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 4, 2016, 05:19 AM
https://www.inverse.com/article/21633-hbo-westworl...
he relationship between machines and humans is much more productive behind the scenes of the new HBO show Westworld than it is in front of the camera. Using real-world performances and digital effects, the show’s creators have raised the bar on the long tradition of humans playing robots, building hybrid performances appropriate for a show about the rise of artificial intelligence.
September 29, 2016, 04:55 AM
https://vfxblog.com/2016/09/29/style-frames-2016-i...
In the design world, it’s pretty easy to look new projects up, watch the latest pieces of advertising and check out making ofs. But it’s not always as simple to hear from the people – the creatives – behind the work.
September 8, 2016, 09:29 AM
http://www.artofvfx.com/star-trek-beyond-seth-hill...
Seth Hill joined Atomic Fiction in 2013 as a matte painter. He has worked on films such as TRANSFORMERS: AGE OF EXTINCTION, GAME OF THRONES or THE WALK. He became Environment Supervisor on DEADPOOL.
September 6, 2016, 07:23 PM
https://www.inverse.com/article/20582-best-tv-vfx-...
fter decades as cinema’s cheaper and shoddier younger sibling, television has come into its own. Much of the conversation around this era of Peak TV focuses on the small screen’s transformation into the preferred storytelling medium, but the once-gaping divide between big screen and TV’s visual effects has also considerably narrowed.
September 6, 2016, 12:54 PM
http://www.creativeplanetnetwork.com/news/post/dig...
Post house Digital Domain helped deliver the visual effects that are part of Spike Jonze's mesmerizing three-and-a-half-minute perfume ad for Kenzo World.
August 31, 2016, 05:57 AM
https://www.rocketstock.com/blog/how-to-chroma-key...
Chroma key effects have more or less been used in filmmaking since the 1930s. While early technologies (and even computerized blue screen effects) might not have the same effect on us now as they did on audiences at the time, the process has basically remained the same. Now, in the age of digital workflows, the chroma key process has become accessible to anyone with a digital camera, some lights, a green or blue backdrop, and an editing software like After Effects.
August 25, 2016, 05:01 PM
http://oneperfectshotdb.com/news/peter-jacksons-th...
Just last month, The Frighteners celebrated its 20 year anniversary. While not a blockbuster success, the film cemented Peter Jackson’s directing chops even before he went on to make the Lord of the Rings trilogy. The Frighteners, now instantly recognizable as a classic cult hit, also introduced many to the talents of Weta Ltd (as it was then known) and the studio’s practical and CG capabilities – until then, the abilities of Jackson’s New Zealand effects facilities had been relatively u...
August 25, 2016, 04:27 AM
https://vfxblog.com/2016/08/25/seeing-more/
It isn’t that long ago that the visual effects and animation industries were concentrated mostly in Los Angeles. For lots of reasons (ask me again sometime) the work is now spread throughout the globe.
August 22, 2016, 04:54 AM
https://www.fxguide.com/quicktakes/the-ire-of-dr-m...
It is widely acknowledged that the 1996 film The Island of Dr. Moreau was a deeply troubled production. Richard Stanley was the original director on the project, but after four years in development he was fired by New Line only three days into filming in northern Queensland, Australia. Stanley was replaced by John Frankenheimer, who inherited a myriad of challenges - from the demanding and oftentimes eccentric stars Marlon Brando and Val Kilmer, to the former director Stanley sneaking back on se...
August 22, 2016, 04:54 AM
https://www.fxguide.com/featured/the-union-of-vfx-...
Union VFX is a remarkable example of a relatively small company, with less than 50 staff, who have managed in a few short years to build up an incredibly loyal connection to some of Britain's best contemporary directors.
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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