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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

Apple's secrecy is frustrating Mac Pro customers

March 11, 2013, 05:18 PM

http://news.cnet.com/8301-13579_3-57573597-37/why-...

It's not exactly a revelation to say Apple executives are fond of secrets. While that sense of mystery may work marketing magic with consumers, many Mac Pro customers in the professional world would very much appreciate it if Apple would cut it out with the cloak-and-dagger stuff.

A Colour Grading Round Up For Virgins & Veterans

March 11, 2013, 03:05 PM

http://jonnyelwyn.co.uk/avid/a-colour-grading-roun...

Whether you're totally new to colour grading, or have several decades under your belt this round up of tips, tricks and insider opinions should help you improve your craft.

Danny Boyle Talks About Tech's Disruption

March 11, 2013, 09:51 AM

http://www.fastcompany.com/3006840/sxsw/sxsw-danny...

Will we be remixing and re-editing film classics ourselves in the future? The Slumdog Millionaire director thinks there's a distinct possibility. Danny Boyle, the Oscar-winning Brit whose last triumph was building Industrial Revolution-era chimneys inside a 21st-century sports stadium, popped up at SXSW this weekend. Enjoying a chinwag with Mashable, he talked up the use of technology in movies.

Killing Your Darlings in the Editing Room

March 11, 2013, 08:02 AM

http://www.moviemaker.com/articles-how-they-did-it...

I never intended to edit my own films. My “day job” is editing PSAs and corporate videos, so when it came time to direct my first feature, Easier with Practice, I realized I didn’t really know any editors—nor did I have the money to hire one. So I decided to edit it myself. Having no desire to be a multi-hyphenate, I edited it under a pseudonym: Fernando Collins.

A FCPX/RED Feature Film Workflow, Part 1

March 10, 2013, 05:32 PM

http://wemakemovies.org/2013/03/final-cut-pro-xred...

It’s literally shocking that a product from Apple happens to be the best kept secret in post. Pretty much everyone I come across is dumbfounded when I tell them that Final Cut Pro X (FCP X) is my non-linear editing platform of choice. And to be honest, I half feel like I shouldn’t be writing this article. Why? Well, part of me selfishly wants to keep this workflow to myself so I can keep my competitive advantage. Part of me wants to keep delivering projects in half the time I used to, but st...

How Attack Of The Phantom Made Eps. II Watchable

March 10, 2013, 08:39 AM

http://whatculture.com/film/star-wars-how-attack-o...

Star Wars is no stranger to the spectre of a phantom editor – most will know the tale of how Star Wars: A New Hope was “saved in editing,” not by George Lucas, but by John Jympson. This version of Star Wars (dubbed the “Lost Cut”) was a complete disaster: according to an article in Star Wars Insider #41 by David West Reynolds, it contains about 30-40% different footage from the final version, and to this day the Lost Cut has been seen by very few eyes. Within it, there are scenes that ...

Will Accounting Woes at Avid Spark Big Changes

March 10, 2013, 08:37 AM

http://nycppnews.com/2013/03/will-accounting-woes-...

What’s happening with Avid? Will it fail or be bought? I came across a thoughtful article addressing these and other aspects of Avid’s latest financial crisis, posted on the blog portion of Screenlight’s site. Chris Potter wrote it; he’s a principal in this Toronto-based company that allows realtime video viewing, sharing, and feedback.

Editors Guild Magazine covers my event with Andrew

March 9, 2013, 07:04 PM

https://www.editorsguild.com/FromTheGuild.cfm?From...

A rainy, windblown night this past February didn't stop a mix of editors, students, and assorted wannabes from packing the auditorium of Manhattan's French Institute. The evening was the first 2013 presentation of Bobbie O'Steen's “Inside the Cutting Room” interview series with special guest Andrew Weisblum, A.C.E. Manhattan Edit Workshop's president Josh Apter took the stage to introduce the evening.

ANDREW WEISBLUM: THE VERSATILE EDITOR

March 9, 2013, 11:21 AM

https://www.editorsguild.com/FromTheGuild.cfm?From...

A rainy, windblown night this past February didn't stop a mix of editors, students, and assorted wannabes from packing the auditorium of Manhattan's French Institute. The evening was the first 2013 presentation of Bobbie O'Steen's “Inside the Cutting Room” interview series with special guest Andrew Weisblum, A.C.E. Manhattan Edit Workshop's president Josh Apter took the stage to introduce the evening.

Colors that fade

March 9, 2013, 11:20 AM

http://icolorist.com/colors-that-fade/

Now that DI has really taken off and the cost of owning a system has fallen sharply, the number of working colorists has grown just as dramatically. This boom in color grading may also have caused significant changes to the perception of images by the audience.

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