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
May 25, 2016, 09:17 AM
https://www.aotg.com/mastery-of-editing-requiem-for-a-dream/
The editing in Requiem for a Dream holds thematic and character relevance to the overall film, rather than just acting as a way to piece scenes together. Every quick-cut has a meaning, as does the split-screen sequences. In this video essay, I look at why editor Jay Rabinowitz and Darren Aronofsky compiled the film the way they did, and the effect it has on the audience.
May 25, 2016, 09:17 AM
http://bobbyowsinskiblog.com/2016/05/25/frequency-...
One of the best ways to make all the elements fit in a mix is by frequency juggling. That’s where you make sure that no two instruments are boosted at the same frequency so they never fight for attention in the mix. Here are 3 steps from the 3rd edition of my Mixing Engineer’s Handbook to make frequency juggling work for you, as well as a couple of excellent quotes from Jon Gass and Ed Seay, some of the very best mixers ever.
May 25, 2016, 09:17 AM
https://www.aotg.com/cosa-vfx-gotham-season-2/
The studio CoSA VFX offers us a new compilation of visual effects (enhanced by some breakdowns). On the program this time, the season 2 of the series Gotham , which evokes the young Bruce Wayne.
May 25, 2016, 09:16 AM
https://www.aotg.com/rampant-live-with-guest-walter-biscardi/
Rampant Live with Guest Walter Biscardi
May 25, 2016, 07:03 AM
https://www.aotg.com/grease-live-is-hopelessly-devoted-to-dpa/
d:screet 4061 Omnidirectional Microphones deliver cohesive sound during live televised musical
#audio#broadcast#live#dpa#microphones#grease liveMay 25, 2016, 05:01 AM
https://www.aotg.com/fcpx-in-under-5-min-titlemations-title-plugin/
In this episode of Final Cut Pro X in Under 5 Minutes, Mark Spencer Riffs on his new Titlemations plugin.
May 25, 2016, 05:01 AM
https://www.aotg.com/frames-within-frames-how-paintings-matter-in-movi/
Paintings are rarely included in a movie without having a purpose. Sometimes they point out the social status of a family or the historic period of the story. Sometimes they provide a kind of commentary on the main characters that reveals aspects of their personalities. In this montage we can see many examples of how a story can be set, and how hints are available for the curious who want to know more about the symbols hidden between the story and the paintings. A video essay by Candice Drouet.
May 25, 2016, 05:01 AM
http://www.cgmeetup.net/home/conan-cinematic-vfx-b...
Conan Cinematic vfx breakdown by BLÄCK.
May 25, 2016, 05:01 AM
http://www.3dvf.com/actualite-16814-bulletfx-4-un-...
AlphaVFX has two video previews of new physics engine for 3ds Max BulletFX 4 , whose launch date is not yet known.
May 25, 2016, 05:00 AM
http://photo.it-enquirer.com/2016/05/prores-encodi...
Shooting in ProRes or DNxHD has several benefits if you’re working with Final Cut Pro X or Avid Media Composer. Of course you can always encode or transcode from a different codec to either of these in post-production, but that costs time — which may be valuable.
Daniel George McDonald sits down to discuss creating the finale for Cheer Season 2.
Gordon sits down with the editorial team of The Black Lady Sketch Show to discuss their approach to ...
Gordon sits down with Philip to discuss his work with Tyler Perry and his latest film A Madea Homeco...
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