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

AVID - Pro Video Webinars

November 26, 2010, 11:29 AM

http://www.avid.com/US/resources/media-composer-we...

Shaping compelling and engaging stories in the cutting room is a creative adventure filled with many challenges. From dealing with the dizzying array of media sources and formats to handling truncated deadlines, complex workflows, and last-minute changes, learn how you can work smarter and faster by tuning in to our Pro Video Webinars.

Deliverables For Post, A Nightmare?

November 26, 2010, 10:57 AM

http://provideocoalition.com/index.php/editingpost...

The discussion begins about audio levels and the perception of loudness, in the wake of the recent FCC ruling. This leads to the main discussion of deliverables: aka "pining for PAL vs NTSC"! Formats and deliverable metadata add to the complication that delivering a program has become. The discussion veers into the endless discussion of generalist vs specialist before ending on the value of value.

Deluxe buys Ascent Media

November 25, 2010, 11:01 AM

http://www.fxguide.com/qt/3199

After the markets had closed on the eve of the USA Thanksgiving weekend, the LA Times reports that "Deluxe Entertainment Services Group said Wednesday it has reached an agreement to acquire the bulk of Ascent Media Group, the Santa Monica-based postproduction company, for $68 million".

Interview with Stephen Hens on RED Production Work

November 24, 2010, 06:13 PM

http://www.freshdv.com/2010/11/interview-stephen-h...

Here is a 35-minute interview with Stephen Hens, Creative Director of Santa Monica-based Chophouse Edit, about their RED workflow in Final Cut Studio on a PSA project with actor Pierce Brosnan. Stephen and I discuss in-depth how they approached the project from a pre-production and post-production perspective. It’s a really interesting discussion, and we hope you enjoy it, and perhaps learn something along the way.

Conforming Headaches

November 24, 2010, 06:05 PM

http://splicenow.com/2010/11/24/conforming-headach...

Steve Cohen on the annoying problems with conforming: The dirty little secret of our new file-based workflows is that despite the many advances we’ve seen, conforming is still a pain in the butt. Why? Because no conforming system can fully conform Avid effects. Sure, cuts and dissolves can be handled easily, but more often than not, effects work has to be painstakingly rebuilt by eye. That seems downright crazy to me — in the wonderful, all-digital, file-based workflow of the future ...

What would a 2011 Final Cut Studio look like?

November 23, 2010, 11:29 AM

http://www.philiphodgetts.com/2010/11/what-would-a...

While I might have been skeptical about one "Steve Jobs" email, when there are multiple being published, it’s not so easy to think that Jobs is "off in the future already" and his "next year" is already 2012. But it doesn’t seem like that’s the case. There’s also activity around Cupertino that is more typical leading up to a new release, rather than many months away.

20th Century Fox Chooses EVS-OpenCube for its MXF

November 22, 2010, 03:51 PM

http://www.studiodaily.com/main/news/12747.html

EVS-OpenCube, a world-class provider of turnkey MXF digitization servers and software, announces that it has signed an agreement with Fox studios to supply them with OpenCubeHD units for MXF-file format ingest and production management....

Avid and RED team up for a RED workflow webinar

November 21, 2010, 11:48 AM

http://provideocoalition.com/index.php/ssimmons/st...

You can never have enough info in the brain about RED workflow. It looks like Avid and RED are teaming up for a webinar. The date is Thursday, December 2, 2010 at 11:00 am pacific and it looks to be free. The folks presenting are notable and make this event worth watching. From RED there is scheduled to be Ted Schilowitz and Deanan DaSilva.

EXCLUSIVE Walter Murch Interview Part 1 of 2

November 18, 2010, 02:26 PM

https://www.aotg.com/exclusive-walter-murch-interview-part-1-of-2/

Check out Art of the Guillotine's and the Cutting Room's Exclusive interview with Walter Murch.

Eisenstein on the Breach

November 12, 2010, 12:17 PM

https://www.editorsguild.com/magazine.cfm?ArticleI...

The Battleship Potemkin, or Potemkin as it is generally known, galvanized filmmakers around the world because of the audacity of its film editing––especially in the iconic Odessa Steps massacre. Its impact on editors and directors since its premiere in Moscow on Christmas Eve, 1925 is immeasurable. Though Sergei M. Eisenstein transformed the possibilities of film language and technique far beyond previous expectations, he generously gave credit to American film director D.W. Griffith...

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