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  • AOTG

    Maxell Intros Complete Line of iVDR Storage

    February 23, 2011, 3:10 pm
    Maxell Corporation of America introduces seven new products to its iVDR line that have been developed specifically for storage and backup applications. Developed in partnership with Addonics Technology, these products combine the inherent advantages of the iVDR rugged storage technology with Redundant Array of Independent Disk (RAID) functionality as well as "Just a Bunch of Disks" (JBOD) usability, and are available in numerous configurations to meet nearly any storage application.

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  • Other Postings By Member

    • AOTG
      VFX

      Previs and VFX Breakdown Reels From ‘Midway’

      March 10, 2020, 7:29 pm
      Led by VFX supervisor Derek Spears, the studio filled the sea and sky around Midway Atoll with the devastating tools and action of war in Roland Emmerich’s harrowing tale of the decisive 1942 battle between the U.S. and Japan in the Pacific Theatre of WWII.

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    • AOTG
      EDITING

      Dolomite is My Name Editor Q&A

      March 10, 2020, 7:29 pm
      An in-depth discussion with the Dolemite Is My Name Editor Billy Fox ACE and Assistant Editor Jamie Clarke. Learn key editing insights as they discuss their ...

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    • AOTG
      EDITING

      Making the cut with the editor Lee Smith

      March 10, 2020, 12:17 pm
      He’s spliced together images for the biggest movies of our time, from superhero action in “The Dark Knight” to science-fiction dreams in “Inception” to gritty warfare in “Dunkirk.”

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    • AOTG
      EDITING

      NAB 2020 Institutes "No Handshake" Policy

      March 10, 2020, 12:16 pm
      No Film School has been closely following the coronavirus and its impact on the population, film industry and industry events. Last week, SXSW was cancelled for the first time in 34 years. Many other events have been postponed or turned into online-only seminars over the health and safety concerns of its attendees.

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    • AOTG
      VFX

      THE WORST WITCH - Season 3: VFX Breakdown

      March 10, 2020, 12:16 pm
      Manchester based company Flipbook Studio presents their magical work on the third season of THE WORST WITCH...

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    • Where to read more, elsewhere
      VFX

      Where to read more, elsewhere

      March 9, 2020, 12:08 pm
      Many befores & afters readers will probably know I also write as a freelancer for a bunch of other VFX, CG, animation and film publications. These include magazines such as VFX Voice and 3D World, as well as online sites like Polygon.

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    • AOTG
      VFX

      THE MORNING SHOW: VFX Breakdown

      March 6, 2020, 5:28 pm
      Come have a look at the seamless work of REAL by FAKE on the first season of Apple TV+ series, THE MORNING SHOW...

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    • AOTG
      SOUND

      Friday Free Plug-in - Noiiz Filter

      March 6, 2020, 2:51 pm
      In this week's Friday Free Plug-in, we are featuring Filter from Noiiz. The Noiiz Filter is a simple filter plugin with analogue modelling DSP, a unique noise generator and a fat overdrive circuit, this might become your go to sound sculpting filter.

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    • AOTG
      VFX

      JUMANJI - THE NEXT LEVEL: Desert Making

      March 5, 2020, 8:41 pm
      Sony Pictures Imageworks have released this making of about the creation of the desert sequence explained by VFX Supervisor Jason Greenblum for JUMANJI – THE NEXT LEVEL...

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    • AOTG
      VFX

      Answering the ‘Call of the Wild’

      March 5, 2020, 8:41 pm
      As a third-generation special effects supervisor, Jeremy Hays grew-up in the movie industry, witnessing firsthand a variety of filmmaking approaches that were sometimes successful, but often times not. His own resume is diverse, ranging from Hearts in Atlantis, to The Equalizer, to Once Upon a Time…in Hollywood, where he also makes a cameo as a flamethrower trainer. And for Hays, failure is always a learning experience. “On any film, what I do first is analyze the creative elements and then talk with the director, producers, or writers, to get an idea of what their focus points are,” he explains. “When designing a special effect, you want it to fail a few times in the shop before actually doing it in front of a camera. Having an effect that is 80 percent effective right out of the gate can be misleading, as that might be as far as it will ever get. Some projects that are fast paced don’t allow you time to test, so you have to tap into the experience of all those failed jobs that make you go, ‘That’s not going to work.’ Through those failures, you increase your proficiency and accuracy.”

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