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 14, 2015, 04:15 PM
http://www.awn.com/news/british-animator-david-and...
British animator and filmmaker completed the BAFTA-winning 14-minute adaptation of H.R. Millar’s 1927 book, 'Dreamland Express,' in 1982.
May 14, 2015, 01:17 PM
http://www.premiumbeat.com/blog/audio-tips-for-dsl...
Treating audio as an afterthought is a huge mistake. Up your sound game with these audio tips for DSLR filmmakers!
May 14, 2015, 01:15 PM
http://cgi.tutsplus.com/tutorials/after-effects-wa...
Jump cuts in interviews can be difficult to work with due to the gaps that are left behind in the video footage. This tutorial illustrates a technique using After Effects to help smooth out jump cuts.
May 14, 2015, 01:14 PM
https://www.aotg.com/flanders-scientific-inc-am250/
FSI AM250 24.5" OLED Broadcast Monitor Overview
May 14, 2015, 01:14 PM
http://lesterbanks.com/2015/05/animate-a-crack-eff...
Learn how to use the SOuP nodes in Maya to create and animate a crack or shatter effect procedurally
May 14, 2015, 09:30 AM
http://www.aotg.com/index.php?page=getting_started...
We sat down for a chat with Misha Tenenbaum, owner of Editstock.com, a tool for students and young editors to develop their editorial skills. Misha is also an assistant editor in Los Angeles, for projects like American Horror Story, Wayward Pines, and Jobs. Misha joined us to discuss some key ideas and strategies for starting a successful career in the film business.
May 14, 2015, 09:29 AM
http://www.creativitypost.com/psychology/the_creat...
The Creative Life is full of new possibilities, discoveries, exploration, experimentation, self-expression, and invention. It’s a habit, a way of being, a style of existing. But is the Creative Life full of well-being?
May 14, 2015, 09:28 AM
http://www.3dtotal.com/index_interviews_detailed.p...
Having worked as an artist at ILM on Ang Lee's Hulk (2003), Visual Effects Supervisor Christopher Townsend (Iron Man 3) relished the opportunity to get "another crack at the big green guy” with Avengers: Age of Ultron (2015) helmed by Joss Whedon.
May 14, 2015, 09:28 AM
http://www.btlnews.com/crafts/post-production/nice...
Nice Shoes has installed its Remote Color system at Optimus’ location in Santa Monica. The technology features both a secure HD feed and a display calibrated by the studio’s engineers to match exactly with the monitors in New York. Clients and colorists can see each other through an additional monitor, allowing them to collaborate efficiently. The system runs in real time, with no delay between New York, Chicago and Santa Monica, making it feel as though everyone is working together in t...
May 14, 2015, 09:28 AM
http://www.btlnews.com/awards/emmy-watch-editor-lu...
The pilot for American Crime was editor Luyen Vu’s first experience working with Oscar-winning writer and executive producer, John Ridley (12 Years a Slave), who also directed the opener. The pair met a couple of times to discuss the project and Vu was shown the feature that Ridley made right before taking on the pilot, which had an editorial style that Ridley liked.
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...
© 2007-2026 www.aotg.com Ver. 3.0 All Content created and posted by Art of the Guillotine users Art of the Guillotine graphics, logos, designs, page headers, button icons, scripts, and other service names are the trademarks of Art of the Guillotine Inc. Use of this material outside of this site is strictly prohibited.