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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

DaVinci Resolve 14 Tips and Tricks

December 12, 2017, 08:06 AM

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

In this post I’ve brought together some helpful tips and tricks for colorists working in DaVinci Resolve 14, plus I take a look back at some previous Resolve posts from 2017!

#davinci resolve#tutorials#training#colour grading#tips and tricks
‘Dunkirk’ Editor Lee Smith On Crafting Larger-

December 8, 2017, 06:59 AM

http://deadline.com/2017/12/dunkirk-lee-smith-chri...

A sound editor before he transitioned to picture editing, Dunkirk‘s Lee Smith has spent decades honing his ability to produce an elevated cinematic experience for the eye and for the ear. That immersive experience with sound has been critical for the two-time Oscar nominee when it’s come to the films of Christopher Nolan, one of those filmmakers who is keeping the process of shooting on film, as well as the theatrical experience of viewing films, alive.

Eight VFX Names Abbe Daniel EP in New York

December 7, 2017, 01:19 PM

https://www.awn.com/news/eight-vfx-names-abbe-dani...

NEW YORK -- Eight VFX has named Abbe Daniel as the new executive producer for its New York office.

John Gilroy, ACE, on editing Roman J. Israel, Esq.

December 5, 2017, 08:16 PM

http://postperspective.com/john-gilroy-ace-editing...

By Amy Leland John Gilroy, ACE, comes from an impressive storytelling family. His father, Frank D. Gilroy, was a Pulitzer Prize-winning playwright, as well as a screenwriter and director for film and television. His older brother Tony is a screenwriter and director, known for films such as Michael Clayton and the Jason Bourne films. Continue reading → December 5, 2017 The post John Gilroy, ACE, on editing Roman J. Israel, Esq. appeared first on Randi Altman's postPerspective.

‘War For The Planet Of The Apes’ VFX Superviso

November 29, 2017, 06:27 PM

http://deadline.com/2017/11/war-for-the-planet-of-...

From his earliest beginnings at ILM to his current role as Senior Visual Effects Supervisor at Peter Jackson’s pioneering Weta Digital, four-time Oscar winner Joe Letteri has had the most accomplished of careers, witnessing the stunning evolution of visual effects over the course of three decades.

Blue Planet II edited on normal TV set to head off

November 25, 2017, 07:58 AM

https://www.theguardian.com/media/2017/nov/21/blue...

The makers of Blue Planet II used a normal television while editing the soundtrack of the programme because of concerns that viewers would complain about the narration not being audible.

How color helps a movie tell its story |

November 25, 2017, 07:58 AM

https://ideas.ted.com/how-color-helps-a-movie-tell...

A sunny, hopeful yellow. An introspective turquoise. An arresting, violent red. When you see a color in a film, what you see is no accident — filmmakers carefully compose each frame and make color decisions that affect your experience of watching, even if you don’t realize it. Here are the ways in which filmmakers use color to deepen narrative.

Easy Pieces: 10 Local News Templates for AE

November 24, 2017, 06:55 AM

https://photography.tutsplus.com/articles/local-ne...

Creating a local broadcast means great, relevant content for your area. We’ve put together some useful video elements to let you create the look of your news programme easily, so you can focus on getting the scoop!

How the FCC is Screwing Filmmakers

November 23, 2017, 12:21 PM

https://nofilmschool.com/2017/12/indie-film-weekly...

This episode of Indie Film Weekly laments the doomed fate of Net Neutrality and the 600mhz band.

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