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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

Eric Jordan on the VFX of People’s Republic of D

January 14, 2019, 12:10 PM

https://fxfactory.com/blog/after-effects/eric-jord...

The Film won Best Documentary, Grand Jury Award at the SXSW 2018 Film Awards.

Closer than ever before

January 9, 2019, 10:14 AM

http://motionographer.com/2019/01/09/closer-than-e...

Editor’s note: We’re happy to kick off 2019 with an article by the ever-talented Filipe Carvalho. The motion design industry is constantly in flux and redefining itself but even with all the variables at hand, the odds are that you’ve enjoyed Filipe’s work at some point or another.

Visual Effects Supervisor & President of BluFire S

January 8, 2019, 02:09 PM

https://www.productionhub.com/blog/post/visual-eff...

ProductionHUB exclusively sat down with President & Visual Effects Supervisor of Bluefire Studios, Matt Hoffman, regarding the CW’s new fantasy-adventure drama series “The Outpost,” for which he used Blackmagic Design’s Fusion Studio VFX and motion graphics application.

Behind the Title: FuseFX VFX supervisor Marshall K

January 5, 2019, 08:36 AM

https://postperspective.com/behind-the-title-fusef...

Over the years, this visual effects veteran has worked with both George Lucas and Steven Spielberg, whose films helped inspire his career path. NAME: Marshall Krasser COMPANY: FuseFX  CAN YOU DESCRIBE YOUR COMPANY? FuseFX offers visual effects services for episodic television, Continue reading → January 4, 2019 The post Behind the Title: FuseFX VFX supervisor Marshall Krasser appeared first on Randi Altman's postPerspective.

Boutique VFX House MOD Shifts to Expansion Mode in

January 3, 2019, 07:49 AM

http://www.animationmagazine.net/vfx/boutique-vfx-...

Atlanta-based boutique visual effects studio MOD is kicking off 2019 in high gear, moving into a spacious new bungalow-style facility and celebrating work on the music videos for two Grammy-nominated tunes: Travis Scott’s “Sicko Mode” (featuring Drake) and Jay Rock’s “Win.” With several high-profile advertising and music projects in the works, creative director & VFX supervisor Les Umberger expects the momentum to continue through the new year and beyond...

Nectar: Veteran VFX Artist's Journey from Previs t

January 3, 2019, 07:49 AM

http://www.cgw.com/Press-Center/In-Focus/2019/Nect...

The initial inspiration for “Nectar,” Zwartouw’s first personal foray into filmmaking, was an imagined visualization of a lone man walking through a jungle while being surveilled by bot creatures. As abstract concepts morphed into concrete storyboards, the bots would develop into hybrid crab-camera creatures, and themes of social isolation and inner turmoil would evolve into a metaphor for dealing with addiction – an issue prevalent in the Vancouver neighborhood where Zwartouw worked and...

VFX Supervision: The Coens’ Western The Ballad o

January 3, 2019, 07:35 AM

https://postperspective.com/vfx-supervision-the-co...

By Randi Altman The writing and directing duo of Joel and Ethan Coen have taken on the American Western with their new Netflix film, The Ballad of Buster Scruggs. This offering features six different vignettes that follow outlaws and settlers on the American frontier. It stars the Coen brothers’ favorite Tim Blake Nelson as Buster, Continue reading → January 2, 2019 The post VFX Supervision: The Coens’ Western The Ballad of Buster Scruggs appeared first on Randi Altman's postPersp...

FiLMiC LogV2 First Look - Double Digit Dynamic Ran

December 21, 2018, 07:24 AM

https://www.cinema5d.com/filmic-logv2-first-look-1...

In the FiLMiC team’s dynamic range tests using the industry standard Xyla testing charts, the iPhone XS Max showed a solid 11 – 12 stops of dynamic range is possible using the new FiLMiC LogV2 and FiLMiC’s new “Cubiform” computational imaging process.

Oscars: Framestore has VFX credits on four shortli

December 19, 2018, 10:18 AM

http://www.postmagazine.com/Press-Center/Daily-New...

LONDON — Four films that Framestore worked on are on the shortlist for the “Best Visual Effects” Oscar at the 91st Academy Awards. The studio contributed visual effects services to Avengers: Infinity War,  Christopher Robin,  Mary Poppins Returns and  Welcome to Marwen. The shortlist currently contains 10 films titles, which will ultimately be narrowed to five in January to create this year’s list of nominees.

Practical Effects Have a Chance at the Oscars This

December 19, 2018, 06:17 AM

https://filmschoolrejects.com/practical-effects-ha...

The visual effects category at the Academy Awards has historically been more genre-friendly than the others. From 1976 to 1993, every winner of that award (including Star Wars, Aliens, ET the Extra-Terrestrial, and Logan’s Run) had some genre-tilt that required special effects to bring its elements to life. But what made their achievements differ from modern Best Visual Effects winners is that before 1994 the nominees primarily featured practical effects.

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