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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

Why ‘Air Force One’ has some of the most talke

July 25, 2017, 09:11 AM

https://vfxblog.com/2017/07/25/air-force-one-richa...

When Wolfgang Petersen’s Air Force One was released 20 years ago this week in 1997, it would be one of Boss Film Studios’ very last visual effects projects before founder Richard Edlund shut the effects company’s doors. The studio spectacularly delivered and destroyed a number of intricate miniature aircraft for the show. It also dived into several CG plane shots, including the scene of Air Force One crashing into the ocean, one that was perhaps not as spectacular.

The social (VFX) lives of Hollywood

July 19, 2017, 04:06 PM

https://vfxblog.com/2017/07/19/the-social-vfx-live...

One of the toughest things about covering visual effects can be getting great VFX imagery to display with a story. There’s often a lengthy approvals process, and sometimes film and TV distributors just want to keep certain things under wraps. That can make it hard to produce interesting stories; in visual effects, behind the scenes images and videos tell so much of the process.

VFX Super for City of a Thousand Planets

July 19, 2017, 09:48 AM

https://www.wheretowatch.com/2017/07/how-vfx-super...

The first time Scott Stokdyk worked for Luc Besson back in 1995, the French auteur hired him to work on his then-groundbreaking sci-fi flick The Fifth Element. "At that time I was just this computer artist sitting at a work station for fourteen hours a day in a little dark cubicle excited to be working in the world of film,” says Scott. Since then, visual effects have made gargantuan advances, and so has Scott. He won an Oscar for his work on Spider-Man 2 and made munchkins for Oz The Great an...

ATTRACTION: Arman Yahin (CEO), Andrey Maximov & Dm

July 14, 2017, 09:06 AM

http://www.artofvfx.com/attraction-arman-yahin-ceo...

The team of Main Road Post, composed of Arman Yahin (CEO) and the VFX Supervisors Andrey Maximov and Dmitry Kuznetsov, talks in detail about their great work on ATTRACTION.

Debunked: Viral Tape Measure VFX

June 6, 2017, 09:14 AM

https://fstoppers.com/vfx/debunked-viral-tape-meas...

Captain Disillusion is back again, and this time he's uncovering the various techniques used to create the famous “Tape Measure Tricks” video. How much of it is visual effects?

The Mummy, re-visit the digital make-up, mocap

June 5, 2017, 04:51 PM

https://vfxblog.com/2017/06/05/the-mummy-1999-vfx/

You’ve got a character that needs to be desiccated and completely non-human in its position but has to be believably human in the way that it moves. Well, that’s motion capture in a nutshell. – John Berton Jr., ILM visual effects supervisor, The Mummy

Luma Pictures had to look at some pretty horrible

May 23, 2017, 04:16 PM

https://vfxblog.com/2017/05/23/luma-ear-canal-alie...

For Alien: Covenant, Ridley Scott’s newest deep dive into his Alien universe, Luma Pictures was called upon to create visual effects for several sequences. The studio researched and realized the tiny spores that inhabit some of the characters, including via ear canals – just getting that right required some pretty grotesque reference. Luma also delivered some other-wordly lamps inside the lab of the synthetic David. They rounded out the work with set extensions and graphics. And they killed ...

Female VFX Pioneers

May 21, 2017, 05:29 AM

https://www.themarysue.com/women-in-visual-effects...

In 1989, I was a young feminist who wanted to be a filmmaker. While there weren’t many women in this fairly “boys club” field, Academy Award winner Ed Jones hired me in Optical because he knew I could do the job. Approximately 25 people worked in the ILM optical department. The few women in this department – Peg Hunter, Lori Nelson, Mary Walter, and me – were effects pioneers in a male world.

Let’s talk about those crazy ‘GotG Vol. 2’ w

May 19, 2017, 04:54 AM

https://vfxblog.com/2017/05/18/lets-talk-about-tho...

A stand-out moment in James Gunn’s Guardians of the Galaxy Vol. 2 occurs when Yondu, Kraglin, Rocket and Baby Groot jump through several space portals causing their faces to warp and distend in almost grotesque ways.

Hollywood's Greatest Trick is Not What You'd Expec

May 15, 2017, 11:56 AM

http://nofilmschool.com/2017/05/vfx-artists-underp...

Invisibility has long been the characteristic of great visual effects. Being unseen is something to strive for; the less you notice the strings, the better the puppet show. But being invisible has taken its toll on VFX artists, turning them into veritable puppets of their own.

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