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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

Designing the Millennium Falcon VFX

January 4, 2019, 06:47 AM

https://www.mpaa.org/2019/01/how-the-solo-a-star-w...

Han and Chewie are both great, but they share the screen with another serious Star Wars icon. Solo: A Star Wars Story rolled back the clocked to reveal some iconic moments from the franchise’s legacy. Chief among them was the unveiling of a retro Millennium Falcon. Industrial Light and Magic were charged with creating the new design and have now released a behind the scenes glimpse at how and why the changes were made.

Fantastic Beasts VFX Super Speaks

December 21, 2018, 10:10 AM

https://www.artofvfx.com/fantastic-beasts-the-crim...

In 2014, Nordin Rahhali explained the work of Method Studios on the remake of ROBOCOP. He then worked on many films such as HERCULES, INTO THE STORM, SAN ANDREAS, FANTASTIC BEASTS AND WHERE TO FIND THEM and GUARDIANS OF THE GALAXY VOL. 2.

Animating Moving Cities

December 21, 2018, 07:24 AM

https://www.cartoonbrew.com/vfx/mortal-engines-how...

It sounds like a pretty absurd premise: in a post-apocalyptic world, the city of London – or what’s left of it – has been hoisted onto huge tracks and hunts down other smaller cities for resources. But this is exactly what happens in Christian Rivers’ Mortal Engines, produced by Peter Jackson and based on the novel by Philip Reeve.

Andy and Nicolas on Fantastic Beast VFX

December 20, 2018, 10:22 AM

https://www.artofvfx.com/fantastic-beasts-the-crim...

In 2017, Andy Kind told us about Framestore‘s work on PADDINGTON 2. He explains today his work on FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD.

Battling Weather with VFX in Mary Poppins 2

December 19, 2018, 10:18 AM

https://www.mpaa.org/2018/12/how-mary-poppins-retu...

English weather wreaked havoc on best-laid plans when it came to staging outdoor sequences for Mary Poppins Returns. Director Rob Marshall expected London’s usual overcast skies to accompany Mary Poppins’ descent from the heavens early in the movie. Instead, Mother Nature delivered a perfect sunny day. The UK-based visual effects supervisor Matt Johnson recalls, “It’s supposed to be all wind and clouds but suddenly London had a massive heat wave and we got a clear blue sky.” The soluti...

VFX, Motion Graphics and Automation

December 17, 2018, 05:44 AM

https://www.hdvideopro.com/blog/vfx-motion-graphic...

As a cinematographer, but also an occasional editor who either hires talented motion graphics artists or, in the cases where there isn’t enough budget to do so, does it himself, it recently occurred to me we’re living in a brave new world of automation. For a variety of reasons, such as I shoot a lot of small crew and even some one-man band production, I have come to count on such convenient innovations as dual-pixel autofocus and variable internal NDs on production cameras.

Next Step Hologram

December 11, 2018, 06:10 AM

https://www.rollingstone.com/culture/culture-lists...

With the dawn of AI and the rise of social media, technology is scarier — and more exciting — than ever. Here’s how it’s changing music, TV, sports and more

The Ballad of Buster Scruggs VFX Supervisor

December 6, 2018, 10:09 AM

https://www.artofvfx.com/the-ballad-of-buster-scru...

Alex Lemke started his career in visual effects in 1996. He works in many studios such as Cinesite, Framestore and Weta Digital. As a VFX Supervisor, he takes care of the effects of movies like A MOST VIOLENT YEAR, BILLY LYNN’S LONG HALFTIME WALK and PATRIOTS DAY.

2019 Oscars VFX Contenders

December 4, 2018, 06:03 AM

https://www.artofvfx.com/oscars-2019-the-20-conten...

The Academy of Motion Picture Arts and Sciences have announced the 20 films for the Best Visual Effects for the 91st Academy Awards...

FANTASTIC BEASTS VFX Supervisor Interview

December 3, 2018, 09:56 AM

https://www.artofvfx.com/fantastic-beasts-the-crim...

In 2016, Tim Burke and Christian Manz told us in detail about their work on FANTASTIC BEASTS AND WHERE TO FIND THEM. They are now back to tell us more about THE CRIMES OF GRINDELWALD.

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