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

Editor David Michael Maurer has Audiences Shriekin

October 28, 2008, 06:33 PM

http://www.moviemaker.com/editing/article/david_mi...

A talented actor and an imaginative director are only part of what makes a horror movie so terrifying. Where would scary flicks be without the clever cuts and camera angles that make us jump in our seats?

Cutting Room Eps. 004 - Dan Lebental

October 25, 2008, 12:24 PM

https://www.aotg.com/cutting-room-eps-004-dan-lebental/

This week I interveiw Dan Lebental. Dan is the editor of Iron Man, Elf, From Hell and much more! He was a part of the Effects Editing Panel at Edit Fest this summer and was recently nominated by the HPA for his work on Iron Man.

Robert Wise AFI Bio

October 23, 2008, 06:28 PM

http://www.afi.com/wise/robert_wise.html

His dilligence and creativity brought him to the next step of his career at RKO: assistant editor. Wise built on his knowledge of film employed as an assistant editor on the Fred Astaire-Ginger Rogers movie, CAREFREE (1938). Then, with William Hamilton and Henry Berman as his editing guides, Wise worked on Garson Kanin's BACHELOR MOTHER (1939;) the critically acclaimed and popular HUNCHBACK OF NOTRE DAME, (1939); and Mark Sandrich's THE STORY OF VERNON AND IRENE CASTLE (1939).

First Cuts

October 22, 2008, 06:22 PM

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

Back in August, the American Cinema Editors staged the first EditFest at Universal Studios. In this comprehensive event (co-sponsored by the Editors Guild and Avid), more than two dozen of the profession’s current and rising stars fanned out over four separate panels to show clips, share reminiscences, discuss the creative impact and business of editing, and offer career advice to a combined and eager audience of students and working pros. Following are some of the highlights of those panels.

Anne V. Coates BBC interview

October 20, 2008, 06:17 PM

http://www.bbc.co.uk/radio4/womanshour/04/2007_07_...

Anne joins Jenni to share her experiences of having worked on nearly 50 films, what it's like to look into the eyes of some of the world greatest actors, how it was to edit one of the cinematic masterpieces of all time - Lawrence of Arabia - and how she raised a dynasty of film industry children.

Cutting Room Eps. 003 - Alan Heim

October 16, 2008, 12:23 PM

https://www.aotg.com/cutting-room-eps-003-alan-heim/

Alan Heim has become a force in the film editing world with work on such films as: All That Jazz, Network, American History X, and The Notebook. He is also the producer of The Cutting Edge: The Magic of Movie Editing. Check out his IMDB listing for more information

Bill Nichols | Documentary Reenactments

October 12, 2008, 06:08 PM

http://www.ryecast.ryerson.ca/dmpstreams/2009Kodak...

Ryerson University has posted a video of Bill Nichols lecture on reenactments. A great insight into film documentary reenactments and useful for editing. When you go to the video it streams via Windows Media 9 and some people have had trouble. If thats the case enter this web address into your media player to check it out. mms://www.windowsmedia.ryerson.ca/dmpstreams/2009Kodak/nichols/stream1.asx

Editor Richard Harris' X Factor

October 11, 2008, 06:07 PM

http://www.moviemaker.com/editing/article/x_files_...

Editing is an integral part of creating suspense in a film—anyone who has seen Alfred Hitchcock’s Psycho (1960) can attest to that. For a film like The X-Files: I Want to Believe (whose creators were so intent on producing a suspenseful aura for its audience that only a very elite group of those involved were given full scripts), having a skilled editor was crucial to its success. It made perfect sense when the moviemakers behind the film called in Richard A. Harris, an editor with plenty...

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...

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