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
July 28, 2017, 09:18 AM
http://www.cartoonbrew.com/vr/siggraph-2017-previe...
Over the years, the SIGGRAPH conference has had to adapt to changes in computer graphics and interactive technologies. One ‘track’ introduced in 2009 was Real-Time Live, designed to showcase developments in real-time graphics in games, rendering, and interactive simulations – but even this part of SIGGRAPH has had to evolve since its inception.
July 27, 2017, 12:55 PM
https://filmschoolrejects.com/visual-affects-reali...
Two days after wrapping on the $65 million dollar budget film Pete’s Dragon, David Lowery headed home to Texas to make a small film (literally, the aspect ratio is 1.37:1) with a group of friends called A Ghost Story. The budget? $100,000. In itself, the budget is a good marker of how different the films are. And yet in both films, Lowery uses visual effects in a very calculated and affecting way, two qualities that are often lacking in effects-heavy films nowadays. Indeed, many an article has...
July 26, 2017, 05:05 PM
http://www.postmagazine.com/Press-Center/Daily-New...
SANTA MONICA, CA & MELBOURNE, AUSTRALIA - Creative studio Luma (www.lumapictures.com) teamed up with director Jon Watts and VFX supervisor Janek Sirrs to deliver visual effects work for 11 sequences featured in the new film Spider-Man: Homecoming. The film includes a standout villain named the Vulture — a street-level guy who turns to illegal activities to take care of his family.
July 26, 2017, 09:22 AM
http://www.artofvfx.com/spider-man-homecoming-theo...
Theodore Bialek has more than 20 years of experience in visual effects. At Sony Pictures Imageworks, he has worked on numerous projects such as STUART LITTLE, BEOWULF, SPEED RACER and ALICE IN WONDERLAND.
July 26, 2017, 05:19 AM
http://www.artofvfx.com/valerian-and-the-city-of-a...
Check out this making of by French studio Mikros Image about their work on VALERIAN AND THE CITY OF A THOUSAND PLANETS...
July 25, 2017, 09:12 AM
https://www.premiumbeat.com/blog/16-free-light-dus...
In this Adobe After Effects tutorial, learn how to get the most out of RocketStock's Free 4K Volumetric Light and Dust Overlays.
July 25, 2017, 09:11 AM
http://www.artofvfx.com/spider-man-homecoming-domi...
Dominik Zimmerle began his career in visual effects in 2007 at Trixter. He has worked on many projects such as THE AVENGERS, CLOUD ATLAS, IRON MAN 3 and AVENGERS: AGE OF ULTRON. As a VFX Supervisor, he took care of the effects of ANT-MAN and INDEPENDENCE DAY: RESURGENCE.
July 24, 2017, 09:47 AM
http://www.artofvfx.com/spider-man-homecoming-bren...
Kevin Souls has over 20 years of experience in the visual effects. He worked for many years at Sony Pictures Imageworks on films such as CATS & DOGS, SUPERMAN RETURNS, WATCHMEN, HANCOCK and several SPIDER-MAN.
July 21, 2017, 09:29 AM
http://www.artofvfx.com/spider-man-homecoming-lou-...
In 2014, Lou Pecora explained to us about the work of Digital Domain on X-MEN: DAYS OF FUTURE PAST. He speaks to us today about his work on SPIDER-MAN: HOMECOMING.
July 21, 2017, 06:24 AM
https://www.rocketstock.com/blog/stitch-360-videos...
The most intimidating factor for people new to 360° video is “how to stitch all of the footage together?” Just the term “stitching” sounds labor intensive. Luckily for us, this isn’t the case at all. Stitching software has come a long way in just a few short years, and companies like Kolor have really focused on streamlining the process. In this tutorial, we are going to learn how to stitch 360° video with AutoPano Video Pro and hopefully provide you with an understanding of the step...
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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