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

Pro Tools Compatible Loudness Meters - Which Are T

July 4, 2019, 06:29 AM

https://www.pro-tools-expert.com/home-page/2019/6/...

Back in 2017 we asked Which Loudness Meter Plug-in Do You Use In Pro Tools? and a couple of weeks ago we repeated the question and poll. In this article we analyse whether loudness meter popularity and usage has changed during the last 2 years.

2019's Most Important Film Scores

June 28, 2019, 05:53 AM

https://www.premiumbeat.com/blog/mr/film-score-tre...

Use experimental ambient royalty-free tracks to put your project in the same category as today’s most talked-about films in 2019.

Industry Interview: “Leaving Neverland” Compos

June 27, 2019, 06:29 AM

https://www.premiumbeat.com/blog/interview-leaving...

We chatted with composer Chad Hobson for some insight into his process and influences — and what aspiring composers need to know.

The Basics of Surround Sound - Part 3

June 26, 2019, 12:44 PM

https://www.uaudio.com/blog/surround-sound-basics-...

When talking about sound source placement in the recording and mixing of immersive audio using traditional headphones, 5.1, 7.1 or 9.1, I feel the first rule that applies is, there are no rules.

Re-recording Mixer Mike Prestwood Smith on the Roc

June 25, 2019, 05:55 AM

https://www.studiodaily.com/2019/06/re-recording-m...

Rocketman, Paramount Picture’s cinematic rock opera of Sir Elton John’s life, is as sui generis as the man who inspired it... The post Re-recording Mixer Mike Prestwood Smith on the Rocketman Soundtrack’s Unique Narrative Engine appeared first on Studio Daily.

Peter Weir Talks Psychology of Sound

June 19, 2019, 06:00 AM

https://www.aotg.com/peter-weir-talks-psychology-of-sound/

I was fortunate enough to sit down with the 6-time Academy Award nominated Australian filmmaker Peter Weir, director, writer and producer of films such as Picnic at Hanging Rock, Dead Poets Society and Master...

Mixing For Television And Delivering To Spec From

June 9, 2019, 07:53 AM

https://www.pro-tools-expert.com/home-page/2019/6/...

At NAB 2019 on the Avid Stage, re-recording mixer for TV Scott Weber, who has mixed shows like Lost, Person Of Interest and Westworld, discussed how to mix TV shows to meet the different US broadcaster’s and Network’s delivery specs and how things vary from network to network and what impact that has on the mix and deliverables.

Designing Chernobyl's disturbing, haunting sound:

June 6, 2019, 01:21 PM

https://www.asoundeffect.com/chernobyl-hbo-sound/

The sound in HBO's 'Chernobyl' - and the interplay between sound design and score - is outstanding, and it's a great pleasure to give you the story behind it in this exclusive A Sound Effect interview. Here, supervising sound editor Stefan Henrix and sound designer Joe Beal share how they made its eerily haunting soundscape, and the lengths they went to capture and design an authentic sound for the series:

#sound#sound design#sound effects#chernobyl#chernobyl sound design
Catch-22's Composers Speak

June 6, 2019, 08:34 AM

https://www.hollywoodreporter.com/behind-screen/ca...

Composers Harry Gregson-Williams and Rupert Gregson-Williams are featured in a new episode of The Hollywood Reporter's Behind the Screen podcast series.

Composer Herdis Stefansdottir

June 4, 2019, 06:45 AM

https://www.premiumbeat.com/blog/interview-film-co...

We sat down with international composer Herdís Stefánsdóttir for some insight into her influences, working process, and creative world.

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