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
December 1, 2019, 05:06 PM
https://photography.tutsplus.com/articles/how-to-c...
There’s no doubt that the real power of motion graphics lies in After Effects, but it’s not always convenient to use, or you might not feel confident enough to use it to its full potential. The Essential Graphics Panel lets you edit certain graphic elements of your project in Premiere Pro without having to flip back and forth to After Effects.
November 29, 2019, 08:51 PM
https://www.provideocoalition.com/pvcs-black-frida...
PVC’s Black Friday 2019 list continues to grow. Today we look at various products, from 3D graphic software to virtual production tools.
November 27, 2019, 01:52 PM
https://www.provideocoalition.com/aotc-terminator-...
Julian Clarke, ACE was nominated for a BAFTA, an ACE Eddie and an Oscar for his editing of District 9. He was nominated for an ACE Eddie for Deadpool and won an ACE Eddie for the pilot of The Handmaid’s Tale.
November 26, 2019, 08:45 PM
https://www.artofvfx.com/terminator-dark-fate-jay-...
In 2018, Jay Barton explained the work of Digital Domain on AQUAMAN. He talks to us today about his work on TERMINATOR: DARK FATE.
November 26, 2019, 08:45 PM
https://www.animationmagazine.net/vfx/angels-and-d...
Back in 2007, the dense, richly imagined world of author Philip Pullman inspired the feature The Golden Compass. Pullman’s alternate universe is a place where the digital revolution has never taken place, and humans are connected to their souls in the form of a daemon animal. Last month, a splendid new adaptation of the author’s best-selling trilogy His Dark Materials (of which The Golden Compass is the first book) debuted on HBO and BBC One.
November 26, 2019, 01:52 PM
http://www.cgchannel.com/2019/11/see-autodesks-onl...
Autodesk has posted the online documentation for 3ds Max 2020.3, the latest update to the 3D modelling and animation software, fixing “over 55 user-reported defects”.
November 26, 2019, 01:51 PM
https://www.awn.com/news/animals-uncaged-hunt-down...
In Wonderfilm’s indie action-adventure thriller, Primal, death lurks around every corner. An assassin is on the loose and vicious animals are too, putting an entire ship on the defensive as an apex predator stalks its halls. To help create this CG killing machine, VFX studio Tau Films turned to Ziva VFX, bringing the power of physics-based simulations to an ambitious indie project.
November 22, 2019, 01:59 PM
https://www.pro-tools-expert.com/home-page/2019/10...
In this week's Friday Free Plug-in, we are featuring Filterjam from Audiothing, a multi-band resonant filter delivering weird ring-mod-like filtered sounds.
November 21, 2019, 09:03 PM
https://www.studiodaily.com/2019/11/sfx-supervisor...
I got involved with the show thru Fox producer Kevin Halloran, who had me meet with James Mangold to talk about the cars and how we would achieve the look James wanted. We wanted to approach the car gags and all of the car racing shots as practical effects as much as possible. We wanted to get the cars, the driving, and the crashes with real cars and real drivers, or actors in real cars, as much as we could.
November 21, 2019, 09:03 PM
https://www.studiodaily.com/2019/11/vfx-supervisor...
I joined Ford v Ferrari after interviews with Fox VP of Visual Effects Joe Conmy and then James Mangold. James could tell you more about why he chose to have me on board, but I feel we had a similar vision of how to integrate VFX into this movie — both practically and visually, in order to get them as invisible as possible. The plan was to shoot a lot of “real” references, either for lighting or car behaviors, so that we could get as close to the reality as we can. I was on set every day, ...
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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