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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

Amazon’s Good Omens: VFX supervisor Jean-Claude

May 30, 2019, 06:05 AM

https://postperspective.com/amazons-good-omens-vfx...

By Randi Altman Good versus evil. It’s a story that’s been told time and time again, but Amazon’s Good Omens turns that trope on its head a bit. With Armageddon approaching, two unlikely heroes and centuries-long frenemies— an angel (Michael Sheen) and demon (David Tennant) — team up to try to fight off the end of the world. Continue reading → May 29, 2019 The post Amazon’s Good Omens: VFX supervisor Jean-Claude Deguara appeared first on postPerspective.

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.

Jar Jar Binks was nearly a practical suit and a CG

May 24, 2019, 05:54 AM

https://beforesandafters.com/2019/05/24/jar-jar-bi...

Whatever you think of Jar Jar Binks – the fully computer-generated Gungan played by Ahmed Best and crafted by ILM for The Phantom Menace – he was a game-changer in visual effects. It was, essentially, the first main CG character in a feature film, one brought to life by Best performing on set with the other actors and via motion capture.

Create an LED Logo Animation in AE

May 24, 2019, 05:54 AM

https://blogs.creativecow.net/blog/14914/create-an...

Motion Graphics Tutorial Series | Learn how to Create an LED Logo Animation in Adobe After Effects without any third party plugins...

VFX vet John Kilshaw joins Framestore in NYC

May 24, 2019, 05:52 AM

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

NEW YORK CITY — Framestore (www.framestore.com) has appointed veteran VFX pro John Kilshaw senior VFX supervisor and creative director for television. He will be based in New York and will continue to build the studio’s presence within episodic television.

Quickfx.com launches as cloud-based VFX production

May 23, 2019, 08:21 AM

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

HOLLYWOOD — In a move to bring high-end visual effects services to content producers anywhere, and at lower costs, VFX studio Engine Room has launched QuickFX.com, a cloud-based service platform.

The Skywalker Ranch Pizza Story

May 22, 2019, 04:55 AM

https://beforesandafters.com/2019/05/22/it-cost-ab...

Planning shots out before you shoot them for real is not a new concept, and it also wasn’t necessarily new around the time George Lucas set out to make Star Wars: Episode I – The Phantom Menace (which is currently celebrating its 20th anniversary), but utilizing then-new digital tools to help craft video animatics was a large part of making the film, and lay the groundwork for a whole-hearted adoption of previs on the subsequent prequels and other films, even spawning a number of individual ...

The Isle of the Dead: a mysterious painting comes

May 22, 2019, 04:55 AM

https://www.provideocoalition.com/the-isle-of-the-...

Winner of a VR Award at the Venice International Film Festival in 2018, and soon available on Steam, The Isle of the Dead, from French author Benjamin Nuel, is another step in the right direction for VR. Written by Benjamin Nuel and Clémence Madeleine-Perdrillat, produced by Oriane Hurard, a coproduction of the French cinematography company... The post The Isle of the Dead: a mysterious painting comes alive in Virtual Reality appeared first on ProVideo Coalition.

Polygon Disintegration

May 20, 2019, 02:06 PM

https://www.provideocoalition.com/polygon-disinteg...

Polygon Disintegration Breaking apart polygons with X-Particles. Polygon Disintegration With the popularity of the Avengers Thanos ash effect, I decided to create a variant with X-Particles. It’s very similiar in movement, but focuses primarility on ripping the polygons of a mesh object apart which gives it a nice mix of blockiness, and fluid flow. Since... The post Polygon Disintegration appeared first on ProVideo Coalition.

Channeling Back to the Future for Endgame's VFX

May 18, 2019, 03:35 AM

https://beforesandafters.com/2019/05/18/how-vfx-ch...

One of Avengers: Endgame’s big spoilers is the fact that several main characters go back in time to New York during the major clash that occurred there during The Avengers (2012). Staging scenes that offered glimpses of the past battle, but also other ‘angles’ or characters within that past world was a huge logistical challenge, including for the visual effects artists on the film.

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