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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

Crafting A Handmaid's Tale

June 18, 2018, 09:14 AM

https://www.hollywoodreporter.com/behind-screen/ed...

This season's most intense television scenes had to be tenderly crafted in the editing room. Whether it was the pivotal This Is Us episode that finally revealed the death at the center of the NBC drama's story, the chilling opening moments of The Handmaid's Tale's second season or the final episode of The Looming Tower that took viewers back to 9/11, each of these scenes required a sensitive touch when cutting the footage together in order to send viewers on the right emotional journey.

Stop-Motion Master Travis Knight and Bumblebee

June 13, 2018, 01:45 PM

https://www.mpaa.org/2018/06/stop-motion-master-tr...

Travis Knight is one of the most highly-regarded animators working today. The acclaimed Kubo and the Two Strings director is also the President and CEO of Laika Studios. The stop-motion giant turned out instant classics like Coraline, The Boxtrolls, and ParaNorman. Above all else, Knight is an artist. He’s adept at transforming something inanimate — like the materials he builds his Laika figurines from — into something human. Paramount just released a glimpse into the magical way that Knig...

Industrial Light & Magic Head Rob Bredow to Keynot

June 11, 2018, 12:37 PM

http://www.studiodaily.com/2018/06/industrial-ligh...

ILM’s Rob Bredow will deliver the keynote address at this year’s Siggraph conference, set to take place August 12–16 at the Vancouver Convention Centre in Vancouver, BC. Bredow was recently named senior VP, executive creative director and head of Industrial Light & Magic. “I have been attending SIGGRAPH since before dinosaurs were a commonplace occurrence,” said Bredow […] The post Industrial Light & Magic Head Rob Bredow to Keynote Siggraph appeared first on Studio Daily.

Add Optical Flares to your Edit & Grade

June 11, 2018, 06:22 AM

https://jonnyelwyn.co.uk/film-and-video-editing/ho...

Learn how to add optical flares to your edit and grade using a trio of paid apps for a professional polish.

#vfx#grading#lens flares#optical flares#real flares
How they Built Wakanda

June 7, 2018, 09:36 AM

https://www.mpaa.org/2018/06/black-panthers-vfx-te...

It turns out that Wakanda is real. The nation’s most stunning vistas weren’t taken from another country, or the product of various other environments blended together. Wakanda is real—in a sense—in that it was created almost entirely by the visual effects wizards who brought Ryan Coogler’s vision of the fictional African nation into reality. The most astonishing location in the history of the Marvel Cinematic Universe was nearly entirely created by digital effects. A new VFX reel shows...

Hands on with the Tangent Wave2 Grading Panel

June 7, 2018, 07:12 AM

https://jonnyelwyn.co.uk/film-and-video-editing/af...

If you're looking for an affordable colour grading control panel the Tangent Wave2 is a great option. Unlike other affordable panels it works with DaVinci Resolve, Premiere Pro, FCPX and more! Here's my hands-on review.

#colour grading control surface review#colour grading panel#tangent wave2 panel
Film Scoring and the Studio

June 4, 2018, 04:52 AM

https://sonicscoop.com/2018/06/04/film-scoring-stu...

And composer Ariel Marx knew that already. A fast-emerging composer, the NYC-based Marx can play many instruments, but she clearly has a string affinity, deployed most recently on the new film To Dust starring Géza Röhrig and Matthew Broderick. That’s where she wields her mastery of violin and viola via innovative ways, taking them to a sinister space.

Emmy-Contending Editors Finish Stories With Smart

June 1, 2018, 09:11 AM

https://variety.com/2018/artisans/awards/stranger-...

When aliens and imaginary worlds come into play, it falls on editors to create a pace and tempo that helps us believe they’re real. Sometimes this means holding on an actor’s reaction to visual effects that they haven’t even seen yet; other times it can mean showing us just enough of the invented world to make us yearn for more.

Emmy Contenders for VFX Create Mind-Bending Visual

June 1, 2018, 09:11 AM

https://variety.com/2018/artisans/awards/hard-sun-...

With astonishing processing power and top-notch teams that know how to create high-end visual effects on a tight budget and timeline, vfx artists routinely turn in shots that thrill TV audiences. But visual effects must also support story and characters in invisible ways. And there’s even resistance to becoming a show known for its effects.

Black Mirror's VFX Super on USS Callister

May 31, 2018, 08:57 AM

https://www.mpaa.org/2018/05/black-mirrors-vfx-sup...

Each episode of Black Mirror is designed to be memorable in its own way, but none so far have spun what appears at first to be a mere goofy period romp into an emotionally complex depiction of covert malevolence quite like the feature-length opener of the show’s fourth season, USS Callister. Brilliant but overlooked Robert Daly (Jesse Plemons, once the beloved Landry of Friday Night Lights) is the creator behind an online gaming world for which his savvier, more personable business partner, Wa...

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