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

Joy of Film Editing on The Emmy Winners

August 30, 2010, 09:05 PM

http://www.joyoffilmediting.com/?p=2995

Congratulations to all winners and nominees. And a big salute to all toil for the tube: assistant editors, editors, sound editors, visual effects editors, music editors, online editors, post supervisors, PAs, and post house personnel.

Looking for assistant editor work – Get this

August 30, 2010, 10:58 AM

http://www.joyoffilmediting.com/?p=2987

My latest interviewee, assistant editor Rachelle Dang, clued me in a program that really helped her career: the A.C.E. internship program in LA for college grads. The editor who mentored her was Lori Jane Coleman. Now Lori has co-authored a book with A.C.E. editor Diana Friedberg, Make the Cut: A Guide to Becoming a Successful Assistant Editor in Film and TV.

'Editing is Meant to be Invisible' Dody

August 29, 2010, 10:32 AM

http://step2inspire.tv/featured/veteran-interview-...

Dody Dorn is an award winning veteran features editor who has been nominated for an Oscar for her work on Christopher Nolan’s Momento. She has worked with the best directors and cast in the industry from Ridley Scott and William Monahan to Al Pacino and Hilary Swank. Dody has edited hollywood blockbusters such as Insomnia, Kingdom of Heaven and Australia.

A Memento From Dody Dorn

August 29, 2010, 10:31 AM

http://www.studiodaily.com/main/technique/craft/f/...

Editor Dody Dorn stepped into the spotlight with her bravura work on director Christopher Nolan’s Memento, which featured a complex plot almost mathematical in its ordering of confusion to create clarity. Perhaps that’s related to her love of numbers since attending Hollywood High School and her first career goal - to become a math teacher. But her part-time job working the switchboard at her dad’s small shooting stage led into work as a PA, assistant location manager, assistant to the...

The Thrill of Living on the Edge

August 29, 2010, 10:30 AM

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

Dody Dorn grew up with the film industry in her blood. Her father worked as a set builder/designer and later as a movie producer. She was still in high school when she began working at his sound stage, Hollywood Stage, where she made the contacts that would ultimately allow her to find work in her chosen field--motion picture editing.

Cutting For Quentin: An Interview with Sally Menke

August 27, 2010, 11:21 AM

http://orangecow.org/articles/sallymenke.html

Sharp dialogue. Splintered chronology. Bursts of extreme violence. Obscure film references. Quentin Tarantino burst onto the American film scene in the early 90s, like an adrenaline shot to the heart. He won an Oscar and a BAFTA for the screenplay to Pulp Fiction (with Roger Avary), and was nominated for Best Director, with BAFTA nominations for Best Director and Best Film. Editor Sally Menke was nominated for the Oscar and BAFTA, and has been there every step of the way, providing the brilliant

Scene Breakdowns: The Wild Bunch part 1

August 26, 2010, 03:27 PM

http://glenmontgomeryiii.com/http:/glenmontgomeryi...

First off I have to apologize. In my excitement to start doing these breakdowns I chose a scene from a movie I had seen in the last couple days. That is not why I am apologizing. I have gained a lot from doing this exercise; there is a lot of power in analyzing something shot by shot that you don’t get from just watching the scene play out as a part of the whole feature and even from watching the scene over and over by itself. I am apologizing because it’s a long one.

The Power of Editing

August 25, 2010, 05:59 PM

http://splicehere.org/2010/07/25/the-power-of-edit...

With all the coverage we saw last week of the Shirley Sherrod story, one thing stands out for me: the whole episode, the truncated video, the firing, the rehiring, the apologies — it’s all an object lesson in the power of editing, not just to change movies, but to change lives.

Cutting For Impact: A Conversation W/ Verna Fields

August 25, 2010, 12:10 AM

http://www.fathom.com/feature/122531/

In 1975, Verna Fields won an Oscar for her work editing Jaws, largely due to her discovery that what viewers created in their heads could be much more frightening than what they could have seen on the screen. By editing around the shark, Fields maximized suspense by postponing the viewer's encounter until the third act.

Tina Hirsch Variety Bio

August 25, 2010, 12:08 AM

http://www.variety.com/article/VR1117855804.html?c...

A member of the American Cinema Editors member for more than a decade, Tina Hirsch made a name for herself working for Roger Corman during the '70s. She has since worked with such filmmakers as Joe Dante and Steven Spielberg and has received an ACE Eddie award and an Emmy nom for her work on NBC's "The West Wing." However, as ACE prexy, she has turned her attention to educating both filmmakers and the public about the increasingly significant creative contribution made by editors in the...

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