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

FMX 2022 Shares Official Event Trailer

February 1, 2022, 08:43 AM

https://www.awn.com/news/fmx-2022-shares-official-...

With the countdown to FMX 2022 less than 100 days away, check out the event’s official trailer as well as what’s in store when the conference goes live onsite May 3-5 and online May 6:

Dune: VFX supervisor Paul Lambert

January 28, 2022, 08:51 AM

https://www.postmagazine.com/Press-Center/Daily-Ne...

Sand. Lots and lots of sand. If there’s one thing that people immediately envision when they hear the title Dune, it is the infinite landscape of brown/orange sand. Also, the giant sandworms. And, of course, the futuristic vehicles and other worldly environments and objects.

Framestore Adds Digital Drama to The Kings Man

January 28, 2022, 08:49 AM

https://www.cgw.com/Press-Center/In-Focus/2022/Fra...

In Matthew Vaughn's WWI-based prequel to the hugely popular Kingsman films, The King’s Man gives us the long-awaited origin story of the intelligence agency, as a collection of history's worst tyrants and criminal masterminds gather to plot a war to wipe out millions, and one man must race against time to stop them.

The Stand VFX Breakdown of Episode 8 by ILM

January 28, 2022, 08:48 AM

https://www.artofvfx.com/the-stand-vfx-breakdown-o...

Here is a really cool VFX Breakdown focusing on the final episode of the CBS series, The Stand and featuring the work made by ILM...

How to Use Motion Capture and Marvelous Designer Data in Maya

January 27, 2022, 09:03 AM

https://lesterbanks.com/2022/01/how-to-use-motion-...

Alex Cheparev shares his workflow for using Mixamo and Marvelous Designer cloth sims in Maya. This new tutorial and walkthrough by Alex Cheparev shows his process for working with Mixamo motion capture data in Maya, along with

The Shadow in My Eye VFX Breakdown

January 27, 2022, 09:02 AM

https://www.artofvfx.com/the-shadow-in-my-eye-vfx-...

Let’s have a look at the invisible work made by the teams of Umedia VFX on the movie, The Shadow in My Eye...

Inside Lola VFXs Ryan Reynolds face replacement

January 27, 2022, 09:02 AM

https://beforesandafters.com/2022/01/27/inside-lol...

In Shawn Levy’s Free Guy, Ryan Reynolds plays Guy, a non-player character (NPC) in Free City, as part of a massively multiplayer online role-playing video game (MMORPG). At one point, Guy and Dude–a muscular, unfinished version of Guy developed for Free City 2–get into a beach-side fight.

Video Inside the VFX of Eternals

January 27, 2022, 09:02 AM

https://beforesandafters.com/2022/01/27/video-insi...

We chat to the Eternals visual effects team, including visual effects supervisor Stef Ceretti and Weta Digital visual effects supervisor Matt Aitken. We dive into the emergence of Tiamut at the end of the film, Makkari’s super-speed, and the art of world-building in VFX.

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