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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

Go Inside the Cutting Room of Peak TV’s Most Captivating and Compelling Drama Series - "Succession" on March 24th!

March 18, 2022, 08:35 AM

http://manhattaneditworkshop.blogspot.com/2022/03/...

Manhattan Edit Workshop’s “Sight, Sound & Story: Live” monthly online event series continues on March 24th with Inside the Cutting Room of “Succession” featuring Editors Ken Eluto, ACE, Bill Henry, ACE and Jane Rizzo with Author & Historian Bobbie O’Steen.Inside Episode XIX: This panel focuses on the tragicomic saga of a super rich and powerful family that has riveted HBO audiences for the past three seasons. Join Bobbie O'Steen for a discussion with three of the series masterful ed...

Review: Mac Studio and the M1 Ultra for video editors – part 1

March 18, 2022, 08:35 AM

https://www.provideocoalition.com/review-mac-studi...

For diehard Mac users, the Mac Studio might be the ultimate machine for a lot of what we do in editing and post-production. It’s small, stylish, quiet, loaded with connectivity and very powerful. You can pull the Mac Studio out of the over-engineered box, plug it in, plug things into it and then go to [...]Read More... from Review: Mac Studio and the M1 Ultra for video editors – part 1

Realtime Environment Systems Envisions Visual Spectacles that Delight with AJA KONA Cards

March 18, 2022, 08:34 AM

https://lappg.com/2022/03/17/realtime-environment-...

Commanding an audience’s attention is challenging in public settings, yet museums, art galleries, and event venues are breaking through the noise with technology-driven visual spectacles. Immersive art exhibits, as an example, have taken the world by storm in the last year, as droves of people have signed up to see the works of legendary artists … Realtime Environment Systems Envisions Visual Spectacles that Delight with AJA KONA Cards Read More »

Spider-Man: No Way Home‘s Oscar-Nominated VFX Supervisor

March 18, 2022, 08:34 AM

https://postperspective.com/spider-man-no-way-home...

By Iain Blair The last time a Spider-Man film got any Oscar love in the visual effects category was in 2004 with Spider-Man 2, but all that has changed with the recent Spider-Man: No Way Home. The Oscar-nominated VFX team on director Jon Watts’ Spider-Man: No Way Home was led by Kelly Port, Continue reading → March 17, 2022 The post Spider-Man: No Way Home‘s Oscar-Nominated VFX Supervisor appeared first on postPerspective.

Computing has changed in ways we might not have noticed

March 18, 2022, 08:34 AM

https://www.redsharknews.com/computing-has-changed...

A steady stream of breakthroughs has changed the face of computing, but we might not have noticed all of them.

How VFX Created WebSlinging Heroes in SpiderMan

March 18, 2022, 08:33 AM

https://variety.com/2022/film/news/spider-man-no-w...

“Spider-Man : No Way Home” entangles Peter Parker (Tom Holland) in a “multiverse of madness” that culminates in a climactic battle at night atop the Statue of Liberty where web slingers from past franchises, played by Tobey Maguire and Andrew Garfield, face familiar villainous foes. The friendly neighborhood crime fighters required updated costume designs and an intricate web of visual effects that included the creation of full digital doubles to bring the historic moment to life.

Dune VFX Supervisor Talks Creating Epic Sandworm

March 18, 2022, 08:33 AM

https://variety.com/2022/film/artists/dune-vfx-sup...

Denis Villenuve’s “Dune” is a visceral epic, propelled by practical and visual effects that shape the destiny of Paul Atreides (Timothée Chalamet) following a vengeful plot that kills his father, Leto (Oscar Isaac), on the spice-producing planet Arrakis.

Editor Janus Billeskov Jansen Explains His Role In

March 18, 2022, 08:33 AM

https://www.cartoonbrew.com/interviews/editor-janu...

Flee, an animated feature film by Jonas Poher Rasmussen, is about a man (Amir) recounting his experience being forced to flee Afghanistan while also struggling with his sexuality. The film is a fascinating and poignant work that fuses documentary, animation, and archival footage over very distinct segments that shift between Amir’s present as he recounts his story to a friend and the recreation of Amir’s past experiences.

Why the M1 Ultra was doomed to disappoint

March 18, 2022, 08:33 AM

https://www.digitaltrends.com/computing/apple-m1-u...

Apple’s M1 Ultra chip is here, and the PC review community has had a chance to fact check Apple’s claims. The biggest — almost absurd — claim from Apple was that the M1 Ultra could outperform Nvidia’s RTX 3090.

How Mitchells Raya Luca Flee used 2D in th

March 18, 2022, 08:33 AM

https://variety.com/2022/film/spotlight/mitchells-...

Several of this year’s biggest animated films wanted to take bold stylistic risks that would set them apart from what audiences had come to expect from modern CG animation. On their quest to take the next leap forward, they turned to a style known for its warmth and imperfection — 2D animation.

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