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
July 10, 2012, 09:17 PM
http://provideocoalition.com/index.php/news/story/...
Teams from across Sony Pictures Entertainment (SPE) came together in a close-knit collaboration for the production of Columbia Pictures' superhero blockbuster The Amazing Spider-Man, currently in worldwide release in 2D and 3D. Sony Pictures Imageworks (SPI) created many of the film's stunning visual effects sequences...
July 10, 2012, 08:17 AM
http://www.artofthetitle.com/title/se7en/
Directed in 1995, David Fincher's Se7en is a film that defies easy categorization. Perhaps too dark to qualify as a golden classic despite having all the right ingredients, neither is it a cult film in the traditional sense, as it is stocked with A-list talent and propped up by a smart script, a memorable score and rich cinematography, and a production value in lockstep with Fincher's own vision for the film.
July 9, 2012, 09:10 PM
http://www.digitalproductionbuzz.com/interview/edi...
The last time we spoke with Alan Edward Bell, he had just finished editing "Water For Elephants." This time he's back with stories of editing "The Amazing Spider-Man." What's it like working on a high-budget production? How does he organize his edit team? How does he determine the path from dailies to finished movie? How does he balance technology with story-telling? Alan is a great guest – be sure to listen in!
July 9, 2012, 10:51 AM
http://icutfilm.com/post/26792461471
Added my Emmy win to IMDB!!! http://www.imdb.com/name/nm2157365/awards
July 9, 2012, 10:51 AM
http://kirstenstudio.com/archives/3561
Of course it's not nearly as romantic as Helen Van Dongen made it look (pictured below). I don't work in an all window light and shadow filled office with film bins on one side of the room next to a Moviola, but I like to pretend it's like that sometimes. Of course I'm probably not...
July 8, 2012, 10:26 PM
https://www.aotg.com/schretzmann-part-2-cutting-cars-and-ts3/
Ken Schretzmann joins me via phone to discuss cutting Toy Story 3 and Cars as well as Pixar's Sweatbox. Ken's latest editing gig was Dr. Suess' The Lorax.
July 8, 2012, 04:53 PM
http://www.aotg.com/cuttingroom/2012/07/08/ken-sch...
Ken Schretzmann joins me via phone to discuss cutting Toy Story 3 and Cars as well as Pixar's Sweatbox.
July 8, 2012, 11:29 AM
http://feedproxy.google.com/~r/richardharringtonbl...
Learn how to approach color grading tasks from production to post. Learn important techniques about what to shoot in the field including camera profile, white balance information, and essential metadata.
July 8, 2012, 11:21 AM
http://ronsussmanedits.blogspot.ca/2012/07/0-false...
In today's digital age of ftp, Drop box, "the cloud", why isn’t there more of a lure and desire from clients to work with an editor remotely? The big studios do it all the time with 3D specialists based all over the world and even render to remote locations.
July 7, 2012, 04:17 PM
http://www.joyoffilmediting.com/index.php/archives...
In "The 'Invisible Art': A Woman's Touch Behind the Scenes," a May 25, 2012 NY Times article, John Anderson writes about the deficit of women DPs (2) and directors (0) in this year's 22 nominated features for the penultimate of film festivals – Cannes. This lack reflects the still abysmal statistics for ASC (American Society...
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...
© 2007-2026 www.aotg.com Ver. 3.0 All Content created and posted by Art of the Guillotine users Art of the Guillotine graphics, logos, designs, page headers, button icons, scripts, and other service names are the trademarks of Art of the Guillotine Inc. Use of this material outside of this site is strictly prohibited.