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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

Keeping production going, remotely

July 9, 2020, 01:41 PM

https://beforesandafters.com/2020/07/09/keeping-pr...

During this coronavirus pandemic, we simply haven’t been able to shoot projects together like we had done before, owing to social distancing measures. But could we still shoot projects together, just virtually?

WARRIOR NUN: Michael Blackbourn - VFX Supervisor

July 8, 2020, 04:26 PM

https://www.artofvfx.com/warrior-nun-michael-black...

Michael Blackbourn began his career in visual effects in 2003 at Spin VFX, he then joined The Embassy in 2006. He has worked on many projects including IRON MAN, DISTRICT 9, ELYSIUM and CAPTAIN AMERICA: THE WINTER SOLDIER.

Body of Work: Scanline's latest adventures in flui

July 7, 2020, 01:27 PM

https://beforesandafters.com/2020/07/07/body-of-wo...

Mention the phrase ‘fluid sims’ in visual effects and one of the studios many people think of first is Scanline VFX. Using its proprietary Flowline toolset, Scanline’s artists have turned out some of the most complex work in fluid and particle simulations in the past few years.

10 Ground Breaking VFX in Movies - You Didn't Noti

July 6, 2020, 01:26 PM

https://screenrant.com/best-amazing-vfx-in-movies-...

Today's Hollywood reliance on visual special effects is more important than it has ever been. Most of the biggest box-office successes are movies that depict worlds that wouldn't be possible without the aid of computer-generated imagery and its clever applications. It actually provides the spectacle the pays for the ticket price at the movie theater.

Academy's Animation And VFX Branches Lag Behind Ot

July 4, 2020, 03:05 PM

https://www.cartoonbrew.com/awards/academys-animat...

The Academy of Motion Picture Arts and Sciences, which hands out the Oscars, has invited 819 artists, filmmakers, and executives to join its organization.

How ‘Watchmen’ Made Doctor Manhattan and the L

July 3, 2020, 05:16 PM

https://www.indiewire.com/2020/07/watchmen-doctor-...

In re-imagining HBO’s “Watchmen” series as a present-day sequel to the graphic novel about a race war tied to the Tulsa massacre, two of the biggest VFX challenges were how to create the reflective mask for Looking Glass (played by Tim Blake Nelson) along with the crucial look for the glowing blue Doctor Manhattan (Yahya Abdul-Mateen II). In fact, many will be surprised to learn that the mask for the Tulsa detective was all-CG, while the quantum-based superhero was a creative hybrid of dif...

SEE: Adrian de Wet (Overall VFX Supervisor) & Eve

July 2, 2020, 07:14 PM

https://www.artofvfx.com/see-adrian-de-wet-overall...

In 2018, Adrian de Wet explained his work on THE MEG. He’s back today with the post-apocalyptic Apple TV+ series, SEE.

Red Giant on Game of Thrones VFX Pt. 2: The Undead

June 18, 2020, 01:30 PM

https://library.creativecow.net/cow_creative/Red_G...

Red Giant, creator of filmmaking, visual effects and motion graphics tools, today released the second installment of its multi-part Game of Thrones visual effects tutorial series: how to turn a live horse into a member of the Night King’s undead army. Daniel “Hashi” Hashimoto demonstrates keying and compositing techniques using tools including King Pin Tracker, Spot Clone Tracker and Supercomp from the new Red Giant VFX Suite, to add and track gory effects to a very much alive horse. Watch...

VFX Outfit MPC Episodic Expands Senior Team, Launc

June 18, 2020, 01:30 PM

https://variety.com/2020/artisans/global/vfx-mpc-e...

MPC Episodic, which offers its VFX expertise to series creators, has expanded its senior team with the hire of seven key creatives. The outfit has also opened a Berlin office.

WESTWORLD Jeremy Fernsler - VFX Supervisor - DNEG

June 16, 2020, 05:21 PM

https://www.artofvfx.com/westworld-season-3-jeremy...

Jeremy Fernsler began his career in visual effects over 20 years ago. He joined DNEG in 2017. His filmography includes projects such as STAR TREK: DISCOVERY, THE DARK CRYSTAL: THE AGE OF RESISTANCE and RUNAWAYS.

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