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
January 26, 2010, 08:17 AM
http://splicehere.wordpress.com/2010/01/26/the-cli...
Here’s a feature that’s been around forever, but many people don’t seem to be aware of it. Say you want to find a piece of data logged for a particular clip. You open the appropriate bin, but the column containing the info you’re interested in isn’t displayed...
January 25, 2010, 08:16 AM
http://editmentor.wordpress.com/2010/01/25/compare...
Everyone always says "there’s a million ways to cut this" yet rarely ever sees examples of it. Well, you’re in for a treat, courtesy of the students of Bellevue College in Seattle, Washington. Their professor, Robert Backstrand, worked with us to build the entire curriculum of his editing classes around footage available at Editmentor.com. Here’s a sampling of Copier Wars edits from students who prove creativity is indeed alive and well.
January 25, 2010, 08:15 AM
http://www.philiphodgetts.com/2010/01/24/why-are-m...
In my experience few productions – be they film or television – are well planned from a workflow perspective. It seems that people do what’s apparently cheapest, or what they have done in the past. This is both dangerous – because the production workflow hasn’t been tested – and inefficient.
January 24, 2010, 08:15 AM
http://lfhd.net/2010/01/23/muscle-memory-6-fcp-tip...
Just catchy enough for people to remember. Enjoy!
January 23, 2010, 08:14 AM
http://lfhd.net/2010/01/22/managing-stock-footage/
When editing a documentary you very often find yourself using stock footage or photos. And in case you didn’t know it, stock footage and photos cost money to license for use in your projects. Sometimes they are inexpensive(say $5/second) and sometimes they are exorbitant ($60/sec with a 10 second minimum). Because you have a limited budget on your documentaries, it is up to the editor to keep track of how much stock footage they are using, and to use it responsibly...
January 22, 2010, 08:12 AM
http://avidscreencast.com/2010/01/13-use-portable-...
Ever on an editing system that you can’t install software on? And all they’ve got for image manipulation is MS Paint? Get stuff done with portable applications that run off your USB flash drive! Examples include GIMP, an open-source Photoshop clone, and Songbird, an iTunes-like music player.
January 20, 2010, 08:08 AM
https://www.editorsguild.com/FromTheGuild.cfm?From...
On January 10, one day after receiving the Editors Guild’s Fellowship and Service Award from director Lawrence Kasdan, editor Carol Littleton, A.C.E. treated her fans to a screening of Kasdan’s debut film, Body Heat, the first of her eight collaborations with the director. The talk and screening, held at the Billy Wilder Theatre at the Armand Hammer Center in Westwood, was presented by moderator and author Bobbie O’Steen and organized by American Cinema Editors president Randy Roberts, A.C...
January 19, 2010, 12:47 PM
https://www.aotg.com/cutting-room-eps-023-steven-rosenblum-pt-1/
Here's part one of my interview with Steven Rosenblum editor of Braveheart, Defiance and Blood Diamond. In this part we discuss working with directors and working on rhythms.
January 19, 2010, 08:08 AM
http://bourkepr.typepad.com/my_weblog/2010/01/fuze...
A couple of years ago, I had the privilege of working with industry-renown editor, Michael Buday, as he was bringing to market a very unique and innovative app for collaborative review and approval. I was first introduced to him thru a mutual friend and client at Siggraph Boston.
January 18, 2010, 08:07 AM
http://bradcordeiro.squarespace.com/journal/2010/1...
My current project is a feature documentary with about one hundred hours of footage, all completely tapeless. We have P2 media from hard-drives, originally shot on the HVX-200A and HPX-500, along with quicktime files shot on the Canon 5D. It sucked, not because the hardware and software couldn't handle it, but because no one on the project (including me) knew how to adjust our tape-based sensibilities into a tapeless environment.
Daniel George McDonald sits down to discuss creating the finale for Cheer Season 2.
Gordon sits down with the editorial team of The Black Lady Sketch Show to discuss their approach to ...
Gordon sits down with Philip to discuss his work with Tyler Perry and his latest film A Madea Homeco...
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