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

Best Film Editing — Volume I

September 13, 2010, 12:04 PM

http://incontention.com/?p=27008

I still remember when I was 12 and getting into the Oscars for the first time. My Dad said, "How can you tell if the film has good editing?" To a very large extent, I had to concede his point, as the best editing is often that which we don’t explicitly notice. Rather, it simply "becomes" the film as we become immersed in what is on the screen, not remembering that everything was staged from different angles on different days.

Film School Confidential Does It Really Matter?

September 11, 2010, 06:17 PM

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

In the age of YouTube, making movies no longer seems complicated. With an expanding range of visual media and easy access to affordable camcorders and editing software, many can shoot and arrange scenes without a big crew.

Soap Editor Lugh Powers

September 10, 2010, 11:50 AM

http://www.joyoffilmediting.com/?p=3019

Following on the Emmy awards, this editor/interviewee has won two daytime Emmys for Outstanding Achievement in Multiple Camera Editing for a Drama Series and been nominated four other times for Days of Our Lives, which has run since 1965 and he’s been cutting for eight years. Lugh Powers is also an Avid trainer and engineer extraordinaire for many years, which is how I first crossed paths with him. He enthusiastically consented to a dinner interview after a long day (at work since 6 a.m.) on.

Editor Steve Gandolfi on MGMT's "Congrat

September 9, 2010, 04:10 PM

http://www.studiodaily.com/main/technique/projects...

The new music video for MGMT's "Congratulations" is striking and unusual. Framed in widescreen as it chronicles the slow decay of a strange (pet?) animal against a desert landscape, the carefully assembled story ends on a note that may be depressing, baffling or uplifting, depending on your point of view. Most importantly, it strikes a chord with fans, who have made the video an online hit. Film & Video caught up with Cut + Run founder Steve Gandolfi, who edited the clip, for a quick...

Working with the edit department, from the outside

September 9, 2010, 08:34 AM

http://www.jaa-editing.com/wordpress/2010/09/worki...

A few months ago I rather rapidly acquired a new job – my first on a feature, a stereoscopic stop-motion animation. But I’m not working in the editing department. They’ve been in place now for some time. I’m working in Previs and VFX. On an Avid.

I don't define myself by the tools I use

September 7, 2010, 11:33 AM

http://ronsussmanedits.blogspot.com/2010/09/i-dont...

One of the frequent mistakes rookie editors make is that they define themselves by the software they use as in "I am a Final Cut editor" or I am an "Avid editor".

Editing in the Avant-Garde: A Note to Pati (1969)

September 7, 2010, 11:04 AM

http://dinca.org/review-a-note-to-pati-1969-by-sau...

Film editor’s curiosity compelled me to watch the film multiple times while tallying the number of film splices. Clearly, it’s impossible to get an exact number, but according to my tally averaged, the film has approximately 400 splices — this is wild — this is a seven minute film.

Inside the editor's studio Thelma Schoonmaker

September 6, 2010, 03:24 PM

http://www.boston.com/ae/movies/articles/2007/04/0...

NEW YORK -- "Oh, go ahead and heft it," Thelma Schoonmaker urged. "Everyone else has." "It" was the Oscar statuette she had won earlier that week for best film editing , for "The Departed. " Schoonmaker, 67, was sitting in her editing room at Martin Scorsese's production company. She has edited every Scorsese feature since "Raging Bull," in the process becoming one of the most respected figures in American film.

A Tribute to Two Trailblazing Editors

September 4, 2010, 10:51 AM

http://www.bobbieosteen.com/2010/08/a-tribute-to-t...

A Tribute to Two Trailblazing Editors: Dede Allen, A.C.E., and Sam O’Steen, A.C.E., moderated by Bobbie O’Steen with panelists Jerry Greenburg, A.C.E., and Carol Littleton, A.C.E., was a genuine treat. From tales of what it was like to work with Dede Allen and Sam O’Steen to analyzing scenes from Bonnie and Clyde and The Graduate, it’s not often that you get this level of candor, insight, analysis and humor.

Norman Hollyn on Collaboration

September 3, 2010, 10:55 AM

https://www.aotg.com/norman-hollyn-on-collaboration/

Norman Hollyn is an Associate Professor in the School of Cinematic Arts at USC. Here he talks about how the school should approach the new creative landscape and how storytelling and collaboration is something still needed to be taught.

© 2007-2024 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.