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 12, 2012, 04:11 PM
http://www.btlnews.com/awards/contender-editor-ann...
To tell the truth, this was the first time editing a whole movie by myself, admits Anne-Sophie Bion, formerly an assistant to the renowned French editor, Herve Schneid, (Amelie) who taught her, "if editing works without sound, it can only be better with it." When editing another film, Bion practiced cutting by shutting off the audio to see if the picture worked silently. When she was actually tapped to edit the modern day silent film, The Artist, working without dialog did not faze her.
January 12, 2012, 04:09 PM
http://www.btlnews.com/awards/contender-editor-joe...
How does one collaborate with one of Hollywood's true legends for so many years on such a wide variety of projects? Just ask Joel Cox, who has edited nearly 40 films in total and has worked with Clint Eastwood since the late 1970s. After apprenticing and assisting in the editing room on many projects, Cox ascended to the role of film editor with Eastwood and has cut all of the star and director's most notable films of the past three decades, including their newest collaboration, J. Edgar.
January 12, 2012, 08:14 AM
http://fixitinpostprod.wordpress.com/2012/01/11/it...
Over the course of an edit session, you may spend hours or longer fretting over a number of edit choices. Tempo, music, colour tinting, which take to use…the list goes on and on. Let me throw in another decision that, whether you realize it or not, can have a huge impact on your project...
January 11, 2012, 03:42 PM
http://www.btlnews.com/awards/contender--editor-cl...
Editing is all about focusing attention on what the filmmakers want an audience to see at any given time in a film. The editing on Extremely Loud and Incredibly Close takes its focus from the book and adapted screenplay that were written from point of view of the lead character Oskar (Thomas Horn). Both mediums externalized the boy's thoughts in voice over.
January 11, 2012, 12:40 PM
http://www.deadline.com/2012/01/patton-oswalt-back...
Universal City, CA, January 11, 2012 – Actor/Comedian Patton Oswalt (Young Adult) is set to host the 62nd Annual ACE Eddie Awards ceremony on February 18 at the Beverly Hilton Hotel. The ACE Eddie Awards is presented by American Cinema Editors (ACE), and recognizes the best editing of the year in film, television and documentaries. This is an encore appearance by Oswalt who hosted the black-tie awards ceremony the first time in 2008.
January 11, 2012, 10:42 AM
http://www.chicagoreader.com/Bleader/archives/2012...
Those who know Sergei Eisenstein solely through his reputation as a director of historical spectacles—or through his influential theories about film editing—might be surprised by how much broad humor runs through his first feature, Strike (1925). That was my reaction when I saw the movie this past Sunday at the Gene Siskel Film Center's Eisenstein series. It was a healthy reminder not to reduce an artist's legacy to his most familiar tropes—it also made me laugh a lot. The film screens aga...
January 10, 2012, 03:57 PM
http://provideocoalition.com/index.php/ssimmons/st...
This is a great video that really nails it in terms of body image just how fake most everything you see in print is these days. It was made be Jesse Rosten and looks like they put in quite a bit of work...
January 10, 2012, 11:17 AM
http://blogs.indiewire.com/thompsononhollywood/imm...
Editing is all about internal rhythms for Christopher Tellefsen, and Moneyball fit like a glove. On the surface, it's a David and Goliath sports movie. But it's really about the struggle against conventional wisdom for the fast talking and even quicker thinking Oakland A's general manager Billy Beane. Similarly, Moneyball is a studio film with a major star (Brad Pitt), but it's really a throwback to the 70s with its anti-establishment vibe. You could just imagine Sydney Pollack...
January 9, 2012, 08:40 AM
http://www.blogtalkradio.com/moviegeeksunited/2011...
The Movie Geeks speak with author and editor Bobbie OSteen (Cut to the Chase, The Invisible Cut) and acclaimed editor Ken Schretzmann (Toy Story 3, Cars) about the art of editing animated features. Plus, actor Kurt Fuller (The Pursuit of Happyness, Anger Management) discusses his experiences working with Woody Allen in the new film Midnight in Paris.
January 8, 2012, 10:14 AM
http://www.joyoffilmediting.com/index.php/archives...
Need to select the right editing software for your project and not sure what fits the bill and how much you need to spend? Find the Best, has a free, online comparison tool for you. Find the Best Editing System objectively compares no cost systems (Blender, Lightworks) to low cost systems (FORScene, FCP X) to...
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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