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

Making of a Film Score

February 13, 2015, 05:44 AM

https://www.aotg.com/making-of-a-film-score/

Filmmaker and Anthropologist Niobe Thompson teamed up with Composer Darren Fung to create a magnificent musical score for the upcoming CBC series The Great Human Odyssey. In an era when live-recorded orchestral scores are a dying breed, Thompson and Fung brought the Edmonton Symphony and ProCoro Canada to one of North America's premiere acoustic spaces: Edmonton's Winspear Centre.

Oscars: Why Composers Went "Traditional"

February 12, 2015, 02:44 PM

http://www.hollywoodreporter.com/news/oscars-why-c...

When it comes to film scoring, "adventurous" sometimes gets conflated with "electronic," especially at the Oscars. But not this year, as the nominated scores eschew computer-generated sounds to take risks with old-fashioned acoustic instrumentation.

DP/30: Interstellar, Hans Zimmer

February 12, 2015, 10:24 AM

https://www.aotg.com/dp-30-interstellar-hans-zimmer/

Hans Zimmer's 10th Oscar nomination is for Chris Nolan's Interstellar, his 5th collaboration with the filmmaker. And that is how the filmmaker sees working w...

Documentary gear update

February 12, 2015, 05:42 AM

https://www.aotg.com/documentary-gear-update/

This is "Documentary audio gear update" by The Location Crew...

Oscar-nominee Ben Wilkins on Whiplash’s audio mi

February 11, 2015, 03:28 PM

http://postperspective.com/oscar-nominee-ben-wilki...

With a BAFTA for his work on the film already in hand, this audio post pro walks us through his process. By Randi Altman When I first spoke with Ben Wilkins, he was freshly back from the Oscar-nominee luncheon in Hollywood and about to head to his native England to attend the BAFTAs. Wilkins was nominated by both academies for his post sound work on Sony Picture Classics’ Whiplash, the Damien Chazelle-directed film about an aspiring jazz drummer and his brutal instructor. Wilkins (@ton...

The sonic boom problem - Katerina Kaouri

February 11, 2015, 07:08 AM

https://www.aotg.com/the-sonic-boom-problem-katerina-kaouri/

Objects that fly faster than the speed of sound (like really fast planes) create a shock wave accompanied by a thunder-like noise: the sonic boom. These epic sounds can cause distress to people and animals and even damage nearby buildings. Katerina Kaouri details how scientists use math to predict sonic booms' paths in the atmosphere, where they will land, and how loud they will be.

Composer Interview: Matthew Margeson

February 11, 2015, 07:06 AM

https://www.aotg.com/composer-interview-matthew-margeson/

Composer Matthew Margeson takes some time to talk about his fantastic new score to Kingsman: The Secret Service, which he co-composed with friend and...

Prepping Pro Tools For Auto Installation

February 11, 2015, 07:06 AM

http://www.pro-tools-expert.com/home-page/2015/2/1...

12 months ago we ran a series of articles part 1, part 2, part 3 & part 4 from community member Neil Martin focussing on getting Pro Tools and its associated extras into a state whereby it could be deployed en-mass which is especially useful in educational establishments.

Why Managing Side Wall Reflections Is So Important

February 11, 2015, 07:05 AM

https://www.aotg.com/why-managing-side-wall-reflections-is-so-important/

Today we’re going to talk about sidewall reflections because this is a really big element in your presentation, especially in your two channel environment whether its in a control room, a personal listening environment or even a home theater. You have to think about good sound and what really is good sound?

THE HOBBIT – THE BATTLE OF THE FIVE ARMIES: Mike

February 10, 2015, 01:45 PM

http://www.artofvfx.com/?p=10992

Before joining the team of Weta Digital in 2006, Mike Cozens worked at Hybride on projects such as SIN CITY or 300. At Weta Digital, he worked on AVATAR, RISE OF THE PLANET OF THE APES or the trilogy THE HOBBIT.

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