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

Deep Inside Deadpool's VFX

February 16, 2016, 06:03 AM

https://www.fxguide.com/featured/deep-inside-deadp...

Director Tim Miller’s first feature Deadpool hasn’t just raised the bar for subversive, fourth-wall-breaking comic book films, it also pushes the art in terms of visual effects. From completely synthetic environments for the freeway chase, to a fully CG dialogue-delivering metallic character in Colossus, to a unique approach to Deadpool’s facial animation and an unforgettable frozen moment opening title sequence...

DEADPOOL: Jonathan Rothbart - VFX Supervisor

February 15, 2016, 12:31 PM

http://www.artofvfx.com/deadpool-jonathan-rothbart...

Jonathan Rothbart began his career in VFX at Industrial Light & Magic in 1995. He worked on films like DRAGONHEART, MEN IN BLACK or STAR WARS: EPISODE I – THE PHANTOM MENACE. In 2000, he created the studio The Orphanage with Scott Stewart and Stu Maschwitz. He will oversee the effects of many films like HERO, HELLBOY, SIN CITY or IRON MAN. In 2010, The Orphanage is closed and Jonathan becomes production side VFX Supervisor and take care of the effects of LEGION, PRIEST and AFTER EARTH.

VFX Podcast Episode 60 - Jami Jeffcoat

February 15, 2016, 07:16 AM

http://www.allanmckay.com/60/

Jami works at Bungie in Seattle, WA well known for Halo and Destiny among other high profile projects. This episode we dive into her role at Bungie on Destiny, as well as her experiences graduating from college and going into video games, and how she managed to literally walk into a job at Bungie and a lot of the key reasons behind that which I think is really fascinating. As well as sharing her own female perspective of working in the video game industry as well.

BAFTA 2016: Special Visual Effects Winner

February 15, 2016, 07:15 AM

http://www.artofvfx.com/bafta-2016-special-visual-...

BAFTA 2016 have announced the winner for Special Visual Effects...

CG Garage Podcast #60 | Daniel Thron – Star Wars

February 15, 2016, 07:14 AM

https://labs.chaosgroup.com/index.php/cg-garage-po...

Starting a new CG Garage series, Daniel Thron and Christopher Nichols discuss movies. We start with an in depth look at the Star Wars saga. We discuss why we each think that Empire is the best of all present 7 movies. Daniel also tells us his version of that Episode 6 should have been and why they have been trying to correct from their “mistake” ever since. We hope to do many more of these.

Star Wars: The Force Awakens wins VFX BAFTA 2016

February 15, 2016, 07:14 AM

http://www.digitalartsonline.co.uk/news/motion-gra...

The 2016 BAFTA Awards ceremony was held last night, with The Revenant picking up three of the top prizes (best film, actor and director). The BAFTA Award for Special Visual Effects went to Star Wars: The Force Awakens, and you can watch a breakdown of some of its visual effects above.

Jan Got A Gun VFX

February 14, 2016, 09:15 AM

http://www.artofvfx.com/jane-got-a-gun-vfx-breakdo...

relevant VFX presents this seamless VFX work for JANE GOT A GUN...

How to Make After Effects Faster with Proxies

February 14, 2016, 09:14 AM

https://www.aotg.com/how-to-make-after-effects-faster-with-proxies/

A proxy is a placeholder that stands in place for a very large video file or image sequence in your project.

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