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

Oscars: VFX Noms Include Actual Explosions...

February 16, 2016, 10:12 AM

http://www.hollywoodreporter.com/behind-screen/osc...

VFX supervisors for 'Mad Max,' 'Star Wars' and more Oscar-nominated films share what it takes to keep it real. 'The Martian's' VFX supervisor, Richard Stammers, says of achieving an earthy approach: "We strive to make as much as we can real. The more you capture in-camera, they more it’s grounded in reality."

Keying and compositing in NukeX

February 16, 2016, 06:05 AM

http://www.provideocoalition.com/keying-and-compos...

You’ve seen it before: composited people with hair helmets. If you’ve done any keying yourself, you probably notice it all the time. And you’ve seen worse: webbed fingers, grey outlines, green, magenta or grey reflections on skin. How can you make your keys look as good as the ones in, say, Iron Man or Transformers?

VFX Podcast Episode 60 - Jami Jeffcoat

February 15, 2016, 07:16 AM

http://www.allanmckay.com/60/

Jami works at Bungie in Seattle, WA well known for Halo and Destiny among other high profile projects. This episode we dive into her role at Bungie on Destiny, as well as her experiences graduating from college and going into video games, and how she managed to literally walk into a job at Bungie and a lot of the key reasons behind that which I think is really fascinating. As well as sharing her own female perspective of working in the video game industry as well.

Jan Got A Gun VFX

February 14, 2016, 09:15 AM

http://www.artofvfx.com/jane-got-a-gun-vfx-breakdo...

relevant VFX presents this seamless VFX work for JANE GOT A GUN...

VFX Supervisor Tom Wood on Mad Max: Fury Road

February 13, 2016, 06:16 AM

http://www.studiodaily.com/2016/02/vfx-supervisor-...

George Miller’s post-apocalyptic desert adventure Mad Max: Fury Road captivated audiences and critics with its exhilarating, relentless action and deranged visuals. The brutal extravaganza scored $375 million at the worldwide box office, and 10 Oscar nominations, including best picture, director, cinematography, film … more » The post VFX Supervisor Tom Wood on Mad Max: Fury Road appeared first on Studio Daily.

THE SHANNARA CHRONICLES: Making Of

February 11, 2016, 10:35 AM

http://www.artofvfx.com/the-shannara-chronicles-ma...

Nice environment and magical work by Mackevision in this VFX making of about THE SHANNARA CHRONICLES...

Hollywood Redux: VFX of Hail, Caesar!

February 11, 2016, 06:57 AM

https://www.fxguide.com/featured/hollywood-redux-t...

Joel and Ethan Coen’s Hail, Caesar! is a throw-back to the big studio films of the 1950s. Equally ‘throw-back’ were the film’s visual effects - these involved effects for the actual film itself, effects for the film’s ‘movies within a movie’ that looked to match the way special effects would have been completed at that time, and effects that somewhat blurred those lines. Visual effects supervisor Dan Schrecker tells fxguide in his own words how Psyop, which was the sole vendor on H...

VFX Supervisor Richard Stammers on The Martian

February 10, 2016, 01:36 PM

http://www.studiodaily.com/2016/02/vfx-supervisor-...

Director Ridley Scott’s film The Martian finds astronaut Mark Watney (Matt Damon) stranded on the red planet with little more than his wits to keep him alive until NASA can rescue him. The film earned more than $500 million at … more » The post VFX Supervisor Richard Stammers on The Martian appeared first on Studio Daily.

Octane Render in Side Effects Houdini, Getting Sta

February 10, 2016, 10:34 AM

http://lesterbanks.com/2016/02/getting-started-wit...

Ben Watts shows how quick you can get up and running using Octane Render for Houdini. The Post Octane Render in Side Effects Houdini, Getting Started originally appeared and published on %%BLOGLINK%,by lesterbanks

ZERO VFX Delivers Knockout Visual Effects for Sout

February 10, 2016, 10:33 AM

https://www.productionhub.com/blog/post/zero-vfx-d...

Antoine Fuqua’s Southpaw tells the story of Jake Gyllenhaal's Billy 'The Great' Hope and his struggles not only inside the boxing ring, but also facing his inner demons to win custody back of his daughter. The film exudes both grit and glamour -from the lavish lifestyle of a pro fighter, to the hardships he faces in his personal life - and Fuqua wanted to convey absolute reality. Aside from the typical underdog fighter turns boxing champ story, Fuqua wanted to present boxing in its raw ...

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