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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

VFX of Independence Day: Resurgence

July 7, 2016, 05:41 AM

http://oneperfectshotdb.com/2016/07/exclusive-behi...

A whole host of visual effects companies worked on Roland Emmerich’s Independence Day: Resurgence, helping the director destroy new cities with even bigger alien spaceships and scarier creatures. Here at One Perfect Shot we’ve asked several visual effects supervisors from those companies about some of their most challenging scenes to work on from the film.

Independence Day: Resurgence VFX

June 28, 2016, 04:12 AM

https://www.inverse.com/article/17535-the-special-...

In films such as Independence Day, The Day After Tomorrow and 2012, Roland Emmerich has made massive (and often destructive) visuals his hallmark, and over a 20-year career in Hollywood, has created a raft of iconic cinematic sequences. The director took the same approach with his latest disaster flick, Independence Day: Resurgence, a return to the alien-invasion genre.

Watch How the ‘Orphan Black’ F/X Team Made th

June 26, 2016, 09:26 AM

https://www.yahoo.com/tv/emmy-talk-watch-how-the-1...

As we enter Emmy season — nomination voting runs through June 27 — Yahoo TV will be spotlighting performances, writing, and other contributions that we feel deserve recognition. Last year, Emmy voters righted a wrong by rewarding Tatiana Maslany’s remarkable performance(s) as Orphan Black’s multiple

PDFviewer Now Available For After Effects

May 4, 2016, 05:34 PM

https://www.aotg.com/pdfviewer-now-available-for-after-effects/

PDFviewer will be the best utility in your After Effects arsenal. You can open any PDF file inside the After Effects interface. This will save you countless hours of switching back and forth to other applications and resizing the After Effects interface. Great for Scripts, Transcriptions, Storyboards and Script Notes.

#adobe#after effects#pdfviewer
VFX Nazi-Run World in The Man in the High Castle

February 11, 2016, 06:57 AM

https://www.aotg.com/vfx-nazi-run-world-in-the-man-in-the-high-castle/

Amazon Studios’ “The Man in the High Castle” take places in an alternate history, set in a post-WWII world where the Axis powers ended up victorious. To create the look of a United States run by Imperial Japan and Nazi Germany, FX studio Psyop was tasked with creating difficult visual effects and environment work. Find out how they did it.

Furious 7 VFX Team on Digital Doubles for Paul Wal

October 17, 2015, 06:08 AM

https://www.yahoo.com/movies/furious-7-visual-effe...

Paul Walker in ‘Furious 7′ (Universal) By Tim Gray, Variety Just before Universal debuted Furious 7 in April, Vin Diesel deadpanned to Variety that it would win the best picture Oscar. That’s not likely, but the film definitely merits serious awards consideration in all artisan categories: Editing, sound, cinematography, music — and visual effects. When the film opened, the media carried brief descriptions of how the VFX team had successfully re-created some images of Paul Walker, who...

Framestore Completes VFX Work on The Martian

October 9, 2015, 04:32 PM

http://www.btlnews.com/awards/framestore-completes...

Framestore recently delivered 338 shots for The Martian, directed by Ridley Scott and starring Matt Damon. The sequences follow Mark Watney (Damon) and his fellow astronauts in outer space environments that are synonymous with the Framestore name, thanks to 2013’s Oscar-winning Gravity. The post Framestore Completes VFX Work on The Martian appeared first on Below the Line.

Virtual Reality Inches Closer

September 23, 2015, 09:33 AM

http://blog.planet5d.com/2015/09/virtual-reality-i...

Who didn’t tell me that YouTube can do 360 degree video? Why wasn’t I in the loop on this?

Advanced Green Screen Techniques for AE

September 15, 2015, 01:57 PM

http://clinttill.net/blog/2015/9/15/advanced-green...

I've always enjoyed using Keylight, the built-in After Effects chroma key tool. It offers so many more refinement options than the standard chroma key effect. If you are an After Effects user, I'm sure you have developed your own methods and best practices for using Keylight. However, editors will inevitably run across footage that's very difficult to key cleanly, whether it's stray hair, translucent fabric, or talent who decided to wear green on the day of the shoot.

VFX Breakdown Shows VFX Work on Chappie

August 26, 2015, 09:20 AM

http://www.slashfilm.com/chappie-visual-effects/

Earlier this summer, we featured a very brief look at the visual effects that helped bring Neill Blomkamp‘s futuristic fairytale Chappie to life. A live performance on set was done with Sharlto Copley (District 9), and then the actor was replaced entirely with visual effects, and now we get to see just how perfectly the effects mirror Copley’s performance.

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