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
February 10, 2010, 08:49 AM
http://viewfromthecuttingroomfloor.wordpress.com/2...
Compared to many of the other Oscar categories, "Best Film Editing" is often a tough one to predict. With "Best Cinematography," "Best Art Direction," and "Best Costume Design," for instance, you can clearly see how each nominee demonstrated a mastery of their craft and set themselves apart from their peers. With editing, however, aptly called "The Invisible Art" of cinema, what’s been left out is just as important as what ends up in the final cut.
February 10, 2010, 08:49 AM
https://www.editorsguild.com/FromTheGuild.cfm?From...
For Oscar-nominated picture editors, 2009 may have been the year of the level playing field. Two lower-budgeted independent films––Neil Daniels’ Precious: Based on the Novel Push by Sapphire, edited by Joe Klotz, and Kathryn Bigelow’s The Hurt Locker, edited by Bob Murawski and Chris Innis––stand at opposite ends of the budget and conceptual spectrum from James Cameron’s lushly mounted and groudbreaking Avatar, edited by Cameron, A.C.E., Stephen Rivkin, A.C.E. and John Refoua, A.C....
February 8, 2010, 08:43 AM
http://editmentor.wordpress.com/2010/02/08/got-gre...
In the world of editing, I know of many who wish they could make a living in post-production, even doing the smallest projects. Many editors in and outside Hollywood do, moonlighting on random corporate promos and commercials. They often wish they could get something more regular, like cutting a tv series be it only on the smallest cable channel...
February 6, 2010, 08:42 AM
http://www.moviemaker.com/editing/article/casino_j...
One movie that had Park City audiences buzzing at this year’s Sundance Film Festival was Casino Jack and the United States of Money (opening on May 7, 2010). This daring documentary takes a piercing look at the lies, greed and corruption surrounding infamous Washington, DC lobbyist Jack Abramoff and his cronies. Casino Jack marks the third feature film collaboration between director Alex Gibney (Oscar-winner for Taxi to the Dark Side) and editor-producer Alison Ellwood and co-editor Lindy...
February 4, 2010, 12:49 PM
https://www.aotg.com/cutting-room-eps-025-steven-rosenblum-pt-3/
Here's the final part of my interview with Steven Rosenblum. In this part we focus on The Last Samurai and the cultural effects on editing.
February 4, 2010, 08:38 AM
http://www.blogtalkradio.com/moviegeeksunited/2010...
The Movie Geeks discuss the art of film editing with editor and author Gael Chandler (Film Editing: Great Cuts Every Filmmaker and Movie Lover Must Know).
February 3, 2010, 08:33 AM
http://www.moviemaker.com/directing/article/the_ho...
Writer-director-editor West (whose next project is actually Cabin Fever 2: Spring Fever, the sequel to Roth’s debut) pays meticulous attention to every detail of the film—from the dialogue and clothing to the lighting and camerawork—to seamlessly transport his audience back a few decades and make The House of the Devil feel like a film shot during the golden age of horror and only recently rediscovered.
February 3, 2010, 08:32 AM
https://www.editorsguild.com/FromTheGuild.cfm?From...
The Editors Guild congratulates all the Oscar nominees in the post-production categories. Now the race is on! Following are the 2009 awards and nominations. This list will be updated as additional post-production nominations and awards are announced.
February 2, 2010, 08:32 AM
http://www.postmagazine.com/ME2/dirmod.asp?sid=&nm...
James Herbert is director Guy Ritchie’s go-to editor. The two have worked together on, among other things, the films Revolver, RocknRolla and now Sherlock Holmes. Over the years they have developed a sort of shorthand that helps keep the process a pleasant and productive one.
February 2, 2010, 08:31 AM
http://www.hometheatermag.com/httalksto/1105talks/...
Thelma Schoonmaker has been director Martin Scorsese's editor of choice ever since their shared career-defining turn on Raging Bull. With a collaboration spanning almost four decades, Schoonmaker recently won her second Academy Award and has been nominated for three others in the past. She took time off from her work on the upcoming crime drama The Departed to rewind with us.
Daniel George McDonald sits down to discuss creating the finale for Cheer Season 2.
Gordon sits down with the editorial team of The Black Lady Sketch Show to discuss their approach to ...
Gordon sits down with Philip to discuss his work with Tyler Perry and his latest film A Madea Homeco...
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