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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

Download Free 4K Anamorphic Lens Flares

October 20, 2016, 03:56 AM

http://jonnyelwyn.co.uk/film-and-video-editing/dow...

Grab some free 4K anamorphic lens flares to add a little professional polish to your next project and check out some high quality lens flare packs and plugins too! Plus learn how to customise and track in your flares...

#lens flares#free lens flares#4k anamorphic lens flares#lens flare plugins#lens flare compositing
How to Make AE Faster With Proxies

October 19, 2016, 02:43 PM

https://www.rocketstock.com/blog/after-effects-mad...

Adobe’s After Effects is a powerful program. Its capabilities to work with 3D motion, hundreds of layers, and 4K footage means that it needs a powerful computer to process the data for everything it’s trying to do. Not everyone has the luxury of working on the most recent top-of-the-line machines. However, there are ways to work within the program to make it faster and more efficient.

What resolution should I master my DCP in?

October 19, 2016, 01:53 PM

https://thedcpmaster.com/2k-4k-dcp-resolution/

Wondering if you should master in 2K or 4K? The DCP specification has two official resolutions: “2K” and “4K”. The majority of films shown in theatres currently are in 2K. In most cases you should create your DCP to match the resolution of the master version of your film. 2K will be your likely best bet if the file (or videotape) source image is 2048 x 1080 (or less). 4K will be a better option for any native size higher than that.

#dcp#4k#2k#kdm#encryption
Creating a Real Film Look with FilmConvert Plugin

October 19, 2016, 07:25 AM

http://jonnyelwyn.co.uk/film-and-video-editing/cre...

Learn how to give your footage that real film look thanks to FilmConvert's easy to use plugin, that works inside your NLE of choice in this detailed review.

#film grain#colour grading#film look#film convert#plugin review
Elle: How Verhoeven Cut the Complex Rape Thriller

October 19, 2016, 05:20 AM

http://www.indiewire.com/2016/10/paul-verhoeven-el...

With Cannes and New York Film Festival entry “Elle,” Paul Verhoeven’s first French-language film (and France’s foreign-language Oscar submission), the director combines his fascination with sex and violence in a throwback to his early Dutch period. Thus the rape revenge thriller (Sony Pictures Classics, November 16) is more character-driven than “Basic Instinct,” yet has wry humor like “RoboCop."

How the Coen Brothers Edit for Dialog Scenes

October 17, 2016, 06:36 PM

http://nofilmschool.com/2016/02/how-pull-off-coen-...

Because, you know, someone putting a guy through a wood chipper is not actually funny, but for some damn reason when the Coens do it — with that stupid leg hanging out — it's comedic genius! Well, there is a method to their madness, namely in how they shoot dialog. Their approach to filming these classic shot/reverse shot sequences is explained in this video essay by Tony Zhou, from which we've highlighted the 5 things that the directors do to create that carnivalesque, "I'm terrified, but I...

The death of Post-Production

October 17, 2016, 09:23 AM

https://www.fxguide.com/quicktakes/the-death-of-po...

When fxguide was established there were two mainstays of our industry in Australia, as there were in many other countries. Broadcast and post-production were the cornerstones of our industry. At NAB these were the two camps that brought major equipment and employed the most staff. In Sydney there were three major post houses and three big commercial TV networks.

Director-Editor Collaboration Shapes Deepwater Hor

October 14, 2016, 09:13 AM

http://variety.com/2016/artisans/production/peter-...

Director Peter Berg and editor Colby Parker Jr. create movies in that same collaborative manner. The just-released “Deepwater Horizon” is their seventh consecutive film together.

Trump's Editors say his raw footage was "a disaste

October 14, 2016, 05:15 AM

http://www.dailykos.com/story/2016/10/13/1581452/-...

CineMontage Magazine (the journal of the union representing Motion Picture Editors) published interviews with the TV editors who worked on the original seasons on the NBC show The Apprentice (2004-07) reported that the image of its star, Donald Trump, was carefully crafted and manufactured in post-production to feature a persona of success, leadership and glamour, despite the raw footage of the reality star that was often “a disaster.”

How AI was used to Edit a Trailer for Thriller

October 13, 2016, 12:29 PM

http://nofilmschool.com/2016/10/ibm-watson-edits-m...

There's an old story about Fellini that, when asked why there wasn't a great film school in Italy to train the next generation of filmmakers, he responded, "Are you mad? We should be stabbing them in their cribs! They'll take all of our jobs!" Today, the Italian auteur would be unplugging computers and taking a hammer to hard drives, since for the first time at the studio level, artificial intelligence has been involved in editorial decision making.

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