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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

ILM’s Rob Bredow Talks 'Solo: A Star Wars Story'

June 6, 2018, 03:44 AM

https://www.awn.com/vfxworld/new-sheriff-town-ilms...

Some call Solo: A Star Wars Story a space western, and it fits. Titled after the hero, Han Solo, the film finds the franchise’s beloved scoundrel in his early 20s, a decade before he meets Luke and Leia in A New Hope. In this film, the cynical outlaw partners with Chewbacca for the first time, and wins gambler Captain Lando Calrissian’s iconic Millennium Falcon. It’s the second installment in the Star Wars anthology of stand-alone films and it has chase scenes, romances, double-crosses, a ...

Emmy Contenders for VFX Create Mind-Bending Visual

June 1, 2018, 09:11 AM

https://variety.com/2018/artisans/awards/hard-sun-...

With astonishing processing power and top-notch teams that know how to create high-end visual effects on a tight budget and timeline, vfx artists routinely turn in shots that thrill TV audiences. But visual effects must also support story and characters in invisible ways. And there’s even resistance to becoming a show known for its effects.

Black Mirror's VFX Super on USS Callister

May 31, 2018, 08:57 AM

https://www.mpaa.org/2018/05/black-mirrors-vfx-sup...

Each episode of Black Mirror is designed to be memorable in its own way, but none so far have spun what appears at first to be a mere goofy period romp into an emotionally complex depiction of covert malevolence quite like the feature-length opener of the show’s fourth season, USS Callister. Brilliant but overlooked Robert Daly (Jesse Plemons, once the beloved Landry of Friday Night Lights) is the creator behind an online gaming world for which his savvier, more personable business partner, Wa...

Big Screen VFX - Ready Player One

May 30, 2018, 04:40 PM

https://www.toolfarm.com/blog/entry/big_screen_fx_...

From the OASIS, to the avatars, to the Delorean and beyond, there are loads of VFX in the fun, futuristic thrill ride that is “Ready Player One.”

Black Panther VFX Method

May 27, 2018, 04:34 PM

https://www.sidefx.com/community/black-panther-met...

With each superhero movie released, visual effects artists seem to find more and more ways to leverage the power of Houdini to deliver original imagery. That might be via destruction, weapons effects, character-related simulations or vegetation. In the case of Ryan Coogler’s Black Panther, Houdini was used for all of those things - and more.

HitFilm Demos Avengers Style VFX

May 10, 2018, 04:26 PM

https://doddlenews.com/hitfilm-demos-avengers-styl...

HitFilm Express is one of the best entry level visual effects tools a filmmaker can use to cut their teeth on. It’s very powerful, and can do just about anything the big boy visual effects apps like After Effects can do. And what I really like about them, is every time a blockbuster film like Avengers: Infinity War comes out, you can bet that HitFilm is going to come out with a new tutorial on how to create the same kind of visual effects.

Getting Started with Fusion in Resolve 15

May 3, 2018, 08:41 AM

https://jonnyelwyn.co.uk/film-and-video-editing/ge...

Check out this massive round up of Fusion tutorials to learn how to use the most powerful new addition to DaVinci Resolve 15 - Fusion!

#visual effects#tutorials#compositing#motion graphics#fusion#davinci resolve 15
How to use Adobe Capture CC

May 3, 2018, 05:06 AM

https://www.creativebloq.com/how-to/use-adobe-capt...

Adobe Capture CC is a fantastic app that enables you to find fonts and colours simply by taking a photo. You may be wondering what fonts have been used in your favourite magazine, for example, or you may wish to take colour references from an object or scenery. In this article we'll run through three ways to get the most from Capture CC. You can find the app on the iOS App Store or Google Play.

Freefolk recreates the 19th century for The Alieni

April 27, 2018, 11:36 AM

http://www.postmagazine.com/Press-Center/Daily-New...

LONDON — Freefolk, the Soho-based VFX studio, delivered a substantial amount of work for the TNT/Netflix show, The Alienist. The dramatic series is based on a novel by Caleb Carr and stars Daniel Brühl, Dakota Fanning and Luke Evans. The show follows the story of a serial killer in New York City during the late 19th century, and as such, much of the studios visual effects work involved recreating 1896 New York.

Ready Player One Virtual prod. and Motion Capt.

April 19, 2018, 04:59 AM

https://www.cartoonbrew.com/vfx/how-ready-player-o...

Much of Steven Spielberg’s Ready Player One is set in the Oasis, a virtual reality world full of digital avatars, game and film characters, and expansive cg environments. To produce that world, the director relied heavily on a virtual production methodology overseen by Digital Domain where actors were filmed in motion capture volumes and where shots could be designed and tweaked live with a simul-cam or ‘v-cam.’

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