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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 grading: A complete guide

April 7, 2020, 02:11 PM

https://www.creativebloq.com/features/colour-gradi...

Colour grading is the unsung hero of content creation, from still imagery to cinema, find out how you can become a colour grading master.

The Enduring Power of Stop-Motion Animation

April 6, 2020, 07:12 PM

https://filmschoolrejects.com/rebooted-short-film/

When it comes to creature effects, trends come and go in Hollywood. From latex suits to CGI, at any given time, the silver screen has its favorites. And falls from grace can hurt something awful. Just ask Phil. In the 1960s, he was hot shit. But now, in an era of motion capture, no one wants to hire a stop-motion animated skeleton monster.

Stan Winston's Monster Magic Is on Full Display in

April 5, 2020, 03:57 PM

https://filmschoolrejects.com/gargoyles-1972-revie...

Welcome to 4:3 & Forgotten — a weekly column in which Rob Hunter and I get to look back at TV terrors that scared adults (and the kids they let watch) across the limited airwaves of the ’70s.

1917 Editor Interview: Lee Smith on Being Invsible

April 3, 2020, 08:06 PM

https://www.slashfilm.com/1917-editor-interview/

The “hidden man” is how editor Lee Smith sees himself in 1917. Not for a second did Smith want audiences paying attention to his cuts or tricks, but to instead immerse themselves in director Sam Mendes‘ World War I story, which is constructed to take place in one seemingly unbroken take. Despite the obvious technical wizardry and razzle-dazzle, they pulled it off. Audiences were caught up in the feeling and exhilaration of 1917, not the craft of 1917.

The Coolest Effect in 'A Nightmare on Elm Street'

March 31, 2020, 06:13 PM

https://filmschoolrejects.com/nightmare-on-elm-str...

Thanks to the creative carte-blanche of its villain, the original A Nightmare on Elm Street is full of surreal practical effects. When you’re a demonic wise-guy who hunts victims in their dreams, you’re able to pull some freaky, nightmarish shit. From body bags erupting with eels to clawed hands emerging from bathtubs and stairs turning to mush, when it comes to terrorizing teens, Freddy Krueger likes to dream big.

Oscar nominee David Rosenbloom, ACE

March 19, 2020, 12:15 PM

https://www.provideocoalition.com/aotc-rosenbloom/

David Rosenbloom was nominated for an Oscar and ACE Eddie for the feature film, The Insider. He was nominated for an Emmy and ACE Eddie for the TV Pilot for I’ll Fly Away and another ACE Eddie nomination for an episode of Hill Street Blues. He also won an ACE Eddie for the TV special “Do you remember love.”

Zimmer Explains How Eillish Got No Time To Die Gig

March 19, 2020, 12:15 PM

https://www.cinemablend.com/news/2492855/hans-zimm...

When No Time To Die’s now-record-breaking theme song was announced as being co-written and sung by hit recording artist Billie Eilish, the world was rather surprised. As the youngest person to have ever crafted a James Bond theme song, it was an even greater surprise that she said she’d been wanting to do this job for some time now. But between her enthusiasm and musical chops, composer Hans Zimmer was convinced that she absolutely had to have the gig.

So, what's the most watched VFX breakdown out ther

March 16, 2020, 12:18 PM

https://beforesandafters.com/2020/03/15/so-whats-t...

Full disclosure: this is a very unscientific investigation.

The Illusionists — Tim Webber

March 11, 2020, 12:41 PM

https://cinefex.com/blog/the-illusionists-tim-webb...

Open up our 40th anniversary celebration issue, Cinefex 169, and you’ll find The Illusionists, a giant roundtable discussion in which 21 Oscar-winning visual effects supervisors debate the past, present and future of cinematic illusions. We recorded over 14 hours of interview material for the article, and inevitably some of it ended up on the cutting room floor. In this series of short blogs, we’re pleased to share a few of our favorite outtakes. To read the full roundtable, pick up your cop...

The Illusionists — John Bruno

March 4, 2020, 01:14 PM

https://cinefex.com/blog/the-illusionists-john-bru...

Open up our 40th anniversary celebration issue, Cinefex 169, and you’ll find The Illusionists, a giant roundtable discussion in which 21 Oscar-winning visual effects supervisors debate the past, present and future of cinematic illusions. We recorded over 14 hours of interview material for the article, and inevitably some of it ended up on the cutting room floor. In this series of short blogs, we’re pleased to share a few of our favorite outtakes. To read the full roundtable, pick up your cop...

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