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

Creating the look for Netflix’s The End of the F

April 17, 2018, 12:57 PM

http://postperspective.com/creating-look-netflixs-...

By Adrian Pennington Toby Tomkins co-founder of boutique studio Cheat explains how he worked with 8K rushes shot on Red to devise and execute the stylish look of Netflix’ hit dark comedy The End of the F***ing World. Content in 8K UHD won’t be transmitting or streaming its way to a screen anytime soon but the ultra-high resolution format is already making its mark in production. Continue reading → April 17, 2018 The post Creating the look for Netflix’s The End of the F***ing Worl...

Pro Tools: Track Presets for Audio Post – Embedd

April 17, 2018, 12:57 PM

http://www.avidblogs.com/track-presets-for-audio-p...

The article Pro Tools: Track Presets for Audio Post – Embedded Media by Daniel Lovell appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..

New Houdini Particle Effects Training by MaxDepth

April 17, 2018, 09:20 AM

http://lesterbanks.com/2018/04/houdini-particle-ef...

Tim Hanson’s New Nebula Workflow and Techniques Gets Users on Path to Mastering Houdini Particle Effects. Looking to learn more about Houdini and particle effects workflow? There is some good news in that area with

Cutting ‘Nothing to Lose’ — Brazil’s Most

April 17, 2018, 09:20 AM

http://www.avidblogs.com/cutting-nothing-lose-braz...

The article Cutting ‘Nothing to Lose’ — Brazil’s Most Ambitious Feature Film by Francisco Antunes appeared first on Avid Blogs - The media industry is changing fast. Get the insight you need to succeed—read Avid Blogs..

LOST IN SPACE: VFX Breakdown by Image Engine

April 17, 2018, 09:19 AM

http://www.artofvfx.com/lost-in-space-vfx-breakdow...

Did you like robots, spaceships and alien planet? Then be sure to watch this VFX breakdown by Image Engine about their work on LOST IN SPACE...

Software Encoding and Emerging Codecs

April 17, 2018, 09:19 AM

http://www.streamingmedia.com/Articles/ReadArticle...

At NAB, Jan Ozer met with about a dozen companies with stakes in HEVC and/or AV1. This is another in a series of video interviews he conducted with them.

*Cisne negro*, por Andrew Weisblum (ACE) - Primera

April 17, 2018, 05:11 AM

http://saeditores.org/Novedades/Cisne-negro-por-An...

Enfrentarse a una escena con seis o siete horas de material bruto, rodada de modo casi documental siguiendo improvisadamente a un gran grupo de bailarinas, y lograr encontrar el corazón, el elemento patrón que nos permita darle una organización y llegar a buen puerto frente a una situación tan compleja: es el caso que relata detalladamente Andrew Weisblum (ACE) acerca de la edición de Cisne negro (Darren Aronofsky, 2010), trabajo que le valió un Oscar de la Academia a la Mejor Edición.

8K. It's better, and it will catch on as quickly a

April 17, 2018, 05:11 AM

https://www.redsharknews.com/production/item/5426-...

If there is one thing RedShark Editor in Chief David Shapton took away from NAB 2018, it is a reinforcement that 8K really does have true benefits to our viewing experience, and it will become normal far faster than any of you think.

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