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
January 13, 2020, 03:20 PM
https://www.youtube.com/watch?v=BckkCQAn2yQ
The Oscar-Shortlist Special Effects team for Alita: Battle Angel sat down for a conversation with David Poland about their work on the film.
January 13, 2020, 03:20 PM
http://www.cgchannel.com/2020/01/the-10-best-vfx-a...
Discover the best technical breakdown videos from 2019, from movie and broadcast effects to animation, motion graphics and personal R&D work, as determined by over CG Channel 120,000 Facebook followers.
January 12, 2020, 02:36 PM
http://www.btlnews.com/featured/contender-visual-e...
In Martin Scorsese’s gangster epic, The Irishman, a key element to the story involved making the principal actors appear younger than their present ages for scenes set in the film’s past. Chief among the film’s main characters are Robert DeNiro as mob hitman Frank Sheeran, Joe Pesci as gangster Russell Bufalino, and Al Pacino as […] The post Contender: Visual Effects Supervisor Pablo Helman Irishman appeared first on Below the Line.
January 12, 2020, 02:36 PM
http://www.btlnews.com/featured/contender-alita-ba...
To create a photorealistic computer-generated character who must carry an entire film as its titular star, the filmmakers behind Alita: Battle Angel relied upon the performance capture footage shot by director Robert Rodriguez of leading actress Rosa Salazar on stage in Austin, Texas. “Rosa is the basis for Alita all the way through,” said Eric […] The post Contender: Alita: Battle Angel Visual Effects appeared first on Below the Line.
January 12, 2020, 02:36 PM
https://lesterbanks.com/2020/01/an-easy-way-to-und...
FloMotion shows an easy way to learn what all the attributes of the levels adjustments do in After Effects. Rarely is there an effect that is so crucial to many, many workflows. From compositing visual
January 12, 2020, 02:36 PM
https://lesterbanks.com/2020/01/working-with-rest-...
Helge Maus shows how rest positions become essential if you work with noise and animations. If you animate noise on a grid in Sife FX Houdini, you might run into some issues. It’s easy to add animation
January 12, 2020, 02:35 PM
https://digitalfilms.wordpress.com/2020/01/11/vide...
Four editing applications dominate the professional market: Adobe Premiere Pro, Apple Final Cut Pro X, Avid Media Composer, and Blackmagic Design DaVinci Resolve. Established facilities are still heavy Avid users, with Adobe being the up-and-coming choice. This doesn’t mean that Final Cut Pro X lost out. Going into 2020, Apple can tout FCPX as the […]
January 11, 2020, 07:08 PM
https://www.aotg.com/how-1917-was-filmed-to-look-like-one-shot/
Golden Globe-winning "1917" is a serious Oscar contender. It stars George MacKay, Dean-Charles Chapman, Colin Firth, and Benedict Cumberbatch and was filmed to look like one continuous shot. Cinematographer Roger Deakins explains how he and director Sam Mendes did it, from digging up a mile of trenches to attaching cameras to cranes and drones.
January 10, 2020, 08:48 PM
https://www.aotg.com/vfx-legion-crafts-effects-for-black-christmas/
Blumhouse Productions Returns to the LA/B.C.-Based Company Tasking It with Creating All of the VFX for the New Zealand Production - From Fabricating CG Snow and Digital Elements - to Enhancing the Ominous Look of a Supernatural Villain
January 10, 2020, 08:38 PM
https://variety.com/2020/artisans/news/just-mercy-...
Editor Nat Sanders is well-versed in dealing with difficult and painful subject matters. He won an Oscar nomination for his work (along with co-editor Joi McMillon) on Barry Jenkins’ “Moonlight,” and then cut the director’s poetic drama “If Beale Street Could Talk.” He’s also edited several projects for writer-director Destin Daniel Cretton, including “The Glass Castle.”
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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