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
May 31, 2015, 08:37 AM
http://www.avidblogs.com/editor-ali-salloum-wins-b...
The article Editor Ali Salloum Wins Best Editing Digital Studio Award for ‘From A to B’ by Wim Van den Broeck appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..
May 31, 2015, 08:36 AM
http://www.hollywoodreporter.com/news/house-cards-...
Fans of House of Cards won’t know if President Frank Underwood (Kevin Spacey) can win the White House or win back his wife until season four debuts next spring, but the series’ composer Jeff Beal hopes to bring music from the Emmy-nominated Netflix series to symphony houses before then.
May 31, 2015, 08:35 AM
http://vashivisuals.com/the-editing-of-mad-max-fur...
Film Editor Margaret Sixel was given over 480 hours of footage to create MAD MAX: FURY ROAD. The final edit ran 120 minutes and consisted of 2700 individual shots. That’s 2700 consecutive decisions that must flow smoothly and immerse the viewer. 2700 decisions that must guide and reveal the story in a clear and concise manner. One bad cut can ruin a moment, a scene or the whole film. No pressure!
May 31, 2015, 08:35 AM
http://www.animationinsider.com/2015/05/christophe...
Christopher Hicks, freelance writer/illustrator/toy designer.
May 31, 2015, 08:34 AM
http://vashivisuals.com/the-editing-of-mad-max-fur...
The film editing of MAD MAX: FURY ROAD is one of the primary reasons this action film is so successful. Learn how center framing works...
May 30, 2015, 02:06 PM
http://manhattaneditworkshop.blogspot.com/2015/05/...
Susan Morse, ACE talks about "Annie Hall." From Sight, Sound, and Story on June 8th, 2013. For more information on "Sight, Sound & Story" go to www.SightSoundandStory.com.
May 30, 2015, 02:06 PM
http://www.animationinsider.com/2015/05/eddie-sori...
Eddie Soriano Supervising Director at Big Bad Boo Studios in Vancouver, Canada
May 30, 2015, 06:16 AM
http://www.fxguide.com/featured/a-graphic-tale-the...
When George Miller looked to return to the world of Mad Max with his new Fury Road, the director began a lengthy development period that saw several false starts but ultimately culminated in a six-month long shoot in the Namibian desert. Here, DOP John Seale would use multiple digital cameras to capture incredible practical stunts with more than 150 vehicles conceived by production designer Colin Gibson, then rigged, driven and crashed thanks to the efforts of key crew including special effects ...
May 30, 2015, 06:14 AM
http://fcpxpert.net/2015/05/29/n-l-evolution/
So I'm working on some stuff this week, and needed to move a project into FCP 7. Took about 5-10 minutes to delete disabled audio channels, and import the GFX that I did in X that can't be done in 7. Then, for laughs, I imported the sequence into PrCC. In X, I had done…
May 30, 2015, 06:13 AM
http://www.artofvfx.com/?p=12178
Tom Wood began working in the visual effects as an animator at Cinesite on films like EVENT HORIZON and LOST IN SPACE. He then worked many years at MPC on films such as ENEMY AT THE GATES, HARRY POTTER AND THE CHAMBER OF SECRETS, KINGDOM OF HEAVEN or SUNSHINE. He then became independent and take care of the effects of movies like PRINCE OF PERSIA: THE SANDS OF TIME or MIRROR MIRROR.
Daniel George McDonald sits down to discuss creating the finale for Cheer Season 2.
Gordon sits down with the editorial team of The Black Lady Sketch Show to discuss their approach to ...
Gordon sits down with Philip to discuss his work with Tyler Perry and his latest film A Madea Homeco...
© 2007-2025 www.aotg.com Ver. 3.0 All Content created and posted by Art of the Guillotine users Art of the Guillotine graphics, logos, designs, page headers, button icons, scripts, and other service names are the trademarks of Art of the Guillotine Inc. Use of this material outside of this site is strictly prohibited.