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

The Final Cut Tipping Point

September 14, 2010, 10:04 PM

http://dylanreeve.com/videotv/2010/the-final-cut-t...

Ten years ago there were few options for professional non-linear editing. Avid had the lion’s share with their Media Composer and Film Composer products, and for the slightly lower budget there was Avid MCXpress (distinct from Xpress DV), then the rest of the market was split across products from Media 100, Sony and a few others. All were expensive, complicated and difficult to get.

Sorenson Releases Squeeze 6.5 with Video Decoding

September 14, 2010, 11:14 AM

http://www.studiodaily.com/main/news/12553.html

SAN DIEGO (September 14, 2010) - Sorenson Media today announced the immediate availability of Sorenson Squeeze 6.5, which adds greater encoding, publishing, pre-processing and filtering functionality to the industry-leading online video encoding product. The Squeeze 6.5 update is free to current Sorenson Squeeze 6 users.

ASE Color Grading Workshop Pt. 1 of 9

September 14, 2010, 09:54 AM

http://www.artoftheguillotine.com/assocvideo.php

Australian Screen Editors presents "Making The Grade", a seminar on colour grading in FCP by Peter Cave. This is part 1 of 9. Topics covered in this part include: Eye & Vision Tests, Munsell Hue Test, 3-Way Color Corrector, Setting White Level. Peter Cave is a colourist with 20 years freelance experience. Special thanks to Swinburne University School of Film &TV for hosting and filming the event on 13 July 2009.

RED updates REDCINE-X with 2 big features

September 14, 2010, 09:27 AM

http://www.studiodaily.com/blog/?p=4222

When RED introduced REDCINE-X it took the moderately useful and occasionally maddening REDCINE and turned it into an actual usable application. The best thing about this essential RED workflow tool is that it’s in a constant state of being upgraded with bug fixes and new features ... and it is free! This past weekend RED posted yet another new version of their Useful Tool with two big features: 3D stereo support and R3D trimming.

Want to get the hand tool back in CS5?

September 13, 2010, 07:36 PM

http://blog.youdownwithfcp.com/2010/09/13/want-to-...

We recently upgraded to cs5, and for everything good that it does, it also has a few weird quirks. The most notable is that using the space bar to temporarily select the move tool (the one that looks like a hand) does not work. This is a known issue, but it still sucks. The only workaround is equally quirky: shut down your web browsers. I can’t say why it happens, but hopefully that one trick will keep you from throwing your machine against a wall. I was really close!

Black Hawk Down | Editor Pietro Scalia | BAFTA

September 13, 2010, 01:27 PM

https://www.aotg.com/black-hawk-down-editor-pietro-scalia-bafta/

Film Editor Pietro Scalia talks to BAFTA and journalist Mark Salisbury about working with Ridley Scott on Black Hawk Down. Scalia explains how he cut complex action scenes with numerous actors spread over multiple locations.

Good Will Hunting | Editor Pietro Scalia | BAFTA

September 13, 2010, 01:26 PM

https://www.aotg.com/good-will-hunting-editor-pietro-scalia-bafta/

Film Editor Pietro Scalia dissects a key scene from Gus Van Sant's Good Will Hunting and explains the need for editors to resist the temptation to make a cut. "Its always about how the psychology of the viewer works. And we can manipulate that we do it continuously."

JFK | Editor Pietro Scalia | BAFTA

September 13, 2010, 01:25 PM

https://www.aotg.com/jfk-editor-pietro-scalia-bafta/

Film Editor Pietro Scalia talks to BAFTA and journalist Mark Salisbury about working on Oliver Stone's JFK.

Pietro Scalia On working with Ridley Scott

September 13, 2010, 01:24 PM

https://www.aotg.com/pietro-scalia-on-working-with-ridley-scott/

Film Editor Pietro Scalia talks to producer and journalist Mark Salisbury about his experience of working with different directors in the cutting room - from Oliver Stone and Ridley Scott to Gus Van Sant and Italian director Bernardo Bertolucci.

Best Film Editing — Volume I

September 13, 2010, 12:04 PM

http://incontention.com/?p=27008

I still remember when I was 12 and getting into the Oscars for the first time. My Dad said, "How can you tell if the film has good editing?" To a very large extent, I had to concede his point, as the best editing is often that which we don’t explicitly notice. Rather, it simply "becomes" the film as we become immersed in what is on the screen, not remembering that everything was staged from different angles on different days.

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