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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

Designing the Sound of Nothing... In A Quiet Place

February 6, 2019, 08:09 AM

https://www.aotg.com/designing-the-sound-of-nothing-in-a-quiet-place/

Gordon sits down with the Sound Design team (Just nominated for an Oscar) for A Quiet Place. Ethan Van der Ryn and Erik Aadahl worked with Foley One in Toronto to create the unique sound design for A Quiet Place, including creating a soundless feel. Learn how they did it!

Andrew Stark - Sound Supervisor Interview

January 21, 2019, 06:53 PM

https://www.aotg.com/andrew-stark-sound-supervisor-interview/

In this episode we talk with Andrew Stirk about the sound work he did as the Sound Supervisor and re-recording engineer, on the recent film "A Private War". We discuss the films gritty, almost documentary-like approach to sound and the times when they threw the realism out the window to create impactful moments in the story.

Mildred Iatrou Morgan & Ai-Ling Lee First Man's So

January 12, 2019, 01:45 PM

https://www.aotg.com/mildred-iatrou-morgan-ai-ling-lee-first-mans-so/

Mildred Iatrou Morgan & Ai-Ling Lee sit in with us for this episode. They were the co-supervising sound editors on Damien Chazelle's recent film First Man. They talk about the epic challenge of bringing this film to life, knowing so much of the plot uniquely depends on sound to tell the story of the first moon landing.

The Sound of Mary Poppins Returns

December 26, 2018, 08:51 AM

https://www.aotg.com/the-sound-of-mary-poppins-returns/

In this exclusive conversation we talk with Supervising sound editors and sound designers Renee Tondelli and Eugene Gerty about their recent work on Mary Poppins Returns directed by Rob Marshall and features Emily Blunt, Lin-Manuel Miranda, Ben Whishaw, Emily Mortimer, Meryl Streep, Colin Firth and surprise performances from Dick Van Dyke and Angela Lansbury.

SoundGirls.Org: Career Paths in Post-Audio

December 21, 2018, 07:30 AM

https://www.aotg.com/soundgirls-org-career-paths-in-post-audio/

What does it take to make a career in sound post-production? In this episode we listen in on a panel discussion hosted by Soundgirls.org, with 5 talented audio-post pros: Onnalee Blank (Re-Recording: Mixer Game of Thrones, If Beale Street Could Talk), Karol Urban (Re-Recording Mixer: Grey’s Anatomy, New Girl), Kate Finan (Supervising sound editor: Future-Worm!, Muppet Babies) and April Tucker...

The Sound of First Man

November 20, 2018, 05:47 AM

http://soundworkscollection.com/news/the-sound-of-...

Academy Award and Grammy-winning composer Justin Hurwitz, sound supervisor and re-recording mixer Ai-Ling Lee, sound supervisor Mildred Iatrou, re-recording mixer Frank Montaño, re-recording mixer Jon Taylor, and Academy Award-winning picture editor Tom Cross discuss how the film’s documentary look (it was filmed in Super-16mm) affected the approach to sound and music, how the sound elements contributed to the understanding of how dangerous the early space flights were, and why it was importa...

The Sound of Black Panther

November 20, 2018, 05:47 AM

http://soundworkscollection.com/news/the-sound-of-...

Composer Ludwig Göransson and supervising sound editor Steve Boeddeker talk about the collaboration of sound design and score in BLACK PANTHER, the integration of African music into a traditional symphonic score, and how the sound design of futuristic Wakanda technology and weaponry is influenced by West African sounds (like a bird becoming the sound of a passing spaceship).

BretJohns - Elephants In The Room

November 14, 2018, 01:09 PM

https://www.aotg.com/bretjohns-elephants-in-the-room/

In mid 2018 sound recordist Bret Johns decided to launch a kickstarter that would send him to Thailand on a mission to record a variety of elephants that would turn into a pretty spectacular library launch. We enthusiastically backed it, and when the time was right we caught up with Bret to hear the sounds and talk about the adventure.

The Sound of BlacKkKlansman

September 12, 2018, 05:51 AM

http://soundworkscollection.com/news/the-sound-of-...

In this exclusive SoundWorks Collection podcast we talk with the sound and music team of Director Spike Lee's new film BlacKkKlansman featuring Composer Terence Blanchard, Re-recording Mixer Tom Fleischman and Sound Mixer Drew Kunin.

Tonebenders Podcast - Joseph Fraioli

September 8, 2018, 06:20 AM

https://www.aotg.com/tonebenders-podcast-joseph-fraioli/

We talk with Joseph Fraioli about his work on the new science fiction film "Kin" by directors Jonathan and Josh Baker. Joseph tells us about how he created an alien language and the sounds of the mysterious gun at the heart of the film. He also discusses how he uses modular synths in his sound design and how he worked with a sound team spread out between New York, Los Angeles, Toronto and Scotland.

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