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

Pixels Washington, D.C. VFX Video Shot Build

October 15, 2015, 04:14 PM

https://www.aotg.com/pixels-washington-d-c-vfx-video-shot-build/

See how Imageworks artists created and destroyed Washington, D.C. in Columbia Pictures' PIXELS.

THE MARTIAN: Neil Weatherley - CG Supervisor

October 15, 2015, 09:29 AM

http://www.artofvfx.com/the-martian-neil-weatherle...

Neil Weatherley joined Framestore in 2001, he began as assistant technical director and became CG supervisor in 2014 on EDGE OF TOMORROW and PADDINGTON. He worked on many projects such as CHARLIE AND THE CHOCOLATE FACTORY, CHILDREN OF MEN, THE GOLDEN COMPASS or THE DARK KNIGHT.

KNACK_breakdown

October 15, 2015, 09:28 AM

https://www.aotg.com/knack_breakdown/

KNACK CGI Breakdown by Progressive fx.

AU SERVICE DE LA FRANCE: Making of by Machine Moll

October 15, 2015, 05:00 AM

http://www.artofvfx.com/au-service-de-la-france-ma...

Machine Molle have just released a making of about their VFX work for the Arte TV serie, AU SERVICE DE LA FRANCE...

Step-by-Step: Walkthrough of The Wire

October 15, 2015, 04:59 AM

http://www.fxguide.com/featured/step-by-step-a-wal...

Here’s how Atomic Fiction, led by visual effects supervisor Kevin Baillie, reproduced Philippe Petit's daring high-wire act between the Twin Towers of the World Trade Center on August 7th, 1974 for Robert Zemeckis’ The Walk.

The A-List: A VFX tightrope for ‘The Walk’

October 14, 2015, 04:19 PM

http://postperspective.com/list-vfx-tightrope-walk...

Visual effects supervisor Kevin Baillie talks about working with Robert Zemeckis on the director’s latest By Iain Blair Oscar-winner Bob Zemeckis has always been at the cutting edge of technology, and highly skilled at integrating that technology in the service of telling stories in such films as Forrest Gump, Back to the Future, Who Framed Roger Rabbit?, The Polar Express, Beowulf and Flight. Now, in The Walk, he’s putting moviegoers in the shoes of Philippe Petit, the French aeriali...

THE MARTIAN: Richard Stammers - VFX Supervisor

October 14, 2015, 09:09 AM

http://www.artofvfx.com/the-martian-richard-stamme...

In 2014, Richard Stammers had explained to us his work on X-MEN: DAYS OF FUTURE PAST. He now talks about his new collaboration with Ridley Scott for his film THE MARTIAN.

Find Out How FX Experts Created Mars in The Martia

October 14, 2015, 09:09 AM

https://www.aotg.com/find-out-how-fx-experts-created-mars-in-the-martia/

Visual effects companies Framestore and MPC were tasked with creating the red planet in “The Martian.” From realistic landscape shots of Mars to simulated gravity differences, see how it all came together with a shorter-than-usual timeframe for post-production.

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