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
August 12, 2010, 12:34 AM
http://www.joyoffilmediting.com/?p=2972
I connected with Adam Coleite after putting out a call for reality editors to interview on Facebook. We met up at a restaurant of his choice – a Corner Bakery in Burbank. A genial 30-something, he gave me a rundown on the logistics and challenges of editing reality (love the double entendre) as well as some insightful comments on audience perceptions of the genre and his own take on it.
August 12, 2010, 12:28 AM
http://digitalfilms.wordpress.com/2010/08/11/red-p...
The RED camera company has succeeded in shaking up the industry and getting all other camera manufacturers to rethink what a digital cinema camera should be. This year, the ARRI Alexa presents the first serious challenge by another system designed around a camera raw workflow.
August 11, 2010, 05:51 PM
http://www.shutterfly.com/pro/TiltPhoto/2010aceedi...
Edit Fest has the photos from this past weekend up! You can check them out Now!
August 11, 2010, 02:17 PM
https://www.aotg.com/episode-38-day-four-from-edit-fest-la/
John and Gord talk about Sally Menke, as well as editing reality.
August 11, 2010, 01:06 PM
http://normanhollyn.com/2010/08/10/collaboration-a...
Directors, listen to me hear — it’s impossible to make a film by yourself. Not every idea you’re going to have is good, and not all good ideas are going to come from you. The best comments I’ve gotten from directors are when they turn to me after viewing my Editor’s Cut and say "Wow, there were some things in there that I never would have thought of myself. Thanks." Of course, that doesn’t mean that we’re going to use those ideas...
August 11, 2010, 11:21 AM
https://www.aotg.com/episode-38-edit-fest-la-part-4-of-4/
Film Editing News and Interviews
#editor#editing#film#film editing#television#movies#edit fest la#the cutting roomAugust 11, 2010, 01:33 AM
http://provideocoalition.com/index.php/editingpost...
Final Cut Pro’s greatest strength is also its greatest weakness, and that is its open-endedness. What I mean by that is that Media Composer has a very "rigid" way of working, and importing media means that you take a clip, and upon import, MC converts it to an MXF (or possibly an OMF) file, and once it’s in your system, the external file that it came from is essentially useless.
August 10, 2010, 09:12 PM
https://www.aotg.com/every-editor-deals-with-this-issue-2/
Dealing with clients who don't realize they have to pay the full price. Here's a great/funny example of this in video format.
August 10, 2010, 08:38 PM
http://digitalcontentproducer.com/videoedsys/revfe...
During the next 12 months, the edit unfolded in a way I had never experienced. A 90-minute documentary in the United Kingdom would normally involve a straight run of nine to 11 weeks of cutting. However, the schedule for this film was dictated by the Zimbabwe government and its ability to continually postpone the international court case—the film's subject matter—was staggering. Shooting was interrupted, and this meant we had to approach the edit in a very different way. We had to be fluid.....
August 10, 2010, 04:11 PM
http://provideocoalition.com/index.php/adobe/story...
With the release of Premiere Pro CS5 earlier this year, the topic of native editing, and more specifically, native DSLR editing has been a big one...worldwide. From literally every country I’ve visited, people are discovering the power of DSLR video and leveraging it to it’s fullest. But the questions I’m continually asked are, "Why does Final Cut Pro/Avid Media Composer force you to transcode? Why don’t you transcode in Premiere?"
Daniel George McDonald sits down to discuss creating the finale for Cheer Season 2.
Gordon sits down with the editorial team of The Black Lady Sketch Show to discuss their approach to ...
Gordon sits down with Philip to discuss his work with Tyler Perry and his latest film A Madea Homeco...
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