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

Wherefore 4:4:4?

December 17, 2010, 03:25 PM

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

So much of the technical jargon around digital content creation is fraught with traps for the unwary. As we’ve previously written, an image sensor "pixel" is not the same as a recorded "pixel" and nothing about a 2/3-inch type sensor actually measures 2/3 inch. Another classic source of confusion is the seemingly innocuous ratio—such as 4:4:4—that expresses the digital sampling structure.

ASE Demystifying Codecs Part 8 of 12

December 17, 2010, 11:26 AM

https://www.aotg.com/ase-demystifying-codecs-part-8-of-12/

Australian Screen Editors presents "Demystifying Codecs", a seminar on video codecs by Chris Reynolds. This is part 8 of 12. Topics covered in this part include: Encoding & Compression, Deinterlace, CRTs, Progressive, Scaling, Frame Size, Apple Scripts. Chris Reynolds is an editor at ActiveMotion.

Fixing Dead Pixels

December 17, 2010, 09:13 AM

http://jeffvlog.wordpress.com/2010/12/17/bring-dea...

Dead pixels have long been a issue on traditional video cameras, but with the recent innovation of shooting HD video on DSLRs the problem is becoming more widespread. Manually fixing damaged and often irreplaceable footage can be a time consuming and sometimes near impossible task. Enter DH_Reincarnation 2.0 that enables up to two dead pixel areas to be intelligently replaced with a single application of the plug-in.

#51: Animated Video Playbar with Marquee – P

December 16, 2010, 03:55 PM

http://avidscreencast.com/2010/12/51-animated-vide...

This week, we’ll continue creating a semi-transparent video progress bar as you know them from Youtube et. al. Last week, we created the background elements in Marquee, this week, we’ll create the remaining elements and then animate them in Media Composer.

Compressor Repair

December 16, 2010, 03:54 PM

http://www.digitalrebellion.com/compressor_repair....

Apple's Compressor relies heavily on the Qmaster service in order to work. Qmaster allows you to split rendering tasks across multiple machines in a render farm but it is still required even if you are only rendering on a single computer.

Assisted Editing has a new tag line...

December 16, 2010, 03:52 PM

http://www.philiphodgetts.com/2010/12/assisted-edi...

We originally settles on "Smart Tools for Smart Editors and Producers" but in reality our goal is to take all the boring work out of post production, whether it’s syncing audio and video sources together, copying log notes from one bin to another or doing a series of first cuts to explore your content we want to take the boring, tedious, slow parts out so editors are free to focus on the truly creative work of making an edit emotionally compelling and visually stimulating.

Out on Location Editing Into the Wild

December 16, 2010, 12:12 PM

http://www.studiodaily.com/main/technique/craft/f/...

Jay Cassidy A.C.E. has been editing director Sean Penn’s films since The Indian Runner in 1991. He’s also well known (and awarded) for his editing of An Inconvenient Truth (with Daniel Swietlik). Other notable films he’s edited recently include The Assassination of Richard Nixon, September 11 (the USA section), and The Replacement Killers. Since Into the Wild, he edited Johnny Got His Gun.

Using X264 Plugin in Compressor

December 16, 2010, 09:50 AM

http://realworldvideocompression.com/rwvc/2010/5/7...

admit it, I've had a love hate relationship with Compressor pretty much since Day One. I love the convenience of having an app tied directly to the timeline for encoding, but have always felt a little disappointed by the options and quality of what was offered for encoding that it offered. Still, I've stuck with it for certain encoding events (such as for dvd content, rough cuts, and archives at high bit rates). It's not that I believe its a bad application, just one that has languished...

EditFest Shortcuts - Featuring Editor Craig McKay

December 16, 2010, 09:48 AM

http://manhattaneditworkshop.blogspot.com/2010/12/...

For our first EditFest Short Cuts we decided to reach for the stars. We got two of them! On January 20th, 2011 at 7PM, at New York's Helen Mills Theater, please join us for an intimate discussion of the editing process through the work of film editor Craig McKay, moderated by distinguished author/editorBobbi O'Steen. EditFest Short Cuts is produced by ACE and Manhattan Edit Workshop and presented by The Moving Pictures Collective NYC.

Ten Editing "Must Own’s" of 2010

December 15, 2010, 04:30 PM

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

2010 has been another years of wonders and blunders, but there are some products out there that if you own an editing/motion graphics/compositing system, you simply NEED to have these products to not only create great looking work, but to make your life easier. I thought I’d break this down into a year end countdown, and remember, these products are not in any particular order, as comparing them is like comparing apples and elephants, so let’s get started!

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