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
February 10, 2020, 05:08 PM
https://www.slashfilm.com/vfx-artists-react-to-ave...
One of the movies nominated for Best Visual Effects at the Academy Awards last night was Avengers: Endgame. It was the only Oscar nomination that the Marvel Studios blockbuster could muster, and considering the fact that nearly every single shot in the movie requires the use of visual effects, they certainly deserved it. But not every movie is perfect, and even though Avengers: Endgame has some truly incredible visual effects throughout, mistakes were made, and one of them is addressed in a new ...
February 6, 2020, 07:44 PM
https://www.provideocoalition.com/building-a-photo...
The 2019 DREAM MACHINE built around a mainstream Intel i9 9700K gives place, this year, to a solution from AMD, the Ryzen 9 3900X, which is not only impressive on specs but also in real world tasks.
February 6, 2020, 07:44 PM
https://www.filmmakingstuff.com/fix-it-in-post/
There are always a few things that scare me during film production. I’m not talking the “BOO” kind of haunted house spooky scares. It’s more the stuff people say on set, like: “I’m not sure we really got that last scene?” And then I look around and notice our main actor is already out of makeup an on his way home. That is no fun.
February 6, 2020, 02:20 PM
https://nofilmschool.com/ilm-stagecraft-mandaloria...
If you watched The Mandalorian, you know the best part about it was the special effects. Everything looked real. It was a level of authenticity people were not used to seeing on television. Scenes popped off the screen and transported you into new worlds of adventure.
February 6, 2020, 02:19 PM
https://www.provideocoalition.com/art-of-the-cut-p...
The Art of the Cut podcast brings the fantastic conversations that Steve Hullfish has with world renowned editors into your car, living room, editing suite and beyond. In each episode,...
February 4, 2020, 05:18 PM
https://www.redsharknews.com/production/item/6963-...
Star Wars ‘side-wel’ The Mandalorian lands in our universe next month with state-of-the-art visual effects that build on one of the oldest tricks in cinema’s book. Rear projection was introduced by Hollywood in the 1930s, typically as moving backdrop to characters ‘driving’ a car or, more heroically, by Alfred Hitchcock to film Cary Grant chased by a crop duster in North by Northwest. The concept was adapted to front projection (by Kubrick for 2001: A Space Odyssey) and then to green s...
February 4, 2020, 02:03 PM
https://deadline.com/2020/02/framestore-mumbai-new...
London-based VFX powerhouse Framestore has appointed Akhauri P. Sinha as the head of its new Mumbai studio. A 20-year industry vet, Akhauri joins from Method, where he was Managing Director of the studio’s Indian operations. His credits include Indian VFX work on Jumanji: The Next Level and Ford vs Ferrari. He will report directly to Framestore’s Global Managing Director, Film, Fiona Walkinshaw, and will be responsible for setting up Framestore’s newest office, a facility based in the hear...
February 4, 2020, 02:03 PM
https://www.skwigly.co.uk/pixars-onward-nordic-ani...
The Anima Festival is set to open its doors on February 21 at Flagey, with the preview screening of Anca Damian’s feature Marona’s Fantastic Tale, in the presence of the director and the Belgian film crew.
February 3, 2020, 09:09 PM
https://www.cinemablend.com/news/2489532/alita-bat...
In a little less than two weeks’ time, February 14 will mark the one-year anniversary of the release of Alita: Battle Angel. In the year since its debut, the Robert Rodriguez directed, James Cameron-produced science fiction movie has amassed a passionate fanbase that is eagerly awaiting news of a sequel-- news that to this point has yet to materialize. Addressing the fan campaign for a sequel, Alita: Battle Angel’s VFX supervisor Richard Baneham said:
February 3, 2020, 01:28 PM
https://www.provideocoalition.com/voices-from-sund...
Welcome to a special podcast series from Steve Hullfish and ProVideo Coalition! For the next few weeks, in addition to the regular Tuesday episodes of the Art of the Cut, we will be releasing Steves conversations with the editors of the top films at Sundance Film Festival 2020.
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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