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

VFX producer Fay Hancocks joins Outpost VFX

February 15, 2018, 10:48 AM

http://www.postmagazine.com/Press-Center/Daily-New...

BOURNEMOUTH, UK — Fay Hancocks has joined Outpost VFX as VFX producer, in charge of supporting the studio’s output across feature film, high-end TV and commercials. Previously working at MPC and Double Negative, Hancocks has produced VFX for major feature films, including Star Trek: Beyond, Total Recall and Harry Potter and the Deathly Hallows: Part 2. 

Working With Displacements in Redshift

February 15, 2018, 10:48 AM

http://lesterbanks.com/2018/02/working-displacemen...

Saul Espinosa Shows How to Work With Displacements in Redshift Maya Matte Painter/environmental Artist Saul Espinosa walks us through (in great detail), how to work with displacements in the Redshift plugin for Autodesk Maya. Creating

Decentrix at the 2018 NAB Show

February 15, 2018, 10:48 AM

http://www.broadcastbeat.com/decentrix-at-the-2018...

Decentrix Product Preview 2018 NAB Show April 7 – 12 in Las Vegas Booth SU13803 Decentrix at the 2018 NAB Show This year at the 2018 NAB Show, Decentrix will focus on the inseparable themes of revenue maximization and cross-media yield optimization across linear, digital, and content business models. Decentrix will showcase the next generation ...

The challenges of creating a shared storage ‘spe

February 15, 2018, 10:47 AM

http://postperspective.com/the-challenges-of-creat...

By James McKenna The specification — used in a bid, tender, RFQ or simply to provide vendors with a starting point — has been the source of frustration for many a sales engineer. Not because we wish that we could provide all the features that are listed, but because we can’t help but wonder what the author of those specs was thinking. Continue reading → February 14, 2018 The post The challenges of creating a shared storage ‘spec’ appeared first on Randi Altman's postPerspective.

Oscar Animated Films Feature Diverse Tools

February 15, 2018, 10:47 AM

http://variety.com/2018/film/awards/oscar-animated...

This year’s Academy Award nominees in the animated feature film category take audiences everywhere from Afghanistan to the mind of an infant desperately waging a war against puppies. Here are their stories...

Blade Runner Sound:A Dystopia Built From Scratch

February 15, 2018, 10:47 AM

http://www.indiewire.com/2018/02/blade-runner-2049...

Denis Villeneuve and his sound design team breakdown the hellish soundscape of BiBi’s Bar to show how Los Angeles evolved 32 years later.

Why Hitchcock Altered the Opening Sequence of 'Not

February 15, 2018, 10:47 AM

https://filmschoolrejects.com/hitchcock-altered-op...

You’d be hard-pressed to find a critic who does not count Alfred Hitchcock’s Notorious among the director’s best works. Francois Truffaut called it his favorite black-and-white Hitchcock film, saying that it is “the very quintessence of Hitchcock.”

Happy Valentine's Day VFX Breakdown

February 15, 2018, 10:40 AM

http://www.cgmeetup.net/home/happy-valentines-day-...

VFX breakdown of the award-winning CGI short film “Happy Valentine’s Day” by Neymarc Visuals...

VÍDEO: Reducción de ruido con DaVinci Resolve St

February 15, 2018, 07:09 AM

http://www.finalcutpro.es/2018/02/video-reduccion-...

El ruido de imagen es todo aquello que aparece en nuestras grabaciones de forma indeseada. En los últimos años la tecnología para su atenuación en posproducción ha mejorado mucho. Uno de los programas más avanzados para el tratamiento del ruido es DaVinci Resolve Studio. Es decir, la versión de pago del popular software de Blackmagic [...] La entrada VÍDEO: Reducción de ruido con DaVinci Resolve Studio aparece primero en finalcutpro.es.

Pro Tools 2018 Mix Window

February 15, 2018, 07:08 AM

https://www.pro-tools-expert.com/home-page/2018/2/...

Avid introduced a new EQ curve display in the recent release of Pro Tools 2018.1. Pro Tools 2018 also got the long-awaited track preset feature which enables users to quickly save and recall many wonderful Pro Tools things such as plug-in chains. The track preset feature can be accessed in either the Mix or Edit window, the EQ curve display though can only be viewed within the mix window.

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