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 11, 2015, 07:11 AM
http://www.themarysue.com/women-in-vfx/
What do LOTR, The Avengers, and Inception all have in common? That’s right. Special effects. But how often do women working in special effects get the credit they deserve?
February 11, 2015, 07:07 AM
http://www.hitfix.com/in-contention/winter-soldier...
Call "Captain America: The Winter Soldier" Marvel's attempt at a "grounded" political thriller. With, you know, tons and tons of special effects.
February 11, 2015, 07:06 AM
https://www.aotg.com/macbreak-studio-ep-302-wrapping-streaks/
This week on MacBreak Studio, Mark Spencer shows Steve Martin from Ripple Training how to wrap paint strokes and particle emitters around text in 3D space using Motion.
February 11, 2015, 07:06 AM
http://www.cgmeetup.net/home/sons-of-liberty-vfx-b...
Sons of Liberty – VFX Breakdowns by Brainstorm Digital
February 10, 2015, 01:45 PM
http://www.thecredits.org/2015/02/vfx-supervisor-d...
When Andy and Lana Wachowski release a picture, moviegoers can rely on it to be a visual experience. In large part, that is because of the talent of their visual effects team, which has been supervised since The Matrix Reloaded by Dan Glass. Glass, who has worked with the Wachowskis on two Matrix films, Speed Racer, and Cloud Atlas, is also credited as the visual effects supervisor for Jupiter Ascending, which opened on Friday.
February 10, 2015, 01:30 PM
http://www.studiodaily.com/2015/02/stephane-cerett...
In Marvel Studios’ Guardians of the Galaxy, a quartet of misfits that include, improbably, a CG raccoon named Rocket and a CG tree named Groot, zip from planet to planet as they try to save the galaxy from an evil … more » The post Marvel Studios VFX Supe Stephane Ceretti on Guardians of the Galaxy appeared first on Studio Daily.
February 10, 2015, 04:34 AM
http://www.tgdaily.com/happyplace/film/130801-how-...
Fanboys are sick and tired of too much CGI, we all know this, and it’s of course going to be a concern with the next Star Wars movie. No matter what, there’s going to have to be computer effects somewhere, but with JJ Abrams being a big fanboy himself, he’s got a good feel for what fans will want, and won’t want, in the next Star Wars flick.
February 10, 2015, 04:32 AM
http://www.artofvfx.com/?p=10986
Nice VFX Breakdown by Nvizible about their invisible work on PRIDE...
February 9, 2015, 03:01 PM
https://www.aotg.com/interstellar-vfx-supervisors-talk-working-with-nol/
It’s no secret that Christopher Nolan makes big movies. While large-scale films have now become synonymous with lots and lots of visual effects, that’s actua...
February 9, 2015, 03:01 PM
https://www.aotg.com/creating-the-knightship-for-transformers-a-o-e/
Creating the Knightship for "Transformers: Age of Extinction" was an immense challenge for the visual effects team due to it's massive scale. In fact, the Knightship is over five times larger than the worm-like drilling robot that appeared in "Dark of the Moon" which had previously held the record at ILM for most complex model.
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...
© 2007-2026 www.aotg.com Ver. 3.0 All Content created and posted by Art of the Guillotine users Art of the Guillotine graphics, logos, designs, page headers, button icons, scripts, and other service names are the trademarks of Art of the Guillotine Inc. Use of this material outside of this site is strictly prohibited.