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
November 20, 2013, 02:55 PM
http://www.artofvfx.com/?p=5421
Whiskytree: Showreel October 2013
November 20, 2013, 08:51 AM
http://www.definitionmagazine.com/journal/2013/11/...
“I’m a creative problem solver and my job is generally to extend the director’s vision beyond what is physically possible within the camera. As the Visual Effects Producer on The Wolf Of Wall Street I dealt primarily with budgets and logistics but also a great deal with the creative side.
November 20, 2013, 05:38 AM
http://postperspective.com/2013/11/tim-miller-and-...
CULVER CITY — Tim Miller, co-founder of Blur Studio, was tapped by Marvel Studios to head up the three-minute prologue sequence that sets the stage for its upcoming sequel Thor: The Dark World. Miller created the sequence, which is almost entirely CG. “Blur and Tim Miller have a distinct understanding of the Marvel Universe,” said […]
November 20, 2013, 05:37 AM
http://www.3dvf.com/actualite-8160-side-effects-pl...
In July, Side Effects launched Houdini Engine , an API that would allow to integrate technology Houdini in third party software. At the time, experimental plugins have also been presented. The editor now announces well better versions for Maya and Unity
November 19, 2013, 02:55 PM
http://news.doddleme.com/broadcast-media/is-3d-rea...
Is 3D a gimmick or a Hollywood digital conspiracy?
November 19, 2013, 01:18 PM
http://cinefex.com/blog/digital-domain-enders-game...
Spectacular science fiction movies. They’re always big studio productions, right? As for the visual effects, they’re always provided by outside vendors – companies hired in by the producers to make movie magic. That’s how it’s always done.
November 19, 2013, 01:16 PM
http://lesterbanks.com/2013/11/cinema-4d-practical...
Using one of the oldest expressions in the book, Jamie Hamel-Smith discusses using target objects in Cinema 4d, and shows a practical example by rigging a piston actuator with simple constraints.
November 19, 2013, 10:55 AM
http://www.hollywoodreporter.com/behind-screen/hug...
In making Jean-Pierre Jeunet’s lastest film, The Young and Prodigious T.S. Spivet, stereographer Demetri Portelli was out to prove that 3D is creative, and that quality 3D footage could be shot on schedule and on budget. "3D is not just hitting a button in post," he told The Hollywood Reporter.
November 19, 2013, 05:13 AM
http://feedproxy.google.com/~r/artofthetitle_rss/~...
“I had been shut up in these rooms a long time, when I told him that I wanted a little girl to rear and love, and save from my fate.” — Miss Havisham The Emmy-winning t...
November 16, 2013, 12:16 PM
http://www.vulture.com/2013/11/4-movie-special-eff...
Last week, when discussing the recent glut of superhero movies, we pondered whether the boom in computer-generated special effects was actually making those effects less special: Ten years ago, the CGI landscapes of Asgard in Thor: The Dark World would have been a stunning, ground-breaking sight, but now, they're just the norm for what we expect from $200 million movies.
Daniel George McDonald sits down to discuss creating the finale for Cheer Season 2.
Gordon sits down with the editorial team of The Black Lady Sketch Show to discuss their approach to ...
Gordon sits down with Philip to discuss his work with Tyler Perry and his latest film A Madea Homeco...
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