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

Editing in the Avant-Garde: A Note to Pati (1969)

September 7, 2010, 11:04 AM

http://dinca.org/review-a-note-to-pati-1969-by-sau...

Film editor’s curiosity compelled me to watch the film multiple times while tallying the number of film splices. Clearly, it’s impossible to get an exact number, but according to my tally averaged, the film has approximately 400 splices — this is wild — this is a seven minute film.

Davinci Resolve compared to Apple Color workflow

September 7, 2010, 11:02 AM

http://blogs.creativecow.net/blog/3378/davinci-res...

Today was Labor Day Holiday in the U.S. and instead of grilling outside, we took advantage of a nice quiet shop to really get into some Davinci Resolve testing. My buddy Ron Anderson volunteered to come over and show me the ropes. When a 30 year colorist offers to "show you the ropes" on a color enhancement software, you don't turn him down! He brought along a surprise too. David Catt was at the door and not...

Blackmagic Videohub Router

September 6, 2010, 09:45 PM

http://dylanreeve.com/videotv/2010/blackmagic-vide...

For a long time, if you had a small post-production facility, the only real option for routing video signals from place to place was to use a physical patch bay. Video routers were available, but very expensive and usually pretty large physically. While the technology has improved a little it wasn’t until a couple of years ago, when Blackmagic Design introduced their Videohub series of routers, that small facilities could look at installing one.

ASE Demystifying Codecs

September 6, 2010, 04:20 PM

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

Australian Screen Editors presents "Demystifying Codecs", a seminar on video codecs by Chris Reynolds. This is part 1 of 12. Topics covered in this part include: Introduction, MPEG1, MPEG2, Windows Media, MPEG4, H264, Compression & Processing Power. Chris Reynolds is an editor at ActiveMotion. This event was held on 13 May 2009.

Inside the editor's studio Thelma Schoonmaker

September 6, 2010, 03:24 PM

http://www.boston.com/ae/movies/articles/2007/04/0...

NEW YORK -- "Oh, go ahead and heft it," Thelma Schoonmaker urged. "Everyone else has." "It" was the Oscar statuette she had won earlier that week for best film editing , for "The Departed. " Schoonmaker, 67, was sitting in her editing room at Martin Scorsese's production company. She has edited every Scorsese feature since "Raging Bull," in the process becoming one of the most respected figures in American film.

Philip Hodgetts on unsubstantiated conjecture

September 6, 2010, 03:02 PM

http://www.freshdv.com/2010/09/hodgetts-fcp-conjec...

Mac Soda wrote a blog post with a number of unsubstantiated claims concerning Final Cut Pro. It’s entitled Final Cut Studio: The Inside Scoop, but I find that title misleading. Basically the Mac Soda post said FCS 4 is coming soon (they say between 1/2011 and 4/2011), is awesome, and here are some of the changes. As a Final Cut Studio user, all that sounds good to me.

A Reply to Soda about FCP 4

September 6, 2010, 09:46 AM

http://www.philiphodgetts.com/2010/09/final-cut-st...

It’s highly unlikely that the next studio release will happen in early 2011, or even 2011. As I noted in the comments on the article, it seems very, very clear that the QuickTime we know will get a complete foundation change. Final Cut Studio would need many of those changes to be able to replicate Adobe’s Mercury Engine performance (along with the need to be 64 bit Cocoa and use Open CL and Grand Central Dispatch).

Apple had two months to fix critical QuickTime bug

September 6, 2010, 09:44 AM

http://www.macvideo.tv/editing/news/?newsid=323817...

A critical bug in QuickTime was reported to Apple two months before a second researcher independently revealed the vulnerability this week, the director of a bug bounty program said today.

Final Cut Pro 4: The Inside Scoup

September 5, 2010, 10:49 PM

http://macsoda.com/2010/09/05/final-cut-studio-4-t...

Final Cut Studio 4 is most likely not going to hit by the end of 2010 as was initially the plan... but the wait isn’t all that much longer. Expect to have it January 2011 at the earliest, and NAB 2011 at the latest. Final Cut Studio 3 was not the major upgrade it was marketed as. Rather, since what now will be Final Cut Studio 4 didn’t make it in time, they took some of those features, and bundled them together in order to tie people over until the true major upgrade.

HDTV Calibration Tips

September 5, 2010, 10:46 PM

http://schubincafe.com/blog/2010/09/hdtv-calibrati...

# Mark Schubin, a television engineering consultant, recommends starting your calibration by adjusting the brightness level. Starting at the lowest setting, gradually increase the brightness of the screen until just before the darkest points on the picture begin to brighten.

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