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

Final Cut Pro X 101: Managing Events

March 12, 2013, 09:47 AM

http://news.doddleme.com/news-room/final-cut-pro-x...

Final Cut Pro X makes use of Events, a common organizational system found in Aperture, iPhoto and iMovie, and has really made my life easier in terms of keeping things in the rights spot. In today’s Final Cut Pro X tutorial, Mark Spencer and Steve Martin from MacBreak Studio walk us through managing your Events. This is especially useful when all your Events and Projects you’ve ever created load up and cause FCP X to slow down at its launch (but NOT editing).

SMPTE Entertainment Technology in the Internet Age

March 12, 2013, 09:46 AM

http://www.creativeplanetnetwork.com/the_wire/2013...

WHITE PLAINS, N.Y. — March 12, 2013 — The Society of Motion Picture and Television Engineers (SMPTE), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced that it is working with the Stanford Center for Image Systems Engineering (SCIEN) to produce the two-day conference “Entertainment Technology in the Internet Age” (ETIA). Beginning June 18 at Stanford University’s Palo Alto, Calif., cam...

From Scene to Screen: AJA and 4K workflows

March 12, 2013, 09:45 AM

http://engage.vevent.com/index.jsp?eid=1681&seid=5...

AJA Video Systems is a market leader in the 4K space. From the new Ki Pro Quad with it's ability to debayer RAW 4K as well as accept 4K/UltraHD video Baseband input through 4K editing support on the venerable KONA 3G to AJA's projection support in the DCI marketplace.

Seagate celebrates milestone

March 12, 2013, 09:44 AM

http://www.techspot.com/news/51908-seagate-celebra...

Seagate is celebrating a milestone today as they claim to be the first hard drive manufacturer to ship two billion units worldwide. Perhaps more impressive, however, is the fact that it took 29 years to sell the first billion and just four years to sell the second billion according to a press release posted on Segate’s website.

Adorama Introduces Flashpoint Swivi Viewfinder

March 12, 2013, 09:29 AM

https://www.aotg.com/adorama-introduces-flashpoint-swivi-viewfinder/

Adorama, one of the world’s largest photography, imaging, video and electronics retailers, and a leading destination for iPhone photo specialty accessories, has begun selling the Flashpoint Swivi HD DSLR LCD Universal Foldable Viewfinder Version II with 3.0X Magnification (Flashpoint Swivi). Designed for use with DSLR cameras and essential for shooting video in daylight, the Flashpoint Swivi is a professional LCD Viewfinder loupe that provides a clear, magnified view of the camera LCD.

#video#flashpoint#adorama#photo#camera accessories#gear#imaging#retail
Tips On Working With Blackmagic Cinema RAW Files

March 12, 2013, 04:54 AM

http://www.premiumbeat.com/blog/blackmagic-cinema-...

Check out these great tips on how to make the most of your Blackmagic Design Cinema Camera's RAW files inside DaVinci Resolve and FCPX. Creating One-Light Dailies from BMDCC DNG RAW files in Resolve If you're trying to get your Blackmagic Design Cinema Camera RAW files into an editable format the free DaVinci Resolve Lite software (as [...]

Hard Rock Medical (2013)

March 12, 2013, 04:54 AM

http://feedproxy.google.com/~r/artofthetitle_rss/~...

A discussion with Creative Director JAY BOND at Oily Film Company.What have you been up to since we last talked, for Les Bleus de Ramville?For the most part, I've been holed up in my edit suite drinking mass quantities of coffee and cutting two drama series simultaneously. But with regards to title design, shortly after the Ramville titles launched, my partner James Ransom and I heard...

Basic Training Nuke 7: Curso Videotutorial Gratis

March 12, 2013, 04:54 AM

http://feedproxy.google.com/~r/norendercom/~3/R1bY...

02. GRÁFICO DE NODOS Hoy publicamos la segunda entrega del curso gratis Basic Training Nuke ...

FCPX: Correct Flat Picture Profiles Automatically

March 12, 2013, 04:53 AM

http://www.macprovideo.com/hub/final-cut/motion-an...

Most professional cameras can shoot in a “flat” picture profile these days. The Blackmagic Cinema Camera can shoot in Film mode, Canon DSLRs can shoot in a custom profile such as CineStyle, and even the GoPro 3 can shoot in ProTune mode. All of these picture profiles apply...

MPEG-DASH: Struggling for Adoption?

March 12, 2013, 04:51 AM

http://www.streamingmediaglobal.com/Articles/ReadA...

It may be early days for MPEG-DASH, the format intended to unify the various adaptive bit-rate (ABR) specifications, but there are already concerns of slower than expected take-up.

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