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

History Between Steve Jobs and Pixar

November 23, 2016, 10:34 AM

http://www.macrumors.com/2016/11/23/steve-jobs-to-...

Steve Jobs' history with the now-acclaimed animation studio Pixar began in 1986 when the former Apple CEO purchased The Graphics Group, which was one third of the Computer Division of Lucasfilm, renamed it Pixar Animation Studios, and began guiding it into a burgeoning feature film production company. In a new book called To Pixar and Beyond, written by former Pixar chief financial officer Lawrence Levy, the history between Jobs and Pixar is highlighted and deepened by looking at the struggling ...

3ds Max Tips and Tricks for Hard-Surface Modeling

November 23, 2016, 06:01 AM

http://www.cgmeetup.net/home/3ds-max-tips-and-tric...

Autodesk visits Jacques Choi, lead character artist at Eidos-Montreal, who shares the 3ds Max workflow for creating hard-surface character augmentations during the development of Deus Ex: Mankind Divided.

On Layoffs

November 23, 2016, 06:01 AM

http://animationguildblog.blogspot.ca/2016/11/on-l...

Members and TAG officers have asked, "What does an Animation Guild member do if he finds himself laid off?"

Ron Thornton, RIP

November 22, 2016, 07:51 PM

http://animationguildblog.blogspot.ca/2016/11/ron-...

Ron Thornton, an Emmy-winning visual effects designer, supervisor and producer who worked on such shows as Babylon 5 and Star Trek: Voyager, has died. He was 59.

Working With Metallic Flake Materials in Cycles 4D

November 22, 2016, 01:22 PM

http://lesterbanks.com/2016/11/metallic-flake-mate...

Have a look at how to create metallic flake in Cycles. By now you should’ve heard that Cycles 4D has been released. So far the reception has been pretty good with the Cinema 4D community. Cycles 4D offers production-level rendering engine that is both GPU and CPU enabled for rendering. a couple of methods for making The Post Working With Metallic Flake Materials in Cycles 4D originally appeared and published on %%BLOGLINK%,by lesterbanks

New Wacom Cintiq Pro line offers portability, upda

November 21, 2016, 01:21 PM

http://postperspective.com/new-wacom-cintiq-pro-li...

Wacom has introduced a new line of Wacom Cintiq Pro creative pen displays: the Cintiq Pro 13 and Cintiq Pro 16. The Wacom Cintiq Pro features a thin and portable form factor, making them suitable for working on the road or remotely. Cintiq Pro’s new Pro Pen 2, Continue reading → November 21, 2016 The post New Wacom Cintiq Pro line offers portability, updated pen, more appeared first on Randi Altman's postPerspective.

Model Complex Forms in Houdini With NURBS

November 21, 2016, 01:21 PM

http://lesterbanks.com/2016/11/model-complex-forms...

Propeller blades, wings, a ship’s hull, a car panel. What do they all have in common? They are complex flowing surfaces that can be a challenge to model with polygons, alone. NURBS or solid modelers will offer a better workflow for these types of complex forms. Houdini (and others) can work wth NURBS surfaces which The Post Model Complex Forms in Houdini With NURBS originally appeared and published on %%BLOGLINK%,by lesterbanks

Animating a Tail? Create Easy Follow Through by Of

November 21, 2016, 10:50 AM

http://lesterbanks.com/2016/11/animating-tail-offs...

Follow through and overlapping animation might seem tedious to some. It can be tricky to get the timing correct on objects like a flag, or a character’s tail. I you are animating a tail, there is a little trick that you can use that can make things much easier. Just offset curves in time. Paul The Post Animating a Tail? Create Easy Follow Through by Offset Curves originally appeared and published on %%BLOGLINK%,by lesterbanks

Modeling a Tire in Maya Using Tiling Patterns

November 21, 2016, 10:49 AM

http://lesterbanks.com/2016/11/modeling-tire-maya-...

You might be thinking, “Man, there are quite a few tire modeling tutorials out there!”. You are right. Do we really need another? If it’s a tire modeling demonstration from modeling whiz Alex Cheparev, then yes we do. Think of this one as more of a master class in creating repeatable and tiling patterns in The Post Modeling a Tire in Maya Using Tiling Patterns originally appeared and published on %%BLOGLINK%,by lesterbanks

Mastering Toon Lighting, Compositing and Freestyle

November 21, 2016, 05:19 AM

http://www.cgmeetup.net/home/mastering-toon-lighti...

Frederik Steinmetz at Blender Conference 2016. Blender is a 3D render engine, but cartoons traditionally look more like 2D. Getting consistant lighting across irregular objects can be tedious, but there is a method that uses the toon shader, but leaves the lighting to the compositor.

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