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

Behind the Title: Slick Sounds’ David Van Slyke

December 28, 2015, 06:00 PM

http://postperspective.com/behind-title-slick-soun...

NAME: David F. Van Slyke COMPANY: Slick Sounds Media Partners CAN YOU DESCRIBE YOUR COMPANY? Slick Sounds is a boutique sound design company that handles post-production audio — from dailies to the delivery of the DCP (Digital Cinema Package). We creatively apply the craft, especially the art of telling stories with sound. We partner with directors, picture editors, color timers, composers and mix stages. WHAT’S YOUR JOB TITLE? Lead Sound Designer and Re-Recording Mixer WHAT WOULD ...

The Sound of The Revenant

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.

Apple rumored to be working on high-resolution aud

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.

Mix Prep - 5 Steps

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.

Avid VENUE S6L

December 28, 2015, 06:19 AM

http://www.audiomediainternational.com/live/review...

It’s now been over ten years since the launch of the VENUE platform and those original Digidesign consoles (Profile, SC48 and D-Show) are still common sights at venues and festivals around the world. Now we have the new VENUE S6L, which utilises some of the technology from the S6 and runs the latest version of the VENUE software, but is it a worthy successor to the much-loved originals?

The Sound of The Martian with Re-recording Mixer P

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.

‘Sicario’ Composer Johann Johannsson

December 23, 2015, 06:26 PM

http://deadline.com/2015/12/johann-johannsson-sica...

Icelandic composer Johann Johannsson could earn his second consecutive Oscar nomination this year. Fresh off the Oscar trail for his work on The Theory of Everything, Johannsson comes back with something very different—a startling, tense score for Denis Villeneuve’s border thriller Sicario.

Race Car Sound FX: Capturing Differences Through S

December 23, 2015, 03:45 PM

http://www.creativefieldrecording.com/2015/12/02/r...

Earlier this year, I discovered an excellent field recording opportunity: the Montréal Grand Prix and the Toronto Honda Indy car races landed on two consecutive weekends.

6 Editing Tips For Solid Natural Tracks

December 23, 2015, 11:15 AM

http://bobbyowsinski.blogspot.ca/2015/12/6-editing...

Mix engineers are called on to do so much more than ever before. Tweaking the track timing used to be done way before the mixing stage, but mixers find themselves doing it more and more.

Mark Mangini - Sound Designer of Mad Max: Fury Roa

December 23, 2015, 05:46 AM

http://soundworkscollection.com/news/soundworks-co...

This week we talk with Sound Designer and Re-recording Mixer Mark Mangini about his recent work on Mad Max: Fury Road and Black Mass and talk about some of his favorite sound moments in each film.

1 45 46 47 48 49 71

© 2007-2026 www.aotg.com Ver. 3.0 All Content created and posted by Art of the Guillotine users Art of the Guillotine graphics, logos, designs, page headers, button icons, scripts, and other service names are the trademarks of Art of the Guillotine Inc. Use of this material outside of this site is strictly prohibited.