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

Animating Moving Cities

December 21, 2018, 07:24 AM

https://www.cartoonbrew.com/vfx/mortal-engines-how...

It sounds like a pretty absurd premise: in a post-apocalyptic world, the city of London – or what’s left of it – has been hoisted onto huge tracks and hunts down other smaller cities for resources. But this is exactly what happens in Christian Rivers’ Mortal Engines, produced by Peter Jackson and based on the novel by Philip Reeve.

FiLMiC LogV2 First Look - Double Digit Dynamic Ran

December 21, 2018, 07:24 AM

https://www.cinema5d.com/filmic-logv2-first-look-1...

In the FiLMiC team’s dynamic range tests using the industry standard Xyla testing charts, the iPhone XS Max showed a solid 11 – 12 stops of dynamic range is possible using the new FiLMiC LogV2 and FiLMiC’s new “Cubiform” computational imaging process.

Andy and Nicolas on Fantastic Beast VFX

December 20, 2018, 10:22 AM

https://www.artofvfx.com/fantastic-beasts-the-crim...

In 2017, Andy Kind told us about Framestore‘s work on PADDINGTON 2. He explains today his work on FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD.

Oscars: Framestore has VFX credits on four shortli

December 19, 2018, 10:18 AM

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

LONDON — Four films that Framestore worked on are on the shortlist for the “Best Visual Effects” Oscar at the 91st Academy Awards. The studio contributed visual effects services to Avengers: Infinity War,  Christopher Robin,  Mary Poppins Returns and  Welcome to Marwen. The shortlist currently contains 10 films titles, which will ultimately be narrowed to five in January to create this year’s list of nominees.

Battling Weather with VFX in Mary Poppins 2

December 19, 2018, 10:18 AM

https://www.mpaa.org/2018/12/how-mary-poppins-retu...

English weather wreaked havoc on best-laid plans when it came to staging outdoor sequences for Mary Poppins Returns. Director Rob Marshall expected London’s usual overcast skies to accompany Mary Poppins’ descent from the heavens early in the movie. Instead, Mother Nature delivered a perfect sunny day. The UK-based visual effects supervisor Matt Johnson recalls, “It’s supposed to be all wind and clouds but suddenly London had a massive heat wave and we got a clear blue sky.” The soluti...

Practical Effects Have a Chance at the Oscars This

December 19, 2018, 06:17 AM

https://filmschoolrejects.com/practical-effects-ha...

The visual effects category at the Academy Awards has historically been more genre-friendly than the others. From 1976 to 1993, every winner of that award (including Star Wars, Aliens, ET the Extra-Terrestrial, and Logan’s Run) had some genre-tilt that required special effects to bring its elements to life. But what made their achievements differ from modern Best Visual Effects winners is that before 1994 the nominees primarily featured practical effects.

VFX, Motion Graphics and Automation

December 17, 2018, 05:44 AM

https://www.hdvideopro.com/blog/vfx-motion-graphic...

As a cinematographer, but also an occasional editor who either hires talented motion graphics artists or, in the cases where there isn’t enough budget to do so, does it himself, it recently occurred to me we’re living in a brave new world of automation. For a variety of reasons, such as I shoot a lot of small crew and even some one-man band production, I have come to count on such convenient innovations as dual-pixel autofocus and variable internal NDs on production cameras.

Digital Domain Arrives in Montreal!

December 14, 2018, 01:33 PM

https://www.artofvfx.com/digital-domain-arrives-in...

Montreal is getting bigger with the arrival of Digital Domain in 2019!

Foundry ships Nuke 11.3, NukeX 11.3, Nuke Studio 1

December 14, 2018, 10:11 AM

http://www.cgchannel.com/2018/12/foundry-ships-nuk...

Foundry has released Nuke 11.3, the next update to its line-up of compositing and editorial tools, extending the Live Groups system and adding support for eGPU units when working with Mac hardware.

Ready Player One VFX

December 14, 2018, 06:14 AM

https://www.artofvfx.com/ready-player-one-the-vfx-...

Let’s enter the Oasis with the video by Industrial Light & Magic about their work on READY PLAYER ONE...

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