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
December 31, 2015, 06:35 AM
http://blog.dolby.com/2015/12/1648/
When it came time to select a mixer for the first trailer for Star Wars: The Force Awakens, the core team behind the movie turned to Will Files. A longtime Dolby Atmos® mixer, Files has worked with Star Wars writer, director, and producer J.J. Abrams on films like Star Trek Into Darkness, and that résumé more than likely had something to do with him getting the nod to work on the biggest, and most secretive, project Abrams has undertaken to date.
December 31, 2015, 06:35 AM
http://www.rollingstone.com/movies/pictures/play-t...
From disco fevers to drive-in-movie homages, we sift through those musically blessed movies that were better heard than seen
December 30, 2015, 05:39 AM
http://www.nytimes.com/interactive/2015/12/29/arts...
We talk about how cities and buildings look. We call places landmarks or eyesores. But we rarely talk about how architecture sounds, aside from when a building or room is noisy.
December 29, 2015, 01:43 PM
http://www.btlnews.com/awards/69118/
When rerecording mixer Chris Jenkins got a call from music composer Tom Holkenborg about working on Mad Max: Fury Road, saying yes, was the easy part. But what took place over the following months was a collaboration the mixer won’t soon forget. “When Tom asked me if I was interested in being part of the project, he had been already working with George Miller on music themes for over a year,” said Jenkins. “George’s first Mad Max film was mind-blowing. Everyone loved it, so when To...
December 29, 2015, 01:43 PM
http://www.btlnews.com/awards/contenders-sound-mix...
The lines between genius and madness blur inside the mind of Brian Wilson as he’s portrayed in director Bill Pohlad’s Beach Boys biopic Love & Mercy, distributed by Roadside Attractions. Using sound, the film paints a beautiful and discordant picture of what Wilson hears in his head – the music and mania that make the man. Love & Mercy splits Wilson’s life into two distinct parts, the young Brian of the '60s (played by Paul Dano) in the time surrounding the "Pet Sounds" album, and...
December 29, 2015, 01:41 PM
http://qz.com/579185/virtual-reality-filmmakers-ar...
The stereotype goes that when directors are figuring out how to frame a shot, they extend their arms, create a rectangle using their thumbs and index fingers, and peer through that box. And because movies and TV shows have traditionally been viewed on one kind of box or another, the process provides a rough gauge of what the scene will look like.
December 28, 2015, 05:59 PM
https://vimeo.com/channels/soundworkscollection/15...
In this exclusive SoundWorks Collection sound profile we feature Supervising Sound Editor and Sound Designer Martín Hernández and Re-recording Mixer and Supervising Sound Designer Randy Thom about their recent collaboration on Director Alejandro González Iñárritu's new film The Revenant.
December 28, 2015, 11:13 AM
https://marco.org/2015/12/27/apple-hd-audio-again?...
Benefits of higher-than-16/44 audio sampling are indeed both inaudible in theory and undetectable in controlled testing. Lossless encoding being indistinguishable from well-encoded lossy compression isn’t quite as clear-cut, but it’s close — it’s at least safe to say that most people can’t tell the difference.
December 28, 2015, 11:13 AM
http://www.pro-tools-expert.com/home-page/2015/12/...
Never forget that mixing is a creative process. I find so many people are more than happy to jump head first into a mix with not even undertaking even the most basic stages of mix preparation.
December 28, 2015, 06:19 AM
http://soundworkscollection.com/news/soundworks-co...
In this exclusive SoundWorks Collection interview we talk with music and dialogue Sound Re-recording Mixer Paul Massey about his work on Director Ridley Scott's The Martian. The final mix was completed at Twickenham Studios in London and music was recorded and mixed by Peter Cobbin at Abbey Road Studios for Composer Harry Gregson-Williams.
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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