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
December 14, 2016, 05:01 AM
http://www.creativebloq.com/reviews/modo-101
Modo's new procedural tools are powerful, if not exactly easy to learn, and should enhance Modo's reputation as a best-in-class modelling tool.
December 13, 2016, 07:12 PM
http://www.studiodaily.com/2016/12/design-a-3d-set...
Andrew Kramer from Video Copilot reveals the details of building virtual sets in Adobe After Effects with this tutorial — and its free Roof Pack toolkit, downloadable from the Video Copilot website. The post Design a 3D Set Extension (Tutorial) appeared first on Studio Daily.
December 13, 2016, 07:11 PM
http://blogs.adobe.com/creativecloud/the-intersect...
Founder and Creative Director Ian Kirby and Executive Producer Dan Sioui know that their small team and roots in motion design make The Sequence Group a bit different than other VFX studios—and they wouldn’t have it any other way. Located in Vancouver, BC and Melbourne, Australia, the studio works with big brands, producing everything from broadcast show openings, film titles, game trailers, and short films to game cinematics, animated series, and traditional advertising. Whether workin...
December 13, 2016, 01:18 PM
http://postperspective.com/audio-vr-early-exciting...
By Beth Marchant The first things most people think of when starting out in VR is which 360-degree camera rig they need and what software is best for stitching. But virtual reality is not just a Gordian knot for production and post. Audio is as important — and complex — a component as the rest. Continue reading → December 13, 2016 The post VR Audio: Early but exciting times for virtual, spacial soundscapes appeared first on Randi Altman's postPerspective.
December 13, 2016, 01:17 PM
http://nofilmschool.com/2016/12/how-create-star-wa...
No motion graphic sequences are as iconic as the holograms from the Star Wars saga. From "Help me, Obi-Wan Kenobi" to "It’s true—all of it," Star Wars and ILM have single-handedly introduced the hologram into the cinematic language.
December 13, 2016, 10:30 AM
http://www.postmagazine.com/Press-Center/Daily-New...
LONDON — Cinesite revisited to the world of Harry Potter, delivering just under 100 VFX shots for the new film Fantastic Beasts and Where to Find Them. The studio’s work included creating environments of prohibition-era Manhattan, set extensions and the film’s magical dinner.
December 13, 2016, 10:26 AM
http://www.artofvfx.com/arrival-ivan-moran-vfx-sup...
Ivan Moran is working in the visual effects for over 20 years. Before joining Framestore, he worked at Animal Logic and Weta Digital. He supervised the effects of many films such as THE SMURFS, THE SECRET LIFE OF WALTER MITTY, DRACULA UNTOLD and THE LEGEND OF TARZAN.
December 13, 2016, 10:26 AM
https://www.aotg.com/arrival-vfx-breakdown-by-oblique-fx/
Have a look at the VFX work of Oblique FX for ARRIVAL...
December 13, 2016, 10:26 AM
Cinesite presents their VFX work on the dinner sequence for FANTASTIC BEASTS AND WHERE TO FIND THEM...
December 13, 2016, 06:06 AM
https://vfxblog.com/2016/12/13/behind-the-ilm-mars...
1996 was a break-out year for digital visual effects, with advancements in front and centre CG characters (Dragonheart), heavy environments and digital compositing (Independence Day), and photoreal CG simulations (Twister).
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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