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
February 11, 2010, 08:53 AM
http://avidscreencast.com/2010/02/16-secondary-col...
Secondary color correction is applying one correction to the image as a whole, but a different correction to a specific portion of the image. This can be necessary in a lot of situations, mostly when you need a different treatment of skin tones compared to the rest of your image.
February 11, 2010, 08:52 AM
http://www.studiodaily.com/main/news/11872.html
After gaining Oscar attention for his work with director Alfonso Cuar??n on dystopian science-fiction drama Children of Men, Alex Rodr??guez worked on a couple of smaller projects before venturing into uncharted territory. After editing Gael Garc??a Bernal's directorial debut, Deficit, and the Bernal-starring Rudo y Cursi, Rodr??guez signed up for something completely different — Planet 51, a big-budget animated film produced in Madrid by Ilion Animation Studios, Handmade Films, and Antena 3.....
February 11, 2010, 08:52 AM
http://provideocoalition.com/index.php/ssimmons/st...
I posted this piece back in June 2008 after I had cleaned out a closet and found my old Highlander: Uncut editing package. It was cutting edge at the time but unfortunately this package is no longer for sale. Long before there was the opencut.org project, cheap digital camcorders and even Final Cut Pro there was always the question of where could you get footage for digital non-linear editing.
February 10, 2010, 08:49 AM
http://viewfromthecuttingroomfloor.wordpress.com/2...
Compared to many of the other Oscar categories, "Best Film Editing" is often a tough one to predict. With "Best Cinematography," "Best Art Direction," and "Best Costume Design," for instance, you can clearly see how each nominee demonstrated a mastery of their craft and set themselves apart from their peers. With editing, however, aptly called "The Invisible Art" of cinema, what’s been left out is just as important as what ends up in the final cut.
February 10, 2010, 08:49 AM
https://www.editorsguild.com/FromTheGuild.cfm?From...
For Oscar-nominated picture editors, 2009 may have been the year of the level playing field. Two lower-budgeted independent films––Neil Daniels’ Precious: Based on the Novel Push by Sapphire, edited by Joe Klotz, and Kathryn Bigelow’s The Hurt Locker, edited by Bob Murawski and Chris Innis––stand at opposite ends of the budget and conceptual spectrum from James Cameron’s lushly mounted and groudbreaking Avatar, edited by Cameron, A.C.E., Stephen Rivkin, A.C.E. and John Refoua, A.C....
February 9, 2010, 08:48 AM
http://ugliesttattoos.com/2010/02/09/funny-tattoos...
This may be a bad choice as it's a dead format already.
February 9, 2010, 08:47 AM
http://lfhd.net/2010/02/08/avid-online-of-fcp-offl...
OK, first I need to point out this old post from 2009. To summarize the part I want you to pay heed to, the HVR-1500 deck that I had SO MUCH trouble capturing with in FCP? Well, it is rock solid in Avid. Not one issue...not one slipped frame, not one dropped frame, not one reconnect issue. The Avid treats this like any old deck....or, NEW deck.
February 8, 2010, 08:47 AM
http://dylanreeve.com/videotv/2010/editors-swiss-a...
Most of us these days probably carry a USB stick with us pretty regularly, handy for getting files off client’s laptops and so forth, but it can also be your swiss army knife!
February 8, 2010, 08:46 AM
http://digitalfilms.wordpress.com/2010/02/07/codec...
Modern digital acquisition, post and distribution wouldn’t be possible without data rate reduction, AKA compression. People like to disparage compression, but I dare say that few folks...
February 8, 2010, 08:45 AM
http://provideocoalition.com/index.php/ssimmons/st...
With Apple’s announcement of the iPad there’s been tons of articles, tweets and blog posts about this upcoming piece of hardware. There’s also been tons of ink spilled about just how this little device could be useful in the filmmaking process as well, some right here on this site.
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.