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
October 29, 2012, 08:34 PM
https://www.aotg.com/constructive-editing-robert-bressons-pickpocket/
Constructive Editing: Robert Bresson's Pickpocket
#editor#bordwell#constructive#editing#film editor#film editing#david bordwell#robert bresson#pickpocketOctober 22, 2012, 09:34 PM
http://www.karenpearlman.net/1/post/2012/10/challe...
This is part one of an essay first published in Lumina, the AFTRS Journal of Screen Arts and BusinessPart One: Shifting Purpose from Artist to End User. Making films in Australia is not a very good way to make money, at least not for the filmmakers or investors...
October 20, 2012, 11:56 AM
http://www.karenpearlman.net/1/post/2012/10/keepin...
To paraphrase Woody Allen from the end of Annie Hall, an emotional exchange is like a shark – it has to keep moving forward or it dies. For an editor this means: you can't repeat an emotional moment without killing it (you can sustain it but that's another blog post!) This post is about cutting so that the emotion is always in motion.
October 19, 2012, 01:28 PM
http://www.karenpearlman.net/1/post/2012/10/what-i...
This isn't really one question, it is three: what is rhythm made of in film editing? How is it shaped? And most importantly, what is it for? This 2 minute video contains the 26 word answer to all three questions, which is quicker than reading the first four chapters of Cutting Rhythms though maybe not quite as useful!
October 3, 2012, 05:36 PM
Karen Pearlman is a practitioner, teacher, writer, and speaker about film, TV, arts, dance, dramaturgy and editing with a focus on the useful connections between theory and practice. She is Head of Screen Studies at AFTRS, Australia's national screen arts and broadcast school, and frequently serves on the Editorial Board of Lumina, the AFTRS Journal of Screen Arts and Business.
September 27, 2012, 02:41 PM
http://www.monteursassocies.com/2012/09/27/a-ecout...
(In French) Last year we invited Claude Bailble, teacher and researcher, to talk about editors, spectators but especially movies. His lecture was entitled "The body as much as the thought..." and was based on the analysis of several excerpts from films, including the beginning of the Cursed M by Fritz Lang.
September 22, 2012, 08:25 AM
http://provideocoalition.com/index.php/aadams/stor...
"The Haunting" (the original 1963 version, not the appalling 1999 version) is one of my favorite movies of all time. Every time I see it I notice something new. I watched it most recently on the plane returning from IBC and decided it's time to draw a little attention to it—particularly to a couple of scenes that, in a nutshell, show the kind of planning that went into this film.
September 19, 2012, 09:18 AM
http://sensesofcinema.com/2012/feature-articles/mo...
Shortly into the second part of Chris Marker's epic 1977 compilation film Le Fond de l'air est rouge, one of the great acts of montage in the history of the cinema takes place. After presenting us with a prolonged sequence shifting from newsreel footage of Soviet tanks freeing Prague from Nazi occupation in 1945 to the same tanks returning to the city 24 years later, this time not to liberate the city, but to crush the political aspirations unleashed by the Prague Spring, Marker homes in on...
July 21, 2012, 06:22 AM
http://jonnyelwyn.co.uk/business-2/interview-with-...
What does a colorists assistant do? Aaron Williams has a great interview with his friend Luis Silva on what its like to work at EFILM, one of the world’s major DI houses as a colorist’s assistant. There’s plenty of great … Continue reading →
July 20, 2012, 03:01 PM
http://www.btlnews.com/crafts/post-production/the-...
The Hollywood Post Alliance Sales Career Resource Group (SCRG) will present "On-Set Dailies: WTF? (or What's the Flow)," an in-depth look at advances in dailies creation and how delivery has changed the post industry more quickly than color, high definition and digital cameras.
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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