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PRIME CUTS 2

August 23, 2008, 02:27 PM

http://www.editorsguild.com/v2/magazine/archives/e...

A featured part of the American Cinema Editors’ (ACE) EditFest held in Los Angeles August 8 and 9, was the second annual Prime Cuts event, co-hosted on Saturday morning at Hollywood’s Egyptian Theatre by ACE and the Academy of Television Arts and Sciences (ATAS). Introduced by Jason Rosenfield, A.C.E., co-governor (along with Stuart Bass, A.C.E.) of the Picture Editors Peer Group of ATAS, the panel once again brought together editors from across a wide spread of programming, including drama....

Ben Hershleder, Editor "True Hollywood Story"

August 22, 2008, 02:25 PM

http://www.filmmaker.com/node/6

Ben Hershleder is an old friend from film school who now works as an Avid Certified Instructor and freelance editor. Ben's credits include two years at E Entertainment television editing such shows as "True Hollywood Story", "The Howard Stern Show", and "Celebrity Profile," among others. As a freelance editor, he's cut independent feature films and most recently an episode of the upcoming Fox series, "In Search Of," produced by Haxan Films (the guys who made The Blair Witch Project).

IN THE CUTTING ROOM

August 21, 2008, 02:22 PM

http://www.screeneditors.com/forums/showthread.php...

A Sunday morning may not have seemed the most appropriate time to screen the controversial film In the Cut . But a respectable (and not so respectable) crowd turned up at Sydney’s Chauvel Cinema on 23 November for the ASE screening, then adjourned upstairs to pry into the cutting process with editor Alexandre de Franceschi.

SQUARING UP TO KEN SALLOWS

August 21, 2008, 02:21 PM

http://www.screeneditors.com/forums/showthread.php...

Ken Sallows ASE, recent winner of the IF award for Best Editing for Gettin’ Square, is back home in Melbourne before embarking on another feature film in January. He talks here with Trevor Holcomb (ASE Vic Committee) about his experiences cutting Gettin’ Square and Missing Tom.

DGC ANNOUNCES AWARDS

August 20, 2008, 02:16 PM

https://www.aotg.com/dgc-announces-awards/

The Directors Guild of Canada has announced the nominations for their annual awards. The Art of the Guillotine would like to congratulate the following editors of the DGC for being nominated in their perspective categories.

EDITING: 'SEX AND THE CITY'

August 19, 2008, 02:15 PM

http://www.postmagazine.com/ME2/dirmod.asp?sid=BF9...

Only a handful of insiders really know what Carrie, Miranda, Samantha and Charlotte have been up to these past few years. It is tantalizing to think about: the gossip, the canoodling, the shoes. These four beloved characters, who became pop-culture icons during the series' six-year run on HBO, will be a welcome sight for millions of ardent fans when Sex and the City: The Movie hits theaters this May.

Blockbuster Editing Seminar

August 19, 2008, 01:51 PM

http://www.artoftheguillotine.com/audio_interviews...

Seminar Two: Moderated by Alan Heim A.C.E. with panelists, Mark Goldblatt A.C.E., Mark Helfrich A.C.E., Dan Lebental A.C.E., Paul Rubell A.C.E., and Rick Shaine A.C.E. This Panel discusses how to work on special effects heavy films such as Iron Man and Terminator each of the panelists gives their unique perspective. (Edit Fest 2008)

CUTTING 'THE INCREDIBLE HULK' DOWN TO SIZE

August 18, 2008, 02:13 PM

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

Universal Pictures’ The Incredible Hulk, directed by Louis Leterrier, stars Edward Norton as the tortured scientist who’s been poisoned by gamma radiation. Interestingly, Leterrier chose three editors to cut the feature. Here we talk to Rick Shaine, who shares editing credits with John Wright and Vincent Tabaillon, about the film’s workflow and the challenges of cutting an effects-heavy film.

EDITING REALITY TV

August 18, 2008, 02:10 PM

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

It’s like some kind of dream for an editor — you get an endless supply of tapes, or digital files, and your job is to shape the content into a winning TV program that will engross skads of viewers once it’s passed muster with your producers, your director and the network. But there is no script. And you have to turn out a fresh, great-looking show every week. And the competition for those viewers could not be more fierce. And the tapes just keep coming and coming. It could...

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