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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

DPA Microphones Debuts Mobile Studio-Quality Audio

July 5, 2017, 04:46 AM

http://www.broadcastbeat.com/dpa-microphones-debut...

DPA’s new d:vice MMA-A Digital Audio Interface will be on show at IBC 2017 (booth 8.D70), giving European broadcasters their first opportunity to experience the unprecedented audio quality offered by this ground-breaking preamp. Aimed at content makers such as live and mobile journalists, the d:vice MMA Digital Audio Interface works with any iOS device, Mac® ...

Paul Proulx, DDB Canada and Dairy Farmers Celebrat

July 4, 2017, 10:22 AM

https://roosterpost.wordpress.com/2017/07/04/paul-...

This DDB Canada/Dairy Farmers of Canada campaign follow-up features another fun spoof of an 80’s-style beer commercial. Directed by Soft Citizen duo Aircastle, the tongue-in-cheek spot was cut by Paul Proulx whose edit provides some beautifully-timed moments of beer-inspired celebration. Client & Product: Dairy Farmers of Canada – Milk Name of campaign: “Pour a Tall […]

The editing team for Transformers: The Last Knight

July 4, 2017, 04:59 AM

https://www.provideocoalition.com/art-cut-editing-...

Art of the Cut takes a step into the epic – not just with the film we’re discussing – but because to cover the editing of Michael Bay’s Transformers: The Last Knight, we spoke to four editors in three separate interviews. The exciting thing for readers of Art of the Cut is that when you get six top editors on a single picture, they all learn from each other in ways that are impossible without working on the same footage and with the same director. Those important lessons are at the core ...

Sounds of the Nightmare Machine

July 3, 2017, 05:31 PM

http://www.studiodaily.com/2017/06/sounds-nightmar...

Mark Korven, the composer behind the deliciously creepy score for period supernatural drama The Witch, solos on The Apprehension Engine, a musical instrument crafted by guitar-maker Tony Duggan-Smith to scratch an especially spooky musical itch. The post Sounds of the Nightmare Machine appeared first on Studio Daily.

ASE MENTOR AND MENTEE MUSINGS

July 3, 2017, 05:12 AM

http://www.screeneditors.com.au/ase-mentor-and-men...

ASE MENTOR AND MENTEE MUSINGS Nick Beauman ASE and Jenny Hicks NICK BEAUMAN ASE – ASE Lifetime Member and Mentor: I have been in film post-production for 57 years;  everything I’ve learned has largely been through trial and error, and I realise looking back how invaluable a mentor might have been for ME.  I  started out […]

Speeding up the Creation of Subtitles in Final Cut

July 3, 2017, 05:12 AM

http://www.fcp.co/final-cut-pro/news/1981-speeding...

Subtitles, love them or hate them, they are an essential part of constructing a programme for domestic or international distribution. Jan Willem den Bok has written a plugin that speeds up the process of building subtitles in a show on an FCPX timeline.

Creating the Sound of War – QLD

July 3, 2017, 05:12 AM

http://www.screeneditors.com.au/creating-the-sound...

Queensland Creating the Sound of War. In March, we collaborated with the Australian Screen Sound Guild (ASSG) on an event titled “Creating the Sound of War”. Academy nominated Sound Editor, Liam Price, took us on an exploration of the sound design from one of Hacksaw Ridge’s pivotal battle scenes. Liam started the session by playing the battle […]

Freelancers’ Information Night – Victoria

July 3, 2017, 05:12 AM

http://www.screeneditors.com.au/freelancers-inform...

Victoria ASE Presents:  Freelancers' Information Night 29TH March, 2017 – Sam Hardy An assembly of 28 assorted post practitioners ranging from students assistant editors and editors filled the upstairs room of The Palace Hotel to listen to the legendary Belinda Fithie. Belinda in the past has generously given her advice and recommendations based off her […]

Sunday Sound Thought #78 – Minimalism

July 2, 2017, 01:34 PM

http://designingsound.org/2017/07/sunday-sound-tho...

…       As has come before; many of these posts will be philosophical in nature. Some will be in contradiction to previous postings. These are not intended as truths or assertions, they’re merely thoughts…ideas. Think of this as stream of consciousness over a wide span…Please bare with us as we traverse the abstract […]

Animating Cruella's Car

July 2, 2017, 05:11 AM

http://andreasdeja.blogspot.ca/2017/07/cruellas-ca...

In order to save costs the 101 Dalmatians production team thought up an inventive way to animate Cruella De Vil's automobile. Instead of drawing the vehicle frame by frame the conventional way, a cardboard model was filmed, as effects animators moved it around in front of the camera. Note the black lines that define all edges.

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