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
June 12, 2012, 04:37 PM
http://www.videomaker.com/community/videonews/2012...
It's easy to spot amateur video. These videos are usually unpolished, resulting in a slew of flash frames. To the untrained eye, flash frames can be hard to spot. After all, they are generally only one frame. Despite being difficult to spot, the viewer's brain will usually register that it saw something strange.
June 12, 2012, 04:35 PM
http://www.studiodaily.com/2012/06/editor-andrew-w...
Moonrise Kingdom, the story of Sam, a young Khaki Scout who flees summer camp for a seaside rendezvous with Suzy, the girl of his dreams, stirring up all kinds of trouble on the fictional island of New Penzance, is the third film that editor Andrew Weisblum, ACE, has cut with director Wes Anderson. Working on location, Weisblum lived together in a house in Newport, Rhode Island, with Anderson, DP Robert Yeoman, ASC, and others from the production.
June 12, 2012, 04:28 PM
http://www.bfs-filmeditor.de/aktuell/meldungen/mel...
(In German) Besides Nina Klein Uschi Caspers care since the beginning of June the office. Her duties will be the legwork for the Board and to assist our members, while Uschi small bookkeeping and editing of the website does.
June 11, 2012, 09:40 AM
http://twainthestoryteller.wordpress.com/2012/06/1...
Jamie Cobb is a freelance editor, currently cutting her second feature-length film, Down and Dangerous. I got a chance to chit-chat with Jamie about all things Editing.
June 10, 2012, 04:42 PM
http://ronsussmanedits.blogspot.com/2012/06/whats-...
When I was starting out in post there was a clearly defined road one took to becoming an editor. These were the last few years of cutting film on a 35mm flatbed and my experience was limited to the commercial world verses the TV or feature world, but there were basic similarities to the path one took.
June 10, 2012, 09:36 AM
http://www.cceditors.ca/2012/06/08/90-to-5-film-ch...
We just got word of a fun event that we think will be fun for up and coming (and even the more seasoned) editors: the 90 to 5 Film Editing Challenge! The basic gist of it is to cut down a 90 minute public domain film to only 5 minutes. It's completely free and it...
June 10, 2012, 09:33 AM
http://roosterpost.wordpress.com/2012/06/09/editor...
The right cut is all in a day's work for Rooster Post Production Editor Marc Langley. Making it work began with a great idea from DDB creative team Adam Bailey and Paul Riss. In this spot for DDB client Manulife...
June 10, 2012, 09:33 AM
http://digitalfilms.wordpress.com/2012/06/10/it-st...
Modern color correction and grading systems allow you to performance a lot of magic in post. All too often though, producers take the "fix it in post" mantra way too seriously. Since modern cameras offer excellent low light sensitivity, the basics of good lighting and proper art direction get short-changed. If the director, DP and...
June 8, 2012, 08:58 AM
http://www.variety.com/article/VR1118054988.html
When editor Pietro Scalia arrived in London two weeks before principal photography began on "Prometheus," he needed to discuss workflow plan with the camera department. He also needed to calibrate the monitors so the same high-definition 3D images that director Ridley Scott and cinematographer Dariusz Wolksi captured with the new Red Epic camera system would be re-created accurately in the dailies and the editing suite. But what he really wanted to do was to step aboard the bridge of the...
June 8, 2012, 08:56 AM
http://manhattaneditworkshop.blogspot.com/2012/06/...
Editor Tim Squyres, A.C.E. discusses the challenges of editing for different audiences using examples from "Lust, Caution." For more information on Editfest NY 2012 please go to editfestny.com. This video was produced by Manhattan Edit Workshop and edited by John Schlirf.
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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