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
October 5, 2019, 02:16 PM
https://www.slashfilm.com/phil-tippett-mad-dreams-...
A common complaint in film these days is that there is too much CGI. Computer graphics have not only diminished the effectiveness of monsters in genre films, but they have put practical effects and stop-motion artists out of work. While technological advancements have their perks and their place, many moviegoers believe that practical effects will always give off a more tangible viewing experience, arousing a deeper fear than any creature designed solely on a computer. Writer/director duo Gilles...
October 2, 2019, 08:33 PM
https://www.artofvfx.com/carnival-row-max-riess-vf...
Max Riess began his career in visual effects more than 10 years at Pixomondo. He has worked on many projects such as HUGO, STAR TREK INTO DARKNESS, GAME OF THRONES and IRON SKY 2.
October 2, 2019, 01:09 PM
https://beforesandafters.com/2019/10/02/observatio...
In this visual breakdown of MPC’s visual effects for Ad Astra, compositing supervisor Eric Andrusyszyn provides his insight into five different aspects of the work, including launch scenes, shots on Mars, shots in space and…visors.
September 30, 2019, 05:37 PM
https://beforesandafters.com/2019/09/30/shooting-i...
There’s an incredible sequence in Ad Astra when Brad Pitt’s character, Major Roy McBride, joins others on the moon en route to Mars. On board a procession of lunar rovers, the group is ambushed by space pirates, with devastating consequences.
September 26, 2019, 01:11 PM
https://beforesandafters.com/2019/09/26/what-ive-l...
At Trojan Horse Was a Unicorn in Malta, attendees were just gifted an in-depth presentation from director Neil Huxley. Weaving in stories from his visual effects, art direction and live action directing career, Huxley managed to do something that doesn’t always happen in these kinds of conference presentations: be frank.
September 18, 2019, 01:12 PM
https://beforesandafters.com/2019/09/18/the-secret...
That line from James Cameron’s script for Titanic, coming deep into scenes of the chaotic sinking of the famous cruiseliner, might sound simple enough. But it would turn out to be the basis of one of the blockbuster film’s most memorable shots.
September 10, 2019, 12:55 PM
https://beforesandafters.com/2019/09/10/computer-p...
When most people think about the motion capture of actors, they are probably thinking about either optical capture (where cameras pick up markers on a suit) or inertial capture systems (which make use of magnets, accelerometers and gyroscopes inside a suit).
September 9, 2019, 09:38 PM
https://nofilmschool.com/scary-stories-tell-dark-g...
Urban legends prey on a certain kind of fear. They lurk in that uncanny valley where the personal meets the universal. When a child at a sleepover says, "It happened to my cousin's friend," what she's really telling her friends is, "It could happen to me or you." It's that ambiguous, unsettling, faceless familiarity that gives these stories their nerve-jangling staying power, and their ability to haunt us whenever we are in the quotidian circumstances they describe.
August 27, 2019, 01:22 PM
https://www.artofvfx.com/the-boys-stephan-fleet-ov...
Stephan Fleet began his visual effects career in 2008 on the TV series KNIGHT RIDER. Has Visual Effects Supervised on many shows including UNDER THE DOME, TIMELESS and IRON FIST.
August 18, 2019, 02:51 PM
http://digg.com/2019/digital-effects-vfx-language-...
The new version of "The Lion King" is not live action. Everyone in the new "Cats" movie looks like an in-between illustration from an "Animorphs" book cover. Old Chris Evans looks like Joe Biden. Young Will Smith and Robert De Niro look, well, like themselves, but were they ever that shiny?
#vfx#post production#industry
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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