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
December 10, 2011, 08:26 AM
http://www.jaa-editing.com/blog/almost-there-but-n...
Principal shooting on The Pirates! has finished. The cut is (mostly) locked. Many of the sets have been dismantled, shooting crew have left, and we can still get parking spaces if we arrive slightly late. We even have Shaun The Sheep setting up where the Pirates sets used to be.
December 9, 2011, 08:05 AM
http://editorunderconstruction.blogspot.com/2011/1...
(Site in Spanish Videos in English) - Richard Chew talks about his youth, his training, his early days as editor in Hollywood, while riding news, how he saw the inclusion of people of color in the industry. At the end of the second video speaks of the purposes that your parents had for him in life, other than their ideas, they do not even know what he was devoted. He advises young artists, interested in working behind the scenes, a road open to all expectations, especially artistic and creative.
December 8, 2011, 11:51 AM
http://manhattaneditworkshop.blogspot.com/2011/12/...
Editor Aaron Yanes, A.C.E. discusses the process of getting inside of Mike Tyson's head for the documentary Tyson. For more information on Editfest NY please go to editfestny.com. This video was produced by Manhattan Edit Workshop and edited by Dan Jamieson.
December 8, 2011, 08:14 AM
http://www.blogtalkradio.com/moviegeeksunited/2011...
Legendary film editor Carol Littleton (E.T., Body Heat) discusses her remarkable career, particularly her work on Lawrence Kasdan's seminal 1983 film The Big Chill.
December 8, 2011, 08:06 AM
http://www.joyoffilmediting.com/index.php/archives...
Following on my post about Hugo ending with a line lauding Scorsese's embrace of 3D, here are recent articles on the subject. Scorsese on 3D These quotes are my culls from a couple of articles - one from the Guardian and one from Deadline New York about Scorsese and his take on 3D. I've always [...]
December 6, 2011, 04:57 PM
http://www.postmagazine.com/Publications/Post-Maga...
When tackling this type of storytelling, as well as a very dialogue-driven film like this one, a director needs to put his trust in his editor. Eastwood had that peace of mind thanks to long-time collaborators Joel Cox and Gary Roach. Cox first started working with Eastwood back in 1975 and then joined him full time in 1984; Roach started with Cox on Absolute Power in 1997.
December 6, 2011, 03:26 PM
http://www.theawl.com/2011/12/the-case-for-3d
As Exhibit A in support of this verdict, Ebert furnished a letter from Walter Murch, the acclaimed editor of The Godfather and Apocalypse Now. Murch has a theory about how 3D films befuddle our eyes and brain, by confounding their natural convergence and focus reflexes...
December 6, 2011, 11:47 AM
http://editorunderconstruction.blogspot.com/2011/1...
ALL THINGS SHINING: How did you work on Malick's films? Saar Klein: I was riding a movie called Endurance, which Terry produced. I had never seen - nor speak, because he was filming The Thin Red Line in Australia when I arrived. I sent a letter with thoughts and ideas on the first cut I had seen that movie. His wife replied by saying that Terry would love to re-mount the film. We met a few months later, when he returned from The Thin Red Line.
December 5, 2011, 09:26 AM
http://www.encoremagazine.com.au/oranges-and-sunsh...
Dany Cooper has won best editing in a feature film for her work on Oranges and Sunshine at the Australian Screen Editors Awards. Nicknamed The Ellies, the awards were held last night at the Vanguard in Newtown, Sydney, hosted by actor comedian Rob Carlton (Underbelly, Paper Giants).
November 30, 2011, 11:56 AM
http://www.joyoffilmediting.com/index.php/archives...
Director Martin Scorsese scores with Hugo, an engaging story and an homage to early French filmmakers George Melies (played by Sir Ben Kingsley) and the Lumiere brothers as well as Gare Montparnesse, a French railway station. Edited by the queen of editors, Thelma Schoomaker, the movie has special appeal to filmmakers, film students, and editors...
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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