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

Editing Eat, Pray, Love

August 17, 2010, 11:58 AM

http://www.postmagazine.com/ME2/dirmod.asp?sid=&nm...

The movie, like the book, follows Gilbert from New York to Italy, where she indulges her senses; to India, where she explores her spirituality; and to Bali, where she finds love and the balance she has been seeking. But punching that ticket cinematically was a daunting challenge for director Ryan Murphy and producer Dede Gardner. And logistics were easily their biggest challenge. To faithfully translate Gilbert’s journey from page to screen, the filmmakers lobbied to shoot the movie entirely.....

Cutting Reality Part 2

August 16, 2010, 03:48 PM

http://www.joyoffilmediting.com/?p=2977

Going into the interview with Adam I was aware that editors of reality shows often are under the gun to plow through tons of crap, er, footage, to pluck out the proverbial pony. Over the course of lunch he opened my eyes to a couple of aspects that I hadn’t thought of.

Bill Warner, Walter Murch multi-part stories

August 15, 2010, 10:57 AM

http://provideocoalition.com/index.php/ssimmons/st...

There’s a couple of really good multi-part interviews that have been airing incrementally around the Internet that I wanted to point to. If you haven’t been following them then you’re in for a real treat as you catch up. Hollywood Reinvented is currently in part 5 of an interview with Bill Warner, the man who created Avid. Flickering Myth is taking an extended look at the career of Walter Murch.

The Editor's Guild (Pt 2 The Double-Edged Swo

August 14, 2010, 07:58 PM

http://robgwilson.com/2010/08/14/the-editors-guild...

Are you curious about the union? This blog is a continuation of my previous entry on how you get into the Motion Picture Editors Guild. I thought it would be a good idea to provide a little insight into getting into the union. What I didn’t realize is that it would devolve into an entire diatribe about the state of the Editors Guild in the larger Hollywood perspective. So I packed my first entry with information, and saved the rant for here.

Editor Sally Menke Talks Tarantino, Cannes Cuts

August 14, 2010, 12:06 PM

http://www.movieline.com/2009/11/sally-menke.php

There’s one woman in the world who understands Quentin Tarantino better than anybody, and that’s Sally Menke. Since her work on Reservoir Dogs, Menke has cut every single one of Tarantino’s films, and for the last decade, she’s eschewed almost all other jobs to devote herself solely to the genre-blending auteur. This Sunday, Menke will be receiving the Lifetime Achievement honor at the Hamilton Behind the Camera Awards, and as Inglourious Basterds begins its transformation from unexpecte...

'Basterds' Editor Sally Menke Talks Dire

August 14, 2010, 12:05 PM

http://www.cinematical.com/2010/03/01/basterds-edi...

Last week Quentin Tarantino hosted a below-the-line panel in Los Angeles for the Oscar-nominated members of his Inglourious Basterds crew, including director of photography Robert Richardson, visual effects designer John Dykstra and editor Sally Menke. Following the panel, Cinematical was lucky enough to catch up with Menke via telephone to ask a few additional questions. In addition to discussing the process of putting together Basterds, Menke mused about the necessity for film language in...

The Reality of Cutting Reality

August 12, 2010, 12:34 AM

http://www.joyoffilmediting.com/?p=2972

I connected with Adam Coleite after putting out a call for reality editors to interview on Facebook. We met up at a restaurant of his choice – a Corner Bakery in Burbank. A genial 30-something, he gave me a rundown on the logistics and challenges of editing reality (love the double entendre) as well as some insightful comments on audience perceptions of the genre and his own take on it.

Episode 38 - Day four from Edit Fest LA

August 11, 2010, 02:17 PM

https://www.aotg.com/episode-38-day-four-from-edit-fest-la/

John and Gord talk about Sally Menke, as well as editing reality.

Collaboration and Why The Auteur Theory Is Bull

August 11, 2010, 01:06 PM

http://normanhollyn.com/2010/08/10/collaboration-a...

Directors, listen to me hear — it’s impossible to make a film by yourself. Not every idea you’re going to have is good, and not all good ideas are going to come from you. The best comments I’ve gotten from directors are when they turn to me after viewing my Editor’s Cut and say "Wow, there were some things in there that I never would have thought of myself. Thanks." Of course, that doesn’t mean that we’re going to use those ideas...

Controversial Edit

August 10, 2010, 08:38 PM

http://digitalcontentproducer.com/videoedsys/revfe...

During the next 12 months, the edit unfolded in a way I had never experienced. A 90-minute documentary in the United Kingdom would normally involve a straight run of nine to 11 weeks of cutting. However, the schedule for this film was dictated by the Zimbabwe government and its ability to continually postpone the international court case—the film's subject matter—was staggering. Shooting was interrupted, and this meant we had to approach the edit in a very different way. We had to be fluid.....

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