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

Mowgli VFX Supervisor On creating the Legend

December 27, 2018, 10:10 AM

https://www.artofvfx.com/mowgli-legend-of-the-jung...

Nigel Denton-Howes told us about Prime Focus’s work on THE EXPENDABLES 3 in 2014. He then joined Framestore and worked on AVENGERS: AGE OF ULTRON. He talks to us today about his work as Overall VFX Supervisor on MOWGLI – LEGEND OF THE JUNGLE.

Top 10 Title Sequences of 2018 (2018)

December 27, 2018, 08:05 AM

http://feedproxy.google.com/~r/artofthetitle_rss/~...

The Very Best Title Sequences of 2018, as chosen by Art of the TitleFor our fifth annual list of the year’s top 10 title sequences, Art of the Title's panel of experts chose from among film, television, video games, and conferences. The Top 10 of 2018 were chosen based on criteria including originality and innovation, impact, atmosphere, relevance to subject matter, and technique.Paring the long list down from more than 200 to just 10 was a difficult task, but one done with relish. This ...

Universal has two VFX bombs

December 25, 2018, 08:49 AM

https://www.cartoonbrew.com/box-office-report/univ...

Universal is ending the year on a sour note thanks to back-to-back bombs of its two vfx-driven films: Christian Rivers’ Mortal Engines and Robert Zemeckis’ Welcome to Marwen. The failure of these films, which could reach between $150-200 million, will have a negative effect on other studios as well, who will now be more reluctant to invest in original vfx-driven films, continuing Hollywood’s reliance on franchises, sequels, and reboots for the foreseeable ftuure.

*Los 120: la Brigada del Café*, por Ernesto Felde

December 25, 2018, 08:47 AM

http://saeditores.org/Novedades/Los-120-la-Brigada...

Una síntesis personal de la edición por sus artífices

Alt breaks down VFX work for Asahi campaign

December 21, 2018, 01:08 PM

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

SYDNEY — The Monkeys Melbourne, In The Thicket and Alt recently teamed up to create a new campaign for Asahi that takes viewers on a journey through landscapes built around surreal Japanese iconography. The shoot for the Enter Asahi spot took place at Sydney’s Fox Studios, with In The Thicket’s Marco Prestini directing and Genevieve Triquet executive producing. Alt was brought on to help realize the creative vison through visual effects.

RSP sees 2019 as big year for VFX education

December 21, 2018, 10:10 AM

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

ADELAIDE, SOUTH AUSTRALIA — As 2018 comes to a close, Rising Sun Pictures Education (rsp.com.au) can look back on a year that saw its program grow, its partnership with the University of South Australia deepen and a record number of its graduates find meaningful employment in a booming visual effects industry. The only visual effects training program in Australia based within a working studio, the school has even more ambitious goals for 2019. Its plans include a new series of on-site cour...

Best Wishes 2018!

December 21, 2018, 10:10 AM

https://www.artofvfx.com/best-wishes-2018/

A massive thank to everyone for your interest and constant support!

Welcome to Marwen's VFX Supervisor on Creating pla

December 21, 2018, 10:10 AM

https://www.mpaa.org/2018/12/how-welcome-to-marwen...

Kevin Baillie was barbecuing in the backyard of his San Francisco home one afternoon in 2013 when he got a call from Robert Zemeckis. “Bob said ‘I’ve got this crazy script I want to send you so you can tell me what you think,” Baillie recalls. Five years and 64 million computer-processing hours later, Baillie completed his contributions to the mind-warping movie that is indeed, pretty crazy even by Hollywood spectacle standards. The challenge put forth in Zemeckis’ and Caroline Thompso...

FMX 2019 Releases First Trailer and Program Confir

December 21, 2018, 07:24 AM

https://www.awn.com/news/fmx-2019-releases-first-t...

LUDWIGSBURG, GERMANY -- FMX 2019 – Conference on Animation, Effects, Games and Immersive Media has announced the first program confirmations as well as the release of the first trailer for the upcoming event set for April 30 – May 3, 2019. Academy Award-winner Jan Pinkava, creative director of Google Spotlight Stories, will give a keynote in line with this year's theme, Bridging the Gap, on his work at the interface between art and technology, while international talent consultant Shelley Pa...

What does it take to make Ryan Reynolds ugly

December 18, 2018, 12:20 PM

http://www.aotg.com/index.php?page=deadpool2

Bill Curso is a makeup artist with thirty plus years under his belt, he’s got three Oscar nominations with one win, five Emmy nominations with three wins, and has worked on some of the most iconic films of the last thirty years. But what does it take to make Ryan Reynolds and the cast of Deadpool 2, based on comic book characters, look believable?

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