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
January 10, 2019, 10:07 AM
https://postperspective.com/vfx-studio-electric-th...
London visual effects studio Electric Theatre Collective has added three to its production team: Elle Lockhart, Polly Durrance and Antonia Vlasto. Lockhart brings with her extensive CG experience, joining from Touch Surgery where she ran the Johnson & Johnson account. Prior to that she worked at Analog as a VFX producer where she delivered three global campaigns for Nike. Continue reading → January 10, 2019 The post VFX studio Electric Theatre Collective adds three to London team appear...
January 10, 2019, 05:39 AM
https://deadline.com/2019/01/black-panther-geoffre...
Before the game-changing Black Panther, visual effects supervisor Geoffrey Baumann had worked on a number of Marvel projects, supervising computer graphics and second unit work before earning his current title in this domain. A BAFTA nominee this year, shortlisted by AMPAs as well for Best Visual Effects, Baumann had one mandate from director Ryan Coogler, when it came to his first blockbuster: Above all else, Black Panthershould hold true to Africa.
January 9, 2019, 02:36 PM
https://postperspective.com/rodeo-fxs-vfx-supe-arn...
By Randi Altman Fantastic Beasts: Crimes of Grindelwald, directed by David Yates and written by J.K. Rowling, is a sequel to 2016’s Fantastic Beasts and Where to Find Them. It follows Newt Scamander (Eddie Redmayne) and a young Albus Dumbledore (Jude Law) as they attempt to take down the dark wizard Gellert Grindelwald (Johnny Depp). Continue reading → January 9, 2019 The post Rodeo VFX supe Arnaud Brisebois on the Fantastic Beasts sequel appeared first on Randi Altman's postPerspective.
January 9, 2019, 02:35 PM
http://vfxvoice.com/isle-of-dogs-how-every-frame-w...
ISLE OF DOGS Senior Visual Effects Supervisor Tim Ledbury on the range of visual effects work required for Wes Anderson’s stop-motion film.
January 9, 2019, 10:14 AM
https://www.shutterstock.com/blog/10-after-effects...
I could go on and on about this stuff for days (as evidenced by the nearly 25-minute tutorial). When I recorded the first installment of this series, I recorded way too much. The video was on track to be about 40 minutes long, so I had to cut it down. These are some of the leftover tips from that edit session — as well as some new ones.
January 9, 2019, 10:14 AM
https://www.artofvfx.com/bafta-2019-special-visual...
The BAFTA has just announced the nominees for the Special Visual Effects!
January 9, 2019, 10:14 AM
https://www.slashfilm.com/aquaman-vfx-reel/
Director James Wan had to craft a lavish underwater world primarily out of visual effects, so it’s no wonder that the before and after shots are so dramatic in this Aquaman VFX reel. On the heels of Aquaman‘s splashy box office success, Warner Bros. has released a video that shows the painstaking work that went into building the expansive underwater world of Atlantis, and all those flow-y hair shots.
January 9, 2019, 05:57 AM
https://www.awn.com/vfxworld/2019-academy-vfx-bake...
Each year, the Academy of Motion Picture Arts and Sciences brings the visual effects community together for its annual VFX Bake-Off, where visual effects artists from the 10 shortlisted films, competing for the five Oscar nominations, step onstage to share insights and anecdotes from their work. Held this past Sunday at the Samuel Goldwyn Theater in Beverly Hills, this year’s event saw a number of significant and welcome changes, including livestreaming, a new voting process, and a new present...
January 7, 2019, 11:45 AM
https://www.artofvfx.com/aquaman-kelvin-mcilwain-o...
In 2017, Kelvin McIlwain explained his work on THE FATE OF THE FURIOUS. He talks to us today about the many challenges on AQUAMAN.
January 5, 2019, 08:36 AM
http://www.postmagazine.com/Press-Center/Daily-New...
Damien Chazelle’s feature, First Man, about the United States’ effort to land a man on the moon, is on the short list for the Academy Award in the Outstanding Visual Effects category. Here, visual effects supervisor Paul Lambert, who was part of the team that took home last year’s Oscars in the category for Blade Runner: 2049, provides some insight into the multitude of VFX techniques used in creating the film’s realism.
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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