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

Film Score by Steven Price wins BAFTA

February 18, 2014, 10:48 AM

http://www.classical-music.com/news/gravity-compos...

Steven Price has won the Bafta for Best Original Music at the 2014 British Academy of Film and Television Awards.

"Physiquement, intellectuellement et émotionnelle

February 18, 2014, 05:41 AM

http://journaldunemonteuse.wordpress.com/2014/02/1...

"Le premier montage dépasse en général de trente minutes la version définitive. Il me faut alors quatre à six semaines pour arriver au film définitif. La plus grande partie de ce temps consiste à travailler sur le rythme du film … Lire la suite →

K-PAX: An alien film without special effects

February 18, 2014, 05:41 AM

http://www.redsharknews.com/production/item/1474-k...

One of the best films we know was shot in analogue and has very few special effects KPAXKevin SpaceyCinematography

Butch Cassidy and the Sundance Kid (1969)

February 18, 2014, 05:41 AM

http://feedproxy.google.com/~r/artofthetitle_rss/~...

“Well, the way I figure it, we can either fight or give.” — Butch Cassidy “Most of what follows is true.”As the sepia-toned newsreel acts out the story of real-life bank robbers Butch Cassidy and the Sundance Kid, we already feel the nostalgic hush of a legend long gone.At times, a title sequence outshines the film that follows, at others, it’s a missed ...

Kristina Hetherington: Big Questions

February 18, 2014, 05:40 AM

https://www.aotg.com/kristina-hetherington-big-questions/

The editor of Mo, Birdsong and Parade's End talks about pestering the BFI for a job when she was a teenager, and how Dennis Potter's seminal TV series The Si...

Rush editors Daniel P. Hanley, Mike Hill (via Skyp

February 18, 2014, 05:40 AM

https://www.aotg.com/rush-editors-daniel-p-hanley-mike-hill-via-skyp/

They are Ron Howard's long-time editors, currently in London cutting Howard's next release, In The Heart of the Sea. They skyped in to talk about his last fi...

Interview: Composer Rolfe Kent on Giving Texture

February 18, 2014, 05:40 AM

http://moveablefest.com/moveable_fest/2014/02/rolf...

As soon as Jason Reitman began to work on an adaptation of the Joyce Maynard novel “Labor Day” about a most unusual of romantic weekends, he began to trade sound files with his frequent composer Rolfe Kent, all named after different levels of heat.

How Cinesite's VFX brought RoboCop's suit to life

February 18, 2014, 05:40 AM

http://www.digitalartsonline.co.uk/news/motion-gra...

The production VFX producer and supervisor on the film, Dean Write and James E. Price, enlisted the help of Cinesite VFX supervisor Simon Stanley-Clamp and his team to perfect RoboCop's suit.

MPC and ILM detail Lone Ranger's VFX

February 18, 2014, 05:39 AM

http://www.digitalartsonline.co.uk/news/motion-gra...

Despite the film being a flop, the visual effects have found acclaim. See how they were created.

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