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 Editor's Guild (Pt 2 The Double-Edged Swo

August 14, 2010, 07:58 PM

http://robgwilson.com/2010/08/14/the-editors-guild...

Are you curious about the union? This blog is a continuation of my previous entry on how you get into the Motion Picture Editors Guild. I thought it would be a good idea to provide a little insight into getting into the union. What I didn’t realize is that it would devolve into an entire diatribe about the state of the Editors Guild in the larger Hollywood perspective. So I packed my first entry with information, and saved the rant for here.

Editor Sally Menke Talks Tarantino, Cannes Cuts

August 14, 2010, 12:06 PM

http://www.movieline.com/2009/11/sally-menke.php

There’s one woman in the world who understands Quentin Tarantino better than anybody, and that’s Sally Menke. Since her work on Reservoir Dogs, Menke has cut every single one of Tarantino’s films, and for the last decade, she’s eschewed almost all other jobs to devote herself solely to the genre-blending auteur. This Sunday, Menke will be receiving the Lifetime Achievement honor at the Hamilton Behind the Camera Awards, and as Inglourious Basterds begins its transformation from unexpecte...

'Basterds' Editor Sally Menke Talks Dire

August 14, 2010, 12:05 PM

http://www.cinematical.com/2010/03/01/basterds-edi...

Last week Quentin Tarantino hosted a below-the-line panel in Los Angeles for the Oscar-nominated members of his Inglourious Basterds crew, including director of photography Robert Richardson, visual effects designer John Dykstra and editor Sally Menke. Following the panel, Cinematical was lucky enough to catch up with Menke via telephone to ask a few additional questions. In addition to discussing the process of putting together Basterds, Menke mused about the necessity for film language in...

Adobe Premiere Pro CS5 "saves" an interv

August 13, 2010, 07:48 PM

http://www.philiphodgetts.com/2010/08/adobe-premie...

One of the reasons my direct posting here has been light lately is that we’ve been working on a small documentary, partly for the exercise but mostly to a) have demo material for prEdit that isn’t 10 years old and b) prove to myself the prEdit is indeed a great new workflow for documentary editing. Plus a documentary gets made to store the memories of the early 60’s drag racing community.

A Case for Mastering Codecs

August 13, 2010, 12:00 PM

http://blog.jayfriesen.com/2010/08/a-case-for-mast...

Traditionally (can there be much tradition here yet?), this would be used in a DI process when not going out to film. This is becoming quite common now as theater deliveries are becoming increasingly digital. You want something that hits film’s final resolution of approximately 1.5K and does that very well without being hugely taxing on space and processing power. Currently Cineform and DNxHD are the only codecs I know if being used in this process (caveat: I don’t work in Hollywoodland, thi...

Oasis Imagery new Post Production Facility

August 13, 2010, 10:33 AM

http://www.newswiretoday.com/news/75058/

Last week Oasis Imagery had the grand opening for their new Post Production Facility. Oasis Imagery’s production retreat specializes in technologically advanced and cost-effective file-based workflows. With front-to-back expertise (from on-set services to distribution), Oasis (oasisimagery.com) is a one-stop new media studio with the capacity to accommodate all independent and studio needs. Services include 3D production and post production (with delivery for RealD, Dolby 3D and XpanD), 4K/2K/...

Reviewing Crumple Pop's 'Revealer'

August 13, 2010, 08:49 AM

http://www.kenstone.net/fcp_homepage/crumple_pop_r...

Crumplepop must have an ambitious staff as for the last couple of years they have been regularly producing interesting and useful plug ins for Final Cut Pro and Motion.

When Avid Met Apple – Bill Warner Interview

August 12, 2010, 05:22 PM

http://hollywoodreinvented.com/2010/08/12/when-avi...

The final segment of my interview with engineer, inventor and entrepreneur, Bill Warner, the man who created Avid Technology. In this segment Bill talks about getting the initial investment, the period leading up to the launch of the company and how an encounter with some Apple employees at the SIGGRAPH show helped him and his team make a last minute decision to move development of the Media Composer to the Macintosh.

BLACKMAGIC DESIGN ACQUIRES ECHOLAB

August 12, 2010, 05:21 PM

http://www.postmagazine.com/ME2/dirmod.asp?sid=&nm...

BOSTON - Blackmagic (www.blackmagic-design.com) has acquired EchoLab, a designer and manufacturer of production switchers. EchoLab has been building production switchers since 1974, and currently offers advanced ATEM switchers that offer up conversion on inputs, multilayer SuperSource input, Stinger transitions, and built in multi-view monitoring, all in a familiar and affordable M/E style design.

Preditors... The NEW Evolution of Editors

August 12, 2010, 01:32 PM

https://www.aotg.com/preditors-the-new-evolution-of-editors/

Created by Nina of NINA's EDL here's a poster for all you Preditors (Producer, Director, Editors) out there!

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