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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

First look: Halon's 'Ford v Ferrari' previs reel

January 28, 2020, 05:32 PM

https://beforesandafters.com/2020/01/29/first-look...

Here’s an exclusive first look at Halon Entertainment’s previs reel for Ford v Ferrari. You’ll notice very quickly it has a stylized feel to it, and that was intentional, so that it matched the storyboards for the film and could be intercut with them during early editing.

“I Like the Widening Circles One Can Consult Dur

January 28, 2020, 02:22 PM

https://filmmakermagazine.com/109044-i-like-the-wi...

Based off of the book written by 13-year-old Naoki Higashida, Jerry Rothwell’s The Reason I Jump aims to translate the experiences of non-verbal autistic people in a way that is honest and multifaceted. Choosing not to simply concede to the opinions of parents and specialists, the documentary aims to break the assumption that divergent ways of experiencing the world are not abnormal, and communication can transcend language and actions. Editor David Charap speaks to the unique experience of ha...

1917's Prosthetics Designer on the Grisly Dramw

January 27, 2020, 08:32 PM

https://www.motionpictures.org/2020/01/how-1917s-o...

World War I epic 1917 conveys the carnage of combat with uncommon grit. Informed by writer-director Sam Mendes‘ heartfelt story and his gifted design team, the film, nominated for 10 Academy Awards including best picture, immerses viewers in a “No Man’s Land” littered with dead animals, rotting corpses and dying soldiers. Prosthetics designer Tristan Versluis, Oscar-nominated with makeup designer Naomi Domme, did most of the heavy lifting when it came to blood, guts, and gore.

The 47th Annie Awards – Winners

January 27, 2020, 02:30 PM

https://www.skwigly.co.uk/the-47th-annie-awards-wi...

The Stateside ASIFA Annie Awards have announced their 2020 winners. Among those awarded were Henry Selick (director of The Nightmare Before Christmas, James and the Giant Peach and Coraline), Ron Clements and John Musker (who have worked as one of Walt Disney Animation Studio’s leading director teams over the past three decades) and, posthumously, Satoshi Kon (acclaimed manga artist and director of such films as Perfect Blue and Paprika), all whom were selected by the ASIFA-Hollywood Board of ...

CAS awards 'Ford v Ferrari' the main prize

January 26, 2020, 03:22 PM

https://themediatimes.com/cinema-audio-society-awa...

“Ford v Ferrari” won the highest honor at the Cinema Audio Society Awards, which were presented in Los Angeles on Saturday evening.

How to Key Green Screen Footage in FCPX

January 24, 2020, 02:11 PM

https://www.premiumbeat.com/blog/green-screen-fina...

As NLEs have become more user-friendly over the years, green screen technology has become more accessible to everyday content creators. You don’t need a studio or a big editing rig to get it done. For most programs, it only takes a few clicks to get the desired effect. In this walkthrough, we’re going to show you how to chroma-key a green screen in Final Cut Pro X.

Sundance 2020: The Importance Of Editing In “Boy

January 24, 2020, 02:10 PM

https://www.hdvideopro.com/blog/sundance-2020-the-...

With the Sundance Film Festival 2020 opening today, we decided to take a closer look at the “Boys State” screening in the U.S. Documentary Competition, a work that promises to be a political, coming-of-age film examining the well being of the American democracy. The documentary covers an unusual trial: The gathering of a thousand 17-year-old boys in Texas who band together to build a representative government from the ground up. Produced and directed by Jesse Moss and Amanda McBaine, “Boy...

Sheena Duggal on 'Contact's' memorable mirror mome

January 23, 2020, 07:49 PM

https://beforesandafters.com/2020/01/24/sheena-dug...

At the VES Awards in Los Angeles in late January, one of those to be honored at the event will be visual effects supervisor Sheena Duggal.

TERMINATOR - DARK FATE: Jeff White, David Seager,

January 23, 2020, 07:49 PM

https://www.artofvfx.com/terminator-dark-fate-jeff...

David Seager began his career in visual effects in the late 1990s. He worked in many studios such as Sony Pictures Imageworks, MPC and joined ILM in 2017. He has taken care of the effects for many films such as WATCHMEN, MALEFICENT, FURIOUS SEVEN and ALADDIN.

Automated character FX on 'Peter Rabbit'

January 23, 2020, 07:48 PM

https://beforesandafters.com/2020/01/24/automated-...

This SideFX interview with Animal Logic’s Adam Katz details how the studio built and automated their Character FX pipeline for Peter Rabbit, including where Houdini Digital Assets came into play.

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