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
March 16, 2011, 01:03 PM
http://www.biscardicreative.com/blog/2011/03/fcp-i...
A recent thread at the LAFCPUG website asked folks for opinions on how to use the Final Cut Pro Interface for best use. Well the honest truth is, there is no ONE layout that is the most efficient for FCP. In my case, I use up to a dozen different interfaces depending on the task at hand. I’ll literally switch layouts over the course of the day depending on what I’m doing.
March 16, 2011, 01:00 PM
http://magazine.creativecow.net/article/wiring-con...
Dan Dome takes us inside the production pipeline of "Conan". The studio taping of "Conan" starts at 4:30 Pacific, and runs in real time. It ends at 5:30, and "we have to have everything in Atlanta by 8 PM Pacific time, 11 PM Eastern, when the show starts to air." See how it's done in this advanced facility designed for tight turn-arounds.
March 16, 2011, 12:58 PM
http://magazine.creativecow.net/article/out-of-the...
"If only problems stayed in boxes," Tim Wilson muses over the "Making It Up Issue of Creative COW Magazine." He's also okay with a bunch of new problems. Making things up as you go along means that what looks like the end of the road doesn't have to be the end of the story.
March 16, 2011, 12:56 PM
http://www.studiodaily.com/main/news/13006.html
16 March 2011, Booth #SL2014: At NAB Quantel will unveil a range of new and enhanced solutions for post and broadcast. Key themes are expanding file-based workflow, enhancing integration and boosting high quality Stereo3D productivity. The all-new Quantel booth will feature new products as well as refinements across the established and successful Broadcast and Post product ranges.
March 16, 2011, 10:55 AM
https://www.aotg.com/david-ray-editor-of-scarface-interview/
It's a little shakey and out of focus (The Camera) but the content, what he is saying is quite interesting, his start, his learning process and more!
March 16, 2011, 09:18 AM
https://www.editorsguild.com/magazine.cfm?ArticleI...
Steven Cohen, A.C.E., is highly qualified to write this book. He is a feature film and television editor who has worked with Avid as a beta tester and advisor, and he assisted the company with creating the user interfaces for professional editing. In addition, Cohen edited Lost in Yonkers, the first studio feature film to be edited with Avid’s Media Composer, and Teamster Boss, one of the first television movies finished on Avid.
March 16, 2011, 09:17 AM
https://www.editorsguild.com/magazine.cfm?ArticleI...
As digital technology continually advances, so do the possibilities of post-production, as well as the expectations––and demands––of directors and producers. While such a fast evolution (revolution?) keeps our members up to date and on their toes, if not constantly learning, it also presents new, different and sometimes pioneering opportunities.
March 16, 2011, 09:16 AM
https://www.editorsguild.com/magazine.cfm?ArticleI...
The first animated feature from special effects masters Industrial Light and Magic is Rango, a Western starring Johnny Depp as the voice of a chameleon with an identity crisis. The film opens nationwide March 4 through Paramount Pictures.
March 16, 2011, 09:16 AM
https://www.editorsguild.com/magazine.cfm?ArticleI...
A new animal to the editing world was born––or at least, utilized to its fullest to date––during the shooting in New York City last spring of George Nolfi’s film The Adjustment Bureau, which opens March 4 through Universal Pictures. It doesn’t quite have a name yet—call it on-set editor or reference editor—but it’s a potential boon to continuity and might start appearing regularly in a credit scroll near you.
March 16, 2011, 09:12 AM
http://www.buttonpusher.tv/2011/03/15/smooth-credi...
Step-by-Step to create a smooth credit roll in After Effects
Daniel George McDonald sits down to discuss creating the finale for Cheer Season 2.
Gordon sits down with the editorial team of The Black Lady Sketch Show to discuss their approach to ...
Gordon sits down with Philip to discuss his work with Tyler Perry and his latest film A Madea Homeco...
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