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
Category: Uncategorized
Murch BAFTA Lecture Part 2
October 10, 2008, 06:03 PM
http://video.google.com/videoplay?docid=1514115308...
Walter Murch is the most highly-awarded film editor working today, with 3 BAFTA Awards and 3 Oscars for picture editing and sound mixing. Walter Murch's credits include Apocalypse Now, Godfather II and III, American Grafitti and THX-1138, through to The English Patient and Cold Mountain. In this Lecture, Murch notes that film editing is now 100 years old, and recounts achievements from the history of the craft and discusses his own body of work.
Restoring the Touch Of Genius to a Classic
October 9, 2008, 05:57 PM
http://www.reelclassics.com/Articles/Films/touchof...
FORTY years ago, in the spring of 1958, Orson Welles's "Touch of Evil" was released by Universal as a B picture, the second half of a double bill. (The A picture was "Female Animal," a now-forgotten vehicle for Hedy Lamarr.) Neither picture attracted much attention, although some reviewers were intrigued by Welles's first studio work in 10 years. Unfortunately, it turned out to be a commercial and critical disappointment, and Welles -- only 43 at the time -- returned to Europe and never made...
Walter Murch: Cutting from the Heart
October 9, 2008, 05:56 PM
http://www.moviemaker.com/directing/article/walter...
One part painter, two parts prestidigitator, Walter Murch is, quite simply, one of our greatest living motion picture editors. He has a long and storied career as both a picture and sound editor, and has authored one of the most insightful little volumes on film editing ever published. "Blink of an Eye" should be required reading for every film student.
The Talented Mr. Murch
October 9, 2008, 05:55 PM
http://www.filmsound.org/murch/talented.htm
The best editing does not call attention to itself and neither does Walter Murch. Soft-spoken and deeply philosophical, the renowned sound and picture editor could shamelessly flout credits that include "American Graffiti" and "The Godfather," for which he edited sound, "Apocalypse Now" and "The Conversation," for which he edited both picture and sound, and "The English Patient," for which he earned Oscars for sound and picture work. Instead, Murch keeps a low profile, operating from the...
MovieMaker Interview with Murch
October 9, 2008, 05:54 PM
http://www.moviemaker.com/magazine/issues/45/editi...
It is often said that a movie is written three times: once, when the screenwriter commits the story to paper; again, when the director and actors commit the story to film; and finally, when the editor constructs the story in time. This crucial final telling of the story—the editing—is no less important than the other two, but is often the least discussed. As an independent moviemaker, I edited my own first feature film. As I prepare to direct my second feature, one in which I will be working...
Walter Murch Interviews Anne V. Coates
October 9, 2008, 05:53 PM
http://www.filmsound.org/murch/coates.htm
Anne V. Coates has edited 48 films in as many years. Her first love was horses; as a girl, she thought she'd be a race-horse trainer. As a teenager, an introduction to classic literature on film, such as "Jane Eyre" and "Wuthering Heights," changed her mind. She took a job with a small non-union house, Religious Films, which led to her joining the union and working as a second assistant at Pinewood Studios. The first film she cut was "The Pickwick Papers." A self-described intuitive editor...
Cutting Room Eps. 002 - Michèle Hozer
October 8, 2008, 12:23 PM
https://www.aotg.com/cutting-room-eps-002-michele-hozer/
This week we interview Michèle Hozer a documentary editor whose work includes: Shake Hands With The Devil and The Nature of Things You can check out her webpage here.
Eyes Half Closed
October 6, 2008, 05:50 PM
http://www.laweekly.com/2002-09-26/news/eyes-half-...
MICHAEL ONDAATJE IS THE AUTHOR OF EIGHT BOOKS, INCLUDING the novels In the Skin of a Lion, The English Patientand Anil's Ghost. During the filming of The English Patient, he came to know the film's editor, Walter Murch, and soon thereafter they began a mutual exploration of editing -- a series of conversations leading to The Conversations: Walter Murch and the Art of Editing Film, a book to be published by Knopf next month, and from which this article is freely adapted.
In Conversation with Walter Murch
October 6, 2008, 05:48 PM
http://filmsound.org/murch/interview-with-walter-m...
Walter Murch (WM): At the basic level, a transition is simply the process of changing from some state A to another state, B. What we should examine carefully is the degree of change, and our awareness of it. Change is happening all the time, though we are not always conscious of it. But without change there is no perception. This is somewhat of a paradox.
Posting HDTV Series
October 4, 2008, 05:47 PM
http://www.postmagazine.com/ME2/dirmod.asp?sid=639...
As the world turns to HD - the government mandate kicks in next year - we find that television post production pros are all over it, offering HD services to all comers. And on the front end, episodic producers have shown leadership, or at least intense curiosity, in acquiring on an HD format. Shows shooting on traditional 35mm or Super 16 have made the move to HD post production cycles that have proven to be stable and reliable...
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