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

How to Key Green Screen Footage in FCPX

January 24, 2020, 02:11 PM

https://www.premiumbeat.com/blog/green-screen-fina...

As NLEs have become more user-friendly over the years, green screen technology has become more accessible to everyday content creators. You don’t need a studio or a big editing rig to get it done. For most programs, it only takes a few clicks to get the desired effect. In this walkthrough, we’re going to show you how to chroma-key a green screen in Final Cut Pro X.

CAS Nominees Illustrate Wide Range of Genres

January 24, 2020, 02:10 PM

https://variety.com/2020/film/spotlight/oscar-cine...

There’s an exceptional level of craftsmanship among this year’s nominees for the Cinema Audio Society Awards, which recognizes outstanding accomplishments in sound mixing, a collaborative discipline that requires sound editors, re-recording mixers, Foley and ADR artistry to work together to create a harmonious finished product.

Adobe software used by 82% of Sundance Festival fi

January 24, 2020, 02:10 PM

https://futurefive.com.au/story/adobe-software-use...

Adobe is continuing its dominance in the film editing business, as an official survey of films appearing at the Sundance Film Festival finds Premiere Pro is the preferred editing software of the majority of the movies, with 56% of the films using the programme.

Sundance 2020: The Importance Of Editing In “Boy

January 24, 2020, 02:10 PM

https://www.hdvideopro.com/blog/sundance-2020-the-...

With the Sundance Film Festival 2020 opening today, we decided to take a closer look at the “Boys State” screening in the U.S. Documentary Competition, a work that promises to be a political, coming-of-age film examining the well being of the American democracy. The documentary covers an unusual trial: The gathering of a thousand 17-year-old boys in Texas who band together to build a representative government from the ground up. Produced and directed by Jesse Moss and Amanda McBaine, “Boy...

Sheena Duggal on 'Contact's' memorable mirror mome

January 23, 2020, 07:49 PM

https://beforesandafters.com/2020/01/24/sheena-dug...

At the VES Awards in Los Angeles in late January, one of those to be honored at the event will be visual effects supervisor Sheena Duggal.

Sundance Institute and Adobe create a new Women-fo

January 23, 2020, 07:49 PM

https://www.provideocoalition.com/sundance-institu...

The new Women at Sundance | Adobe Fellowship aims to help female filmmakers launch successful and sustainable careers, through a cash grant and participation in a Sundance Institute Lab or Program.

TERMINATOR - DARK FATE: Jeff White, David Seager,

January 23, 2020, 07:49 PM

https://www.artofvfx.com/terminator-dark-fate-jeff...

David Seager began his career in visual effects in the late 1990s. He worked in many studios such as Sony Pictures Imageworks, MPC and joined ILM in 2017. He has taken care of the effects for many films such as WATCHMEN, MALEFICENT, FURIOUS SEVEN and ALADDIN.

Automated character FX on 'Peter Rabbit'

January 23, 2020, 07:48 PM

https://beforesandafters.com/2020/01/24/automated-...

This SideFX interview with Animal Logic’s Adam Katz details how the studio built and automated their Character FX pipeline for Peter Rabbit, including where Houdini Digital Assets came into play.

1917's VFX Supervisor on Creating Immersion

January 23, 2020, 07:48 PM

https://www.motionpictures.org/2020/01/1917s-oscar...

“I think what’s really kind of interesting is all the movies this year are using visual effects for widely different reasons,” notes 1917’s Oscar and VES-nominated visual effects supervisor, Guillaume Rocheron. And in an Academy FX slate that ranges from Avengers: Endgame to The Irishman, he has a point.

Major new collaborative tools feature in Premiere

January 23, 2020, 07:48 PM

https://www.redsharknews.com/post/item/6935-major-...

Productions is a panel which provides a toolset to manage projects, share assets, and organize these assets in either a collaborative or solo production environment.

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