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

POST PROD WEEK: POST 2 – SHOOT FOR THE EDIT

November 9, 2010, 03:18 PM

http://www.elskid.com/blog/post-prod-week-post-2-s...

You’ll hear this phrase from time to time muttered by knowing producers. Sounds ghastly, doesn’t it? So prosaic. Shooting is just so much sexier when it’s about beautiful images. On a side note, have you ever considered how brusque the lexicon of filmmaking is? We shoot, we cut, we clap, we call action – man’s work – hoohah! Unfortunately...

Encoding.com Licenses Sorenson Spark Video Codec

November 9, 2010, 03:16 PM

http://www.studiodaily.com/main/news/12707.html

SAN DIEGO (Nov. 9, 2010) — Sorenson Media today announced that its Sorenson Spark video codec has been licensed by Encoding.com to encode video files using Sorenson Spark and to decode files that have already been encoded using Spark.

HPA Tech Retreat 2011

November 9, 2010, 03:15 PM

http://www.hpaonline.com/mc/page.do?sitePageId=121...

February 14 - 18, 2011 Rancho Las Palmas 41000 Bob Hope Dr. Rancho Mirage, CA 92270 Demo Space Requests may be submitted beginning November 4, 2010.

Things You Can and Can't Fix in Post

November 9, 2010, 03:14 PM

http://schubincafe.com/blog/2010/11/january-13-201...

"Things You Can and Can't Fix in Post: Acquisition Video" Keynote, Public Television Quality Group, 2011 NETA Conference, Loews Vanderbilt Hotel, 2100 West End Avenue, Nashville, TN.

XDCAM Browser Version 1.00 (XDB1) now available

November 9, 2010, 03:12 PM

http://provideocoalition.com/index.php/sony/story/...

XDCAM Browser Version 1.00 (XDB1) XDCAM Browser combines some of the functionalities provided by the following separate software applications into a single cross platform (Windows and Mac OS) application: PDZ-1 XDCAM Proxy Browser, PDZ-VX10 Sony XDCAM Viewer, XDCAM Proxy Viewer, and XDCAM Transfer for Final Cut Pro. Version 1.00 of XDCAM Browser supports many of the most popular features of these separate applications. The separate applications will eventually be phased out as more of...

Editing TV’s 'The Mentalist'

November 9, 2010, 11:07 AM

https://www.editorsguild.com/FromTheGuild.cfm?From...

"It’s all about the clues, what Patrick Jane sees or senses, and the journey to his conclusions," says The Mentalist picture editor David Ekstrom, who cuts the CBS series with Chris Cibelli, Glenn Farr and Jimmy Gadd. "The Mentalist differs from other shows that I’ve cut in recent years in that the pace of the show is driven by the process that our lead character uses to solve the crime," Ekstrom continues. "The exposition that would typically be on camera often takes place while he is...

AVID MEETS ITS (FILM) MASTER

November 9, 2010, 11:06 AM

https://www.editorsguild.com/FromTheGuild.cfm?From...

At the Editors Guild’s Hollywood headquarters on November 2, representatives from Avid and Digital Vision demonstrated the digital workflow that tightens the relationship between editorial and DI or color grading. Avid products specialist Casey Richards, Digital Vision senior product manager Bruno Munger and Digital Vision colorist Susumu Asano illustrated the way that Avid Media Composer and ISIS storage have a seamless interchange with Digital Vision’s Nucoda Film Master.

Restoring a Classic 'Bridge'

November 9, 2010, 11:05 AM

https://www.editorsguild.com/FromTheGuild.cfm?From...

The high-definition Blu-ray format was made for the epic grandeur of filmmaker David Lean. Up until the November 2 release of The Bridge on the River Kwai (Sony Home Entertainment), though, we only had his final film, A Passage to India (1984), to relish in HD. But, thanks to the recent restoration by Sony's Colorworks, the Oscar-winning Kwai (1957) can finally be viewed in its proper CinemaScope aspect ratio, and has never looked as crisp and colorful. Indeed, among other things, the...

My Adobe (Non-)Switch Story

November 9, 2010, 11:04 AM

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

can clearly remember my first experience with Adobe Premiere. It was in the early 1990’s, and I was working full-time in the News Department at Wisconsin Public Television. I had managed to talk the news director into buying me a really new-fangled device – a desktop computer. I believe it was a first-generation Pentium, maybe 90Mhz. I had been into computers since about 1984, and had composed music and scored a lot of TV programs using Atari computers. Geekery was in my blood.

50.94 Is Not A Valid Frame Rate

November 9, 2010, 11:03 AM

http://provideocoalition.com/index.php/cmg_blogs/s...

I recently had a fellow motion graphics artist asked me what format used a 50.94 fps frame rate, as a client had requested delivery at this rate. 50.94 is obviously a typo based on 59.94 fps (the field rate for NTSC, and the North American speed favored for some HD media such as 720p for sports and news). But a quick Google search turned it up in multiple places where people should know better. For example, I found it in...

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