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
February 16, 2016, 10:12 AM
http://www.theverge.com/2016/2/8/10926066/hail-cae...
Joel and Ethan Coen have never bothered pinning themselves to a single genre, nor have they been afraid of wearing their love for Hollywood itself on their collective sleeve — but their latest film Hail, Caesar! takes things to an entirely different level. A film about Old Hollywood, set inside the fictional Capitol Pictures in the 1950s, it doesn’t just take pains to create the look and feel of happy-go-lucky musicals, aw-shucks westerns, and Roman epics; Hail, Caesar! begins adopting those...
February 16, 2016, 10:12 AM
http://wistia.com/blog/template-for-screencast-vid...
At Wistia, we're used to shooting videos about software. We've tackled issues like glare on screens and editing screencasts, and we've tried our best to make otherwise boring videos more visually engaging.
February 16, 2016, 10:12 AM
http://www.hollywoodreporter.com/behind-screen/osc...
VFX supervisors for 'Mad Max,' 'Star Wars' and more Oscar-nominated films share what it takes to keep it real. 'The Martian's' VFX supervisor, Richard Stammers, says of achieving an earthy approach: "We strive to make as much as we can real. The more you capture in-camera, they more it’s grounded in reality."
February 16, 2016, 09:05 AM
http://philpott.ca/rodeo-fx-brings-insight-and-ent...
Rodeo FX worked with Jonathan Rothbart, VFX supervisor, and Tim Miller, director, to create the grotesque look and feel of the Ryan Reynold's "Deadpool".
#rodeo fx#deadpoolFebruary 16, 2016, 06:05 AM
http://www.provideocoalition.com/keying-and-compos...
You’ve seen it before: composited people with hair helmets. If you’ve done any keying yourself, you probably notice it all the time. And you’ve seen worse: webbed fingers, grey outlines, green, magenta or grey reflections on skin. How can you make your keys look as good as the ones in, say, Iron Man or Transformers?
February 16, 2016, 06:03 AM
https://www.fxguide.com/featured/deep-inside-deadp...
Director Tim Miller’s first feature Deadpool hasn’t just raised the bar for subversive, fourth-wall-breaking comic book films, it also pushes the art in terms of visual effects. From completely synthetic environments for the freeway chase, to a fully CG dialogue-delivering metallic character in Colossus, to a unique approach to Deadpool’s facial animation and an unforgettable frozen moment opening title sequence...
February 15, 2016, 12:31 PM
http://www.cgmeetup.net/home/endorphine-vfx-breakd...
Endorphine Vfx Breakdown by MELS.
February 15, 2016, 12:31 PM
http://www.artofvfx.com/deadpool-jonathan-rothbart...
Jonathan Rothbart began his career in VFX at Industrial Light & Magic in 1995. He worked on films like DRAGONHEART, MEN IN BLACK or STAR WARS: EPISODE I – THE PHANTOM MENACE. In 2000, he created the studio The Orphanage with Scott Stewart and Stu Maschwitz. He will oversee the effects of many films like HERO, HELLBOY, SIN CITY or IRON MAN. In 2010, The Orphanage is closed and Jonathan becomes production side VFX Supervisor and take care of the effects of LEGION, PRIEST and AFTER EARTH.
February 15, 2016, 07:16 AM
Jami works at Bungie in Seattle, WA well known for Halo and Destiny among other high profile projects. This episode we dive into her role at Bungie on Destiny, as well as her experiences graduating from college and going into video games, and how she managed to literally walk into a job at Bungie and a lot of the key reasons behind that which I think is really fascinating. As well as sharing her own female perspective of working in the video game industry as well.
February 15, 2016, 07:15 AM
http://www.artofvfx.com/bafta-2016-special-visual-...
BAFTA 2016 have announced the winner for Special Visual Effects...
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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