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 23, 2017, 06:12 AM
https://www.fxguide.com/fxpodcasts/fxpodcast-316-m...
Marcos Fajardo won the Sci-tech Scientific and Engineering Award (Academy Plaque) along with Chris Kulla, Alan King, Thiago Ize and Clifford Stein for Arnold. Their renderer was honored for being a highly optimized geometry engine with novel ray-tracing algorithms which unified the rendering of curves, surfaces, volumetrics and subsurface scattering. Arnold started life at Sony Pictures Imageworks and then split into two development streams when Fajardo established Solid Angle SL. Solid Angle wa...
February 23, 2017, 06:11 AM
https://www.aotg.com/hollywoods-greatest-trick-the-unsustainable-vfx/
All of the highest-grossing live-action Hollywood films last year were heavily reliant on computer generated visual effects.
February 22, 2017, 03:53 PM
http://www.artofvfx.com/doctor-strange-end-title-b...
Really nice end title for DOCTOR STRANGE created by Sarofsky...
February 21, 2017, 06:02 PM
http://www.btlnews.com/awards/contender-visual-eff...
When director Jon Favreau agreed to take on Disney’s The Jungle Book, he knew that extensive computer animation would be utilized. The major question was how to integrate a live-action performer — ten-year-old Neel Sethi as Mowgli — with computer-animated animals, and talking ones, no less, per Rudyard Kipling’s original story. “In this case, I […] The post Contender — The Visual Effects of The Jungle Book appeared first on Below the Line.
February 21, 2017, 06:02 PM
http://postperspective.com/vfx-house-jamm-adds-fla...
Santa Monica-based visual effects boutique Jamm has added veteran Flame artist Mark Holden to its roster. Holden comes to Jamm with over 20 years of experience in post production, including stints in London and Los Angeles. It didn’t take long for Holden to dive right in at Jamm; Continue reading → February 21, 2017 The post VFX house Jamm adds Flame artist Mark Holden appeared first on Randi Altman's postPerspective.
February 21, 2017, 02:05 PM
http://theangryvideoguy.com/index.php/2017/02/21/n...
Dazzlepictures, a Prague based VFX studio with experience in both film & commercial posted a VFX Breakdown of the work they completed for Nissan Mexico. The spot turns the cityscape into a videogame as the studio added motion graphics and composited 3D objects in almost every scene.
#vfx#visual effects#vfx breakdownFebruary 21, 2017, 01:36 PM
https://www.premiumbeat.com/blog/colorizing-old-bl...
Get a glimpse behind the curtain and learn about the magic art of colorizing old B&W footage with the digital color artist at POP COLORTURE.
February 21, 2017, 01:34 PM
https://www.aotg.com/how-rogue-one-recreated-grand-moff-tarkin-2/
Industrial Light & Magic used "Rogue One: A Star Wars Story" to push the boundaries of visual effects, especially in the area of digital humans. Design FX dives into the incredible techniques used to recreate one of the Star Wars universe's most terrifying figures, Grand Moff Tarkin.
February 21, 2017, 10:15 AM
http://www.studiodaily.com/2017/02/ilm-senior-vfx-...
Chief Creative Officer and Senior Visual Effects Supervisor John Knoll joined Industrial Light & Magic in 1986. His first film credits were as a motion-control camera operator for Captain EO and later for Willow. He moved into digital effects with … more » The post ILM Senior VFX Supe John Knoll on Rogue One: A Star Wars Story appeared first on Studio Daily.
February 21, 2017, 10:15 AM
http://www.studiodaily.com/2017/02/vfx-supervisor-...
Industrial Light & Magic’s Craig Hammack has received his first Oscar nomination for supervising the effects in Summit Entertainment’s Deepwater Horizon. The documentary-style feature directed by Peter Berg dramatized the explosion of an offshore oil drilling rig that resulted in … more » The post Oscar-Nominated VFX Supe Craig Hammack on Deepwater Horizon appeared first on Studio Daily.
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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