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
Colour accuracy: Humans simply aren't very good at it
August 23, 2021, 09:19 AM
https://www.redsharknews.com/production/item/6212-...
Replay: The biggest limitation of colour accuracy is the human brain. Phil Rhodes takes a look at why colour accuracy sometimes isn't all it's cracked up to be.
Terminator 2 changed visual effects forever, and it is 30 years old this year
August 22, 2021, 12:30 PM
https://www.redsharknews.com/terminator-2-changed-...
Replay: This year, Terminator 2: Judgment Day turns 30. Made by a director and star at the peaks of their powers, T2 was the most expensive film ever at the time, and remains both the highest-grossing movie of Arnold Schwarzenegger’s career and the sequel which furthest out-performed its progenitor. It is also one of a handful of films that changed the world of visual effects forever, signalling as it did – to borrow the subtitle from its woeful follow-up – the rise of the machines.
EFFECTS FOR AFFECTS – Zoom event
August 21, 2021, 10:38 AM
https://www.screeneditors.com.au/effects-for-affec...
VFX Legion Creates 100+ CG Effects For ‘Don’t Breathe 2’
August 18, 2021, 03:25 PM
https://www.youtube.com/watch?v=ZmtVJDGTB18
FX Legion delivered 100+ visual effects for director Rodo Savagues’ action thriller, ‘Don’t Breathe 2.’ released theatrically on August 13th. The franchise was born from the creative partnership of Savagues and Fede Alvare, the director of the highly successful first installment, ‘Don’t Breathe,’ in 2016. Visual effects were key to bringing co-writers Savagues and Alvare’s vision of the sequel to life. Complex computer-generated sequences and digital shots were relied on to au...
#vfx#film#vfx legion#james david hattin#vfx british columbia#vfx vancouver#vfx los angeles#vfx legion createsDarren Rae named head of color at Cinelab London
August 18, 2021, 09:07 AM
https://www.postmagazine.com/Press-Center/Daily-Ne...
LONDON — Cinelab London (www.cinelab.london), the full-service film laboratory and digital dailies facility, has hired Darren Rae as head of color. Rae has spent more than 25 years collaborating with directors and cinematographers on numerous blockbusters, independent features and long-form series.
Cinelab Adds Industry Vet Darren Rae as Head of Color
August 18, 2021, 09:06 AM
https://postperspective.com/cinelab-adds-industry-...
Cinelab London, a UK-based full-service film lab and digital dailies facility, has hired senior colorist and dailies supervisor Darren Rae as head of color. Rae has spent over 25-plus years working with directors and cinematographers supervising dailies and grading many blockbuster and independent feature films and longform series. Some of his credits include Spectre, Continue reading → August 17, 2021 The post Cinelab Adds Industry Vet Darren Rae as Head of Color appeared first on postPersp...
Anatomy of a Scene: A Black Lady Sketch Show Editors Get Emmy Nod
August 18, 2021, 09:06 AM
https://postperspective.com/anatomy-of-a-scene-a-b...
HBO’s A Black Lady Sketch Show was nominated for five Emmy Awards this year, including for Outstanding Picture Editing For Variety Programming. Supervising editor Daysha Broadway and editors Stephanie Filo and Jessica Hernández were recognized for their work on Season 2, Episode 3, “Sister, May I Call You Oshun.” We reached out to the trio to talk about their favorite sketches to edit and more. Continue reading → August 17, 2021 The post Anatomy of a Scene: A Black Lady Sketch Show
Corridor Digital Uses DaVinci Resolve Studio for End to End Post for Its YouTube Channels
August 17, 2021, 01:26 PM
https://www.blackmagicdesign.com/media/release/202...
Blackmagic Design today announced that Los Angeles based production studio Corridor Digital is using DaVinci Resolve Studio for editing, color grading, visual effects (VFX) and audio post production for its popular YouTube channels, Corridor Digital and Corridor Crew. With almost 15 million subscribers between the two channels, Corridor Digital uses DaVinci Resolve Studio and its collaboration features to produce up to 10 videos a month for its fans.
#blackmagic design#davinci resolve studio#davinci resolve mini panel#pocket cinema camera 4k7 Classic Movie Tricks That Led to Modern CGI
August 17, 2021, 09:18 AM
https://www.youtube.com/watch?v=Nt8_sYKpdBE
Before the widespread use of CGI, filmmakers used surprising in-camera tricks and optical illusions to fool audiences. Early filmmakers like Georges Méliès could add a hidden cut to film a wide array of illusions. Creative composites allowed for an invisible character in 1933's “The Invisible Man” and for Moses to part the sea in “The Ten Commandments.” Artists literally painted on top of shots to extend sets in “Citizen Kane” and create fantasy worlds in “The Wizard of Oz.” Wh...
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