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

Cuttin' Cyclone for Mike @ Thumbin'

August 26, 2010, 08:48 AM

http://www.scottsimmons.tv/blog/2010/08/25/cuttin-...

I recently finished cutting a short film called Cyclone. The director, Mike Ashcraft, wanted to do sort of a director’s commentary on the piece but since it’s not a DVD release we decided to record one and put it up as its own piece on Vimeo. The 12 minute short is the story of "One woman’s revenge" in the rural south.

MPEG LA: H.264 Streaming Will Be Free Forever

August 26, 2010, 08:46 AM

http://newteevee.com/2010/08/26/mpeg-la-h-264-stre...

MPEG LA is announcing today that it will continue to offer a royalty-free license for the H.264 video codec for video sites that offer free video streams to consumers "during the entire life of this (l)icense." In other words: Web sites like YouTube will be free to use H.264 for its streams without having to fear that they’re eventually going to have to pay massive royalties to MPEG LA.

A Few Weeks with Colorista II

August 26, 2010, 08:45 AM

http://www.fxguide.com/article642.html

The original Magic Bullet Colorista brought the 3-way color corrector to After Effects and improved upon the one built into Final Cut Pro. With the recent release of Colorista II and the addition of secondary color correction, more flexible masking, and UI refinements the plugin has solidified its place as our go-to favorite for grading within those desktop applications.

Stabilization on Steriods

August 25, 2010, 06:00 PM

http://splicehere.org/2010/08/24/stabilization-on-...

Media Composer has included a very powerful stabilize effect for years now, but putting all that power to work was not easy. You needed significant training to get up to speed with it. (I posted a introductory video back in ’08 that should help. It’s here.)

The Power of Editing

August 25, 2010, 05:59 PM

http://splicehere.org/2010/07/25/the-power-of-edit...

With all the coverage we saw last week of the Shirley Sherrod story, one thing stands out for me: the whole episode, the truncated video, the firing, the rehiring, the apologies — it’s all an object lesson in the power of editing, not just to change movies, but to change lives.

Boris AAF Transfer Now Supports Avid DS

August 25, 2010, 02:05 PM

http://www.studiodaily.com/main/news/12488.html

Editors can use Boris AAF Transfer to transfer an entire live Apple Final Cut Pro program sequence with media, markers, cuts, dissolves, filters, and audio preserved. The transferred sequence can be edited and finished in the Avid Media Composer or Avid DS timeline without returning to Final Cut Pro. In addition, Final Cut Pro sequences with Boris Continuum Complete FxPlug filters can be seamlessly transferred to Avid Media Composer or Avid DS. BCC FxPlug filters are translated to...

Tapping Six Seasons of Weeds in the Edit

August 25, 2010, 09:11 AM

http://www.studiodaily.com/main/technique/craft/f/...

Sometimes, obscure features of a piece of software can pay significant dividends to users who take the time to master them. In the case of nonlinear editing, one of the more powerful secret weapons is Avid Media Composer's ScriptSync feature, announced with much ballyhoo at NAB 2007. Previously, Media Composer had a Script function, but it had to be painstakingly implemented by assistants who manually matched lines of dialogue with their corresponding takes. With ScriptSync, the software...

Cutting For Impact: A Conversation W/ Verna Fields

August 25, 2010, 12:10 AM

http://www.fathom.com/feature/122531/

In 1975, Verna Fields won an Oscar for her work editing Jaws, largely due to her discovery that what viewers created in their heads could be much more frightening than what they could have seen on the screen. By editing around the shark, Fields maximized suspense by postponing the viewer's encounter until the third act.

Tina Hirsch Variety Bio

August 25, 2010, 12:08 AM

http://www.variety.com/article/VR1117855804.html?c...

A member of the American Cinema Editors member for more than a decade, Tina Hirsch made a name for herself working for Roger Corman during the '70s. She has since worked with such filmmakers as Joe Dante and Steven Spielberg and has received an ACE Eddie award and an Emmy nom for her work on NBC's "The West Wing." However, as ACE prexy, she has turned her attention to educating both filmmakers and the public about the increasingly significant creative contribution made by editors in the...

Life, Luck and LA Led to a Career Launch

August 25, 2010, 12:07 AM

http://www.editorsguild.com/V2/magazine/archives/0...

Growing up in Connecticut, I had no idea how movies were made. I thought that they just "happened." Although I remember watching television with my mother who would occasionally say, as the credits flicked by, "Oh, I knew him when he was a press agent." I remember thinking how great it would be if one day, when I grew up, I would be lucky enough to know someone whose name was in the credits. I never went to film school. I studied Art History at Boston University. I did, however, religiously...

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