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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

Using Resolve to Make Your Doc Footage Shine

March 29, 2014, 12:35 PM

http://nofilmschool.com/2014/03/color-correction-t...

In the process of narrative filmmaking, a talented cinematographer can achieve the desired aesthetic through closely controlling the characteristics of light, color, and composition. In these cases, color correction shouldn’t really be needed (although a creative grade can certainly take the image to another level). In documentary filmmaking, however, where many of the images are captured sporadically as the action unfolds (which can very easily lead to mismatched footage), the process of crea...

Effie Awards Winners: Effing Right!

March 28, 2014, 07:47 PM

http://roosterpost.wordpress.com/2014/03/28/effie-...

Congratulations to our friends at Anomaly for Budweiser Red Light: “Goals Across Canada” (Labatt Breweries of Canada) and Lowe Roche Advertising for Heart & Stroke Foundation of Canada “Make Health Last” on both of their 2014 Effie Award wins! See … Continue reading →

Digital Matte Painting

March 28, 2014, 07:47 PM

http://blog.lynda.com/2014/03/28/digital-matte-pai...

Matte painting is meant to fool the viewer’s eye. It is a special effects technique that combines live-action footage with painted imagery that dates back to 1907— the very dawn of filmmaking. Mattes were originally painted on a sheet of glass, which was suspended in front of the camera. Today, with digital imaging, artists can work in Photoshop, and combine their paintings with a live-action plate in programs such as After Effects, Maya, or Nuke.

Ted VFX Breakdown

March 28, 2014, 07:39 AM

http://www.cgmeetup.net/home/ted-vfx-breakdown-ilo...

Iloura is a VFX, animation and design studio motivated by creative problem solving and technical innovation. Whilst Iloura’s highly regarded reputation has been built around its character animation work, the studio also produces outstanding results in matte painting, compositing, FX animation and motion design for the film, television and advertising industries.

EFILM Installs First Baselight Grading Suite

March 27, 2014, 03:32 PM

http://news.creativecow.net/story/874977

(London, United Kingdom--March 27, 2014) Hollywood post-production facility EFILM—a Deluxe Media Creative Services company and a long-time innovator in digital intermediate technology—has added to its toolset by installing a Baselight colour grading suite from FilmLight.

Is Virtual Reality about to become... reality? The

March 27, 2014, 03:30 PM

http://www.redsharknews.com/technology/item/1557-t...

In the wake of Facebook's $2bn swoop for Oculus Rift, last week's announcement that Sony is building a VR headset for the Playstation 4 seems a bit more significant. Are we about to see a domestic VR arms race? Or is AR (Augmented Reality) as epitomised by Google Glass the best way forward in the short term? Virtual Realityaugmented realitySonyGoogle GlassFacebook

ROBOCOP: Nordin Rahhali – VFX Supervisor

March 27, 2014, 12:43 PM

http://www.artofvfx.com/?p=6467

Nordin Rahhali is evolving for more than 15 years in the visual effects. Before joining the teams of Method Studios, he worked at CORE Digital Pictures or Digital Domain. He has worked on many projects such as BLADE II, TRANSFORMERS, 2012 or IRON MAN 3.

WD Intro's Thunderbolt dual drive

March 27, 2014, 12:43 PM

http://www.legitreviews.com/wd-introduces-first-th...

IRVINE, Calif., – Mar. 27, 2014 – WD, a Western Digital (NASDAQ: WDC) company, and world leader in storage solutions for the connected life, today introduced My Passport(r) Pro, the first portable, Thunderbolt(tm)-powered dual-drive solution, providing creative professionals and enthusiasts high performance and capacity in a truly mobile solution. For Mac systems, My Passport Pro has user-selectable RAID functionality to deliver needed performance for the most demanding applications in the f...

Case Studies In Invisible Effects

March 27, 2014, 07:46 AM

http://www.fxguide.com/featured/case-studies-in-in...

How do you tell the true story of Navy SEALs fighting in Afghanistan? What’s involved in marrying the charm of miniatures and stop-motion into final shots? How do you make two Jake Gyllenhaal’s? And how can practical and digital effects carve out a woman’s jaw? The answers are in this article on the seamless visual effects by Image Engine, Look Effects, Rodeo FX and Screen Scene in Lone Survivor, The Grand Budapest Hotel, Enemy and Ripper Street.

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