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
June 17, 2014, 04:45 AM
http://www.creativebloq.com/3d/7-top-motion-captur...
Motion-capture technology has become a regular fixture in today's games, visual effects and film industries. The development and production of state-of-the-art systems over the last decade has enabled the creation of photoreal, computer-generated characters complete with realistic emotions and movements, that have been brought to life by capturing a human actor's performance.
June 17, 2014, 04:45 AM
http://www.fxguide.com/featured/take-a-trip-the-vf...
It may be a comedy, but 22 Jump Street ramps up the action and effects to feature truck chases, huge crowds, a helicopter crash and even an unexpected octopus encounter. fxguide talks to visual effects supervisor Edwin Rivera about some of the work that made up the 600-odd VFX shots in the Phil Lord and Christopher Miller sequel.
June 13, 2014, 12:19 PM
http://www.premiumbeat.com/blog/visual-effects-bre...
We've rounded up the behind-the-scenes breakdowns of some of the best special effects scenes in recent cinema.
June 11, 2014, 06:25 PM
http://www.fxguide.com/featured/live-die-repeat-th...
In this in-depth look at Doug Liman’s time-splicing Edge of Tomorrow, we talk to Sony Pictures Imageworks, Framestore, Cinesite, The Third Floor and Prime Focus World about how they helped orchestrate some of the film’s biggest effects and its previs and stereo conversion – including complicated (and crazy) tentacled mimics, power exo-suits, the detailed beach attack, the training room and the final Paris raid. We explore newly written Maya plugins and the toolsets behind animation, destru...
June 11, 2014, 09:50 AM
http://www.definitionmagazine.com/journal/2014/6/1...
As we dived head first in to a 4k and more future, we should get used to seeing the PetaByte word. But The Amazing Spider-Man 2’s amazing data load is just part of the technical story.
June 11, 2014, 09:50 AM
http://www.definitionmagazine.com/journal/2014/6/1...
How do you reference the original ‘man in a suit’ style Godzilla film with its innate ‘monster emotion’ and at the same time bring the classic up to date. Yes you use modern technology but don’t forget the bears.
June 10, 2014, 09:45 AM
http://www.studiodaily.com/2014/06/moments-that-ch...
Watch this excellent short documentary on the VFX of Jurassic Park, with Dennis Muren, Kathleen Kennedy and more remembering the birth of CG creature features.
June 10, 2014, 09:42 AM
http://www.artofvfx.com/?p=8178
Christopher Bremble have more than 20 years of experience in the film industry. In 2003, he came to Beijing to complete post-production and visual effects on his second film DEEP RESCUE. In 2003, After its completion, he re-assembled the film’s visual effects team and launched Base FX. He worked then on many project such as THE PACIFIC, LOOPER or BROADWALK EMPIRE.
June 9, 2014, 04:58 PM
http://postperspective.com/phosphene-provides-vfx-...
Phosphene’s visual effects team, under the direction of creative director/VFX supervisor John Bair and executive producer Vivian Connolly, completed effects work and adapted the 20th Century Fox logo for the film The Fault in Our Stars. This 20th Century Fox offering, which stars Shailene Woodley, and Ansel Elgort, focuses on Hazel and Gus who meet and […]The post Phosphene provides VFX shots for ‘The Fault in Our Stars’ appeared first on postPerspective - Randi Altman's postPerspe...
June 8, 2014, 07:59 AM
http://www.leancrew.com/all-this/2014/06/withtitle...
The day after the WWDC keynote, after I’d skimmed the Swift documentation, I learned from this post by Clark Goble and this tweet by Allen MacKenzie that Yosemite was going to have a new scripting language. Or maybe an old scripting language resurrected. Either way, JavaScript is going to take a spot alongside AppleScript as a way to script applications via Apple Events.
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...
© 2007-2026 www.aotg.com Ver. 3.0 All Content created and posted by Art of the Guillotine users Art of the Guillotine graphics, logos, designs, page headers, button icons, scripts, and other service names are the trademarks of Art of the Guillotine Inc. Use of this material outside of this site is strictly prohibited.