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
April 4, 2022, 08:58 AM
https://beforesandafters.com/2022/04/04/vfx-future...
In this latest episode of VFX Futures, Ian Failes from befores & afters talks to Tommy Pallotta, Head of Animation and Producer on Richard Linklater’s Apollo 10½: A Space Age Childhood, about the evolution of the rotoscoped animation techniques on this and a number of previous projects.
April 1, 2022, 09:12 AM
https://www.postmagazine.com/Press-Center/Daily-Ne...
PHILADELPHIA — Alkemy X (www.alkemy-x.com) has expanded its VFX and post teams with three new hires. The company also now has an increased presence in Los Angeles, as well as Singapore, Vancouver and Toronto.
March 28, 2022, 09:01 AM
https://beforesandafters.com/2022/03/28/5-vfx-osca...
Join Hugo Guerra and Ian Failes for these 5 episodes of the VFX Notes podcast all in one place, in a special playlist at Hugo’s Desk. Here’s where you can catch all the other episodes of the VFX Notes podcast, too.
March 28, 2022, 09:00 AM
https://beforesandafters.com/2022/03/28/congratula...
Dune took out the Best Visual Effects Oscar at the 94th annual Academy Awards. The Oscar went to Paul Lambert, Tristan Myles, Brian Connor and Gerd Nefzer. Congratulations to all who worked on the film.
March 25, 2022, 08:34 AM
https://beforesandafters.com/2022/03/25/how-dune-v...
Paul Lambert, now a two time Oscar-winning visual effects supervisor for Blade Runner 2049 and First Man, and also nominated this year for an Academy Award for Dune, was working as a compositor at Digital Domain in Los Angeles back in 2004 when he somewhat cavalierly suggested the development of a new keyer for the studio’s groundbreaking compositing system, Nuke.
March 25, 2022, 08:34 AM
https://www.slashfilm.com/810320/quentin-tarantino...
The rise of digital effects has dramatically shifted how movies of all budget sizes get made. While a lot of the work effects artists have done is absolutely phenomenal, there are two areas where their limitations are most prevalent.
March 25, 2022, 08:33 AM
https://www.digitaltrends.com/movies/spider-man-no...
Marvel’s friendly, neighborhood webslinger returned to the big screen in a big way with Spider-Man: No Way Home, franchise star Tom Holland’s third solo adventure as the titular superhero and the biggest film to date for Peter Parker’s corner of the Marvel Cinematic Universe.
March 24, 2022, 08:24 AM
https://beforesandafters.com/2022/03/24/vfx-notes-...
Hugo Guerra from Hugo’s Desk and Ian Failes from befores & afters show off their spidey senses in a breakdown of the VFX in Spider-Man: No Way Home. We cover in particular the work by Digital Domain, Framestore and Imageworks, overseen by VFX supe Kelly Port.
March 22, 2022, 08:40 AM
https://beforesandafters.com/2022/03/22/vfx-future...
The new HBO Max show Our Flag Means Death required a number of scenes to be set on a pirate ship on the ocean. Ultimately, the sequences were realized with actors on a partial ship build on a soundstage against a 30 foot by 160 foot LED wall. Projected onto the wall were stitched-together ocean plates crafted by Stargate Studios, headed up by Sam Nicholson.
March 22, 2022, 08:40 AM
https://www.digitaltrends.com/movies/no-time-to-di...
James Bond marked plenty of milestones with No Time To Die, the 25th film in the franchise under producer Eon Productions and the fifth and final performance by Daniel Craig as the titular secret agent with a license to kill. Craig’s farewell performance as the iconic spy received a trio of nominations for Academy Awards, with the film earning just the third nomination for visual effects in the franchise’s long history.
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...
© 2007-2024 www.aotg.com Ver. 3.0 All Content created and posted by Art of the Guillotine users Art of the Guillotine graphics, logos, designs, page headers, button icons, scripts, and other service names are the trademarks of Art of the Guillotine Inc. Use of this material outside of this site is strictly prohibited.