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
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Streamland Media has completed the acquisition of Technicolor Post and integrated its services into Streamland’s picture, VFX, sound and marketing divisions. The acquisition brings new artists, technical experts, and strategic locations to Streamland, solidifying the company’s commitment to support a global network of award-winning talent in service to post production.
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https://www.techradar.com/how-to/try-adobe-after-e...
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https://beforesandafters.com/2021/04/20/vfx-firsts...
Most people will know that something BIG happened in visual effects in the mid-to-late 80s and early 90s, with the shift to digital VFX techniques. A lot tends to be made of the use of ‘CGI’, but just as crucial was the move to digital compositing.
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https://www.awn.com/news/fmx-2021-dive-wandavision...
MARZ VFX supervisor Ryan Freer will share the often-invisible VFX on Marvel’s first Disney+ series; three presentations will peek behind the curtain surrounding the year’s first blockbuster VFX-driven tentpole to see monster making up close and personal.
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https://www.animationmagazine.net/technology/april...
Learning how to be a 3D artist involves understanding technique, workflow and best practices more than knowing specific programs. Sure, you can dive into Maya or Houdini or 3ds Max or Cinema 4D, etc. But as a budding artist, the cost of these programs may be out of your price range. This is where Blender comes in: It’s robust, full-featured, is actually used in production and it’s open source — which means it’s totally free.
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https://www.awn.com/news/fmx-2021-dive-wandavision...
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Back in 2013, John « DJ » DesJardin talked to us about his visual effects work on Man of Steel. He went on to work on Batman v Superman: Dawn of Justice and Justice League. He’s back today to talk about the challenges of bringing director Zack Snyder’s vision to life on Zack Snyder’s Justice League.
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