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

Cinemagraphs: The Mesmerizing Place Between a Phot

October 30, 2017, 04:24 AM

http://blogs.adobe.com/creativecloud/cinemagraphs-...

This month we’re writing about art and artists in limbo, so we couldn’t pass up an opportunity to learn more about cinemagraphs — those eye-catching hybrids that exist somewhere between a photo and a video. To find out more, we talked to Chris Converse, a graphic designer whose amazing cinemagraphs have us hooked. Why Can’t I Stop Looking? When you first lay eyes on a cinemagraph, it’s hard not to stare. It doesn’t quite meet our expectations of a photo (something’s moving!),...

Houdini 16.5 Sneak Peek

October 27, 2017, 04:43 AM

http://www.cgmeetup.net/home/houdini-16-5-sneak-pe...

A preview of some of the new tools and enhancements coming in Houdini 16.5.

Let’s all move to LA, in 2049

October 27, 2017, 04:43 AM

https://vfxblog.com/2017/10/26/lets-move-to-la-in-...

Los Angeles in 2049 is an over-populated metropolis, threatened by rising sea levels, and featuring vastly different scale buildings, from sprawling favelas to mile high pyramids. That’s how the city is presented in Blade Runner 2049, which had to show a location 30 years into the future from the original Blade Runner and had the benefit of using modern visual effects to make it possible.

Autodesk Flame family updates offer pipeline enhan

October 26, 2017, 04:38 PM

http://postperspective.com/autodesk-flame-family-u...

Autodesk has updated its Flame 2018 family of 3D visual effects and finishing software, which includes Flame, Flare, Flame Assist and Lustre. Flame 2018.3 offers more efficient ways of working in post, with feature enhancements that offer greater pipeline flexibility, speed and support for emerging formats and technology. Continue reading → October 26, 2017 The post Autodesk Flame family updates offer pipeline enhancements appeared first on Randi Altman's postPerspective.

Autodesk Releases Flame Update 2018.3

October 26, 2017, 04:38 AM

http://www.studiodaily.com/2017/10/autodesk-releas...

Autodesk updated its Flame family of products to v2018.3 this week, adding image isolation tools with implications for look-development in addition to VFX and motion graphics workflows. Flame’s new Action Selectives allow users to specify only a select portion of an image for applying pixel-based VFX shaders or look development, using masks, keys, mattes, or […] The post Autodesk Releases Flame Update 2018.3 appeared first on Studio Daily.

Andy Serkis Explains Motion Capture

October 26, 2017, 04:37 AM

https://www.aotg.com/andy-serkis-explains-motion-capture/

‘War for the Planet of the Apes’ star Andy Serkis is the world’s greatest motion capture performer. His abilities are so in-demand that much of the technology behind motion capture has evolved along with his performances. Andy breaks down some of the major moments of his career along with how the filmmaking tools have changed alongside it.

What happens in Vegas (Blade Runner VFX)

October 26, 2017, 04:37 AM

https://vfxblog.com/2017/10/25/what-happens-in-veg...

In the third act of Blade Runner 2049 we arrive at a stark orange-y Las Vegas, now a wasteland where the replicant and Blade Runner K (Ryan Gosling) has sought out the old-school Blade Runner Deckard (Harrison Ford).

Composing for VR Games

October 26, 2017, 04:37 AM

https://soundandpicture.com/2017/10/lone-echo-comp...

Ready At Dawn’s new space-adventure VR game Lone Echo, available on the Oculus Rift, takes place on the Kronos II mining station that’s orbiting Saturn. The ship’s human captain Olivia Rhodes relies on her ECHO ONE service droid named “Jack” to help her face increasingly perplexing challenges that threaten the station’s functionality and habitability. Alone in space, her only lifeline is the technology that surrounds her.

BLADE RUNNER 2049: Richard Hoover - VFX Supervisor

October 25, 2017, 09:49 AM

http://www.artofvfx.com/blade-runner-2049-richard-...

Richard Hoover has more than 25 years of experience in visual effects. He started at Dream Quest Images and then worked for The Walt Disney Company and Sony Pictures Imageworks. He joined Framestore in 2015. As a VFX supervisor, he took care of the effects of films such as ARMAGEDDON, REIGN OF FIRE, SUPERMAN RETURNS and BEAUTY AND THE BEAST.

Why FCPX? - 360 POV

October 25, 2017, 09:49 AM

https://www.provideocoalition.com/why-fcp-x 360-po...

Last year, I sat through a discussion on these topics at the Final Cut Pro X Creative Summit in Cupertino. I had some interesting reactions, most of which included the word “puzzled.” How were the cameras positioned? What sort of magic had to occur to edit 360 video? How can a viewer with so much freedom be directed to see what I want them to see? How do stories get told?

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