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
Looking at the ACES color workflow on Café Societ
March 2, 2017, 05:33 PM
http://postperspective.com/looking-aces-color-work...
By Sarah Priestnall Last year’s Café Society marked a milestone in Woody Allen’s cinematic career — the first of his movies to be acquired digitally, mostly with the Sony F65 camera, and with additional use of the Sony F55. To accompany him in this endeavor, he turned to legendary Italian cinematographer Vittorio Storaro, Continue reading → March 2, 2017 The post Looking at the ACES color workflow on Café Society appeared first on Randi Altman's postPerspective.
Digital Production Buzz- March 2, 2017
March 2, 2017, 01:51 PM
http://www.digitalproductionbuzz.com/2017/03/digit...
Join host Larry Jordan as he talks with Brian Glasscock, Nick Bicanic, Andy Cochraine, Duncan Shepherd, Chris Bobotis, and James DeRuvo. Ambisonic Mics for 360° VR Sound Plug-ins for 3D and VR Video How To Tell Stories Using VR Production Techniques for VR Video How to Edit a VR Video The Weekly DoddleNEWS Update View Show Transcript Listen to the Full Episode Check back after the show for the full audio! … The post Digital Production Buzz- March 2, 2017 appeared fi...
Menke Fellowship
March 2, 2017, 01:51 PM
https://americancinemaeditors.org/menke-fellowship...
2017 SALLY MENKE MEMORIAL EDITING FELLOWSHIP The Sally Menke Editing Fellowship supports an emerging narrative editor who has edited at
En Primera Persona: Mi experiencia en la Escuela d
March 2, 2017, 01:51 PM
http://edaeditores.org/en-primera-persona-mi-exper...
Por Sofía Mellino (EDA) Barrie Vince es un montajista británico nacido en 1933 en Londres, Reino Unido. Editor de más de treinta y siete películas y documentales tanto en formato fílmico como digital, ganador de un BAFTA a mejor edición en televisión por su trabajo en “Hillsborough” en 1996. Ha tenido la oportunidad de trabajar […]
How To Use C4D’s Shadow Catcher Material
March 2, 2017, 01:51 PM
http://lesterbanks.com/2017/03/use-c4ds-shadow-cat...
Compositing stuff? Picking which elements to render out really depends on the project and how flexible you want your comp to be. One thing for sure, rendering the cast shadows separately can be a huge The Post How To Use C4D’s Shadow Catcher Material originally appeared and published on %%BLOGLINK%,by lesterbanks
Timecode’s new firmware paves the way for VR
March 2, 2017, 01:50 PM
http://postperspective.com/timecodes-new-firmware-...
Timecode Systems, which makes wireless technologies for sharing timecode and metadata, has launched a firmware upgrade that enhances the accuracy of its wireless genlock. Promising sub-line-accurate synchronization, the system allows Timecode Systems products to stay locked in sync more accurately, setting the scene for development of a wireless sensor sync solution able to meet the requirements of VR/AR and motion capture. Continue reading → March 2, 2017 The post Timecode’s new firm...
Chaos Group release V-Ray 3.5 for Nuke
March 2, 2017, 10:17 AM
http://www.postmagazine.com/Press-Center/Daily-New...
LOS ANGELES — Chaos Group (chaosgroup.com) has introduced V-Ray 3.5 for Nuke, a major update to the ray-traced renderer used on films such as Spectreand The Revenant. The new release offers support for volumetric rendering and deep compositing workflows have greatly expanded V-Ray for Nuke’s core capabilities, adding flexibility to film and TV productions.
RedShark Live in New York with RED, Audio Network
March 2, 2017, 10:17 AM
http://www.redsharknews.com/business/item/4398-red...
We're planning something really exciting. It's an evening with RED, Audio Network and Lightworks: three great companies all under the umbrella of ‘RedShark Live’, on March 9, New York. There will be pizza. REDAudio NetworkLightworksRedShark Live
DaVinci Resolve Tools and Tutorials
March 2, 2017, 09:09 AM
http://jonnyelwyn.co.uk/film-and-video-editing/dav...
If you're learning to be a better DaVinci Resolve colorist then this round up of professional tools and tutorials will help you improve your grading. Check it.
#plugins#davinci resolve#tutorials#tools
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