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

VFX vet Andrea D’Amico joins FuseFX, working on

December 8, 2015, 02:25 PM

http://postperspective.com/vfx-vet-andrea-damico-j...

Veteran VFX producer Andrea D’Amico has joined Burbank-based FuseFX, bringing with her 25 years of experience, including tenures at Eden FX, Digital Domain, Riot and CIS Hollywood. Most recently, she served as VFX producer at MPC Montreal, working on Fox’s Victor Frankenstein. D’Amico joins the FuseFX visual effects team on Marvel’s Agents of S.H.I.E.L.D; FuseFX has received two Emmy nominations and three VES  Award nominations for its work on the show. D’Amico’s many televisi...

O is for Optical Printer

December 8, 2015, 02:25 PM

http://cinefex.com/blog/optical-printer/

So what is an optical printer? Simply put, it’s a piece of equipment designed to copy motion picture film. A typical optical printer has a projector at one end and a camera at the other. By running film through the projector, and rephotographing it with the camera, you can create a near-perfect duplicate of your original.

OSCARS 2016: The preliminary VFX shortlist

December 8, 2015, 05:58 AM

http://www.artofvfx.com/oscars-2016-the-preliminar...

The Academy of Motion Picture Arts and Sciences have announced the preliminary shortlist for the Best Visual Effects Award for the 88th Academy Awards...

VFX Podcast - Programming for Creatives

December 8, 2015, 05:58 AM

http://www.allanmckay.com/51/

This episode is about how learning a little code, can go a long way for artists and creatives. Most of us are intimidated by programming and think it’s only for math guys and people wired a certain way, where it’s really about learning just how to approach it a different way – you don’t need to know math to code, you don’t need to be ‘super smart’ to code. You just need to know how to apply it to what you’re doing and approach it a little differently to the norm.

20 VFX Contenders Advance in Oscar Race

December 7, 2015, 06:26 PM

http://www.animationmagazine.net/events/20-vfx-con...

The Academy has announced 20 films that will advance to the short-listing round in the Best Visual Effects Oscar race for the 88th Academy Awards.

The pipeline experts behind Shotgun’s ‘Two Guy

December 7, 2015, 01:35 PM

http://postperspective.com/pipeline-experts-behind...

Jeff Beeland and Josh Tomlinson know pipelines, and we are not exaggerating. Beeland was a pipeline TD, lead pipeline TD and pipeline supervisor at Rhythm and Hues Studios for over nine years. After that, he was pipeline supervisor at Blur Studio for over two years. Tomlinson followed a similar path, working in the pipeline department at R&H starting in 2003. In 2010 he moved over to the software group at within the studio and helped develop its proprietary toolset. In 2014 he took a job as...

Spectre : Mark Curtis, superviseur VFX chez MPC

December 7, 2015, 10:23 AM

http://www.3dvf.com/actualite-15297-spectre-mark-c...

To read on The Art of VFX, an interview with Mark Curtis, VFX supervisor at MPC. He returns to the work of the studio for the new James Bond, Spectre.

Black Sails Season 2 Vfx Breakdown

December 7, 2015, 10:22 AM

http://www.cgmeetup.net/home/black-sails-season-2-...

Aladino Debert – Here’s a selection of the work we did for Season 2 of Starz Network’s “Black Sails”. We had the pleasure -and challenge- of working on 4 episodes, including the awesome season finale. Incredibly ambitious work for a TV show, although in their own words “These are one-hour movies”. Definitely great production value and I’m very happy to have been a part of it and to collaborate with the show’s VFX Supervisor Erik Henry.

RealFlow 101 Introduction to RealFlow

December 7, 2015, 10:22 AM

http://www.cgmeetup.net/home/realflow-101-introduc...

This webinar is for anyone who is interested in accessible Dynamic effects for VFX and want to know what RealFlow is about and what it can do.

THE 33: VFX Breakdown by Spin VFX

December 7, 2015, 06:18 AM

http://www.artofvfx.com/the-33-vfx-breakdown-spin-...

Spin VFX have published a dedicated page and VFX Breakdown about their invisible work on THE 33 (click on the picture below to watch it)...

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