To The Aotg.com Community,

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

Rébellion

April 4, 2013, 04:57 AM

http://journaldunemonteuse.wordpress.com/2013/04/0...

Je travaille sur un film documentaire de cinéma difficile. Un film fragile. Un film nécessaire, mais compliqué. Un film sur lequel on fait absolument tout à l’envers. C’est à la fois grisant et rageant. Enthousiasmant et frustrant. Les rushes sont...

Color Correct in your NLE - Tutorial Round Up

April 4, 2013, 03:30 AM

http://jonnyelwyn.co.uk/avid/nle-color-correction-...

If you're new to editing and looking for some free advice on how to best polish up your projects, then this round up of free color correction tutorials for FCPX, Premiere Pro and Avid Media Composer should help you get started.

#fcpx#color correction#avid media composer#premiere pro cs6
Correcting Oscar’s Six-Year Snubs

April 3, 2013, 02:13 PM

https://www.editorsguild.com/magazine.cfm?ArticleI...

Of the many crafts essential to making movies, only editing came into existence because of the medium itself. Cinematography grew out of photography. Art direction grew out of theatrical design. Sound recording existed independently for decades before its marriage to the moving image. But film editing is a technical and aesthetic craft unique to the motion picture.

The Post-Heavy Iron Age

April 3, 2013, 02:12 PM

https://www.editorsguild.com/magazine.cfm?ArticleI...

As you probably know, Danny Cahn, A.C.E., resigned his post as President of this Guild this past December, citing personal reasons. In keeping with the Guild constitution and by-laws, as Vice President, I have assumed the Presidency. In addition, Alan Heim, A.C.E., has been selected by the Board of Directors to fill my vacated position. Danny accomplished many things to the great benefit of our union during his two years in office, and I want to thank him for his service and wish him well in his...

Filmmaking's Quiet Heroes

April 3, 2013, 02:12 PM

https://www.editorsguild.com/magazine.cfm?ArticleI...

The picture editor’s role in the creation of a movie has always been shadowed by the mystique of the film director. Many people think that the director is the guiding hand to the robot film editor. The director does little to discourage this idea in interviews with film critics, many of who themselves do not understand the editing process. Few histories of the movies even analyze the editing process, much less mention the editor. Sadly, because oral histories of film and sound editors were neg...

Dale Grahn on Meeting Steven Spielberg

April 3, 2013, 04:08 AM

http://www.crumplepop.com/blog/?p=614

While color timing on “Amistad,” Dale Grahn recalls the first time he met Steven Spielberg. Check out our entire series of Dale Grahn interviews here. Take a look at Dale Grahn Color for the iPad at dalegrahncolor.com to learn color timing from Dale himself.

L'histoire du film rebel

April 2, 2013, 12:48 PM

http://journaldunemonteuse.wordpress.com/2013/04/0...

Je travaille sur un film difficile. Un film fragile. Un film nécessaire, mais compliqué. Un film sur lequel on fait absolument tout à l’envers. C’est à la fois grisant et rageant. Enthousiasmant et frustrant. Les rushes sont bruts. Le tournage...

Ana Rubio, ayudante de montaje en Blancanieves.

April 2, 2013, 12:40 PM

http://editorunderconstruction.blogspot.com/2013/0...

Ana Rubio lleva trabajando como ayudante de montaje en la industria cinematográfica unos diez años. En muchos de los proyectos en los que ha trabajado ha sido ayudante del que fue su primer profesor de AVID, Fernando Franco--ahora uno de los montadores españoles más prestigiosos en activo. Y bueno, está claro que tantos años y tantas películas trabajando juntos (desde Nordeste hasta Blancanieves) hacen que el buen entendimiento entre estos dos profesionales deje factura en las obras, en e...

Rabinowitz, A.C.E. on editing Affliction

April 2, 2013, 06:13 AM

https://www.aotg.com/rabinowitz-a-c-e-on-editing-affliction/

Jay Rabinowitz, A.C.E. Discusses a Scene from "Affliction" from Manhattan Edit Workshop on Vimeo.Editor Jay Rabinowitz, A.C.E. discusses the very last movie he ever cut on film - "Affliction." This video was produced by Manhattan Edit Workshop and edited by Dan Jamieson.

The Evil Dead Trilogy (1981)

April 2, 2013, 06:13 AM

http://feedproxy.google.com/~r/artofthetitle_rss/~...

A glance at director Sam Raimi's 36-year Hollywood career produces a resume that reads like every 14 year-old boy's dream job: superheroes and villains, the undead, fantasy worlds, the supernatural and the paranormal, as applied to everything from indie slashers to top-shelf summer blockbusters. In Freudspeak, if the films of Bergman and Kubrick are the superego of cinema, deliberate and anticipatory, then Raimi's are the id, governed...

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