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

Risng Sun Taps cineSync to Complete Gravity

January 24, 2014, 12:45 PM

http://www.awn.com/news/risng-sun-taps-cinesync-co...

Adelaide, Australia -- Cospective’s video review software cineSync played a key role in a globe-spanning VFX pipeline for Alfonso Cuarón’s Gravity. Charting the lonely quest of an astronaut (Sandra Bullock) to survive after her spaceship is crippled, the film received ten Oscar nominations, including one for Best Visual Effects. Framestore, principal VFX vendor on Gravity, tasked Australia’s Rising Sun Pictures with completing a spectacular reentry sequence.

Understanding the Houdini Ocean Waves Tool

January 24, 2014, 12:45 PM

http://lesterbanks.com/2014/01/understanding-houdi...

Side FX software recently posted a look at using the “off the shelf” Ocean Waves Tool in Houdini, which works in conjunction with the new Ocean Surface Shader in Houdini 13.

Synaptic Delivers VFX for Sleepy Hollow

January 24, 2014, 10:49 AM

http://www.btlnews.com/crafts/visual-fx/synaptic-d...

Burbank-based Synaptic VFX recently contributed to the visual effects for the first season of the new FOX series Sleepy Hollow. The series incorporates film-quality visual effects to help illustrate its re-telling of the legendary story of Ichabod Crane and the Headless Horseman.

CineSync Used to Complete VFX for Oscar Nominee

January 24, 2014, 06:05 AM

http://news.creativecow.net/story/874244

(Adelaide, Australia--January 24, 2014) Cospective’s video review software cineSync played a key role in a globe-spanning VFX pipeline for Alfonso Cuarón’s "Gravity." Charting the lonely quest of an astronaut (Sandra Bullock) to survive after her spaceship is crippled, the film received ten Oscar® nominations, including one for Best Visual Effects.

Jigglebox Tool Automates Animations in Maya

January 23, 2014, 02:51 PM

http://lesterbanks.com/2014/01/jigglebox-tool-auto...

As part of his MFA thesis at Savannah College of Art and Design, Ayan Akbar developed Jiggle Box, a python driven tool for Autodesk Maya that automates much of the process of creating secondary animation for tails, fins, hair, fish bodies, and character rigs.

New VFX Firm Magnopus Sets Up in Downtown L.A.

January 23, 2014, 02:49 PM

http://www.hollywoodreporter.com/news/new-vfx-firm...

A version of this story first appeared in the Jan. 31 issue of The Hollywood Reporter magazine. Magnopus, a newly created company founded by Oscar-winning visual effects artists Ben Grossman and Alex Henning (Hugo), along with Rodrigo Teixeira, has just signed a five-year lease for creative offices in downtown L.A.'s PacMutual building.

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