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

MAZE RUNNER - THE DEATH CURE - VFX Supervisor

April 5, 2018, 09:24 AM

http://www.artofvfx.com/maze-runner-the-death-cure...

Chris White began his visual effects career more than 23 years ago at Industrial Light & Magic. He has worked on films such as MARS ATTACKS!, THE LOST WORLD, JURASSIC PARK, THE PERFECT STORM and STAR WARS: EPISODE II – ATTACK OF THE CLONES. In 2003, he joined Weta Digital and worked on KING KONG, AVATAR, RISE OF THE PLANET OF THE APES and THE HOBBIT trilogy.

Secret Cinema – A New Life Awaits You

April 5, 2018, 05:05 AM

http://cinefex.com/blog/secret-cinema-a-new-life-a...

We met at the top of the escalators in Canning Town Tube Station, London. Two of us had experienced something like this before, while the third was a newbie. We were all excited and slightly apprehensive. My pockets contained some old cassette tapes and photos – my precious photos. Chris had some seeds and Stephen wore gloves. Why had we brought them? Would we need them for what lay ahead?

The VFX Secrets of 'Paddington 2'

April 4, 2018, 09:11 AM

https://filmschoolrejects.com/vfx-secrets-paddingt...

Despite rapid advances in the field of special effects technology, crafting a CGI character that feels both naturalistic and engaging is still a challenge — just ask Star Wars’ infamous Jar Jar Binks or Justice League’s utterly forgettable villain Steppenwolf. But the recent Paddington 2, adored by audiences and critics alike for its imaginative whimsy and earnest emphasis on found families, succeeds in the feat of translating its titular character from a digital model into a genuinely bel...

4 Ways A Space Odyssey Changed VFX

April 4, 2018, 05:15 AM

http://www.vulture.com/2018/04/4-ways-2001-a-space...

Four key engineering and cinematographic techniques helped Stanley Kubrick create a depiction of space in 2001: A Space Odyssey that still feels real half a century after the film’s release. These techniques also inspired countless films that came after Kubrick’s masterpiece.

Pixar's Bob Scott - From Traditional to CGI Animat

April 3, 2018, 06:37 AM

http://www.allanmckay.com/134/

This is Allan McKay. Welcome to Episode 134! I’m speaking with Bob Scott from Pixar. Bob came from Warner Brothers and interesting to cover his transition from traditional animation into the world of 3D. He was able to see the writing on the wall and adapt to this disruptive innovation. It’s pretty amazing to go on this journey with Bob!

Virtual Production for Indie Projects

April 2, 2018, 11:39 AM

https://nofilmschool.com/2018/03/virtual-productio...

It can be frustrating for a filmmaker to have an imagination full of amazing stories and no budget to tell them with. What if the tools used on big-budget productions were suddenly made available to you? “The holy grail for filmmakers is to be able to work in real time, iterate in photorealistic environments, and do anything you want in the moment,” said Frank Patterson, President of Pinewood Atlanta Studios. “When you start iterating this way, think, what would your brain come up with if ...

MAGIX Photostory Premium VR: Virtual Reality made

March 31, 2018, 07:42 AM

https://www.provideocoalition.com/magix-photostory...

Mix the full functionality of MAGIX’s Photostory Deluxe and numerous additional effects with VR functions and you’ve the base for a new program: Photostory Premium VR.

TOMB RAIDER: Nick Crew - VFX Supervisor

March 29, 2018, 09:14 AM

http://www.artofvfx.com/tomb-raider-nick-crew-vfx-...

Nick Crew began his career in visual effects in 2003. He worked on films such as G.I. JOE: RISE OF COBRA and PERCY JACKSON AND THE OLYMPIANS: THE LIGHTNING THIEF. He joined Scanline VFX in 2010 and works on HEREAFTER, BATTLESHIP, FURIOUS 7 and BATMAN V SUPERMAN: DAWN OF JUSTICE.

A Brief History of Virtual Reality in Movies

March 29, 2018, 07:47 AM

https://filmschoolrejects.com/virtual-reality-in-m...

eality is boring. Who would want to live in the real world when there are synthetic alternatives out there that offer more imagination and wonder? Virtual reality allows for us to temporarily escape mundane routine and experience something a little out of the ordinary, even if it is potentially dangerous.

Joe Letteri (War for the Planet of the Apes) - VFX

March 27, 2018, 12:25 PM

https://www.aotg.com/joe-letteri-war-for-the-planet-of-the-apes-vfx/

Gordon Burkell sits down with Joe Letteri to discuss his Oscar-nominated work on War for the Planet of the Apes.

© 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.