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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

How They Did It: SFX Supervisor Mark Byers on Gett

November 21, 2019, 09:03 PM

https://www.studiodaily.com/2019/11/sfx-supervisor...

I got involved with the show thru Fox producer Kevin Halloran, who had me meet with James Mangold to talk about the cars and how we would achieve the look James wanted. We wanted to approach the car gags and all of the car racing shots as practical effects as much as possible. We wanted to get the cars, the driving, and the crashes with real cars and real drivers, or actors in real cars, as much as we could.

Watermelon Sound Launches in Toluca Lake

November 21, 2019, 09:03 PM

http://www.btlnews.com/community/whos-where/waterm...

James Longeretta, owner of global post-production solutions provider Vortechs, has teamed with veteran Supervising Sound Editor/Re-Recording Mixer Joe Schultz (Once Upon a Time, Lost, Amazing Stories for Apple TV) to launch Waterman Sound. The state-of-the-art sound facility offers sound editorial, sound design, mixing, and ADR from its newly-built studio in Toluca Lake, California. The company has hired ADR Mixer Marilyn Morris (Captain Marvel, Miss Sloane), formerly of Skywalker Sound and Dubb...

Review: iZotope Dialogue Match by Woody Woodhall

November 19, 2019, 01:48 PM

https://www.provideocoalition.com/izotope-dialogue...

With Dialogue Match, iZotope has once again created go to technology for post audio professionals. Their RX line is now a very mature product with a dazzling array of audio restoration modules from noise reduction and declicking to technical modules for resampling, releveling and loudness compliance and much more!

Tips and thoughts on field recording and immersive

November 17, 2019, 01:29 PM

https://www.asoundeffect.com/jamie-hardt-field-rec...

Jamie Hardt is a Supervising Sound Editor, Sound Designer, and Re-Recording mixer with over 20 years of experience. He has worked on shows such as 22 Jump Street, Zero Dark Thirty, Penguins of Madagascar, and Men in Black 3.

Music Legend Danny Kortchmar Contributes to Succes

November 14, 2019, 02:29 PM

https://news.creativecow.net/story/898973

(November 1, 2019) (Los Angeles, CA--November 1, 2019) Legendary GRAMMY®-nominated guitarist, songwriter and producer Danny Kortchmar had a strong presence at the recent 147th Audio Engineering Society Convention in New York City, which took place October 16-19, 2019, at the Jacob Javits Center. Kortchmar contributed to two successful panel events: “Triple Threat: The Art, Production & Technology of Making Music” on Thursday, October 17, and “How We Make Music—Crossing the Decades from ...

iZotope's Dialogue Match Is Cut-and-Paste for EQ,

November 5, 2019, 08:16 PM

https://www.studiodaily.com/2019/11/izotopes-dialo...

iZotope released Dialogue Match, a new software tool the company claims analyzes the "sonic character" of dialogue recordings to better match tracks captur

Scoring The Addams Family

November 5, 2019, 02:07 PM

http://scoringsessions.com/2019/10/11/mychael-dann...

This summer, award-winning composers Mychael Danna and Jeff Danna scored the new animated version of The Addams Family. The score to the new MGM animated film features an orchestra recorded at the Eastwood Scoring Stage, musical saws, unique percussion, accordion and the famous Fox Wurlitzer organ housed at Bandrika Studios. ScoringSessions.com is thrilled to share photos from the various sessions with our readers!

iZotope Dialogue Match - New Time Saving Tool For

November 5, 2019, 02:06 PM

https://www.pro-tools-expert.com/home-page/2019/10...

We recently posted an article iZotope Announce The Next Big Thing In Post Production - What Could It Be? because iZotope announced a presentation on November 7th and we learnt that a new product would be launched on November 5th, well the wait is over.

Dalet AmberFin now includes Dolby Vision HDR techn

November 3, 2019, 08:56 PM

https://postperspective.com/dalet-amberfin-now-inc...

Dalet’s AmberFin software-based transcoding asset management system now includes Dolby Vision HDR technology targeting media professionals, studios and streaming service providers. The newly updated Dalet AmberFin engine enables mastering and distribution workflows for production, post and streaming In addition to Dolby Vision and a bunch of other new software-only features, Dalet AmberFin can also be enhanced with hardware acceleration tools such as the M820L HEVC encoder plugin card fro...

Post Audio Engineer Christina Wen

October 30, 2019, 08:44 PM

https://ventsmagazine.com/2019/10/30/interview-pos...

Behind-the-scenes featurettes of popular movies and video games don’t usually spend too much talking about the music. At most, they’ll have a brief interview with the score composer and maybe have a few shots of the studio orchestra at work.

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