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

How To Make a Broken Glass Pattern With Voronoi Fr

September 12, 2017, 09:17 AM

http://lesterbanks.com/2017/09/broken-glass-vorono...

Learn How To Make a Broken Glass Look by Using Voronoi Fracture in Side FX Houdini Houdini Artist Sohey, walks through managing Houdini’s Voronoi Fracture to achieve a broken glass pattern, rather than the standard The Post How To Make a Broken Glass Pattern With Voronoi Fracture in Houdini originally appeared and published on %%BLOGLINK%,by lesterbanks

Win a Free Pass to the 2017 FCPX Creative Summit i

September 12, 2017, 09:16 AM

http://www.fcp.co/final-cut-pro/articles/1997-win-...

We are very excited to announce that as per the previous years, the organisers of the 2017 Final Cut Pro X Creative Summit have very kindly helped us organise a free draw for an event pass. Checkout the video between Peter Wiggins and Jeff Greenberg where they detail the draw and talk much more about FCPX. Grab a coffee (or beer!)

IMF: Output any version you need from a single mas

September 12, 2017, 09:16 AM

http://alex4d.com/notes/item/interoprable-master-f...

Interoprable Master Format is a system that allows you to specify all the versions of a feature film using a set of rules. Instead of rendering out every combination of language, aspect ratio, certification, distributor standard, you define how their rules apply to your movie. When a specific version is called for, it can then be rendered out automatically based on the media and the specific timeline included in an IMP (Interoperable Mastering Package). Even if you don't work in high-end ...

Viewfinder Effect for Final Cut Pro X

September 12, 2017, 09:16 AM

https://fxfactory.com/blog/effects-2/viewfinder-ef...

Focusing screens, authentic camera viewfinders, mobile skins and more!

GAME OF THRONES - Season 7: VFX Breakdown

September 12, 2017, 09:15 AM

http://www.artofvfx.com/game-of-thrones-season-7-v...

Iloura presents their VFX work on the impressive “The Loot Train Attack” sequence from the Season 7 of GAME OF THRONES.

The 70 Most Influential VFX Movies: Sci-Fi Rules

September 12, 2017, 09:15 AM

http://deadline.com/2017/09/most-influential-visua...

It’s been 10 years since members of the Visual Effects Society voted on the 50 most influential VFX movies of all time. A decade later, the industry’s professional honorary society is marking its 20th year with an expanded list of 70 movies spanning more than a century.

Transitioning from VFX artist to director

September 12, 2017, 06:01 AM

http://postperspective.com/transitioning-from-vfx-...

By Karen Maierhofer It takes a certain type of person to be a director — someone who has an in-depth understanding of the production process; is an exceptional communicator, planner and organizer; who possesses creative vision; and is able to see the big picture where one does not yet exist. Continue reading → September 11, 2017 The post Transitioning from VFX artist to director appeared first on Randi Altman's postPerspective.

The hybridization of VFX and motion design

September 12, 2017, 06:01 AM

http://postperspective.com/hybridization-vfx-motio...

Plus the rise of the small studio By Miguel Lee There has long been a dichotomy between motion graphics and VFX because they have traditionally serviced very different creative needs. However, with the democratization of tools and the migration of talent between these two pillars of the CG industry, Continue reading → September 11, 2017 The post The hybridization of VFX and motion design appeared first on Randi Altman's postPerspective.

VFX Roundtable: trends and inspiration

September 12, 2017, 06:01 AM

http://postperspective.com/vfx-roundtable-trends-i...

The world of visual effects is ever-changing, and the speed at which artists are being asked to create new worlds, or to make things invisible is moving full-speed ahead. How do visual effects artists (and studios) prepare for these challenges, and what inspired them to get into this business? We reached out to a small group of visual effects pros working in television, Continue reading → September 11, 2017 The post VFX Roundtable: trends and inspiration appeared first on Randi Altman's...

Interview with Motion Graphics Designer Niels Pray

September 12, 2017, 06:01 AM

http://www.allanmckay.com/96/

This is Allan McKay. Welcome to Episode 96! I’m speaking with Niels Prayer who is a Motion Graphics Designer and Director. He’s worked on Minions, RoboCop and dozens of other really cool projects. We both [spoke] at the IAMAG Master Class earlier this year. Niels has done workshops for CG Society and other places. He’s worked for Illumination Mac Guff, the guys who do the Minions [movies]; as well as Framestore [where worked on RoboCop].

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