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 10, 2014, 05:44 AM
http://www.stevenbenedict.ie/2014/02/gravity/
When The Bourne Ultimatum won the Oscar for Best Editing in 2007, it became the film was the most rapid cutting ever to receive the award in the history of the Academy (its average shot length was 2.1 seconds). By contrast, the winner of the Palme d’Or at Cannes that same year, 4 Months, 3 Weeks and 2 Days had an average shot length of 90 seconds. The first film is an intense and relentlessly paced action picture while the second is an intense and carefully paced drama, which might suggest tha...
February 10, 2014, 05:42 AM
http://digitalcinemacafe.com/2014/02/10/fcg019-i-c...
Spacial Conform, Multicam and Editorial Peer Pressure, just part of what we discuss with Kes Akalaonu, the NLE Ninja. Kes is a Chicago based, editor, podcaster and YouTube tutorial ninja and always has unique, fresh insight on the editorial world. Recently I caught wind that he was embracing the X and thought it was time to have in on “The Grill”.
February 7, 2014, 06:01 AM
http://digitalcinemacafe.com/2014/02/07/fcg019-all...
4 MacPro’s in a workgroup all running FCPX. So you say it can’t be done? Tony Gallardo walks us thru the thought process and some of the particulars of how they are moving their 4 suite facility from older Mac Pros all running FCP7 up to a much more modern 2013 MacPro environment all running FCPX and what it took to convince their staff of editors that this was, indeed, the way to go. Tony is forward thinking and you’ll see why by the end of this chat.
February 6, 2014, 05:52 AM
http://www.trackmattemoment.com/?p=118
Field production can be tough: managing shoots, carrying heavy equipment, getting covered in thick spider webs. Uhm, what? Yeah, I think I’ll stay in my edit suite. In this very educational Track Matte Moment, Tim Wilson tells the tale of a very eventful day spent in the Everglades in the 90s when he was still [...]
February 6, 2014, 05:52 AM
http://www.pro-tools-expert.com/home-page/2014/2/6...
In my recent article Seven Things To Think About Before Starting A Music Technology Course I offered some food for thought about courses in general. As a follow up I interviewed Chris Pawlusek, a recent graduate from LIPA. I asked him about his experiences of formal training and his thoughts on the value of education versus experience.
February 5, 2014, 05:44 AM
http://digitalcinemacafe.com/2014/02/05/dcc039/
Beautiful images, compelling story, and respectful collaboration. All the ingredients for success. This is not the first time Julien King and Cassidy Gearhart have collaborated and it shows. In this episode we take an in-depth look at the short documentary “The Real Thing” and break it down from the eyes of the Producer/DP and the Editor.
February 4, 2014, 08:17 PM
http://thatpostshow.com/thatpostshow/dan-allen.htm...
On this episode of That Post Show, Kanen sits down with Dan Allen to talk about running his YouTube channel, independent no-budget filmmaking, and Final Cut Pro X including the recent 10.1 update.
February 4, 2014, 11:30 AM
http://www.pro-tools-expert.com/home-page/2014/2/4...
Russ, Mike, Neil and James bring you another packed show of talking points, tips, tricks and questions answered.
January 31, 2014, 01:38 PM
http://www.ropeofsilicon.com/podcast-an-oscar-nomi...
It's the Friday before the Super Bowl and while most of the conversation this week is Super Bowl related we still have some movie stuff to chatter about for around 100 minutes including a review of That Awkward Moment where we're joined by Kevin Jagernauth from The Playlist. Then we discuss the story of the Academy rescinding the nomination for "Alone Yet Not Alone" and Oscar lobbying in general, play some games, answer some questions and discuss a change coming to the podcast later this year.
January 31, 2014, 05:23 AM
http://digitalcinemacafe.com/2014/01/31/fcg018-wel...
So you think the “Share Menu” is amateur? You haven’t taken a close look at Auditions? Michael Garber, from the Garber Shop and I take a close look at these features in Final Cut Pro X and somehow we talk about the Videonics MX Pro and Peabody and his Boy Sherman, along the way. Are we dating ourselves?
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.