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

The year of Hollywood’s practical effects comeba

January 19, 2016, 07:12 PM

http://www.theverge.com/2015/8/4/9094383/practical...

The biggest set piece in Mission: Impossible — Rogue Nation is also its first scene. We’ve all seen it in the trailers: a frantic but determined Ethan Hunt (Tom Cruise) clutches the side of an Airbus A400 for dear life as it takes off into the stratosphere. While the scene itself is only tangentially related to the overall plot of the movie, Paramount made sure this was the scene that got people into theaters. A large part of this strategy was broadly publicizing the fact that it wasn’t fa...

Strawberry Candy Vfx Breakdown

January 19, 2016, 03:08 PM

http://www.cgmeetup.net/home/strawberry-candy-vfx-...

Giulio Tonini – I used Zbrush to sculpt the strawberry trying to match the Fibonacci spiral. Real flow was used for the High Viscosity Liquid Simulation rising the simulation subframe step to avoid “exploding” particles. Rendered in Maya with Solidangle Arnold.

3 Common After Effects Errors and How to Fix Them

January 19, 2016, 10:25 AM

https://jeffvlog.wordpress.com/2016/01/19/3-common...

Spending hours to solve an error in After Effects can be a frustrating waste of time. To save you the stress, here are 3 common After Effects errors and how you can fix them.

Spectre VFX Breakdown from MPC

January 19, 2016, 10:24 AM

http://www.definitionmagazine.com/journal/2016/1/1...

For SPECTRE, the 24th James Bond adventure, MPC completed around 300 VFX shots. Led by MPC VFX Supervisor Mark Curtis and Producer Laura Schultz,

3D fire in After Effects

January 19, 2016, 06:33 AM

http://angietaylor.co.uk/3d-fire-in-after-effects/

Creating 3D fire in After Effects If your budget doesn’t stretch to pricey plug-in filters you can use the native effects to create fantastic 3D fire in After Effects. Read my article in Digital Arts about how to achieve this. The tutorial features... The post 3D fire in After Effects appeared first on Angie Taylor - Motion graphic design.

Interview with Darryl Johnson

January 18, 2016, 08:43 PM

http://www.allanmckay.com/57/

Darryl Johnson is a 3D generalist working for studios in LA like Blur and Blizzard Cinematics, as well as previously in Detroit at various car commercial houses.

Achieving a Super 16mm Film Look When Shooting Dig

January 18, 2016, 10:12 AM

http://www.premiumbeat.com/blog/achieving-a-super-...

Super 16mm film offers a distinct and beautiful look that can be hard to replicate digitally. Here’s what you need to know in order to achieve the S16 look when shooting on a digital cinema camera.

Digital Artist Lewis Moorhead talks Compositing, S

January 18, 2016, 10:11 AM

http://blogs.adobe.com/creative/digital-artist-lew...

Introducing three of Europe’s very talented digital designers. They’re bold, they’re brave and they’re willing to go where no designers have gone before. Lewis Moorhead is our talented storyteller this week, bringing even the most fantastical story to life through compositing and Digital Art. We’ve been lucky enough to talk to him about his divine (or design) creations. Hey Lewis, thanks for your time! Firstly, your creations always seem to have a story associated with them, be it...

Learn how ILM created Star Wars' visual effects

January 18, 2016, 10:11 AM

http://www.digitalartsonline.co.uk/news/motion-gra...

Escape Studios’ VFX Festival is back for its fourth annual celebration of the best of special effects. Keep the 23-25 February free for the chance to meet industry stars.

VFX and animation Oscar nominations 2016

January 18, 2016, 06:19 AM

http://www.digitalartsonline.co.uk/news/motion-gra...

Here we've collected VFX and animation breakdowns for the 2016 animation and VFX Oscars, kicking off with a sneak behind-the-scenes look at the likely VFX Oscar winner Star Wars: The Force Awakens (above).

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