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

'Need for Speed' Gets 3D Conversion

February 5, 2014, 10:59 AM

http://www.firstshowing.net/2014/need-for-speed-ge...

The Super Bowl spot from Sunday showed off some of the great, real action from the video game adaptation Need for Speed. Even if the full theatrical trailer showcased a lot of melodrama and cheesy dialogue, we at least now this film will look pretty on the big screen and have some spectacular racing sequences with big crashes.

'Gravity' Re-Entry Visual Effects Breakdown

February 5, 2014, 10:58 AM

http://www.ropeofsilicon.com/gravity-re-entry-visu...

Australian visual effects house Rising Sun Pictures has posted the following two-minute breakdown of how they achieved the final visual effects shots for Gravity as the Tiangong space station reenters Earth's atmosphere. The 3D sequence spans 17 shots and two and a half minutes of screen time, following the spacecraft as it dives through the atmosphere, colliding with debris and breaking apart, before parachutes slow its fall.

NEED FOR SPEED Getting Last-Minute 3D Post

February 4, 2014, 11:33 AM

http://collider.com/need-for-speed-3d-post-convers...

Well this is disheartening news. Scott Waugh‘s Need for Speed, which looked like an entertaining, gritty, hardcore action film with an emphasis on practical stunts, is now getting a last-minute 3D post-conversion. For those unfamiliar with the film, it chronicles a cross-country race against time as a blue-collar mechanic (Aaron Paul) who was framed for manslaughter by a wealthy, arrogant ex-NASCAR driver (Dominic Cooper) sets out for revenge in a high-stakes underground racing tournament.

Cutting Edge Creates Effects for ‘I, Frankenstei

February 4, 2014, 05:47 AM

http://www.awn.com/news/cutting-edge-creates-demon...

In his latest incarnation of the Frankenstein story, Stuart Beattie’s thriller follows the struggle of Dr. Frankenstein's creature 200 years after his creation. Central to this story and the visual drama is the ‘demon descension’ effect developed by Cutting Edge. In the I, Frankenstein world, as a demon’s earthly body is mortally wounded, the demon’s spirit is violently released...

Best Superbowl Ad VFX

February 4, 2014, 05:47 AM

http://www.fxguide.com/featured/3-of-the-best-the-...

It was the most watched Super Bowl ever – with 111.5 million viewers – and the 2014 event’s ads received not only high exposure during the game but also online. We break down three of the most popular commercials for Kia, AAA and Audi, and the visual effects teams from Digital Domain, MPC and The Mill who were behind them.

They Came From Within: B-Movie Title Design of the

February 4, 2014, 05:46 AM

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

“...but the nurse film was more successful than the motorcycle film. It was a very simple decision at that point to make another nurse film.” — Producer/Director Roger Corman, Bright Lights, 1975 ...

Managing Premultiplication in NUKE

February 3, 2014, 05:50 AM

http://www.3dvf.com/actualite-8684-nuke-gerer-prem...

Joey Korenman présente pour The Foundry le concept de prémultiplication dans NUKE, et sa gestion en pratique. Un article

Using Houdini's Exploded View Node

February 1, 2014, 02:16 PM

http://lesterbanks.com/2014/02/using-houdinis-expl...

Being that everything is pretty much procedural in SideFX Houdini, it can lend itself well for creating motion graphics animations. The issue is that Houdini is such an expansive application, although it may lend itself well to motion graphics, it does get a bit more involved than the relatively simple setups available in Cinema 4D.

VFX and Liquids Reel - by Trizz Studio

February 1, 2014, 02:16 PM

http://www.youtube.com/watch?v=B9l0gTm0Ojw

Check out this fantastic VFX and Liquids reel created by the taented artists over atTrizz Studio! Trizz crafts CG liquids with amazing beauty. Even in 2013, ...

Cospective’s CineSync Allows Earth-Spanning VFX

January 31, 2014, 10:59 AM

http://www.btlnews.com/crafts/post-production/cosp...

Cospective’s video review software, cineSync, played a key role in the VFX pipeline for Alfonso Cuarón’s Gravity. 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 the reentry sequence. From their facility in Adelaide, Rising Sun was able to integrate seamlessly with Framestore via cineSync. With cineSync as a remote collaboration tool, distributed postprod...

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