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
April 17, 2018, 12:57 PM
http://postperspective.com/creating-look-netflixs-...
By Adrian Pennington Toby Tomkins co-founder of boutique studio Cheat explains how he worked with 8K rushes shot on Red to devise and execute the stylish look of Netflix’ hit dark comedy The End of the F***ing World. Content in 8K UHD won’t be transmitting or streaming its way to a screen anytime soon but the ultra-high resolution format is already making its mark in production. Continue reading → April 17, 2018 The post Creating the look for Netflix’s The End of the F***ing Worl...
April 17, 2018, 09:20 AM
http://www.avidblogs.com/cutting-nothing-lose-braz...
The article Cutting ‘Nothing to Lose’ — Brazil’s Most Ambitious Feature Film by Francisco Antunes appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..
April 17, 2018, 05:11 AM
http://saeditores.org/Novedades/Cisne-negro-por-An...
Enfrentarse a una escena con seis o siete horas de material bruto, rodada de modo casi documental siguiendo improvisadamente a un gran grupo de bailarinas, y lograr encontrar el corazón, el elemento patrón que nos permita darle una organización y llegar a buen puerto frente a una situación tan compleja: es el caso que relata detalladamente Andrew Weisblum (ACE) acerca de la edición de Cisne negro (Darren Aronofsky, 2010), trabajo que le valió un Oscar de la Academia a la Mejor Edición.
April 16, 2018, 11:44 AM
https://edaeditores.org/20-bafici-nominados-a-mejo...
Manuel Ferrari, editor de Penélope, nos cuenta cómo fue el proceso de montaje de la película, nominada al Premio al Mejor montaje de película argentina en competencia, que otorgarán EDA y SAE en la 20ª edición del BAFICI: “Con Agustín Adba tuve la suerte de participar desde muy temprano en el proceso que dio inicio […]
April 16, 2018, 03:38 AM
http://www.fcp.co/final-cut-pro/articles/2065-buil...
We are always having to cut or extend music to the right length, always a lot of foot tapping, marker placing and nibbling frames away to get the perfect result. What if there was an easier and more flexible way? FCP Audio has an interesting range of music products that uses 'Soundstacks' that build music in sections.
April 16, 2018, 03:38 AM
https://journaldunemonteuse.wordpress.com/2018/04/...
Hier soir j’ai été créditée sur le court-métrage Travelers comme « Cheffe monteuse ». J’invite toutes les « cheffes » à faire de même, c’est trop la classe ! Publicités
April 14, 2018, 04:27 PM
https://digitalfilms.wordpress.com/2018/04/14/viva...
As more and more folks get all of their information through internet sources, the running question is whether or not trade shows still have value. A show like the annual NAB (National Association of Broadcasters) Show in Las Vegas is both fun and grueling, typified by sensory overload and folks in business attire with sneakers. […]
April 14, 2018, 04:27 PM
http://saeditores.org/Novedades/Convocatoria-a-la-...
El Consejo Directivo de la Sociedad Argentina de Editores Audiovisuales Asociación Civil, SAE, convoca a los/as asociados/as a la Asamblea General Ordinaria que se celebrará el día sábado 21 de abril de 2018 a las 10:00 horas en el local sito en Juncal 2029 de la Ciudad Autónoma de Buenos Aires...
April 14, 2018, 04:27 PM
https://www.provideocoalition.com/aotc-rampage/
Editors Jim May, ACE and Bob Ducsay have worked together numerous times, including Deep Rising, The Mummy, and Van Helsing.
April 13, 2018, 05:04 AM
http://saeditores.org/Novedades/Mesa-en-el-20-BAFI...
El próximo domingo 15 de abril a las 18:00 hs., en el marco del Área Profesional del 20º BAFICI, se desarrollará la charla Edición y Cine independiente, organizada por la SAE en conjunto con EDA (Asociación Argentina de Editores Audiovisuales). Con la participación Lautaro Colace (SAE) y Lucía Torres (EDA), moderados por Mariano Saban (EDA), el evento tendrá lugar en la sala 9 del Village Recoleta, en Vicente López 2050, CABA, con entrada libre y gratuita.
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...
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