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!
March 24, 2022, 08:24 AM
The past three projects special effects supervisor Dan Oliver has worked on have included two Marvel titles, two collaborations with Chris Hemsworth, and earned him his second Oscar nomination.
January 27, 2022, 09:02 AM
In Shawn Levy’s Free Guy, Ryan Reynolds plays Guy, a non-player character (NPC) in Free City, as part of a massively multiplayer online role-playing video game (MMORPG). At one point, Guy and Dude–a muscular, unfinished version of Guy developed for Free City 2–get into a beach-side fight.
November 19, 2021, 08:42 AM
Chris McLaughlin joined the DNEG team in 2010. He has worked on a number of projects including John Carter, Terminator Genisys, Blade Runner 2049 and Deadpool 2.
November 18, 2021, 09:06 AM
DNEG CEO Namit Malhotra weighs in on what he calls a ‘landmark agreement’ that will fuel the progression and application of new production tools, technology, and workflows in areas such as movies, TV, games, metaverses, VR, and theme park rides.
November 3, 2021, 08:47 AM
After the Truck Fight sequence, VFX Supervisor Sébastien Francoeur explains how his teams at Rodeo FX have created Madripoor City for the Marvel Studios series, The Falcon and the Winter Soldier...
October 20, 2021, 04:59 PM
Ghost VFX artists received a 2021 Emmy® for Outstanding Visual Effects in a Single Episode for the Star Trek: Discovery installment “Su’Kal.” Led by Supervising Producer / Lead VFX Supervisor Jason Michael Zimmerman, the winning Ghost team includes VFX Supervisor Ivan Kondrup Jensen and VFX Producer Kristen Prahl. Also part of the winning team are VFX Supervisor Ante Dekovic, VFX Producer Aleksandra Kochoska, Lead VFX Artist Charles Collyer, and On Set VFX Supervisor Alexander Wood.#vfx#behind the scenes#ghost vfx
September 28, 2021, 08:40 AM
Snarling dogs and moth-infested gowns highlight the film’s 1,850 visual effects shots, supervised by Max Wood, and produced with an eye towards speed and believability.
September 24, 2021, 08:55 AM
In 2015, Ara Khanikian told us about Rodeo FX‘s work on The Last Witch Hunter. He went on to work on numerous projects such as Kong: Skull Island, The Boys, We Can Be Heroes and Jungle Cruise.
September 9, 2021, 09:31 AM
ignite strategic communications and Origin Point have announced a formal creative collaboration, designed to provide greater levels of support and broaden services to their respective clients. The agreement expands each company’s unique expertise for connecting businesses, industry creatives and technical experts who elevate what’s possible in entertainment.#ignite strategic communications#origin point#company news#creative collaborations
September 3, 2021, 09:07 AM
The visual effects giant delivered 500 shots on Marvel Studios and Disney+’s latest MCU episodic adventure, creating the pyroclastic-like trans-temporal monster, Alioth, along with Alligator Loki and the cloudy, ambiguous world where everything pruned by the TVA is deposited.
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...
© 2007-2023 www.aotg.com Ver. 3.0 All Content created and posted by Art of the Guillotine users Art of the Guillotine graphics, logos, designs, page headers, button icons, scripts, and other service names are the trademarks of Art of the Guillotine Inc. Use of this material outside of this site is strictly prohibited.