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

‘Gravity’ VFX Supervisor Tim Webber Interview

December 30, 2013, 06:20 PM

http://www.studiosystemnews.com/awards-spotlight-g...

Whatever you may think of Gravity, the one undeniable thing about the film is just how stunning its visuals are. Never before has a movie so brilliantly captured the realities of space, putting the audience right next to Sandra Bullock’s lone astronaut as she struggles for survival.

Brent Burge on Editing the Sounds of Beorns

December 30, 2013, 04:36 PM

http://www.studiosystemnews.com/awards-spotlight-t...

Brent Burge has been in the film industry for close to three decades, and in that time he’s worked in the sound department on dozens of projects. He hooked up with Peter Jackson in the mid-‘90s and has worked with the Kiwi auteur ever since, on the Lord of the Rings trilogy, King Kong, Lovely Bones, and now on a pair of Hobbit films. With his work as supervising sound editor on Desolation of Smaug, he hopes to garner his first Oscar nomination.

Five days of 'Her': Editing Samantha in (and out)

December 30, 2013, 04:36 PM

http://www.latimes.com/entertainment/movies/movies...

As smoothly as it plays on the screen, making “Her” was hardly an easy feat. As our interviews with the Spike Jonze film’s costume designer, production designer, cinematographer and assistant director over the past week suggest, there were conscious efforts to avoid so much of what came in previous futurist movies...

Meet The Sound Supervisor/Sound Designer: Scott Ge

December 30, 2013, 04:35 PM

http://postperspective.com/2013/12/meet-the-sound-...

NAME: Scott Gershin COMPANY: Formosa Group, Formosa Interactive (www.formosagroup.com) CAN YOU DESCRIBE YOUR COMPANY? A consortium of veteran audio post production specialists who work in the movie, game industry. WHAT’S YOUR JOB TITLE? I am a sound supervisor/sound designer for feature films, and executive creative director of Formosa Interactive. WHAT DOES THAT ENTAIL? I work […]

The Mouse Expands

December 30, 2013, 04:33 PM

http://animationguildblog.blogspot.ca/2013/12/the-...

Consumer demand for entertainment and media (E&M) services is projected to grow 5.6% annually over the next five years, to $2.2 trillion by 2017. Digital entertainment will be among the fastest growing media with growth rates of 11.9%. By region, there are eight markets of China, Brazil, India, Russia, Middle East and North Africa, Mexico, Indonesia, and Argentina that are projected to see the most growth, with their share rising from 12% in 2008 to 22% of the global E&M market by 2017.

AE - 20 Years of Innovation

December 30, 2013, 09:49 AM

http://blogs.adobe.com/jnack/2013/12/after-effects...

The chance to work with the After Effects team is among the things that drew me to work at Adobe. Here’s a look at the folks whose work has helped define motion graphics and who keep breaking new ground:

Understanding Parent Constraints - Maya

December 30, 2013, 09:49 AM

http://lesterbanks.com/2013/12/maya-understanding-...

Parent Constraints in Maya are relatively simple, but it always does some good to completely understand what is going on under the hood, as there may be times when the Parent Constraint will do things that you don’t necessarily want when rigging. As an example, the parent constraint can add another parent constraint node to alread constraint objects, and this might complicate your rigs a bit.

5 resolutions for a better digital life

December 30, 2013, 09:49 AM

http://www.macworld.com/article/2083258/5-resoluti...

This year, resolve to keep these five key resolutions. Do so and your data is safer, creeps won't use your credit cards, and you won't be a jerk.

Your Choices for 2013's Best in Post Production

December 30, 2013, 05:45 AM

http://www.aotg.com/index.php?page=2013review

We asked our social media groups for what they felt were the best films for Editing, VFX, Sound, and Color. We had many suggestions for Gravity in all categories, and a major discussion that almost came to blows over The Wolf of Wall Street, but we've collected what everyone has suggested...

The Sound Of 'Inside Llewyn Davis'

December 30, 2013, 05:41 AM

https://www.aotg.com/the-sound-of-inside-llewyn-davis/

In this video, directors Joel and Ethan Coen explain how their collaboration with T Bone Burnett created a musical sound that was as important as dialogue in capturing the early ’60s folk music scene in Inside Llewyn Davis. Here, they explain how they and Oscar Isaac pulled it off in the CBS Films release. I had the opportunity to moderate a panel in Deadline’s Contenders Event last month.

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