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
March 3, 2018, 08:25 AM
https://www.aotg.com/dunkirk-the-editing-of-the-snowball-effect/
For Christopher Nolan, suspense is the most visual of the cinematic languages and through structure and editing, he takes it to new heights.
March 3, 2018, 08:25 AM
https://www.aotg.com/we-got-the-button/
I don't do this often, and this doesn't happen often, but I want to share with you the Button Unboxing and say thank you to you.
March 2, 2018, 05:25 AM
https://www.aotg.com/the-kuleshov-effect/
There's something cathartic about drilling all the way down to the fundamentals. Not just the basic techniques, but the actual fundamentals, the bedrock of how something even functions in the first place, the reason why a series of edits can be used to tell a story rather than simply turning into abstract mush. It's also surprisingly challenging, like explaining what hands are.
March 2, 2018, 05:25 AM
https://www.aotg.com/paddington-2-vfx-breakdown-2/
Have a look at this cool VFX breakdown by Framestore about their work on PADDINGTON 2...
March 1, 2018, 01:14 PM
http://postperspective.com/video-fotokem-di-colori...
Last month, Blackmagic held its first Expo, and one of its keynote speakers was Fotokem colorist Walter Volpatto. We were lucky enough to get some quality time with Volpatto, asking him about his recent high-profile color work on Star Wars: The Last Jedi, how he got started as a colorist and more. Continue reading → March 1, 2018 The post Video: Fotokem DI colorist Walter Volpatto on The Last Jedi and color appeared first on Randi Altman's postPerspective.
March 1, 2018, 10:39 AM
https://www.aotg.com/editor-sam-pollard-on-cutting-and-re-cutting/
His first assignment as a documentary producer came in 1989 for Henry Hampton's Blackside production "Eyes On The Prize II: America at the Racial Crossroads." For one of his episodes in this series, he received an Emmy.
February 28, 2018, 10:26 AM
http://www.slashfilm.com/star-wars-the-last-jedi-v...
Most of the hype for the Oscars, as usual, surrounds the nominees for Best Picture, Best Director, Best Actor and Best Actress, but the technical awards deserve some attention too. Case in point: Industrial Light and Magic has been showing off all the hard work they put into Star Wars: The Last Jedi with its impressive array of visual effects.
February 28, 2018, 06:09 AM
https://www.aotg.com/norman-hollyn-favorite-media-composer-feature/
Norman Hollyn has been described as a “media expert,” a reference to his experience in both the old and new media worlds. He is a long-time film, television and music editor (Heathers, The Cotton Club, and Oliver Stone’s Wild Palms) who is an Associate Professor and Head of the Editing Track in the University of Southern California’s School of Cinematic Arts. He has also worked extensively in entertainment and media Internet development for large entertainment companies and schools....
February 28, 2018, 06:09 AM
https://www.aotg.com/norman-hollyn-advice-for-aspiring-editors/
Norman Hollyn has been described as a “media expert,” a reference to his experience in both the old and new media worlds. He is a long-time film, television and music editor (Heathers, The Cotton Club, and Oliver Stone’s Wild Palms) who is an Associate Professor and Head of the Editing Track in the University of Southern California’s School of Cinematic Arts. He has also worked extensively in entertainment and media Internet development for large entertainment companies and schools....
February 28, 2018, 06:08 AM
http://www.artofvfx.com/dua-lipa-idgaf-making-of-b...
Glassworks have released this making of about their work on this music video of DUA LIPA...
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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