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 6, 2018, 03:44 AM
https://www.thrillist.com/entertainment/nation/sol...
In this age of superhero and space-adventure blockbusters, you might think that most of the aliens and robots appearing in Ron Howard’s Solo were computer-generated. And for good reason; CG characters can be made to do anything, and can accommodate last-minute design changes. But savvy audiences have in recent times lamented the unfettered rise of CG, and yearned for the "old-school" days of practical effects.
May 29, 2018, 04:28 PM
https://vfxblog.com/dinosaurinputdevice/
In visual effects lore, it is well-known that the full-motion dinosaurs of Jurassic Park were originally intended as stop-motion puppets animated by Phil Tippett’s Tippett Studio. That is, until a secret ILM test with computer-generated dinosaurs convinced director Steven Spielberg to go with that digital approach, perhaps changing the course of VFX history in the process.
May 18, 2018, 04:55 PM
http://www.studiodaily.com/2018/05/summus-render-l...
The options for scaling up animation capabilities in the cloud continue to expand with the launch this week of Simple Animation, a virtual workstation offering from Madrid-based render-as-a-service provider Summus Render. As usual, the promise is twofold. First, cloud-based infrastructure can save money by allowing you to only fire up workstations as they’re needed in […] The post Summus Render Launches Simple Animation Cloud Platform appeared first on Studio Daily.
May 7, 2018, 03:02 PM
http://www.studiodaily.com/2018/05/psyop-takes-sta...
New York-based creative studio Psyop purchased a minority stake in Golden Wolf, a five-year-old London production company specializing in 2D animation. The investment will bolster Psyop’s 3D offerings with 2D animation expertise, the company said, while allowing Golden Wolf to expand its headcount and leverage Psyop’s presence in New York and Los Angeles. In addition, […] The post Psyop Takes a Stake in 2D Animation House Golden Wolf, Consolidates NYC Operations appeared first on Stud...
April 10, 2018, 04:16 PM
http://lesterbanks.com/2018/04/automate-tetris-ani...
AJ Haines Shares How to Create a Tetris Animation Without Having to Animate Each Brick. Working with the fundamentals of Cinema 4D’s Mograph and Effectors systems, AJ Haines has a look at creating a simple
April 9, 2018, 04:18 AM
https://vfxblog.com/2018/04/09/inside-the-mind-of-...
Pacific Rim: Uprising might just be an animator’s dream project; giant Jaeger robots fighting giant alien Kaiju. Whenever I watch a film like that, I always wonder, where do the animators start? Notwithstanding the fact that there’s already a Pacific Rim film out there, and perhaps plenty of other giant fighting robot films, something about Uprising’s animation felt different.
April 9, 2018, 04:17 AM
https://www.provideocoalition.com/ae-project-diary...
In this project diary we look at the process I went through to create an animation of burning embers in After Effects, using Trapcode Form. Because the animation was a projected backdrop for a theatrical performance, it needed to be created as a seamless loop with a separate reveal on and off.
April 4, 2018, 05:17 AM
http://www.cgchannel.com/2018/04/adobe-releases-ch...
Adobe has released Character Animator CC 1.5, the latest update to its 2D puppet animation software, adding new tools for managing takes, and updating the particles and trigger systems.
April 3, 2018, 06:37 AM
http://www.artofvfx.com/coco-technical-breakdown-b...
Quick but cool technical breakdown by Pixar about the creation of The Land of the Dead for COCO...
March 27, 2018, 12:18 PM
https://filmschoolrejects.com/pixar-homage-classic...
While adults have to simply endure most animated kids movies, Pixar movies are crafted so that parents can enjoy them alongside their children. For over two decades, Pixar has pumped out sophisticated animated narratives that often touch on distinctly adult themes like loss, aging, and death. But beyond their relatable themes, Pixar movies also cater to adults by sneaking in clever references—some subtle, some overt—to classic cinema.
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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