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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

John Knoll Talks ILM, Disney, 'Star Wars'...

January 13, 2014, 05:45 AM

http://www.awn.com/vfxworld/john-knoll-talks-ilm-d...

Few people in the visual effects industry talk with as much clarity and perspective as ILM’s John Knoll. When he speaks, he truly speaks from experience. A career spent supervising visual effects on many of the most successful feature films in history provides only a glimpse of his impact on the world of computer graphics, filmmaking and visual development. Along with his brother Thomas, he created Photoshop, arguably the most important digital creative tool in history. Oh, and add in an Oscar...

Time Saving Tips - Cinema 4D

January 10, 2014, 12:56 PM

http://lesterbanks.com/2014/01/cinema-4d-time-savi...

Offering a look at some time saving tips in Cinema 4D, EJ Hassenfratz shows how to use the Splines and Align To Spline Tags with Xpresso running a few practical examples.

Stereo errors: 3D quality does matter

January 9, 2014, 10:00 AM

http://vfxg.org/profiles/blogs/report-4-on-stereo-...

Graphics/Media Lab of MSU continues to work on VQMT3D (Video Quality Measurement Tool 3D) Project. The project’s aim is to improve stereoscopic films. The Lab intends to provide a reliable quality-assessment tool and therefore to help filmmakers and conversion studios to produce high-quality 3D video.

Why production is running away from Hollywood

January 6, 2014, 05:46 AM

http://www.presstelegram.com/business/20140104/why...

One hundred years ago, filmmakers tired of paying Thomas Edison patent fees for his cameras ran away from parts east to the little hamlet of Hollywood, California.There they built a mighty industry that pumped out hundreds of movies each year a

Planar Tracking in Mocha

January 4, 2014, 02:46 PM

http://lesterbanks.com/2014/01/mocha-planar-tracki...

In a recording of a previously run webinar, Imagineer Systems product specialist Mary Poplin takes a look at using mocha aE, and mocha Pro for stabilizing shots for After Effects and Nuke, showing how to creatively use mocha for reframing your shots, creating set extensions, and more.

Look Effects creates crowds for 'Grudge Match'

January 3, 2014, 05:27 PM

http://www.postmagazine.com/Press-Center/Daily-New...

LOS ANGELES — Look Effects (www.lookfx.com) recently produced visual effects for Grudge Match, the new Warner Bros. feature starring Robert De Niro and Sylvester Stallone. Directed by Peter Segal, Grudge Match tells the story of two aging boxing rivals who are coaxed out of retirement to fight one final bout, 30 years after their last match.

Moving on Up

January 1, 2014, 10:29 AM

http://www.cgw.com/Publications/CGW/2013/Volume-36...

The visual effects studio Digital Domain was a co-producer of the film Ender’s Game. We asked Writer/Director Gavin Hood about the impact of having a VFX studio involved in the production from the beginning. Prior to Ender’s Game, Hood most recently directed the films X-Men Origins: Wolverine, Rendition, and Tsotsi, for which he received a BAFTA nomination.

Using Fibermesh for hair in Maya

December 31, 2013, 11:49 AM

http://lesterbanks.com/2013/12/zbrush-using-fiberm...

Taking a look at some solutions for generating Hair in Maya from ZBrush’s Fibermesh, Shaun Keenan provides a quick tip for using the Fibermesh as a guide in Maya to build the Maya nHair around.

An In-Depth Look at Optimizing Renders

December 31, 2013, 11:48 AM

http://lesterbanks.com/2013/12/v-ray-an-in-depth-l...

As a look at how to optimize your V-Ray renders, this proves to be a valuable guide from Akin Bilgic, who we have seen bring us useful resource before in the V-Ray DMC Calculator.

VFX Supervisor Joe Letteri on Fashioning a Dragon

December 30, 2013, 06:20 PM

http://www.studiosystemnews.com/awards-spotlight-t...

Joe Letteri is the man behind some of the most eye-popping visual effects of the last two decades. Steven Spielberg turned to Letteri to help him design the dinosaurs for Jurassic Park and James Cameron relied on him to create the Na’vi in Avatar. Peter Jackson hired him as visual effects supervisor for Weta Digital 11 years ago, and in that time, Letteri has created Gollum for The Lord of the Rings, the title character in King Kong, and Caesar in Rise of the Planet of the Apes.

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