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

Clean Timeline vs Dirty Timeline in Video Editing

July 13, 2015, 09:25 AM

http://www.tvnewsstorytellers.com/clean-timeline-v...

“Hi everyone-I’m trying to tell my students that having a “clean” timeline when they edit is important and I’ve talked about why (organization=efficiency), but they seem to think that it doesn’t matter, because the audience doesn’t see the timeline. Can you editors out there help me make them understand this better?”

TOMORROWLAND: Votch Levi, VFX Supervisor

July 13, 2015, 09:25 AM

http://www.artofvfx.com/?p=12673

The team of Whiskytree talks about the creation of the wide shots of Tomorrowland city, the bioluminescent trees and the Paris launch sequence for TOMORROWLAND and their collaboration with Industrial Light & Magic.

How to Use CGI the Right Way

July 13, 2015, 04:57 AM

http://lightsfilmschool.com/blog/how-to-use-cgi-th...

Discover 2 of the most common reasons special effects fail in modern movies, as we explore the differences between digital and practical effects.

The Pixar Theory is Apparently, uh, Dead?

July 13, 2015, 04:57 AM

http://jonnegroni.com/2015/07/13/the-pixar-theory-...

A lot of people like to “debunk” The Pixar Theory, which is cool. I consider it flattering that people give it that much thought, and I always enjoy hearing differing opinions.

The Pixar Theory is Dead

July 13, 2015, 04:57 AM

http://moviepilot.com/posts/2015/07/11/the-pixar-t...

I just broke the Pixar Theory :) With two scenes from one movie, with characters from two films. Toy Story 2 and Bugs Life. Just like the theory uses throwaway gags to defend the theory I allowed myself to do the same.

Animal Logic looks to fill 300 roles

July 13, 2015, 04:56 AM

http://if.com.au/2015/07/13/article/Animal-Logic-l...

Visual effects and animation studio, Animal Logic is looking candidates for its new Vancouver animation studio due to open in late 2015.

Remember Inside Out?

July 13, 2015, 04:55 AM

http://animationanomaly.com/2015/07/12/remember-in...

Seems like ages ago that everyone was gushing over Pixar’s latest hit, doesn’t it?

How to Make a Video Look Like Film with SpeedGrade

July 12, 2015, 06:57 AM

https://www.aotg.com/how-to-make-a-video-look-like-film-with-speedgrade/

In this video tutorial you can learn how to use Direct Link to roundtrip your projects to SpeedGrade for comprehensive color grading and applying preset film stock and camera looks.

¿Son válidas todavía las reglas en la edición

July 12, 2015, 06:57 AM

http://www.editando.cl/2015/07/son-validas-todavia...

Editar es un proceso que ha progresado desde el corte y empalme físico de la película, como alguna vez nos lo contó el maestro Pedro Chaskel, a las infinitas

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