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 4, 2015, 06:06 AM
http://www.3dvf.com/actualite-12066-ilm-revient-su...
Ben Snow and Philippe Rebours , VFX supervisor at ILM, have a making-of film effects visuesl Noah , Darren Aronofsky.
February 4, 2015, 06:05 AM
https://www.aotg.com/noah-making-of-by-ilm/
Interesting making of presented by VFX Supervisors Ben Snow and Philippe Rebours about the ILM work on NOAH...
February 3, 2015, 08:24 PM
https://www.aotg.com/behind-the-magic-the-visual-effects-of-noah/
We are pleased to share a sample of the visual effects work created for Darren Aronofsky's biblical epic, 'Noah.' Here we touch on the naturalistic effects r...
February 3, 2015, 01:38 PM
http://variety.com/2015/artisans/awards/oscar-visu...
Visual effects aren’t always the realm of the bright and the shiny.
February 3, 2015, 10:35 AM
http://cinefex.com/blog/cinefex-awards-2014/
Never mind the Oscars. In the world of visual effects, there’s only one awards ceremony that counts: the Cinefex Awards.
February 3, 2015, 10:35 AM
http://www.goldderby.com/news/8393/visual-effects-...
This year's clear frontrunner for Best Visual Effects at the Oscars -- "Interstellar" -- is is also way ahead in our predictions for the winners of the Visual Effects Society Awards. It is all but certain to win the VES equivalent of the Best Picture race -- visual effects in a visual effects-driven feature motion picture.
February 3, 2015, 10:34 AM
http://www.artofvfx.com/?p=10896
Happy to announce the 5th year of The Art of VFX.
February 3, 2015, 06:26 AM
http://provideocoalition.com/czwar/story/motion-gr...
As the interest in motion graphics rapidly expanded following the release of Seven, Hollywood embraced innovative title design, and many Hollywood title sequences helped define the look of motion graphics for years to come. As I noted in Part 1, the early books on motion graphics design...
February 2, 2015, 05:27 PM
http://www.btlnews.com/awards/the-use-of-vfx-to-st...
In 1941, cinematographer Gregg Toland approached Orson Welles, asking the director to let him shoot Citizen Kane. Toland wanted to experiment with some techniques he knew the studios would not allow him to use on any other film and guessed, rightly, that first-time director Welles would be open to letting him try. The most important of these innovative techniques was deep focus cinematography, made possible by developments in lens technology and high speed film that allowed an entire set to ...
February 2, 2015, 10:41 AM
http://www.3dvf.com/actualite-12040-workflow-photo...
Yvan Galtié of Collectif21 present a video on photogrammetry (3D scanning from photos) for visual effects. The aim, conform the model from a conventional photogrammetry VFX pipeline. Establishment of a classical topology used UVs
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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