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
July 4, 2014, 04:19 AM
http://digitalfilms.wordpress.com/2014/07/04/cold-...
Jim Mickle started his career as a freelance editor in New York, working on commercials and corporate videos, like so many others. Bitten by the filmmaking bug, Mickle has gone on to successfully direct four indie feature films, including his latest, Cold in July. Like his previous film, We Are What We Are, both films […]
July 4, 2014, 04:18 AM
http://www.hollywoodreporter.com/news/germany-cuts...
BERLIN - Germany has again cut funding for its popular federal film tax incentive, reducing the budget for the Federal Film Fund, or DFFF by around $14 million to $68 million (€50 million) for next year.
July 3, 2014, 09:42 AM
http://www.icgmagazine.com/web/?p=3824
American Cinema Editors (ACE) Lifetime Career Achievement Award–winning Joel Cox began his career in 1969 working on a trio of diverse films. He was assistant editor on Sam Peckinpah’s The Wild Bunch and Francis Ford Coppola’s The Rain People and a sound assistant on Gordon Parks’ The Learning Tree.
July 3, 2014, 09:42 AM
http://www.asoundeffect.com/designing-the-sound-of...
Tom Ashbrook speaks with Megan Garber, staff writer at The Atlantic, about how the digital tools we have available are being used to sculpt, engineer and transform many of the sounds that surround us – and how it’s changing our fundamental relationship with sound...
July 3, 2014, 09:42 AM
http://www.artofvfx.com/?p=8198
Daniel Kramer began his career in visual effects there are more than 22 years. He worked at VisionArt on films like INDEPENDENCE DAY or GODZILLA. He joined Sony Pictures Imageworks in 2000 to work on SPIDER-MAN. He worked also on many projects such as THE POLAR EXPRESS, WATCHMEN or HOTEL TRANSYLVANIA.
July 3, 2014, 09:42 AM
http://www.hollywoodreporter.com/news/german-vfx-g...
The visual effects contributor to HBO's Game of Thrones is to occupy a newly renovated building at Revival 629, the former Toronto Film Studios site on Eastern Avenue in downtown Toronto.
July 2, 2014, 05:51 PM
http://designingsound.org/2014/07/silence-at-work/
For the past few years I have been bothered about the amount of time I spend on a job — not specifically about how busy I am, but rather how much time I spend concentrating on the task that needs getting done. By default, most of us learn to constantly optimise our workflows as our experience grows. This is very important, as successful projects are judged not only on their quality but also budgets! But most of us also have the task of being creative collaborators while working long hours. Not...
July 2, 2014, 01:28 PM
http://www.hurlbutvisuals.com/blog/2014/07/part-2-...
I know all of you do not have large budgets. This is why I try and help you get your creation looking its very best at a reasonable price tag. When shooting a movie, I always have to match different lenses to some extent. On Need for Speed, I was using Cooke S4 Primes, Canon Cinema Zooms, Canon Lightweight Zooms, Zeiss ZE, Canon L Series, Leica Rs, Canon CP and GoPro’s cheap plastic lens.
July 2, 2014, 10:27 AM
http://www.artofvfx.com/?p=8244
Margaux Durand-Rival began her career in visual effects in 2008 at Sabotage Studio in Paris and then at Digital District. She worked on various commercials and music videos. In 2011, she joined The Third Floor in London and participated in previz many films like THE AMAZING SPIDER-MAN 2, MALEFICENT or EDGE OF TOMORROW.
July 2, 2014, 04:41 AM
http://www.redsharknews.com/technology/item/1811-w...
Weta Digital is at it again! This time, the red-hot VFX house is inventing new ways to overrun the Earth with primates, as evidenced by an illuminating behind the scenes featurette for Dawn of the Planet of the Apes. Weta DigitalPeter JacksonRichard TaylorMatt ReevesDawn of the Planet of the ApesMotion Capture3D cameraVFXCGIJamie Selkirk
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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