To The Aotg.com Community,

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

Oscars: VFX Noms Include Actual Explosions...

February 16, 2016, 10:12 AM

http://www.hollywoodreporter.com/behind-screen/osc...

VFX supervisors for 'Mad Max,' 'Star Wars' and more Oscar-nominated films share what it takes to keep it real. 'The Martian's' VFX supervisor, Richard Stammers, says of achieving an earthy approach: "We strive to make as much as we can real. The more you capture in-camera, they more it’s grounded in reality."

Keying and compositing in NukeX

February 16, 2016, 06:05 AM

http://www.provideocoalition.com/keying-and-compos...

You’ve seen it before: composited people with hair helmets. If you’ve done any keying yourself, you probably notice it all the time. And you’ve seen worse: webbed fingers, grey outlines, green, magenta or grey reflections on skin. How can you make your keys look as good as the ones in, say, Iron Man or Transformers?

Master Titles and Vectors : Discovering Titler Pro

February 16, 2016, 06:05 AM

http://tracking.feedpress.it/link/9766/2597557

Opening Titles in Titler Pro 4, OFX Support and EPS Imports Learn the basics of title creation in part 1 of the 4-part tutorial series on Titler Pro 4 from our VP of Products Travis White. In this introductory lesson, Travis goes over basic title creation, applying Open FX plugins and importing EPS vectors all inside of Titler Pro 4. See how simple it is to hit the ground running in Titler Pro 4. 

PREMIERE PRO – WEAPON OF CHOICE FOR DEADPOOL

February 15, 2016, 07:17 AM

http://lfhd.net/2016/02/15/premiere-pro-weapon-of-...

Adobe invited me to see DEADPOOL on the 20th Century Fox lot in the Zanuck Theater (Atmos sound system) on Saturday, February 13. Who am I to say no to a free movie on a studio lot? Oh, and by the way…DEADPOOL WAS EDITED WITH ADOBE PREMIERE CC!! In case you didn’t know. Hard not to, [...]

Opinion: What I hope not to see at NAB 2016

February 15, 2016, 07:16 AM

http://www.redsharknews.com/business/item/3240-opi...

It’s now two months to NAB and I’m going to tell you what I hope not to see there. NAB 2016Camerascamera developmenthypeproduct cycles

What’s new in the Premiere Pro CC 2015.2 Update

February 15, 2016, 07:16 AM

http://blogs.adobe.com/davtechtable/2016/02/whats-...

This update provides a number of bug fixes reported by users (these are listed below) that we’ve addressed (many thanks to those of your that submitted bug reports) . In addition to the bug fixes , we’ve also added a new Feature found under the “Wrench Menu” on the Program or Source Monitor that when you Toggle it on the new High Quality Playback setting can provide a smoother viewing experience, where playback better matches the image quality of frames when paused. High Quality pla...

VFX Podcast Episode 60 - Jami Jeffcoat

February 15, 2016, 07:16 AM

http://www.allanmckay.com/60/

Jami works at Bungie in Seattle, WA well known for Halo and Destiny among other high profile projects. This episode we dive into her role at Bungie on Destiny, as well as her experiences graduating from college and going into video games, and how she managed to literally walk into a job at Bungie and a lot of the key reasons behind that which I think is really fascinating. As well as sharing her own female perspective of working in the video game industry as well.

Look Into the Cut: Jessica Brillhart on Editing VR

February 15, 2016, 07:16 AM

http://filmmakermagazine.com/96090-look-into-the-c...

From classical Hollywood continuity editing to Eisensteinian montage, from the quick jump cuts of the French New Wave to the even more accelerated and spatially destabilized editing of the Hollywood blockbuster, filmmakers from the dawn of cinema have had to embrace, even if only on a subconscious level, some theory of editing. What, then, of today’s nascent medium of Virtual Reality (VR)?

This film editor kept Deadpool from flying off the

February 15, 2016, 07:15 AM

http://www.theverge.com/2016/2/13/10981366/deadpoo...

Deadpool is a pretty singular character in comics. He’s a mercenary who revels in over-the-top ultra-violence, but he loves chimichangas and breaking the fourth wall for comedic effect. He never shuts up, and being supernaturally self-aware gives him the ability to wink at the audience, letting them know that the rules governing good sense and even good storytelling don’t really apply to him. His ability to playfully subvert convention makes him stand out, but it’s also why a Deadpool movi...

BAFTA Film Awards: The Complete Winners List

February 15, 2016, 07:15 AM

http://www.thehollywoodnews.com/2016/02/15/bafta-f...

The stars were out in force in London last night for this year’s EE BAFTA Film Awards. We were there on the red carpet, and you can see our coverage at the end of the link above.

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