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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

Fantastic Beasts VFX and Bringing the Beasts to Sc

December 16, 2018, 08:46 AM

https://www.digitaltrends.com/movies/fantastic-bea...

In 2016, Warner Bros. Pictures and writer J.K. Rowling pulled off the impressive feat of kick-starting a new movie franchise set in the same “Wizarding World” as the Harry Potter series. Set decades before the events of the eight-part saga, Fantastic Beasts and Where to Find Them was a critical and commercial hit, earning acclaim for its magic-infused vision of 1920s New York City and the colorful, fictional creatures let loose upon it over the course of the film.

Apostle: Christian Lett - VFX Supervisor

December 13, 2018, 10:15 AM

https://www.artofvfx.com/apostle-christian-lett-vf...

Christian Lett joined Bait Studio in 2011 and takes care of the visual effects of many projects such as THE MACHINE, THE CALL UP, TAKE DOWN and DON’T KNOCK TWICE.

The Hardest Effect I Have Ever Pulled Off

December 13, 2018, 10:15 AM

https://www.vulture.com/2018/12/special-effects-be...

For nearly as long as we’ve had motion pictures, we’ve had illusions to put in them — and they’ve never come easy. The year 1893 saw the first public viewing of a kinetoscope film, Blacksmith Scene, and just two years later, early filmmaker Alfred Clark executed what is commonly regarded as the first special effect. In a gruesome short about the beheading of Mary, Queen of Scots, Clark stopped the film just as the blade was about to chop off Mary’s head, instructed the actors to freeze...

Eran Dinur, VFX Supervisor

December 12, 2018, 10:13 AM

https://www.allanmckay.com/172/

I’m speaking with Eran Dinur, a VFX Supervisor for Brainstorm Digital in New York City. I’m really excited to do this interview. On top of being a VFX Sup, Eran has written and published The Filmmaker’s Guide to Visual Effects. I thought it would be great to share Eran’s story on how he ended up in visual effects from a completely different industry. I leave this as a surprise!

VFX Set Supervisor - Christopher Schmidt

December 12, 2018, 10:12 AM

https://www.artofvfx.com/the-girl-in-the-spiders-w...

Christoph Schmidt joined Pixomondo in 2014 and has worked on many projects such as FURIOUS SEVEN, THE SHANNARA CHRONICLES, THE FATE OF THE FURIOUS and GAME OF THRONES.

Next Step Hologram

December 11, 2018, 06:10 AM

https://www.rollingstone.com/culture/culture-lists...

With the dawn of AI and the rise of social media, technology is scarier — and more exciting — than ever. Here’s how it’s changing music, TV, sports and more

Can Special Effects be Special Again?

December 10, 2018, 01:18 PM

https://www.vulture.com/2018/12/special-effects-ca...

“You’ll believe a man can fly.” So proclaimed billboards and posters across the nation in 1978, in anticipation of the December release of Richard Donner’s Superman — The Movie. It wasn’t an idle promise. Although the Man of Steel had been depicted in numerous TV shows and cartoons over the years, Donner’s film vowed something special: It would convince us that what we were seeing was actually happening. And the visual effects did, indeed, prove to be remarkable: Aided by a clever ...

Widows Lars Anderson, VFX Supervisor

December 10, 2018, 09:51 AM

https://www.artofvfx.com/widows-lars-andersen-vfx-...

Lars Andersen began his visual effects career in 2011 at Cutting Edge. He works on many films such as I, FRANKENSTEIN, PREDESTINATION and THE AGE OF ADALINE. He joined One of Us in 2016 and takes care of the effects of films like LIFE and THE CURRENT WAR.

The Ballad of Buster Scruggs VFX Supervisor

December 6, 2018, 10:09 AM

https://www.artofvfx.com/the-ballad-of-buster-scru...

Alex Lemke started his career in visual effects in 1996. He works in many studios such as Cinesite, Framestore and Weta Digital. As a VFX Supervisor, he takes care of the effects of movies like A MOST VIOLENT YEAR, BILLY LYNN’S LONG HALFTIME WALK and PATRIOTS DAY.

Behind the VFX of Fantastic Beasts

December 5, 2018, 01:09 PM

https://nofilmschool.com/VFX-Breakdown-Fantastic-B...

In a feature on FXguide, we get a pretty insightful look into how one VFX shop was able to bring several character designs, animations and environment builds to life in Fantastic Beasts: The Crimes of Grindelwald.

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