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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

London’s Media Production Show: technology for c

June 19, 2019, 12:28 PM

https://postperspective.com/londons-media-producti...

By Mel Lambert The fourth annual Media Production Show, held June 11-12 at Olympia West, London, once again attracted a wide cross section of European production, broadcast, post and media-distribution pros. According to its organizers, the two-day confab drew 5,300 attendees and “showcased the technology and creativity behind content creation,” focusing on state-of-the products and services. Continue reading → June 19, 2019 The post London’s Media Production Show: technology for ...

Red Giant VFX Suite Released – 9 Tools for Kille

June 19, 2019, 06:00 AM

https://www.cinema5d.com/red-giant-vfx-suite-relea...

Today, Red Giant Software released the latest addition to their already impressive collection of effects and grading suites. The Red Giant VFX Suite offers 9 freshly coded effects for immediate use in Adobe After Effects. Four of the nine also work in Premiere Pro. And all these effects can be tweaked and tailored to your specific needs, of course.

REVIEW: Red Giant VFX Suite

June 19, 2019, 05:59 AM

https://www.provideocoalition.com/review-red-giant...

Red Giant Software has been developing After Effects plugins for over 15 years, and today they’ve launched their newest product.  The brand new Red Giant VFX Suite is comprised of nine individual After Effects plugins, including an updated Primatte Keyer and the latest version of Knoll Light Factory. The new VFX suite replaces the older Keying... The post REVIEW: Red Giant VFX Suite appeared first on ProVideo Coalition.

Review: Red Giant’s VFX Suite plugins

June 18, 2019, 12:56 PM

https://postperspective.com/review-red-giants-vfx-...

By Brady Betzel If you have ever watched After Effects tutorials, you are bound to have seen the people who make up Red Giant. There is Aharon Rabinowitz, who you might mistake for a professional voiceover talent; Seth Worley, who can combine a pithy sense of humor and over-the-top creativity seamlessly; Continue reading → June 18, 2019 The post Review: Red Giant’s VFX Suite plugins appeared first on postPerspective.

How ‘Umbrella Academy’ VFX Supervisors Brought

June 18, 2019, 06:16 AM

https://deadline.com/2019/06/the-umbrella-academy-...

'The Umbrella Academy' VFX Supervisors explain how a talking chimpanzee was brought to life for Netflix superhero series.

how one VFX artist is using Adobe’s Content-Awar

June 18, 2019, 06:16 AM

https://beforesandafters.com/2019/06/18/heres-how-...

It’s been a few months since Adobe officially launched its Content-Aware Fill for video feature in After Effects. VFX artists will of course already be familiar with the need to remove unwanted objects from scenes; Content-Aware Fill is designed to do this somewhat automatically, as it does in Photoshop, but for moving images.

Speed: a tale of many buses

June 10, 2019, 05:54 AM

https://beforesandafters.com/2019/06/10/speed-a-ta...

If it was made today, it’s possible that some of the on-the-bus sections of Speed would be filmed on a sound-stage against bluescreen. But that’s not at all how the 1994 Jan de Bont movie was staged. Every bus shot takes place on a real bus, and there were actually around ten different buses retro-fitted for different kinds of action in the film.

Shooting 'Speed’s' opening titles almost destroy

June 6, 2019, 04:32 AM

https://beforesandafters.com/2019/06/06/shooting-s...

Has there ever been any opening titles quite like those in Speed? For the uninitiated, the three-minute long sequence follows the path of an elevator shaft from above the 40th floor right down to the basement, immediately segueing into the film’s action. All the while, composer Mark Mancina’s score is introduced, while the titles themselves wipe on and off the elevator beams.

Great Effects for Good Omens

June 6, 2019, 04:32 AM

https://library.creativecow.net/wilson_tim/great-e...

Wouldn’t you know it? You’re a demon living on Earth for the past 6000 years, and you’ve finally persuaded your angelic counterpart to help you stop the end of the world, and now you can’t remember where you left the 11 year old Antichrist.

Creatures, fire and atmospherics: cooking up a GoT

May 27, 2019, 12:17 PM

https://beforesandafters.com/2019/05/28/creatures-...

Weta Digital handled a lot of complex visual effects work in the final season of Game of Thrones, totalling some 600 shots. To get a sense of how some of that broke down, befores & afters talked to visual effects supervisor Martin Hill about three particular aspects of the work: creatures, fire and atmospherics. Come with us on a visual journey through this work to find out how it was accomplished on a very large scale.

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