-mount alliance#l-mount
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