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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

G-Technology G-DOCK ev With Thunderbolt Storage Re

February 19, 2015, 06:36 AM

https://www.videoguys.com/Blog/E/G+Technology+G+DO...

As editor of Pro Tools Expert and weekly contributor to the Pro Tools Expert podcast there's a question I've seen asked again and again, should one chose a desktop or portable hard drive? Desktop hard drives normally offer faster speed and greater capacity, whereas portable drives offer the flexibility of being able to throw them into a bag for a studio session or a gig. The best of both worlds would be nice. G-Technology have come to the rescue with a combination of both desktop Thu...

VFX: And the Oscar goes to...

February 19, 2015, 06:36 AM

http://www.postmagazine.com/Post-Blog/2015/Februar...

This year's visual effects category is as competitive as ever. Just look at the films that didn't get an Oscar nomination - Edge of Tomorrow, Noah, Godzilla, Maleficent, Transformers: Age of Extinction, The Hobbit: The Battle of the Five Armies - and you realize that there were some incredible VFX created in 2014. Maleficent, in my opinion, would be the one I'd like to have seen nominated.  Post caught up with the folks at Digital Domain last summer to discuss their wor...

SIGGRAPH 2015

February 19, 2015, 06:35 AM

http://www.3dvf.com/actualite-12243-siggraph-2015-...

SIGGRAPH 2015 will be held from August 9 to 13 in Los Angeles. The international conference will be an annual opportunity for 3D sector companies to showcase their latest innovations.

2015 Oscar Nominated Shorts Review: 'Me and My Mou

February 19, 2015, 06:34 AM

http://www.rotoscopers.com/2015/02/18/2015-oscar-n...

Today’s Oscar nominated animated short is Me and My Moulton, a co-production between the National Film Board of Canada and Norway’s Mikrofilm. At over 13 minutes, this is one of the longer films in the lineup. A charming, introspective story, Me and My Moulton is written and directed by Torill Kove.

Agent Carter: Creating Movie Effects on a TV Sched

February 18, 2015, 01:35 PM

http://www.studiodaily.com/2015/02/agent-carter-cr...

Wired and fxguide.com show off ILM's work for television in this quick collection of VFX breakdowns on the ABC TV series Agent Carter. The post Agent Carter: Creating Movie Effects on a TV Schedule appeared first on Studio Daily.

How Framestore’s Imagery Boosted Ocean-Ecology D

February 18, 2015, 01:34 PM

http://www.studiodaily.com/2015/02/framestores-gra...

Framestore in New York designed imaginative but sober graphics to communicate the environmental effects of industry on the world's oceans for the Netflix-exclusive film Mission Blue. Cinema 4D maker Maxon and writer Meleah Maynard offered StudioDaily a behind-the-scenes look at the … more » The post How Framestore’s Imagery Boosted Ocean-Ecology Doc Mission Blue appeared first on Studio Daily.

Why Do We Color? The Role of the Digital Colorist

February 18, 2015, 01:34 PM

https://www.hurlbutvisuals.com/blog/2015/02/why-do...

When I first started out as a colorist assistant, I thought the colorist’s job was primarily to set unique and interesting “looks” for music videos, commercials

What The Hell Do Sound Mixers Do?

February 18, 2015, 10:33 AM

http://digg.com/2015/what-is-sound-mixing

When you leave a movie theater, you’re probably not thinking, "Man, the sound in that movie was mixed perfectly." At Sunday's Academy Awards, though, the winners for Best Sound Mixing Oscar will be called to the stage — here's how they get there.

The Heartbeat of Whiplash

February 18, 2015, 10:32 AM

http://www.btlnews.com/awards/contender-portfolios...

The rhythm of the editing and pitch-perfect tone of the score became the heartbeat for the emotional conflicts in the Academy-award nominated feature, Whiplash. As part of the Director’s Close-up Series, Film Independent brought together director Damien Chazelle, editor Tom Cross and composer Justin Hurwitz to discuss how they collaborated to enhance the dramatic beats of the story.

And the VFX Oscar goes to...

February 18, 2015, 10:32 AM

http://www.postmagazine.com/Press-Center/Daily-New...

This year’s visual effects category is as competitive as ever. Just look at the films that didn’t get an Oscar nomination — Edge of Tomorrow, Noah, Godzilla,Maleficent, Transformers: Age of Extinction, The Hobbit: The Battle of the Five Armies — and you realize that there were some incredible VFX created in 2014.

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