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
August 28, 2015, 05:08 AM
http://www.fxguide.com/featured/crafting-the-kille...
Guy Ritchie is one director who doesn’t mind the odd chase sequence, and in The Man From U.N.C.L.E. he serves up three big ones. In 1963 Berlin, CIA agent Napoleon Solo (Henry Cavill) and unwitting mechanic Gaby Teller (Alicia Vikander) are pursued - in car and on foot - by KGB operative Illya Kuryakin (Armie Hammer) before escaping over the Berlin Wall.
August 28, 2015, 05:07 AM
http://blogs.adobe.com/aftereffects/2015/08/favori...
In the After Effects CC (12.2) update, we extended the output file name templates feature to include output paths. As part of setting up an output module, you can specify a folder in which to place the output file(s), and this can be a folder that After Effects will automatically create at output time. This helps to keep your outputs organized, and it really helps to prevent you from doing something like accidentally dumping an image sequence onto your desktop because you forgot to point th...
August 27, 2015, 04:05 PM
https://digitalfilms.wordpress.com/2015/08/27/blac...
Post-production technology is changing with the shift to file-based workflows, Thunderbolt data paths, and adoption of 4K. To address the varied needs that range from one-man-band shops to large facilities, Blackmagic Design has developed the UltraStudio Thunderbolt product family. This includes the low-cost Mini Recorder and Mini Monitor modules at one end and the UltraStudio […]
August 27, 2015, 04:05 PM
http://www.prosoundeffects.com/pro-tools-expert-re...
This week’s Sunday Sound Effects Round Up on Pro Tools Expert features a top-notch review of our newest sound library, NYC Ambisonics! Written by PTE Editor, Mike Thorton, the review begins with a brief technical examination of the Ambisonics format. Mike then dives into the specifics of NYC Ambisonics, raving about ... The post Pro Tools Expert Reviews NYC Ambisonics appeared first on Pro Sound Effects.
August 27, 2015, 04:05 PM
http://www.provideocoalition.com/media-composer-10...
In this lesson, Kevin P McAuliffe concludes his in-depth look at Transcoding in Avid Media Composer, by looking at transcoding larger than HD media, in larger than HD projects. Once you've finished this lesson, you will be able to tackle any type of Linked to media that comes your way.
August 27, 2015, 04:04 PM
http://www.slashfilm.com/daredevil-vfx-reel/
“Our job is not to be the star of the shot,” says Shade VFX senior exec producer David Van Dyke of his company’s work on Daredevil. Indeed, the show’s effects were not excessively showy, but as some of the effects tricks are revealed one realizes that there was probably more reliance on visual effects in the show than you first assumed.
August 27, 2015, 04:04 PM
http://www.goldderby.com/news/10108/sofia-the-firs...
In April, composer Kevin Kliesch won a Daytime Emmy for his work on the Disney animated series “Sofia the First." Now he is nominated for a primetime award for his work on the telefilm “Sofia the First: The Curse of Princess Ivy." As he jokes during our exclusive audio chat (listen below), “The Daytime Emmy is sitting on my piano and she’s waiting for her sister to arrive."
August 27, 2015, 12:38 PM
https://www.rocketstock.com/blog/the-vfx-of-weta-d...
WETA Digital is one of the most prominent VFX houses. This little New Zealand studio has grown into one of the most powerful companies in the industry.
August 27, 2015, 12:36 PM
http://vfxserbia.com/2015/08/27/san-andreas-vfx-br...
Photorealism is the Holy Grail of visual effects, and yet also one of the art form’s most challenging propositions. Read on to find out how Image Engine tackled the issue head-on in a ground-breaking shot for natural disaster movie.
August 27, 2015, 06:37 AM
http://www.pixarpost.com/2015/08/pixar-in-a-box.ht...
Pixar, in partnership with Khan Academy, have launched an exciting educational program geared towards kids and teens (or the curious-minded) to learn about the math and science that helps bring their films to life called, Pixar in a Box.
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...
© 2007-2026 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.