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

Assembly Required: A Walter Murch Profile PT 1

October 20, 2010, 11:50 AM

http://flickeringmyth.blogspot.com/2010/07/assembl...

Moving onto freelance editing, Murch briefly worked for Dove Films, a commercial production company owned by cameramen Cal Bernstein and Haskell Wexler (Bound for Glory). "Then in December of 1968, about a year and a half after I’d left film school, I got a call from George Lucas [Star Wars]. He and Francis Coppola [The Godfather] had met. It turned out they had rented Carl Bernstein’s equipment to shoot a film, The Rain People [1969]. Francis needed somebody to do the final sound, and asked...

Assembly Required: A Walter Murch Profile PT 2

October 20, 2010, 11:47 AM

http://flickeringmyth.blogspot.com/2010/07/assembl...

"I try to choose projects that dovetail my own interests," remarked New York-native Walter Murch. "That’s a significant part of the process – where you are really casting yourself, in much the same way actors cast themselves for a role. In an ideal situation, such as Vanessa Redgrave in Julia, an actor chooses a part that represents an emotional truth to her as an individual, which pushes her somewhere she has not gone before." Sharing the same name as his painter father, the sound designer....

Assembly Required: A Walter Murch Profile PT 3

October 20, 2010, 11:46 AM

http://flickeringmyth.blogspot.com/2010/08/assembl...

"I was interested to go back and look at the two films I edited, The Conversation [1974] and Julia [1977], which I had done "mechanically" – physically cutting the film itself," mused the multi-talented Walter Murch. "I made the transition to "electronic," – and started working on the Avid in 1995, I was curious to see if there was any difference between my mechanical and electronic styles. There wasn’t – in fact I was struck on how immediate the earlier films seemed. I would make the sa...

Assembly Required: A Walter Murch Profile PT 4

October 20, 2010, 11:44 AM

http://flickeringmyth.blogspot.com/2010/08/assembl...

"It has become part of the culture," observed Walter Murch on the Vietnam War saga starring Martin Sheen (Badlands). "As much as a work affects the culture, the culture mysteriously affects the work. Apocalypse Now, in the year 2000, is a very different thing from the physically exact-same Apocalypse Now in the second before it was released in 1979." The New Yorker revisited the movie as a film editor and re-recording mixer at the behest of American filmmaker Francis Ford Coppola who wanted...

Assembly Required: A Walter Murch Profile PT 5

October 20, 2010, 11:42 AM

http://flickeringmyth.blogspot.com/2010/08/assembl...

On the matter of returning to the director's chair, American filmmaker Walter Murch remarked, "I've thought about it and I tried for a number of years to get projects off the ground and just ran out of luck and went back to what I love, which is film editing." Describing the criteria he uses to determine what will be his next assignment, Murch stated, "When I am considering a project, I read the script, take notes, type them up, and give them to the director. I would include both what I think...

After Effects Leftovers - Part 3

October 20, 2010, 11:37 AM

http://provideocoalition.com/index.php/motiongraph...

This 5-part series looks at a selection of features that were in After Effects before CS5 but have been often overlooked. A total of 40 tips, tricks, workflow suggestions and general reminders are given covering topics including layout, masking, rendering and even using the interface. Part 3 looks at using the After Effects interface.

After Effects Leftovers - Part 2

October 20, 2010, 11:35 AM

http://provideocoalition.com/index.php/motiongraph...

This 5-part series looks at a selection of features that were in After Effects before CS5 but have been often overlooked. A total of 40 tips, tricks, workflow suggestions and general reminders are given covering topics including layout, masking, rendering and even using the interface. Part 2 looks at masking and painting.

After Effects Leftovers - Part 1

October 20, 2010, 11:32 AM

http://provideocoalition.com/index.php/motiongraph...

After Effects has been around for over 17 years and with the recent release of CS5 it’s now up to version 10. Every new release brings new features and some have received more attention than others. This 5-part series looks at a selection of features that were in After Effects before CS5 but have been often overlooked. A total of 40 tips, tricks, workflow suggestions and general reminders are given covering topics including layout, masking, painting, rendering and even using the interface.

A Golden Age of Choices

October 20, 2010, 09:31 AM

http://mikemost.com/?p=199

It often seems that nearly everything I read about the production and post industry today involves some sort of choice. Film vs. digital. PC vs. Mac. Red vs. Arri. Sony vs. Panasonic. Kodak vs. Fuji. Resolve vs. Baselight. Lustre vs. Pablo.

CS5 - Open Workflows With Avid & Apple

October 20, 2010, 09:28 AM

http://manhattaneditworkshop.blogspot.com/2010/10/...

See how CS5 Production Premium makes it easier than ever for you to use the right tool for the job. With easy project exchange between Final Cut Pro or Avid editing tools and Adobe Premiere Pro, you can easily integrate CS5 Production Premium into your current workflow.

© 2007-2024 www.aotg.com Ver. 3.0 All Content created and posted by Art of the Guillotine users Art of the Guillotine graphics, logos, designs, page headers, button icons, scripts, and other service names are the trademarks of Art of the Guillotine Inc. Use of this material outside of this site is strictly prohibited.