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
November 3, 2019, 08:55 PM
https://www.indiewire.com/2019/11/the-irishman-mar...
Filmmakers have chased eye-popping visuals since George Melies’ 1902 “A Trip to the Moon.” Of course, all the visual stylings that helped propel the first sci-fi film to worldwide success now look antique; without the film’s groundbreaking approaches to storytelling, it would be a minor footnote rather than the cultural touchstone that also served as a key plot point in Martin Scorsese’s 2011 “Hugo.”
November 1, 2019, 07:09 PM
https://www.redsharknews.com/technology/item/6751-...
In 2019, most people are aware of the debt owed by filmmaking (and several other fields) to video games. Companies like Sega have been putting together massive PCBs full of silicon to render game graphics since the 80s, but it wasn’t until the era of home gaming, loosely called the sixth generation, that the potential of games hardware to do other useful work became obvious. Or, to be fair, when the PlayStation 2 was released, it was immediately pretty clear that the thing was, effectively, gr...
October 29, 2019, 12:59 PM
https://beforesandafters.com/2019/10/29/how-blue-v...
A lot of characters in Joachim Rønning’s Maleficent: Mistress of Evil have wings.
October 28, 2019, 01:03 PM
https://www.premiumbeat.com/blog/filmmaking-lesson...
In some ways, things are odd for filmmakers who came of age around the turn of the millennium. Not only do we now have a whole new treasure trove of digital cameras, gear, and resources available to us, but we also have a solid century of cinema history to study.
October 27, 2019, 01:28 PM
https://filmschoolrejects.com/martin-scorsese-the-...
While not necessarily a stranger to visual effects, Martin Scorsese is not a filmmaker well known for that arena. However, his latest movie, The Irishman, features a lot of computer-generated imagery. Chronicling historical events over many decades, the project required veteran actors including Robert De Niro, Joe Pesci, and Al Pacino, to be de-aged for their portrayals of real-life figures at various stages of their lives.
October 25, 2019, 04:08 PM
https://www.artofvfx.com/the-ash-lad-in-search-of-...
Come have a look at the creatures and environments work by Umedia VFX for this Norvegian movie, THE ASH LAD – IN SEARCH OF THE GOLDEN CASTLE...
October 24, 2019, 03:59 PM
https://beforesandafters.com/2019/10/25/go-behind-...
This is a fun collection of behind the scenes breakdown shots from Mr. X’s work from Scary Stories to Tell in the Dark, plus commentary by members of the studio’s team.
October 22, 2019, 04:10 PM
https://www.motionpictures.org/2019/10/how-jojo-ra...
The most startling visuals in Jojo Rabbit (which opened last Friday) takes the shape of writer-director Taika Waititi dressed up as Adolph Hitler, the imaginary best friend conjured by a German boy (Roman Griffin Davis) during the waning days of World War II. But while “Hitler” commands the foreground, VFX supervisor Jason Chen worked a more subtle brand of filmmaking magic by using digital tools to seamlessly build out Jojo’s world. Chen says, “The shots were filmed on actual ruins in t...
October 21, 2019, 12:45 PM
https://beforesandafters.com/2019/10/21/the-tech-o...
Ever since James Cameron’s Terminator 2: Judgment Day was released in 1991, I’ve been reading about the many ways ILM, led by visual effects supervisor Dennis Muren, had to basically invent new ways to realise the CG ‘liquid metal’ T-1000 shots in that film, of which there are surprisingly few. Tools like ‘Make Sticky’ and ‘Body Sock’ are ones that I’d heard referenced several times, but I’ve always wanted to know more about how those pieces of software were made.
October 15, 2019, 04:08 PM
http://www.cgw.com/Press-Center/News/2019/Method-S...
LOS ANGELES — The family-friendly Netflix series Raising Dion takes a fresh look at the superhero genre, telling the tale of Dion, a young boy with extraordinary gifts, and his widowed mother. Based on the comic book written by Dennis Liu, who also serves as executive producer, the series finds Dion learning to harness emerging powers, which Method Studios...
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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